Shari K. Green, Author at tmc.io 🍿 watch movies with friends 193

Free Fire Movie Review

April 24, 2017 (updated June 13, 2017) Published by Shari K. Green

Free Fire is another terrific A24 release. They seem to be cornering the market on must see films. With outstanding and unique movies such as Room, Locke, The Lobster, The End of the Tour, American Honey and the 2016 Academy Award winning best picture, Moonlight, all which were well received when released, it seems A24 isn’t afraid to take a chance on something out of the norm… and we’re all the better for it.

Much in the same way that Pulp Fiction captured its audience by being surprisingly and overwhelmingly unconventional, Free Fire does that same thing. If people are telling you to see this film, as I am now, listen to them.

It’s a fun movie with characters that are so well defined they grab you right away and you never once want them to let you go… and they don’t. The acting is unbelievable. The talent who worked from this uncommonly witty script was perfectly cast, never dropping character or ever releasing you from the story they’ve pulled you into until the credits roll.

Sharlto Copley and his group play gunrunners selling guns on the black market. He is almost the singular reason to watch this film. His Vern is the epitome of the word coward yet he hides behind a thin veneer of self-possessed hooligan that anyone can see straight through. On this night, they are selling guns to an IRA buyer by the name of Chris (Murphy) and his group. They are led into an old warehouse to meet Vern by a well-dressed, slick talker named Ord (Hammer) who sets the rules for the meeting. Not long into the meeting… something goes wrong. Once this happens, the film becomes a free-for-all where ridiculously hilarious words are exchanged as the two groups begin to also fire at one another.

Not wanting to reveal too much of the plot to encourage your interest in seeing this than there needs to be, I will say that if comedy plus action is your thing then there’s no way you can go wrong by giving this movie your full and immediate attention at the theatre today. Armie Hammer is outstanding handling the dialogue with his brand of dry humor.

Brie Larson, the only woman in the cast (and don’t think that isn’t addressed) who tries her best to calm the situation, gives the film that ladylike touch of femininity only a brave yet tender woman can bring. I don’t have the space to tell you about everyone else. There isn’t one character who’ll disappoint.

I can’t say enough about Free Fall and I do realize that I’ve barely said a thing but you’ll have to trust me on this one… this is insanely funny! It’s a powerfully strong comedy that centers around an epic shootout where the characters screaming insults back and forth escalate the situation to the point of being barbaric. It’s genius. There are so many erratic, off the wall moments in this film that you’ll be turning around planning on seeing it a second time so that you can catch all the ones you missed. Well done Ben Wheatley and Amy Jump for this magnificent movie.

Born In China Movie Review

April 24, 2017 (updated April 24, 2017) Published by Shari K. Green

In this beautiful Disneynature documentary, we find ourselves in China. We meet a female Snow Leopard named Dewa, alone with her babies, an over-protective Giant Panda named Ya Ya and her cub Mei Mei, a Golden Snub-Nosed Monkey by the name of Tao Tao, who has anxiety over his new sister and chiru the Tibetan Antelope. The gorgeous land they live in is an untouched region of China, away from the influence of the human race where animals are left to their own devices where their biggest worries are the elements and sets of teeth or claws belonging to their natural predators, not guns and man.

The film cycles through the four seasons with these four sets of animals. A bit of a warning, Born in China even touches on the subject of death. However, to help with what may hurt a little during this time, director Chuan Lu, known as one of the best young directors in China at the moment, reminds us of something the Chinese have always believed in… reincarnation. This is where the bird the Crane comes in. They claim the Crane, which he shoots beautifully, carries the soul from this life to the next. Subscribing to this point of view will help take out the sting a little bit.

What the film seems to be doing is pointing out to us and even educating our kids about the fact that animals aren’t that different from us. They feel as we do, they love like we do and they have a right to exist, as do we all. Sometimes people need to be reminded that ours is not the only lives that matter. Leave it to Disneynature to find an exquisite and entertaining way to send us that message and at what seems to be the perfect time.

The footage took four years for the film crew, living through the difficulties in climate and terrain, to capture these amazing moments for us to witness. Some images have been captured for the first time which is mindblowing in and of itself. You’ll enjoy Krasinski narration, often throwing in some of the animals attitudes. Tao Tao would prefer to hang out with his friends, The Lost Boys than with family when his horrible sister, who steals all of his love, is born. This is particularly adorable but he learns a hard lesson about his decision. Ya Ya’s cub rolling down a hill after its first attempt at climbing is too cute but also heartbreaking because you know the anguish Ya Ya is experiencing. Dawa trying to fight off hunger for her and her cubs is painful to watch as an injury makes the quest for food nearly impossible.

