Dallas Movie Screening

Dallas Movie Screenings started out as a mailing list on Yahoo Groups to facilitate finding free screening passes in the DFW area. When Yahoo Groups shut down, we are now posting screenings on our Facebook page at http://www..facebook.com/groups/dallasmoviescreenings
Earlier Reesa's Reviews can also be found at:http://www.moviegeekfeed.com

Logo art by Steve Cruz http://www.mfagallery.com

Website and Group Contact: dalscreenings@gmail.com

Sunday, February 26, 2017

The 89th Academy Awards Winner List





Best Picture:


Arrival (Produced by Shawn Levy, Dan Levine, Aaron Ryder and David Linde)

Fences (Produced by Scott Rudin, Denzel Washington and Todd Black)

Hacksaw Ridge (Produced by Bill Mechanic and David Permut)

Hell or High Water (Produced by Carla Hacken and Julie Yorn)

Hidden Figures (Produced by Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi)

La La Land (Produced by Fred Berger, Jordan Horowitz and Marc Platt)

Lion (Produced by Emile Sherman, Iain Canning and Angie Fielder)

Manchester by the Sea (Produced by Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck and Kevin J. Walsh)

***Moonlight (Produced by Adele Romanski, Dede Gardner and Jeremy Kleiner)



Best Director:


Denis Villeneuve (Arrival)

Mel Gibson (Hacksaw Ridge)

***Damien Chazelle (La La Land)

Kenneth Lonergan (Manchester by the Sea)

Barry Jenkins (Moonlight)


Best Actor:


***Casey Affleck (Manchester by the Sea)

Andrew Garfield (Hacksaw Ridge)

Ryan Gosling (La La Land)

Viggo Mortensen (Captain Fantastic)

Denzel Washington (Fences)


Best Actress:

Isabelle Huppert (Elle)

Ruth Negga (Loving)

Natalie Portman (Jackie)

***Emma Stone (La La Land)

Meryl Streep (Florence Foster Jenkins)


Best Supporting Actor:


***Mahershala Ali (Moonlight)

Jeff Bridges (Hell or High Water)

Lucas Hedges (Manchester by the Sea)

Dev Patel (Lion)

Michael Shannon (Nocturnal Animals)


Best Supporting Actress:

***Viola Davis (Fences)

Naomie Harris (Moonlight)

Nicole Kidman (Lion)

Octavia Spencer (Hidden Figures)

Michelle Williams (Manchester by the Sea)


Best Adapted Screenplay:


Arrival (Eric Heisserer)

Fences (August Wilson)

Hidden Figures (Allison Schroeder, Theodore Melfi)

Lion (Luke Davies)

***Moonlight (Barry Jenkins; Story by Tarell Alvin McCraney)


Best Original Screenplay:


Hell or High Water (Taylor Sheridan)

La La Land (Damien Chazelle)

The Lobster (Yorgos Lanthimos, Efthymis Filippou)

***Manchester by the Sea (Kenneth Lonergan)

20th Century Women (Mike Mills)


Best Animated Feature:


Kubo and the Two Strings (Travis Knight and Arianne Sutner)

Moana (John Musker, Ron Clements and Osnat Shurer)

My Life as a Zucchini (Claude Barras and Max Karli)

The Red Turtle (Michael Dudok de Wit and Toshio Suzuki)

***Zootopia (Byron Howard, Rich Moore and Clark Spencer)


Best Documentary:


Fire at Sea (Gianfranco Rosi and Donatella Palermo)

I Am Not Your Negro (Raoul Peck, Remi Grellety and Hebert Peck)

Life, Animated (Roger Ross Williams and Julie Goldman)

***O.J.: Made in America (Ezra Edelman and Caroline Waterlow)

13th (Ava DuVernay, Spencer Averick and Howard Barish)


Best Foreign Language Film:


Land of Mine (Denmark)

A Man Called Ove (Sweden)

***The Salesman (Iran)

Tanna (Australia)

Toni Erdmann (Germany)


Best Cinematography:


Arrival (Bradford Young)

***La La Land (Linus Sandgren)

Lion (Greig Fraser)

Moonlight (James Laxton)

Silence (Rodrigo Prieto)


Best Film Editing:


Arrival (Joe Walker)

***Hacksaw Ridge (John Gilbert)

Hell or High Water (Jake Roberts)

La La Land (Tom Cross)

Moonlight (Joi McMillon, Nat Sanders)


Best Costume Design:


Allied (Joanna Johnston)

***Fantastic Beasts and Where to Find Them (Colleen Atwood)

Florence Foster Jenkins (Consolata Boyle)

Jackie (Madeline Fontaine)

La La Land (Mary Zophres)


Best Makeup and Hair:


A Man Called Ove (Eva von Bahr and Love Larson)

Star Trek Beyond (Joel Harlow and Richard Alonzo)

***Suicide Squad (Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson)


Best Original Score:


Jackie (Mica Levi)

***La La Land (Justin Hurwitz)

Lion (Dustin O'Halloran and Hauschka)

Moonlight (Nicholas Britell)

Passengers (Thomas Newman)


Best Original Song:

"Audition (The Fools Who Dream)," from La La Land (Music by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul)

"Can’t Stop the Feeling," from Trolls (Music and lyrics by Justin Timberlake, Max Martin and Karl Johan Schuster)

***"City of Stars," from La La Land (Music by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul)

"The Empty Chair," from Jim: The James Foley Story (Music and lyrics by J. Ralph and Sting)

"How Far I'll Go," from Moana (Music and lyrics by Lin-Manuel Miranda)


Best Production Design:


Arrival (Production design: Patrice Vermette; Set decoration: Paul Hotte)

Fantastic Beasts and Where to Find Them (Production design: Stuart Craig; Set decoration: Anna Pinnock)

Hail, Caesar! (Production design: Jess Gonchor; Set decoration: Nancy Haigh)

***La La Land (Production design: David Wasco; Set decoration: Sandy Reynolds-Wasco)

Passengers (Production design: Guy Hendrix Dyas; Set decoration: Gene Serdena)


Best Sound Editing:


***Arrival (Sylvain Bellemare)

Deepwater Horizon (Wylie Stateman and Renée Tondelli)

Hacksaw Ridge (Robert Mackenzie and Andy Wright)

La La Land (Ai-Ling Lee and Mildred Iatrou Morgan)

Sully (Alan Robert Murray and Bub Asman)


Best Sound Mixing:

Arrival (Bernard Gariepy Strobl and Claude La Haye)

***Hacksaw Ridge (Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace)

La La Land (Andy Nelson, Ai-Ling Lee and Steve A. Morrow)

Rogue One: A Star Wars Story (David Parker, Christopher Scarabosio and Stuart Wilson)

13 Hours: The Secret Soldiers of Benghazi (Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth)


Best Visual Effects:

Deepwater Horizon (Craig Hammack, Jason Snell, Jason Billington and Burt Dalton)

Doctor Strange (Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould)

***The Jungle Book (Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon)

Kubo and the Two Strings (Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff)

Rogue One: A Star Wars Story (John Knoll, Mohen Leo, Hal Hickel and Neil Corbould)


Best Animated Short:

Blind Vaysha (Theodore Ushev)

Borrowed Time (Andrew Coats and Lou Hamou-Lhadj)

Pear Cider and Cigarettes (Robert Valley and Cara Speller)

Pearl (Patrick Osborne)

***Piper (Alan Barillaro and Marc Sondheimer)


Best Documentary Short:


Extremis (Dan Krauss)

4.1 Miles (Daphne Matziaraki)

Joe’s Violin (Kahane Cooperman and Raphaela Neihausen)

Watani: My Homeland (Marcel Mettelsiefen and Stephen Ellis)

***The White Helmets (Orlando von Einsiedel and Joanna Natasegara)


Best Live Action Short:


Ennemis Interieurs (Selim Azzazi)

La Femme et le TGV (Timo von Gunten and Giacun Caduff)

Silent Nights (Aske Bang and Kim Magnusson)

***Sing (Kristof Deak and Anna Udvardy)

Timecode (Juanjo Gimenez)





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Movies Scheduled for the Week of February 26 - March


Oscar night!!!! Hope all your favorites won!

Can't believe that it's already March. The Dallas International Film Festival is almost upon us. Mark your calendar, March 30 - April 9. Now is a good time to sign up to volunteer and show the world what a appreciative movie community we have in Dallas. http://www.dallasfilm.org/explore/get-involved/festival-volunteer/
It's a lot of fun, you meet even more wonderful people and get to meet some film makers, get a cool tshirt, and best of all get to see some amazing movies that you may not be able see anywhere else.

February 26 - March 4

Mon - February 27

Boss Baby - 7:00 pm - Angelika Dallas
Table 19 - 7:30 pm - Angelika Dallas

Tue - February 28

The Shack - 7:30 pm - Cinemark 17

Wed - March 1

Kong: Skull Island - 7:00 pm - Cinemark 17, AMC Mesquite, AMC Stonebriar, AMC Eastchase

Thu - March 2

The Shack - 7:30 pm -tba





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Sunday, February 19, 2017

Movies Scheduled for the Week of February 19 = February 25


Greetings movie friends. Hope you had a chance to check out Dallas Movie Screenings contributing writer Chase Lee's early review of Logan. http://www.dallasmoviescreenings.com/2017/02/logan.html
Something to look forward to next week. Don't know if they are doing a promo or not, but it's worth buying a ticket.

You know when you "grab" a pass from a link provided by a supporting website, if a pass is available, it will say Get My Tickets. If it doesn't say that, it will bring you to a screen that says "Event Full" and and ask if you want to be on a wait list. So if you see this, please don't ask us for the redemption code. We don't have those codes. Check the website that was offering the screening. Passes are limited, so the earlier you redeem the passes the better. Just don't redeem passes if you are not going to attend.

February 19 - February 25

Mon - Feb 20

United Kingdom - 7:30 pm - Angelika Plano
Get Out - 7:30 pm - Studio Movie Grill Spring Valley

Tue - Feb 21

Get Out - 7:30 pm - AMC Northpark

Wed = Feb 22

Get Out - 7:30 pm - Studio Movie Grill Arlington

Fri - Feb 24

Y Tu Mama Tambien = 8:30 pm - Texas Theater

Sat - Feb 125

Before I Fall - 11:00 am - AMC Northpark






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Saturday, February 18, 2017

A Cure for Wellness




A Cure for Wellness, from Gore Verbinski (The Ring, Pirates of the Caribbean), is a very stylish, beautifully presented film full of great attention to detail and oozing with atmosphere. It rolls out creepily and broodingly over the course of 2 1/2 hours and begins to lose the tightly wound psychological tension about halfway through, then ending with a bit of a splat. Screenwriter Jason Haythe (Revolutionary Road) screen wrote a Gothic knock-off that keeps plenty of secrets as the plot eerily unfolds. The mystery/thriller begins in the big city of New York, in corporate America, the real horror show, where overworked employees drop dead of heart attacks and the CEO has jumped ship for a mental and health break, during a tumultuous time for his company, and disappeared to the very expensive, exclusive, European Volmer Institute, a health spa/hotel/resort ( itself it's own character) with a sordid history, high up in the Alps of Switzerland, declaring "no contact" and "no plans" to return. The institute is supposedly built on a spring possessing healing powers ( think Hot Springs Ark spa vibe). Lockhart (Dane DeHann- Chronicle), appearing too young to be a serious financial exec, such an important corporate position, is sent to retrieve the boss and bring him back to the impending crisis.

The audience slowly is introduced to some of the more interesting residents, who each provide small pieces to the puzzle. There are many secrets to be uncovered involving the residents, their health, the cures and the main Doctor Heinrich Volmer (Jason Issacs- better known as Lucius Malfoy of Harry Potter fame). An ethereal young girl Hannah (Mia Goth- or Mrs. Shia LeBouf in real life) hangs around the grounds in some rather odd locations and Lockhart gets to know her better. She is the only young patients and is a full time resident because she is "a special case". Her performance is by far the most intriguing. She figures in prominently at the end. A Crossword puzzle enthusiast patient ( Celia Imrie) informs the young Lockhart of the creepy history of the property and it's former residents. He makes several attempts to locate the boss, Pembroke, but he is elusive in his schedule, from steamy saunas to eerie spa rooms to mad scientist lab treatment rooms.

