Shari K. Green, Author at tmc.io 🍿 watch movies with friends 222

Christine

October 28, 2016 (updated February 24, 2017) Published by Shari K. Green

“Christine” is based on the story of Christine Chubbuck (Hall), an investigative news reporter in Florida, where she lived with her mother, Peg (Smith-Cameron). The most compelling part , and it is fascinating, of this sluggish film is watching people behind the scenes at a news station in the 1970’s, work with the tools they had to work with to run the news in the pre-digital age. They were still cutting film together before the advent of video tape and it’s especially interesting watching them scramble to put a segment together last minute from the very expensive film they were then using. This is where we find, Christine; behind the eight-ball, unhappy at work and depressed. Her editor, Mike (Letts), wants Christine to do more “exploitive” work. Mike wants his reporters to work on stories that have grit; stories that sensationalize and grab the attention of the audience. What she wants is to be taken seriously by the public and do good work; work that will get her a promotion.

She struggles with the difference between what he wants and what she believes is right and when she finds out she has a tumor, Christine insists she leave her mark on the world even quicker. Sadly, the film doesn’t concentrate on one subject long enough to give her one true and distinctive reason to be banal. She’s unhappy but what can bring a person to be so tormented to bring them to do what she ultimately does? She gives her editor what he wants, though. She gives him a gripping story and a television first.

The film does exploit what eventually happens to Christine. She gave Mike his story and she got the attention she dreamed of at the same time. Unfortunately, the film depicts her as the coldest and most dreary individual ever born, with incredibly dry and humdrum dialogue. Too dull that it becomes fatiguing to actually watch.

She gives her editor what he wants, though. She gives him a gripping story and a television first.

Shari K. Green

Sr. Film Writer and Community Manager, tmc.io

Learning that Christine had never had love in her life, never had a sexual relationship and clearly was not able to cope with the cards she was dealt any longer that she commits suicide on television for all to see, got people to tune into the news and might be what gets you to tune into this, however, had director, Campos, concentrated on how Christine could get to this point and gone back further in her life, rather than jump all over the place, (even making it unclear as to exactly who Peg was at first), “Christine” could have had you more engrossed in the story, in who she was and quite heartbroken when she takes her life; rather than just mildly touched, a bit surprised and not sure of the films true purpose.

Oasis: Supersonic

October 25, 2016 (updated November 18, 2016) Published by Shari K. Green

Ever wonder what happened to the British pop group that came up with the smash hit song “Wonderwall” and why it happened? Wonder no more and take a peek over that wall and into the lives of the band Oasis and the often contentious and belligerent Gallagher brothers, Liam and Noel. Executive producer Asif Kapadi, director of Academy Award winning “Amy”, the Amy Winehouse biopic, along with director Mat Whitecross, saw a good story in the band that rose too fast and peaked too soon and worked with clips of the band on their rise to the top.

They gathered snippets and collages of interviews and behind the scenes videos and with effective and creative editing came up with an inexplicably engaging documentary you’ll most likely want to watch for the soul reason you might have asked yourself some time ago, ‘What’s their story?’ It’s all here in this documentary “Oasis: Supersonic” that the brothers helped to produce but still couldn’t work together enough to dub their voiceover tracks together. Well, they’re still Liam and Noel who, perhaps forever, will look back in anger at one another but not regret a thing as their time in the band, good or bad, gave them the best experiences they could have hoped for… which was everything they dreamed of.

The film catches a lot of bitter moments but it also lets you in on how such passionate music came from these two creative souls. They became who they did because of an abusive father who abandoned them and because sibling rivalry, which was always an issue. There are five years between them but they seem more like twins, calling themselves “head-cases”. They have an older brother, Paul, who Noel is a year younger than, that you see a few times but it’s clear these two were close once they started to share a love of music. Liam, who seems to be the more erratic of the two, wants to thank the person who hit him over the head with a hammer for it was this moment his melodic future was born. Noel, the songwriter, released his anger toward his father over abuse, stating that he, ‘beat the talent into me.’