The movie is glorious. It’s touching and you have to see it on the big screen. Every moment that the filmmakers spent, waiting through a climate that changed every thirty minutes, is well worth your time seeing, to be a part of and to experience. Stay during the closing credits. Here they shared some moments they went through to make this film for you. Gems await you that are almost as fun as any moment in the film itself.

Interview with Justin Barber of Phoenix Forgotten

April 24, 2017 (updated June 13, 2017) Published by Shari K. Green

Phoenix Forgotten is Based on the shocking, true events of March 13th, 1997, when several mysterious lights appeared over Phoenix, Arizona. This unprecedented and inexplicable phenomenon became known as “The Phoenix Lights”, and remains the most famous and widely viewed UFO sighting in history. Phoenix Forgotten tells the story of three teens who went into the desert shortly after the incident, hoping to document the strange events occurring in their town. They disappeared that night and were never seen again. Now, on the twentieth anniversary of their disappearance, unseen footage has finally been discovered, chronicling the final hours of their fateful expedition. For the first time ever, the truth will be revealed…

A week ago, I had the pleasure of chatting a bit with the director of this sci-fi/ thriller, Justin Barber. He was charming, open and very excited that the release date of his feature was drawing near. I told him what I thought about the very idea of the film and why I felt that way and he replied that since making the film he’s heard about so many experiences people have had, even his crew, and he tried his best to get the feeling people expressed to him into the movie. To start us off, I couldn’t help but ask him about himself.

Shari: Have you ever witnessed anything?

Justin: I have actually. It was when I was in a cabin in South Africa with my brother when I was in my twenties. It was in a rural area and we’re staying in a lodge; it’s kind of rustic. In the middle of the night, I was awake and reading and my brother was across the room asleep. A bright light shone into the room. There were already sheer curtains so I couldn’t see outside but I could definitely see the light source as it shone in and it cast shadows across the room. It seemed to be from an elevated position, shining down. And then it shifted. The light source moved and the shadows swept across the room I just remember distinctly seeing the light move across my brother’s face as he slept. I didn’t hear anything; I didn’t hear the sound of a truck or anything but after about 3 seconds it was gone. It freaked me out so much that I rustled him awake. I felt rather silly. I don’t know what it was. In retrospect, it could have been a truck or something with its bright lights and I couldn’t hear it but it definitely freaked me out at the time.

Shari: How would you describe the film?

Justin: This movie, at first, is a documentary with a big twist in the middle and it becomes a more straight up found footage ride. You experience everything through the characters. If they don’t see it, you don’t see it and in a lot of ways, it makes it scarier from a suspense standpoint.

Shari: What else makes some of your found footage sequences different from the rest?

Justin: We have some new things you haven’t seen but in the end what elevates the movie is the cast. I think the cast is really stellar. The actors did an amazing job with their characters. They just wanted to make a good movie. I do like horror movies and movies of this nature because of the suspense and because of the scares but often with this type of movie, the characters don’t seem very memorable. I wanted to make a movie where the character was more fleshed out and where you care about them more… where they’re a little more distinct so that when they are in the more tense situations, the movie is more powerful. I think that’s where we succeeded. I think that characters are a little more original and I think the actors (thinks) the cast was just stellar. That’s what sets it apart. In terms of originality, I thought it would be great to make a found footage Close Encounters, the Spielberg movie, but I was also inspired by more contemporary documentaries. I think we’re sort of in a Renaissance in science-fiction right now which is great to see a lot of original sci-fi in ways we haven’t seen in the past but we’re also in a Renaissance of documentaries. There’s a lot of cool documentary projects kind of hitting the mainstream in a way they haven’t in the past. You have Making of a Murderer, you have Jinx, on HBO, so we kind of drill in all of those things in the first half of the movie. Make it a little bit different than something that’s a shaky cam for ninety minutes, you know?

Shari: A line in the film is that the government has been lying about UFO’s for fifty years. Do you believe that?