When finally found, he refuses to leave. Lockhart is injured leaving the facility and finds himself a patient in a room on the grounds. He witnesses creepy things at night, and is possibly being tricked by his senses. The rest of the film is basically him ratting out all the dirty little secrets within the various nooks and crannies, twists and turns of the facility rooms, halls and walls. The place is antiseptic and pristine, the nurses are icily perfect, but rarely helpful, and Lockhart begins to partake of the "treatments". Two thirds of the way through it just gets more and more confusing and the climax just kind of leaves one with a bad taste and a slimy sensation. Kind of like a declarative Trump press conference with Ivanka standing a bit too close to daddy. Visually, Cinematographer Bohan Bazelli shots are of the stuff of great, sweeping travel shows. It seems there is a hint of Scope green and antiseptic yellow hues to transport us into the scene. There are shades of Shutter Island, Altered States, Grand Budapest Hotel, Crimson Peak and Rear Window. Hints of Nazi Germany, human experimentation and supremacy/purity ideas are inter woven. The pacing is off, there are some plot holes, and some down time where one is left just wondering what the heck is going on, Trigger warnings for eels, near drownings, coming of age ( Carrie) and evil dentist scenes ( a la Little Shop of Horrors). And don't forget. Don't drink the spa water.
(Review by Cheryl Wurtz)






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Thursday, February 16, 2017

Dallas Film Society announces THE ART OF FILM celebrating the 50th Anniversary of BONNIE AND CLYDE and the career of Academy Award-winner Robert Benton



The Dallas Film Society announces THE ART OF FILM celebrating the 50th Anniversary of BONNIE AND CLYDE and the career of Academy Award-winner Robert Benton

Special Event will take place on Wednesday, March 29 leading into the 2017 Dallas International Film Festival andintroducing festival focus on the films of 1967






Dallas, TX (February 16, 2017) – The Dallas Film Society today announced a special The Art of Film event on Wednesday, March 29 at sixtyfivehundred (6500 Cedar Springs) presenting Academy Award-winning filmmaker Robert Benton with the Dallas Star Award, on the occasion of the 50th Anniversary of the groundbreaking classic BONNIE AND CLYDE (which Benton co-wrote), as a kickoff to the Dallas International Film Festival’s planned salute to the films of 1967 over the course of this year’s edition of DIFF.

Event chairs for the special event are Dallas-based attorneys Regina Montoya and Paul Coggins, who is also a member of the Dallas Film Society board of directors. Honorary chairs are former Ambassador to Austria, Kathryn Hall, and her husband, Dallas area businessman and real estate developer, Craig Hall.

James Faust, Artistic Director of the Dallas Film Society, said, “Robert Benton is both an award-winning director and writer as well as a Texas treasure, who has been responsible for some of the most beloved film classics of the past five decades both through his director’s vision and his words placed on the page. The fact that he co-wrote BONNIE AND CLYDE, which was part of the hallowed film class of 1967, makes this a wonderful time to honor him with our Dallas Star Award.”

Raised in Waxahachie, Texas, Benton’s first screenplay, BONNIE AND CLYDE, co-written with David Newman, went into production with Arthur Penn directing. That same year the Benton-Newman musical "It’s a Bird. It's a Plane. It's Superman!" opened on Broadway.

The success of BONNIE AND CLYDE resulted in a contract with Warner Brothers for whom Benton and Newman first scripted THERE WAS A CROOKED MAN, which Joseph Mankiewicz directed. WHAT’S UP DOC?, directed by Peter Bogdanovich followed, before Benton made his directorial debut with BAD COMPANY, starring Jeff Bridges, from a script he co-wrote with Newman. Afterward, he wrote and directed THE LATE SHOW, starring Art Carney and Lily Tomlin.

In 1978, Benton re-teamed with Newman and Newman's wife Leslie to create the screenplay for Richard Donner’s box-office hit SUPERMAN starring Christopher Reeve, Marlon Brando and Margot Kidder. His next project, KRAMER VS. KRAMER, starring Dustin Hoffman and Meryl Streep, won the Academy Award for Best Picture, and earned Benton two Oscars - for Best Screenplay and Best Director.

Additional notable films include STILL OF THE NIGHT, NADINE, PLACES IN THE HEART (which earned Benton his third Oscar, for Best Original Screenplay), and BILLY BATHGATE. NOBODY’S FOOL, which he adapted from the novel by Richard Russo and for which he was nominated for an Academy Award for Best Adapted Screenplay, teamed the director with Paul Newman. They teamed up again for TWILIGHT, which Benton directed and co-wrote with Richard Russo. Additional titles include THE HUMAN STAIN with Anthony Hopkins, and FEAST OF LOVE, as well as co-writing the script for ICE HARVEST with Richard Russo.

The Dallas International Film Festival’s 11th edition will include a dedicated salute to the films of 1967, with titles to be announced with the full schedule of official selections the first week in March. Widely considered as one of the most ground-breaking years in film, with "revolutionary" movies making their mark, cinema was forever changed by the visionary work or eye toward social upheaval in films like BONNIE AND CLYDE, THE GRADUATE, GUESS WHO’S COMING TO DINNER, and IN THE HEAT OF THE NIGHT.

The Art of Film Host Committee members for the celebration of Benton’s career and preview of the salute to the films of 1967, include Courtney & Benton Bagot, Matt Bivona, Janis Burklund, Melina McKinnon & Michael Cain, Kelly & Jason Cleveland, Judy & Sam Coats, Hayley & Gary Cogill, Eric & Trey Cox, Pam & Mark Denesuk, Sheri Deterling & Geoff Hawkes, Joy & Billie Ellis, Jenn & James Faust, Rebecca Flores, Clare Freeman, Suzanne & Michael Grishman, Mary & Bradley Hatcher, Eric Hirschhorn, Alison & Harry Hunsicker, Lynn Lewis, Mary Blake & Chuck Meadows, Jan Miller & Jeff Rich, Sarah & Lee Papert, Anne & Steve Stodghill, Deborah & Don Stokes, Erin & Larry Waks, and Ken & Maureen Womack.

Tables, tickets, and sponsorships for The Art of Film are available online at www.dallasfilm.org or by calling the Film Society office at 214-720-0555.

For the Dallas International Film Festival, online ticket sales will be available for Dallas Film Society members beginning Monday, March 13 at DallasFilm.org, and will open to the public on Thursday, March 16. The physical Prekindle Box Office will open on Thursday, March 20.


ABOUT THE DALLAS FILM SOCIETY
The Dallas Film Society celebrates films and their impact on society. A 501(c)(3) non- profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop a better understanding of the role of film in today’s world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival is a presentation of the Dallas Film Society and has been named by Movie Maker Magazine as one of the “25 Coolest Film Festivals in the World.” In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, film screening series and programs in partnership with arts organizations around the city. The offices of the Dallas Film Society are located at 110 Leslie Street, Suite 200, Dallas, TX 75207. For more information about the Dallas Film Society and its ongoing events, visit www.dallasfilm.org or call (214) 720-0555.

2017 DIFF SPONSORS: ABCO; AdChat DFW; Advocate Magazine; Akin Gump Strauss Hauer and Feld, LLP; The Angelika Film Center; Arthur E. Benjamin Foundation; Bloomberg Philanthropies; City of Dallas – Office of Culture Affairs; Commerce House; D Magazine; Dallas Film Commission; Dallas Morning News; Dallas Producer’s Association; Dallas Tourism Public Improvement District (DTPID); DART; Downtown Dallas, Inc.; Earth Day Texas; Earth X Film Festival; El Creative; Festworks; Flagship Marketing; The Highland Dallas; Hong Kong Economic Trade Office; IMDB; In-N-Out Burger; Lucky Post; Magnolia Hotel; Marcs Clips; Mercury One Foundation; MindHandle; Murray Media; Panavision; PaperCity; People’s Last Stand; PreKindle; Radar Creative Studio; SAGIndie; Selig Polyscope Company; Sewell Automotive Companies; Southern Methodist University – Division of Film & Media Arts; Solarity Studios; State Fair Records; Stella Artois; Studio Movie Grill; Texas Commission for the Arts; Texas Association of Film Commissions; Texas Film Commission; Univision; Visit Dallas; WFAA





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The Great Wall





Title: The Great Wall
Format: 3D
Rating: PG-13
Runtime: 1hr & 43 min

A Stunning Bore…and a Terrible Accent

Opening:

The trailers to this movie looked like this was going to be a movie you pick up in the dollar bin at a Walmart on a Tuesday afternoon because you hate your life while also getting a whole frozen pizza and a pint of ice cream to drown your sorrows while it plays in the background. Well…I am eighty percent correct but there is also something in its favor. Let’s get reel and break this down.

Plot:
European mercenaries searching for black powder become embroiled in the defense of the Great Wall of China against a horde of monstrous creatures.

Directing/Writing

Pros:
The actual mythology of the story is fascinating and could have developed into rich storytelling and have an epic scope. The visual style from the director is wonderful and blends green screen, CGI, and practical effects into a colorful wonder that works in the 3D format and provides depth and excitement in the battle scenes.

Cons:
The story is jumbled, rushed, and has no emotional weight to anything happening with the plot or characters. I am not looking for an Oscar winning story but I at least want to care about the characters when the stakes are raised and the danger is apparent. The dialogue is awful and caters to awkward humor that the writer thought was funny but…it’s just not. The characters themselves are lifeless, underdeveloped, and some of them are pointless and have no effect on the story. Some stuff doesn’t make sense and happen for the sake of the “plot”. The director also manages to screw up the three battles. When in a war or action film there are always three action set pieces building off one another and leading up to the climax battle where everything is on the line. This film has a strong first battle, a short pointless second battle, and a hurried and confusing third battle. I rarely say this, but after agreeing with my friend at the screening, I think this story would have benefited with a longer runtime. It would have had the care, weight, and ambitious feel to it and actually been a watchable, fun monster movie.

Acting

Pros:

None.

Cons:
Matt Damon is atrocious. His accent is all over the place and towards the end he gave up and the accent was non-existent. It was a weird mix of Boston, Irish, and cockney accent and the dialogue accompanying him doesn’t help this either. The main Chinese actress who plays the badass of the movie was great in her stunts but her English accent needed a bit of work. I couldn’t take her seriously in any dramatic situation. Everyone else was…well…let’s just say you aren’t going to praising them after you see it.

Cinematography

Pros:

Regardless of the sh*t storm I was spewed above, it’s visually stunning. The colors mixed in so well with the environments and some the shot compositions can be framed as a painting.

Cons:
None.

Editing/Special Effects

Pros:

I guess it’s over quick? The special effects of the creatures were actually better than I thought considering I thought they looked cheap in the trailers. It is very possible that the 3D helped the look of the creatures and brought them out from the green screen and in the forefront to admire the detail.

Cons:
While the action and battle sequences were fun and exciting, everything in between was dull and halted the movie to a snail’s pace.

Overall:
This is going to be weird but try and follow me here: I don’t recommend this at all but if you are curious I would recommend seeing it in theaters because of the visual spectacle instead of streaming or rental. That’s all I got.

Grade: C-
(Review by Chase Lee)






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A Cure for Wellness





Title: A Cure for Wellness
Rating: R
Runtime: 2hr & 26 min

If You Love Nightmarish and Eerie Films, This is the Cure for You

Opening:

After the American remake of The Ring, director Gore Verbinski has always been on my radar in creating unique horror and psychological thrillers. After sitting on this one for a while, I have become more and more admired with it as it seeps into my brain with its imagery. Let’s get reel and break this down.

Plot:
An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps but soon suspects that the spa's miraculous treatments are not what they seem.

Directing/Writing

Pros:

The story is reminiscent of 50’s and 60’s Vincent Price era horror films and provides this old school flavor to the overall film and the mystery within. As we dive deeper into this f**ked up rabbit hole of a film, Verbinski blends the perfect amount of eerily surreal and visceral realism and keeps the intrigue going. This film is drenched in a slow-burn atmosphere and gorgeous imagery for a horrific journey. I also appreciate the gradual transformation of Dane DeHann’s character going from this stern businessman to mentally losing his mind as the audience loses their too. Lastly and ironically considering the director’s name, the violence and gore are also in spades and very effective in its brutality and grit and never gratuitous.

Cons:
The end of the film felt rushed and thrown together with a questionable ending taking you out of the movie for a bit. Considering the runtime, you invest yourself for this long ride but the ending feels a bit unsatisfying.

Acting

Pros:

DeHann is great and it was amazing for him to actually have a prominent lead role and not be just the supporting character. Mia Goth also has a wonderful calm mystery about her character throughout and is a great contrast to the paranoia to DeHann’s character. Everyone is fine and does add a more believability to the tone and setting of the film.

Cons:
None.

Cinematography

Pros:

Simply put, it’s beautiful. Verbinski has a greenish blue tint and it just enhances the stunning nightmare playing before you. The shot compositions have depth and visual eye-candy for film fans to examine and casual fans to enjoy. There was even a really cool crash shot inside the car that puts you in the situation and makes you feel the injuries the character experiences.

Cons:
None.