Justin: Well, I put a lot of real people in the movie so there’s a documentary vibe and I had the character Josh ask people, ‘Do you think the government is lying about this?’ Without skipping a beat they were like, ‘Of course. The government lies about everything.’ That was a very common sentiment from the people on the street who were willing to talk to us. A lot of it was in Arizona. We did spend some time in Phoenix trying to get to the bottom of this. We did treat the subject matter as if we were making a real documentary. But personally… I think the actual facts always come out later. Regarding the Phoenix Lights, we are still waiting to see what it really was. So, do I think there are things they’re not telling us? Of course, I think that’s the case. Do I think that they’re covering up actual aliens or actual UFO’s? I don’t know about that but I do believe that there’s life out there… but I also kinda believe that, you know, often UFO on a radar is a distraction from something else they don’t want us to know. Look over there, don’t look over here.

The story isn’t real but he treats it as though it really happened. There’s actual news footage about the mysterious lights but the rest of it is fiction. Having the actual news footage to play off of makes his story that much more believable and that much more fun to watch.

Shari: People are really going to appreciate your attempt at authenticity.

Justin: Close Encounters was a big inspiration for us but also the movie Catfish. T.S. (Nowlin, writer) and Wes (Ball, producer) were in their office one night and were really taken with how it (Catfish) felt like this was real, and I’m actually suspect to this day (laughs) but it was that level of authenticity that I respect… and the original Blair Witch had that. I was really impressed with how believable it was. So when these kids go missing, law enforcement sets out to find them and we interview people who were involved in that search for these fictional kids but the people I interviewed are real police officers. One of the guys is a private investigator in Phoenix. A real private investigator who I made a case file for, which he studied; and then the character in the film who plays a filmmaker, I just did a real interview between them and she asked him these questions pertaining to the case and he went with it. It was amazing. We did a lot of things like that to catch the authenticity.

Shari: What was the biggest challenge and why?

Justin: Blair Witch was still one of the scariest movies I’ve seen. That being said, it’s a genre UFO movie and I wanted to do as much practically as possible. I love the ending of Blair Witch a lot. I think it’s really full but there were some people that were probably a little put off by it, I think. So, we just wanted to ride that line a little bit and we wanted to not show everything but it’s a genre UFO movie, you want to have a little bit of a payoff so, we do show… we do have a big finish but I wanted to do as much on camera as possible. We found this great guy named Joe Pancake. Joe Pancake is a special effects guy and I got connected to him through one of our guys at ScottFree and he works on huge movies. I mean, he does big stuff. He’s the guy you go to when you need a Transformer footprint. He was willing to help us out with our movie, which is very small. He went above and beyond what our budget was and helped us with some really cool, practical gags. The thing about making a found footage movie in this day and age is that the cameras are totally disposable. I got to destroy a lot of cameras to get some of these gag shots; my apartment is sort of a graveyard of broken cameras, but there are digital sections. Some things you can’t do in real life, but I always try to at least ground it in a place with the actor where there’s real stuff going on and then add it later into the computer. In a way, the challenge was that… it was meant to be a documentary and getting the actors to wrap their head around that… it took a lot of work to get them there; getting the authenticity of the modern day documentary moments I think was the most challenging in a way to make it believable but I think we did get there. As far as with the found footage stuff… in a way that was easier because we did try to make it real for the actors with the practical effects so when they’re playing that fear, they’re able to react to things that are actually happening.

Shari: What drew Ridley Scott to the project?

Justin: T.S. Nowlin has worked on other stuff for ScottFree and just happened to be in a position where he could pitch this movie to Ridley and he really liked it. What I learned in the course of making this movie is that Ridley is really invested in helping young filmmakers. Conceptually, it was something he really liked. I think he liked the idea of a found footage Close Encounters. While I was making this movie, he was making his Alien movie but he was always available to offer his input. Everybody across the board, from Ridley and the producers at Cinelou, all the way down to the cast and crew… this is the kind of movie that now when I look back I can see everybody in it. It was a great team effort. Everybody really contributed in one way or another and that’s something I’m really proud of; how everybody handled it. From the top down.

When I first start talking to the extremely friendly Barber and considering the subject matter, I couldn’t help but mention something from his film that had happened to me in Northern AZ; because it was very similar to what he has his characters experiencing in the film. I had always thought what I saw was odd and at the time I was frightened but that’s about as far as I go. I thought it was fun to tell him and now you know so if anything odd has ever happened to you, maybe you’re not crazy? Maybe we really are being watched. Never know, right? Regardless, watching sci-fi thrillers paint a story is a nice, safe way to enjoy the idea. Phoenix Forgotten comes out today. Enjoy!

Norman: The Moderate Rise and Tragic Fall of a New York Fixer Movie Review

April 24, 2017 Published by Shari K. Green

Norman is the new film by Academy Award® nominated director Joseph Cedar. In my opinion, having been only nominated could change with this absorbing and compelling narrative. The film is remarkable. Immediately, the title may lead you astray. You’ll think this is just a story about a simple, meek and non-threatening older man named Norman Oppenheimer (Gere), which is a brilliant maneuver on the part of Cedar, who also wrote and produced the movie, to set you at ease right off the bat.
It doesn’t allow for the watcher to be suspicious of any of Norman’s activities. He seems to be as unassuming as they come. At the start of the film, Norman is asking his nephew Philip (Sheen) who’s a lawyer, for information on a client. Philip’s client is necessary for him to set up a deal where he can benefit financially and move up in the political and financial world of New York. He promises the deal is so good, everyone will prosper, including Philip. Less than excited about it, the dutiful Philip gives him the name of Bill Kavish (Stevens). When he tries to speak with him we see the real Norman and his vulnerabilities exposed; he’s a nobody with no experience. He’s a New York dealer trying to get the right connections hoping to join with the right people so that maybe something will pay off.

The film goes into four Acts. Each is titled. The first is, A Foot in the Door, because, a meeting finally does pay off. He meets Micha Eshel, played by Lior Ashkenazi, who is brilliant in the movie. Eshel is an up and comer in Israeli politics. Norman sees Eshel admiring a pair of very pricey shoes and purchases them for him as a favor. Several years later, we’re into Act Two which is Backing the Right Horse… and we learn that Norman did. The shoes make it into several inventive and important shots. When Act Two starts, we see them being worn by the new Prime Minister of Israel.
We move up from the shoes to the face of the person wearing them and it’s Eshel. Norman sees him backstage after an event and Eshel instantly recognizes him. Norman finally has an in with someone in power. Soon, we see some truly imaginative visuals and editing on the part of cinematographer Yaron Scharf (Footnote) and editor Brian A. Kates (Lee Daniels’ The Butler, Kill Your Darlings) to not only fill in an awful lot of the story in ingenious and stimulating ways but to keep us entertained. You’ll be absolutely engrossed at what Cedar came up with to cover a few phone calls Norman has to make.

Eventually, a relevant character emerges; Alex Green (Gainsbourg). She’s cold when Norman tries to get her to open up to him but then reverses it on him and begins to ask him questions… questions he should realize he shouldn’t be answering. Cedar characters are so well developed, Norman in particular, that you being to worry about him; especially as flaws surface, such as talking about Eshel to strangers and his inability to tell the truth to anyone. It’s critical to him that he is a friend of an important leader to get favors for one friend or another. Those lies and promises start to stack one on top of the other. How he hasn’t had a heart attack by now is beyond comprehension.

Without revealing too much about this provocative film or of who the real Norman is, Cedar does an extraordinary job of getting us to feel for the man he is or who we think he is. He is compassionate… or is he? He’s reliable and virtuous… or is he? He’s a small man trying to get something to finally hit for his friends and finally for himself. Maybe it has or it hasn’t… all due to a pair of shoes. This is an amazing film with some outstanding acting. Josh Charles has a small role but is noteworthy, as well as Gainsbourg but then everyone in this cast does an exceptional job bringing this impressive script to life and you don’t want to miss it. This is a must see as soon as possible.

Shooting Starts on “A STAR IS BORN,”

April 18, 2017 Published by Shari K. Green

SHOOTING STARTS ON “A STAR IS BORN,” STARRING

BRADLEY COOPER AND STEFANI GERMANOTTA (LADY GAGA)

Film Marks Cooper’s Directorial Debut

BURBANK, CA – Filming begins today on Warner Bros. Pictures’ reimagining of the musical “A Star is Born,” starring Bradley Cooper and introducing Stefani Germanotta, known across the globe as Oscar-nominated music superstar Lady Gaga, in her first leading role in a major motion picture. Four-time Oscar nominee Bradley Cooper (“American Sniper,” “American Hustle,” “Silver Linings Playbook”) is helming the film, marking his directorial debut.

Cooper plays Jackson Maine, a country music star who is on the brink of decline when he discovers a talented unknown named Ally (Germanotta). As the two begin a passionate love affair, Jack coaxes Ally into the spotlight, catapulting her to stardom. But as Ally’s career quickly eclipses his own, Jack finds it increasingly hard to handle his fading glory.