Editing/Special Effects

Pros:

I won’t dance around it, this is a long film. But the slow burn of the mystery is paced very well. The mix of practical and CGI is a wonderful blend and is just the cherry on top of this pretty good cake.

Cons:
Since it isn’t very fast-paced, I can see a lot people feeling that runtime. I am just giving you a fair warning.

Overall:
I am glad I waited a week to do my review from when I saw it. It absorbed its striking and creepy imagery into my brain and I can’t stop thinking about it. The ending and “twist” does deflate some of the energy and excitement for the film but I still highly recommend it, even though I am not jumping up and down about it like other critics.

Grade: B-
(Review by Chase Lee)







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Monday, February 13, 2017

11th edition of the Dallas International Film Festival Initial Selections




The Dallas Film Society announces the initial eleven official
selections for the 11th edition of the Dallas International
Film Festival (March 30-April 9)


Jameson Brooks’s BOMB CITY and Micah Barber’s INTO THE WHO KNOWS!
will make their world premieres

Other highlights include Stefon Avalos’s Slamdance award-winner, STRAD STYLE,
François Ozon’s FRANTZ, Sarah Adina Smith’s BUSTER’S MAL HEART,
and James Gray’s THE LOST CITY OF Z.


(top to bottom - BOMB CITY, BUSTER'S MAL HEART,INTO THE WHO KNOWS! )

Dallas, TX (February 13, 2017) – The Dallas Film Society today announced eleven official selections for the 11th edition of the Dallas International Film Festival. Featuring two world premieres (Jameson Brooks’s BOMB CITY and Micah Barber’s INTO THE WHO KNOWS!), the selections are a sampling of several of the non-competitive programming sections that make up Texas’s largest film festival, as well as two films set for this year’s Texas Competition. Led by Stefon Avalos’s Slamdance Film Festival award-winner, STRAD STYLE, the list of titles represents DIFF’s long-standing tradition of programming films that have impressed elsewhere on the film festival circuit, such as François Ozon’s FRANTZ (Sundance), Sarah Adina Smith’s BUSTER’S MAL HEART (Toronto), and James Gray’s THE LOST CITY OF Z (NYFF).

DIFF also announced the film festival will present the Studio Movie Grill Silver Heart Award to the film that best addresses Human Rights issues. A $5,000 cash prize will be presented by the Schultz Family during the Dallas Film Society Honors event presented by the Arthur E. Benjamin Foundation on Friday, April 7, as DIFF continues its decade-long tradition of looking beyond the artistic value of film to the impact on the community, either via environmental, or in this case, human rights issues, as well. The Silver Heart Award is bestowed on an individual or film for their dedication to fighting injustices and/or creating social change for the improvement of humanity.

“Dallas film audiences are among the most knowledgeable, diverse, and enthusiastic in the entire country,” said James Faust, Artistic Director of the Dallas Film Society. “Therefore, programming the Dallas International Film Festival is always an exercise in striking a balance by finding films that appeal to the savvy cinephile, and the weekend escape-seeking film fan, as well as everyone in between. This year, we have already had great success securing films that impressed us at other prominent film festivals around the world, to discovering brand new gems, which will make their debut right here at DIFF.”

This year’s Texas Competition, presented by Panavision, which promotes the state’s impressive home-grown filmmaking talent by focusing on films produced and shot in Texas, includes the world premiere of Jameson Brooks’s drama BOMB CITY, about a controversial hate-crime that took place in a small, conservative Texas town. Also competing in the category is Jason Headley’s comedy A BAD IDEA GONE WRONG about two would-be thieves that bungle their way into a hostage situation during a poorly-planned break-in.

The second announced world premiere selection, Micah Barber’s INTO THE WHO KNOWS! about a boy and his best friend, Felix the Fox, that escape summer camp to embark on a big mystical adventure, will make its debut as part of DIFF’s very popular Family Friendly section. Also screening will be Tony Shaff’s documentary 44 PAGES, which tells the surprising story of Highlights Magazine, and screens at DIFF immediately following its debut at SXSWedu in March.

DIFF’s Premiere Series will include; Smith’s mind-bender BUSTER’S MAL HEART, which stars Mr. Robot’s Rami Malek as a mountain man drifter who had a life-changing run-in with a stranger obsessed with a conspiracy theory; Ozon’s drama FRANTZ, about a woman coming to terms with the death of her fiancĂ© in World War I; and Gray’s true-life epic THE LOST CITY OF Z, which follows the tale of British explorer Col. Percival Fawcett, who disappeared in the Amazon in the 1920s.

Avalos’s STRAD STYLE, which won both the Grand Jury Prize and the Audience Award for Best Documentary at the recently concluded Slamdance Film Festival, and Matt Schrader’s SCORE: A FILM MUSIC DOCUMENTARY, are the first two selections announced from DIFF’s beloved Deep Ellum Sounds section. The music-themed documentary section hails back to the film festival’s roots in the colorful music-infused neighborhood with the Deep Ellum Film Festival, which was the precursor to the Dallas International Film Festival. STRAD STYLE follows the efforts of a man in Ohio, who decides he can build a classic Stradivarius violin, and SCORE: A FILM MUSIC DOCUMENTARY, looks at the art of film scoring via interviews with nearly every prominent film composer on the scene today.

Rounding out the first selections revealed to the public are Steve James’s ABACUS: TOO SMALL TO JAIL, about the only U.S. bank to face criminal charges in the wake of the 2008 financial crisis, and Alejandro Molina’s THE PRESENT ONES (Los Presentes), about an actress having identity issues after returning to play a character that gets under her skin just as she faces a relationship crisis. ABACUS: TOO SMALL TO JAIL will screen as part of DIFF’s Documentary Showcase, and marks the fourth of James’s films to be a part of the festival. THE PRESENT ONES is part of DIFF’s Latino Cinema Showcase.

Once again, the Dallas Film Society has teamed up with DART for their successful partnership DART to DIFF. Many DIFF activities and events take place in the heart of Dallas and the partnership with DART will provide quick and convenient transportation for all festival attendees.

Online ticket sales will be available for Dallas Film Society members beginning Monday, March 13 at DallasFilm.org, and will open to the public on Thursday, March 16. The physical Prekindle Box Office will open on Thursday, March 20.