In addition to playing Ally, Germanotta, who earned her Oscar nod for the song “Til It Happens to You” from “The Hunting Ground,” has composed and will perform original songs in the film. The main cast also includes Andrew Dice Clay and Sam Elliott.

“A Star is Born” is being produced by Bill Gerber, Jon Peters, Bradley Cooper, Todd Phillips and Lynette Howell Taylor; with Basil Iwanyk and Ravi Mehta serving as executive producers. The screenplay is by Will Fetters & Bradley Cooper and Eric Roth, based on a story by William A. Wellman and Robert Carson.

Collaborating with Cooper behind the scenes are Oscar-nominated director of photography Matty Libatique (“Black Swan”), production designer Karen Murphy, three-time Oscar-nominated editor Jay Cassidy (“American Hustle,” “Silver Linings Playbook,” “Into the Wild”), and costume designer Erin Benach.

“A Star is Born” is being filmed entirely in Southern California.

Warner Bros. Pictures presents A Jon Peters Production, A Bill Gerber Production, A Joint Effort Production, “A Star is Born.” Slated for release on September 28, 2018, the film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

American Assassin w/ Taylor Kitsch – Trailer

April 18, 2017 Published by Shari K. Green

Directed by Michael Cuesta

Screenplay by Stephen Schiff and Michael Finch and Edward Zwick & Marshall Herskovitz

Based on the American Assassin novel in the Mitch Rapp series by Vince Flynn

Produced by Lorenzo di Bonaventura and Nick Wechsler

Starring Dylan O’Brien, Michael Keaton, Sanaa Lathan, Shiva Negar, Scott Adkins and Taylor Kitsch

AMERICAN ASSASSIN follows the rise of Mitch Rapp (Dylan O’Brien) a CIA black ops recruit under the instruction of Cold War veteran Stan Hurley (Michael Keaton). The pair is then enlisted by CIA Deputy Director Irene Kennedy (Sanaa Lathan) to investigate a wave of apparently random attacks on both military and civilian targets. Together the three discover a pattern in the violence leading them to a joint mission with a lethal Turkish agent (Shiva Negar) to stop a mysterious operative (Taylor Kitsch) intent on starting a World War in the Middle East.

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In Theaters Sept 15th

http://www.fandango.com

Is That A Gun in Your Pocket?

April 18, 2017 (updated April 18, 2017) Published by Shari K. Green

The plot of Is That A Gun in Your Pocket? is loosely based on the ancient Greek play “Lysistrata.” It was written and first performed in 411 BC. It’s interesting to see how little has changed in that men and women still lock horns over what the other considers to be best for their family and also in the way we entertain one another.

In the play, Lysistrata persuades the women of Greece to withhold sex from their husbands until they negotiate peace and end the Peloponnesian War. Using the theme of a 2,000-year-old sex comedy works for what the women of this small Texas town want from their men. These are strong values to stand on and the film does a good job of giving the audience both point of views. The comedy chafe’s the brain a few times as some scenes are not only too contrived but sophomoric, however, in the long run, it’s worth a watch for the number of times you’ll chuckle at this battle the sexes.

In Rockford, Texas, guns are the order of the day. This is set up in several ways. Pay special attention to the titles playing at the theatre for the wittiest of them. This little borough of 6,969 people is calm and quiet almost idyllic, in fact, and everyone seems happy on the surface yet deep down brews a silent soldier in the form of resentment. The women speak of it and make fun of men in group chats; the men do the same behind the backs of their wives or girlfriends, mostly while hunting. What is this resentment based on? Their sex lives. Their sex lives couldn’t be staler if it were a cracker from 1991 found this morning behind the refrigerator. As if it were a sketch comedy show, writer/ director, Matt Cooper (Perfect Opposites, The Last Supper) gives us set up after set up and joke after joke of men and women pinned against one another, all charged up and in full battle mode. Some japes in this comedy do land better than others but if you don’t take the subject too seriously, the touchdown is a lot less bumpy.

Married couple, Glenn (Passmore) and Jenna (Anders), and seemingly the rest of the town, are having problems in the marital bed. After their son takes a loaded gun to school and accidentally discharges some bullets, Jenna decides to take some of her unspent energy out on a cause. That cause is to rid the town of guns altogether. Glenn is against this and before you know it, the frustrated couple decides on one thing… neither will give in. She talks her girlfriends into helping her take a stand for something she feels is important to her after she learns that guns contribute the most to the death of children… above everything else. She explains that gun violence can end by removing the reason it exists… guns. The women agree and the men aren’t going to have it. So, the fairer sex comes up with the one thing that’s sure to break the men… they’ll close their legs until the guns are gone.