(top to bottom - FRANTZ, STRAD STYLE, THE LOST CITY OF Z)


The eleven official selections include:

ABACUS: SMALL ENOUGH TO JAIL
Director: Steve James
Country: USA, Running Time: 88min
ABACUS: SMALL ENOUGH TO JAIL tells the incredible saga of the Chinese immigrant Sung family, owners of Abacus Federal Savings of Chinatown, New York. Accused of mortgage fraud by Manhattan District Attorney Cyrus R. Vance, Jr., Abacus becomes the only U.S. bank to face criminal charges in the wake of the 2008 financial crisis. The indictment and subsequent trial forces the Sung family to defend themselves – and their bank’s legacy in the Chinatown community – over the course of a five-year legal battle.

A BAD IDEA GONE WRONG
Director: Jason Headley
Country: USA, Running Time: 85min
A BAD IDEA GONE WRONG is a comedy about two would-be thieves who accidentally arm the alarm system and have to break out of the house they just broke into. When they discover an unexpected house sitter, they suddenly have to deal with a hostage situation, double crosses, sexual tensions, and discoveries that make their difficult escape even more dubious.

BOMB CITY
Director: Jameson Brooks
Country: USA, Running Time: 93min
BOMB CITY is a gritty-drama, about the hatred and oppression of a group of punk revolutionaries in a conservative Texas town. Their ongoing battle with a rival clique leads to one of the most controversial hate crimes the U.S. has ever seen. Based on the true story of Brian Deneke.

BUSTER’S MAL HEART
Director: Sarah Adina Smith
Country: USA, Running Time: 96min
In this bold thriller spiked with dark humor, Rami Malek (Mr. Robot) is Buster, a family man whose chance encounter with a conspiracy-obsessed drifter leaves him on the run from the police and an impending event known as The Inversion.

44 PAGES
Director: Tony Shaff
Country: USA, Running Time: 97min
44 PAGES is a portrait of Highlights Magazine following the creation of the cultural phenomenon's 70th Anniversary issue, from the first editorial meeting to its arrival in homes, and introducing the quirky people who passionately produce the monthly publication for "the world's most important people,"...children. Along the way, a rich and tragic history is revealed, the state of childhood, technology, and education is explored, and the future of print media is questioned.

FRANTZ
Director: François Ozon
Country: France/Germany, Running Time: 113min
A haunting tale of love and reconciliation begins in a small town in Germany in the immediate aftermath of World War I when a young woman mourning the death of her fiancĂ© encounters a mysterious Frenchman laying flowers on her beloved’s grave.

INTO THE WHO KNOWS!
Director: Micah Barber
Country: USA, Running Time: 72min
Ten-year old Thomas has a best friend: Felix the Fox. But his parents want him to make “real friends”, so they send him to summer camp. However, he hates it, so he and Felix make a midnight escape. Deep in the forest of the Who Knows they pursue a mythical being called the Totem, and decide to catch it.

THE LOST CITY OF Z
Director: James Gray
Country: USA, Running Time: 141min
A true-life drama, centering on British explorer Col. Percival Fawcett, who disappeared while searching for a mysterious city in the Amazon in the 1920s.

THE PRESENT ONES (LOS PRESENTES)
Director: Alejandro Molina
Country: Mexico, Running Time: 90min
Ana, a former actress, gets the chance to reunite herself with Ophelia, a character she played years ago on the stage, when she met and fell for the man who is her husband now. However, at this point in her life, her marriage is facing a difficult time, tenuously kept together is their 6-year old son. By playing the character, and “becoming” Ophelia once again, and under stressful circumstances, Ana suffers a personality split which leads her to an extreme and life changing juncture, something she has never faced before.

SCORE: A FILM MUSIC DOCUMENTARY

Director: Matt Schrader
Country: USA, Running Time: 93min
SCORE: A FILM MUSIC DOCUMENTARY brings Hollywood's premiere composers together to give viewers a privileged look inside the musical challenges and creative secrecy of the world's most widely known music genre: the film score.

STRAD STYLE
Director: Stefan Avalos
Country: USA, Running Time: 104min
STRAD STYLE follows a backwoods dreamer from Ohio with an obsession for 'Stradivari' and all things violin, who, through the magic of social-media, convinces a famous European concert violinist that he can make a copy of the most famous and valuable violin in the world. Fighting time, poverty, and most of all - himself - Danny Houck puts everything on the line for one shot at glory.


ABOUT THE DALLAS FILM SOCIETY

The Dallas Film Society celebrates films and their impact on society. A 501(c)(3) non- profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop a better understanding of the role of film in today’s world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival is a presentation of the Dallas Film Society and has been named by Movie Maker Magazine as one of the “25 Coolest Film Festivals in the World.” In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, film screening series and programs in partnership with arts organizations around the city. The offices of the Dallas Film Society are located at 110 Leslie Street, Suite 200, Dallas, TX 75207. For more information about the Dallas Film Society and its ongoing events, visit www.dallasfilm.org or call (214) 720-0555.

ABOUT DART TO DIFF
DART allows commuters to navigate around Dallas and 12 surrounding cities with modern public transit services and customer facilities tailored to make transportation fast, comfortable and economical. The new DART to DIFF partnership is making it even easier for 2017 Dallas International Film Festival-goers to quickly and safely travel from the 2017 DIFF hub to exciting events around the city. As the main public transportation provider in Dallas, DART is the perfect partner for the 2017 festival and a vital resource for movie-goers. In addition, DART pass and ticket holders will receive $2 discount off DIFF regular ticket prices when purchasing tickets at the DIFF Box Office.

2017 DIFF SPONSORS: ABCO; AdChat DFW; Advocate Magazine; Akin Gump Strauss Hauer and Feld, LLP; The Angelika Film Center; Arthur E. Benjamin Foundation; Bloomberg Philanthropies; City of Dallas – Office of Culture Affairs; Commerce House; D Magazine; Dallas Film Commission; Dallas Morning News; Dallas Producer’s Association; Dallas Tourism Public Improvement District (DTPID); DART; Downtown Dallas, Inc.; Earth Day Texas; Earth X Film Festival; El Creative; Festworks; Flagship Marketing; The Highland Dallas; Hong Kong Economic Trade Office; IMDB; In-N-Out Burger; Lucky Post; Magnolia Hotel; Marcs Clips; Mercury One Foundation; MindHandle; Murray Media; Panavision; PaperCity; People’s Last Stand; PreKindle; Radar Creative Studio; SAGIndie; Selig Polyscope Company; Sewell Automotive Companies; Southern Methodist University – Division of Film & Media Arts; Solarity Studios; State Fair Records; Stella Artois; Studio Movie Grill; Texas Commission for the Arts; Texas Association of Film Commissions; Texas Film Commission; Univision; Visit Dallas; WFAA







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Sunday, February 12, 2017

Movies Scheduled for the Week of February 12 - February 18, 2017


My cars are dead. I know that it doesn't mean anything to y'all, but I am lamenting that I won't be able to get out to the movies this week. Especially since there seems to be several screenings from which to choose.

Welcome to the newbies that just joined. If you were unable to get a pass to a screening, you can ask your fellow group members if they have a pass to share. Of course don't make it habit and not actually make attempts to get them on your own. We provide the links to grab them, or enter contests, or go pick them up from businesses. It's up to you to do it. Also, please get to the screenings early so that you can get a good seat. It's not fair to people who got there hours ahead if you come in late and ask people to rearrange their seats so you can sit. Also, when AMC Northpark ends the line upstairs and starts the line downstairs, don't jump the line and hope no one notices you extending the upstairs line. You are noticed.

Also keep checking the group calendar for last minute changes and additions.

February 12 - February 18

Sun - Feb 12

Before I Fall - 2:00 pm - Angelika Dallas

Mon - Feb 13

Fist Fight - 7:00 pm - AMC Northpark
Everybody Loves Somebody - 7:30 pm - AMC Northpark
Girlfriends Day - 7:30 pm - Alamo Drafthouse Dallas

Tue - Feb 14

Valentine's Day!!!

Wed - Feb 15

The Great Wall - 7:30 pm - AMC Northpark
Fist Fight - 8:00 pm - AMC Mesquite

Thu - Feb 16

HBO's Big Little Lies - 7:00 pm - Palace 9 Fort Worth
Showtime's Billions - 7:00 pm - Magnolia

Fri - Feb 17

Sat - Feb 18

Rock Dog - 11:00 am - AMC Northpark









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Thursday, February 9, 2017

50 Shades Darker





Director : James Foley
Cast : Dakota Johnson
Jamie Dornan
Eric Johnson
Eloise Mumford
Bella Heathcote
Rita Ora
Luke Grimes


The acclaimed movie adapted book series is back with it's second movie things get more racier since Christian wants Ana back. Besides the hot on screen chemistry of Dakota Johnson and Jamie Dornan the movie moved with a fast pace but lacked the intensity I was hoping for from director James Foley is known for. He does murder mysteries so well making them tense and wanting more, unfortunately this wasn't his best work in my opinion. He did television shows like "Hannibal", "Twin Peaks" and recently "Wayward Pines" not to mention movies like "Fear".

Even though I girlishly squealed in delight at all the romantic scenes and blushed at the sex scenes something seemed off in this sequel, I wanted to see more. At only 118 mins it wasn't a roller-coaster of emotions like the first and was more like adversary after adversary was coming for them but you already knew that and I haven't even read the book. There was very little shock value more like soft core titillation. The story felt rushed and I just have an inkling that lots of stuff was left out. It was like this is the movie you watch to get to the next movie. There were so many holes in the movie that needed to be explained.

The cinematography was beautiful to make up for the lack of urgency, but definitely beautiful scenery. The costumes were impeccable, especially the silver gown Ana wears to the masked ball and all the lingerie she was wearing was beautiful. The acting was well done and well casted like Eric Johnson as Ana's boss was so well done even I wanted to kick his ass. Rita Ora as Christian's sister was cool I love her music work and her move to acting was a wise choice. Marcia Gay Harden as Christian's mother is a saving grace she always a incredible actress. Kim Basinger was the dark horse didn't see that coming.

For a second movie it was pretty tame to me because Christian's character has changed. Overall the movie was good even though I expected more. I hope the next film brings more drama to the screen instead of just filler. Even the crash seemed meh, like we all knew it was gonna happen, I don't know if it's worth the ticket maybe next time.
(Review by Samantha Leggio)



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John Wick Chapter 2




The sequel to the 2014 blockbuster action thriller starring Keanu Reeves explores the secret society that supports the world of assassins. Once more directed by Chad Stahelski from a script by Derek Kolstad, it is filled with the same non stop one man against everyone. It's brutal and excessive, and all out enjoyable.

John Wick wanted to quit but was forced back in when some punks stole his car and killed his dog. Now he has a new dog, but now everyone thinks he back in the game, especially after he tracks down his Mustang and destroys everything that gets in his way. Enter Santino D’Antonio (Riccardo Scamarcio) who forces Wick to do a job because he holds a marker for his services. D'Antonio had helped Wick get out, but now wants him to assassinate his sister. Gianna (Claudia Gerini), Santino’s sister is being elevated to the "High Table", the governing council of crime lords. Santino believes that he is more deserving of the spot. He promises Wick that his Marker would be fulfilled and he will be free after the job is done. At first Wick refuses and Santino burns down his house. A marker means that he has to fulfill the debt or die. So Wick is off to Italy where he checks into the Continental in Rome, the assassin hotel franchise where no business is allowed on the property. They offer services such as a sommelier who has a nose for weapons, a tailor who specialized in bulletproof suits, a person who gives him maps and plans of the catacombs the run under the city so Wick can find his target.

The action explodes afterwards as Cassian (Common), Gianna’s chief bodyguard seeks revenge for his ward, and Santino's hench men led by mute security enforcer Ares (Ruby Rose) are sent to "tie up loose ends". Of course, Wick gets away, so Santino tells him that he's now forced to avenge the death of his sister. He opens an account which is how they set up their assassination jobs. The office is full of old type of computers and switch boards with pencil skirted women who handle all the paperwork. They send out a text message for every assassin in the New York area for the 7 million award. Apparently every other person is a secret assassin. He seeks the help of Laurence Fishburne as The Bowery King who Wicks at one time damaged but let live in order to find Santino while dodging people trying to kill him at every turn. The battle in the museum full of mirrors is one of the best sequences full of glorious balletic violence.

There has always been a cinematic attraction to the stoic gun fighter of few words. The John Wick series has raised the bar with it's realistic bone crushing fight scenes and no slow mo gun battles. The well choreographed action is a thing of beauty despite the body count. Fortunately, the cliff hanging ending sort of demands another chapter, hopefully soon.
(Review by reesa)


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The Red Turtle





The Red Turtle is a nominee for the Best Animated Feature Film for the 89th Academy Awards, a fantasy film directed by Dutch-British animator Michaël Dudok de Wit in his feature film debut and co-written with Pascale Ferran. The film is a co-production of Wild Bunch and Studio Ghibli in association with Why Not Productions. It tells the story with no dialogue of a man shipped wrecked on a deserted island who encounters a magical red turtle. Don't expect the whimsical wonder of Totoro or Spirited Away. The story is simple, incredibly slow, and beautifully colored.