When the men hold up surprisingly well and are still not giving in, the women decide to turn up the heat. This is also when Cooper turns up the funny. These gals play some dirty tricks on these unsuspecting lads. I’ll let you discover those when you watch the film. As the title alone might suggest, there are some really fun moments that will hook you into the lampoonery you’ll find in Is That a Gun in Your Pocket?; like the revelation of a vibrator thought to have been a candlestick, a man crying because his ak47 is painted pink and the men wishing the women would have had a talking strike instead of a sex strike.

It’s slow to get going at first but hang in there. Laughing at jokes aimed at your sex, whether you think they’re completely accurate or not, is healthy. If you can do that you’re going to be entertained. There’s some really funny dialogue delivered by Cloris Leachman’s character, as well, such as suggesting that, ‘There is nothing more powerful than p*ssy.’ But her dirty old lady was a bit overused. Had she said only a few filthy things, I believe the declaration of that particular line would have had a much bigger impact. That said, when Horatio Sanz says, ‘Hell hath no fury like a Latina scorned,’ I hope you don’t have a drink in your mouth. My suggestion is to see this crazy little movie and don’t worry so much about the politics mentioned within. Whether you agree with the stance within or not you’ll laugh if you let yourself. You’ll like the characters once you get to know them and you’ll want to see where the story is leading. You truly care for them and what they’re standing up for and it’s also hard not to like this wonderful cast; there’s hardly a name you won’t recognize.

David Lynch: The Art Life Movie Review

April 15, 2017 (updated April 18, 2017) Published by Shari K. Green

David Lynch, in case you didn’t know, (and it would be a shame if you didn’t because he’s one of the most important artists of our time), is an American director, screenwriter and producer. He’s a musician, sculptor and a painter; the former is broadly noted in this film. Looking him up, one will find that he’s labeled a Surrealist. Surrealists perceive their work as expressions of the philosophical, abstract and even metaphysical points of view. If you’d like to know more about him, this Documentary will enlighten you and then stimulate you into wanting to see everything he has ever had a hand in creating.

We open on a long shot of Lynch sitting in a chair smoking… contemplating life. He then talks about his childhood, moving from Montana to Idaho to Washington. His mother, seeing his drawings as a boy, supported his young imagination by not allowing him to use coloring books as they might stifle his creativity. There’s joy in his voice as he examines the early memories of his family and friends until he reaches his move to West Virginia when he was in high school. It’s here where he is ridiculed and his life changes. He sees everything around him as cloudy and muted, often stormy whereas before there was always sun and happiness. The good boy turns bad when he starts to hang out with the wrong crowd and this time in his life, as well as a bit later when he visits a morgue, that you can see his style of provocative art and filmmaking start to take shape. The drawings that Director Jon Nguyen and his co-directors Rick Barnes and Olivia Neergaard-Holm choose for the words that Lynch now speaks set the tone beautifully. The art displayed at this time is intense; one is of a giant face screaming, ‘Help me!’ as he spoke of pure hatred for where he moved to, was shocking.

Soon after, the atmosphere changes and the camera catches him talking about Bushnell Keeler, the artist and person who is most responsible for encouraging his painting (and who got him to attend art school), more than anyone else. It’s seeing Keeler’s studio that cemented his love of the craft… this is when he knew what his future held. He gave him the book The Art Spirit by Robert Henri and Lynch loved it so much that he carried it everywhere with him. What made his spirit live by this time in his life was drinking coffee, smoking and painting. A few minutes later, into the microphone, he recants how his parents allow him to blossom and before you know it he’s going to school, has his first child and begins to try film on for size. Why not? He has done everything else? Pieces of his first films The Alphabet and The Grandmother are shown and we are taken down memory lane into how Eraserhead came to be.

You learn so much about him in this short amount of time that you may feel as if you know him intimately. This documentary is so well done that you’re grateful for the filmmakers having decided to capture him at this stage in life. Lynch is so open to the filmmakers that we even get to watch him interact with his baby daughter Lula as she plays inside of his studio. You can’t help but wonder what she has in store for us. All throughout the film his art dances across the screen such as, ‘Angel of Totality,’ a disturbing piece that gets you thinking about man’s ability to create life and destroy all other living things simultaneously… or at least that’s what I saw in it. Every bit of this art got me looking for more, which luckily isn’t hard to find. I suggest you do the same. He’s made comics, during angry stages of his life, and is proficient in still photography which is used all over the film to set a certain mood. It seems Nguyen and co. learned a lot from their subject and joined the dark side so to speak. The Late David Foster Wallace best described Lynch’s work as ‘Lynchian’ explaining that meant ‘a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.’ This is something that Nguyen clearly understood and wanted his audience to explore.

Each pencil drawing or morbid morsel that you set your eyes on seems to outdo the other which is unfortunate if you’re watching in the theatre because you want and need to pause to take it all in. You must see it at the theatre but then it’s one to buy, as well, so you can PAUSE to absorb the film in its totality. It doesn’t matter what kind of art you like best or what kind of films you most enjoy, this movie is one to see. It’s deeply contemplative while being absorbing, haunting and insightful at the same time.

In Phoenix, see it at the FILM BAR tonight.

Tommy’s Honour Movie Review

April 15, 2017 (updated April 15, 2017) Published by Shari K. Green

Director Jason Connery, son of actor Sean Connery, is usually in front of the camera. Appearing in over seventy films, he now has five directing credits to his name. Tommy’s Honour, a piece about the birth of the golf pro of today, is his latest achievement. Appearing in Film Festivals across the globe, the Phoenix Film Festival being one of them where it had the honour of closing the fest, it’s getting great buzz and as it’s now at a theatre near you, I must recommend you see it. It’s an engaging movie with history about the evolution of the professional golfer and in my opinion; you don’t have to be a fan of the game to enjoy the spirit within the movie. Interestingly enough, the players went from being paid employees, hired to play the game for rich men who bet on the winners, to then playing on their own terms… and it would not have been possible if not for Young Tommy Morris (Jack Lowden) who made it happen.

At the time Tommy was the best player, one that the members of the club St. Andrews for whom he played, could always count on. He, well aware of his skills and knowledge of the game, refused to continue to play and only take home a small percentage of his own winnings. Not appreciating how the men of St. Andrews have always treated his father Old Tom, (Peter Mullan), he rejects the idea of ending up like his dad, crawling around on the ground setting up Tees for men who only looked down at him. Tommy decides it’s time to redesign how players are seen and how the game is played and with one game he does just that. Shocking every man in the club, especially Alexander Boothby (Sam Neil), he makes some requests that the members deny, fearing that next Tommy will expect to be called a Gentleman and demand entrance through the sacred door.

Tom, greenskeeper at St. Andrews, who’s responsible for establishing many of the game’s rules as well as making their balls and clubs, is fine with his station in life. When Tommy suggests rising above it, he gets a little nervous. Being a much better course designer these days than player, Tom is no longer asked to play; therefore he can no longer bring home the extra money his family needs. Having his son around to help run things and support the family has always been the plan. What starts concerning Tom, even more, is that at the time Tommy decides to carve his own path in golf, he also meets a woman, Meg (Ophelia Lovibond), who he falls instantly in love. Now his parents worry that he, along with this woman they do not trust, will destroy his future… and theirs.

What accent heavy dialogue you can make out in Tommy’s Honour, (you’re likely to miss a few words here and there so it’s worth mentioning), will affect you. It’s a thought-provoking and compelling story. With the characters being set up so well, you root for Young Tommy right away and want him to achieve his goals and prosper. You also feel for his family but when Meg enters the scene that may start to turn. As previously mentioned, Tommy has never been encouraged to dream or to love but he does now. With what he has achieved and where he sees his future heading, he insists on being his own man, no matter who likes it or who doesn’t. Suddenly, a sports movie about Tommy planning to tour different courses collecting his winnings and forever changing the face of the game turns into a heavy drama. Be prepared when it does… that’s all I’ll say about that.
Ophelia Lovibond is fabulous as she faces Tommy’s unforgiving mother and Peter Mullan expresses Old Tom impressively through not only dialogue but his face, especially when he sees his actions has cost him so much. This is an incredible cast in a wonderful story. See it playing in Phoenix at the theatres listed below or at a theatre near you, today.

Harkins Fashion Center 20

Superstition Springs 25

Harkins Arrowhead Fountains 18

AMC Desert Ridge 18

Shea 14 Theater