An unnamed man finds himself on an island, where he is able to find food and water. After a time, he manages to build himself a raft, but before he gets beyond the coral reefs he gets bumped by a creature of the sea. The second attempt ends up the same way. The third time, he finds the culprit is a large red turtle. One day he find the turtle on the beach and he gets his revenge by bashing it with a bamboo stick, then flipping the turtle over to bake in the sun. Feeling somewhat guilty, he checks back and finds the turtle had been transformed into a woman, who falls in love with him. They lead an idyllic life with nature, and even have a child. They catch fish, eat fruit, and sleep under the stars. Years pass, and a hurricane flattens most of the vegetation of the island. The son eventually decides to take off and seek other adventures.

One begins to wonder if everything is just a figment of the lonely man's imagination. The film is a study of the solitude, the beauty of nature around, immersed in the sounds of silence. Because human noises are limited to grunts and yells, the sounds of the sea, trees and birds are at the forefront. The luxurious bamboo forest, the quiet fresh water pond, the whole expanse of the tiny island is a welcome respite to our own loud and cacophonous world. The art is so Studio Ghibli, but the story is very westernized. It's plodding, and a somewhat male oriented. It's the imagery that will keep you entranced.
(Review by reesa)




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Sunday, February 5, 2017

Movies Scheduled for the Week of February 5 - February 11, 2017


Wow, what a game. Now that you are all settled down, we can look forward to the Academy Awards. Hope y'all had a chance to see the all the nominations.

As usual for this time of year, the pickings are slim. Please make sure you check your group email so you do not miss out on our notices. And please write directly to the person, not to the group when responding to another member.

February 5 - February 11

Mon - Feb 6

The Lego Batman Movie - 7:30pm - AMC Stonebriar

Tue - Feb 7

Forever My Girl - 7:00pm - AMC Northpark
John Wick Chapter 2 - 7:30pm = AMC Northpark

Wed - Feb 8

50 Shades Darker - 7:30pm - Angelika Dallas and Studio Movie Grill Royal
John Wick Chapter 2 - 7:30pm - Cinemark 17

Thur - Feb 9

Fist Fight - 7:30pm = Studio Movie Grill Northwest Hwy.








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Friday, February 3, 2017

The Comedian






Title: The Comedian
Rating: R
Runtime: 1hr & 59min

This Joke is Half Baked

Opening:

As long as you can be better than De Niro’s last outing Dirty Grandpa then you are doing something good with your life. I was looking forward to this because it did look like De Niro was trying. I was half right. Let’s get reel and break this down.

Plot:
A look at the life of an aging insult comic named Jack Burke.

Directing/Writing

Pros:

The director looks like the type of guy who tries and puts energy and passion into his projects. With that being said…

Cons:
The story and overall direction itself is flat and never tries to be anything more than what it is. No risk is taken and just seems like a very safe film. The story of a comedian is supposed to have a balance of comedy and tragedy, which this film has, but never feels smooth and always feels like two separate movies. The comedic scenes do hit for the most part but when it switches to the more emotional moments and reveal some character depth it just doesn’t gel well. Speaking of characters, the two leads are one-note and I honestly didn’t care about their relationship. When I say one-note, the characters don’t have any depth despite their “moments” where they reveal their past. Every other character doesn’t make any difference or have no weight to the actual story. The direction of the film feels like (as pointed out by fellow critic Cary Darling after the screening) a sitcom with the jazz saxophone as transition music and almost reeks of a parody of itself.

Acting

Pros
:
Despite the bland characters, I do appreciate the performances. De Niro has the sharp, wit, and charisma of a stand-up comedian and does provide some moments of why he is a good dramatic actor. Leslie Mann has the sweetness and bite of her character and she portrays it well. Danny DeVito and Harvey Keitel are nice additions but you could honestly get anyone for their roles.

Cons:
None.

Cinematography

Pros:

None.

Cons:
For a film shot in New York, I never felt the beauty or magic of New York scenery and life. It was a bit bland to me and didn’t supplement any pop to the story.

Editing/Special Effects

Pros:

For its near two hour runtime, the stand-up scenes do provide a breath of fresh air and energy to keep it going.

Cons:
On the flip side, the two hours do feel dragged out and you can feel the weight.

Overall:
Not the worst thing I have seen De Niro do but this would be a strong recommendation for a iTunes rental or something. Thank goodness we can put Dirty Grandpa behind us and forget about it.

Grade: C-
(Review by Chase Lee)







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Growing Up Smith




Growing up in a small town in the late 1970's for 10 year old Smith (Roni Akurati) is wondrous and fascinating with Happy Days, Star Wars and disco. His parents named him Smith because they wanted him to have an American name, and what is more American than Smith. Being from India they of course didn't realize that it's a common last name.

Australian actor and first time director Frank Lotito and writers Gregory Scott Houghton, Anjul Nigam and Paul Quinn have created a small delightful story about assimilating in the American dream. His parents Bhaaskar Bhatnagar (screenwriter Anjul Nigam) and Nalini (Poorna Jagannathan) try to instill their Indian culture in Smith and his sister Asha (Shoba Narayan) who has already figured out how to play the obedient child game and still have a good time. Smith is expected to do well in school and become a neurosurgeon and when he turns 22 he is expected to engage in an arranged marriage. Unfortunately Smith is smitten by the girl next door, Amy Brunner (Brighton Sharbino). Smith also looks up to her dad Butch (Jason Lee) as the quintessential cowboy who helps him with the local school bullies and adds some contrast to his very conservative parents.

There are a few stock culture clashes like inviting the Brunner's over for a "BBQ Grilling Contest" when the Bhatnagar's are vegetarians, Smith trying Kentucky Fried Chicken, wearing a Halloween costume of Indian deity Ganesh during trick or treats, and going hunting with Butch. As with most immigrant families, there is the usual misunderstandings and stereotypical assumptions. ("No we are not those kind of Indians"). There's a TV type of sitcom and pacing with the broad humor where even the bullies are sympathetic. The inevitable confrontations occur when the parents are realizing their children are getting too out of control in this new environment. Of course everything works out in the end. With all this political spotlight on immigrants, it's nice to have a film that talks to us in way that embraces and appreciates our differences.
(Review by reesa)







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