The film spans their 1994 debut through the inevitable breakup in 2009 as it shifts from bad moments to good; from members that come and go and the beautiful music that happened in between. During the journey you see the fans who worshipped them and the people who wanted their money and how both affected them greatly. The press could be cruel to them for saying what they wanted to, when they wanted to and doing what they wanted to when they wanted to but that was them. They were rock and roll stars and weren’t going to be controlled… not even by each other. In the end, the good outweighed the bad and I’d have to say that for this, as well. In fact, there is no bad. It’s a fantastic documentary and if you’re a fan of Oasis music, it’s one to add to your movie collection. This will have you praying they get back together. The thought that excites me is that they watch this and think that very same thing themselves. Let’s hope! They can’t go off into the Champagne Supernova just yet.

American Pastoral

October 21, 2016 (updated November 7, 2016) Published by Shari K. Green

Based on the Pulitzer Prize-winning Phillip Roth novel of the same name, “American Pastoral” follows an American family through a personal tragedy; the ultimate reason for it and result of it being very much the focus of that generation of American youth and the young generation of today. In the 1960’s there were protests over war and protests for the rights of African Americans that got incredibly violent but there was something else going on with many of the protestors that went deeper than the known movements. “American Pastoral” is a very powerful film about a father, Seymour ‘Swede’ Levov (McGregor) attempting to save his daughter amidst this chaos and ultimately save her from herself.

At a very young age, Merry (Fanning) felt she was in competition with her mother Dawn (Connelly) for her father’s attention. This assertion needed a defense and she developed a stutter that her perfect mother didn’t have but which Merry always garnered pity and sympathy. Though very young, she was aware of self. Merry knew what she wanted; believing that, ‘life is just a short space of time in which you are alive.’ She lived her life with this frame of mind and still quite early in her mental development she witnesses, on television, the Vietnamese Buddhist Monk who burned himself to death in Saigon. The reason the man did this was because to protest the South Vietnamese Diem regime’s pro-Catholic policies and its banning of the Buddhist flag. This leaves a heavy impression on Merry and she grows into an angry young woman filled with guilt for her parents’ wealth, self-condemnation for living the good life when so many others have nothing and a general hatred for all things, making it difficult for her parents to know who she truly is. She suddenly disappears after a post office bombing that leaves one man dead. Her parents start to fall apart as the accusations and evidence against Merry begins to grow. They begin to change during this process and the story goes from a sweet loving family to one divided as Seymour never gives up on finding his daughter, ultimately clearing her name and helping her. When he finds his darling child and she admits her guilt, he still refuses to give up on her, loving her through the wrong she’s done and the shame she feels toward herself for being born.

Ewan McGregor gives a stirring performance and captivates the audience in his directorial debut.

Shari K. Green

Sr. Film Writer and Community Manager, tmc.io

Ewan McGregor gives a stirring performance and captivates the audience in his directorial debut. What little you see of Fanning is compelling and she, as well as her characters chilling beliefs, leaves an impression on you that is hard to shake. Outside of the unnecessary narration and how the story begins, which is a conversation at a reunion, the movie is powerful and haunting. This will be considered for nominations this year as it speaks to past civil unrest and what we’re still going through in present day.

American Honey

October 19, 2016 (updated July 9, 2019) Published by Shari K. Green

American Honey is sweet and wholesome; the film that bares that name is anything but. It’s a raw portrayal of a slice of Americana that we want to believe doesn’t exist; that we prefer not to think about. It’s captured with intimate camera work that masterfully puts its audience in the story with, even as, the lead character, Star (Lane). Lane is a newcomer and does a stellar job of giving us a peek at Arnold’s idea of the challenges the young people in America face today trying to know one another and know themselves. With particular interest cast on the poor youth of this nation, the story can be uncomfortable to watch. They are expected to raise themselves and their siblings, while also having to try and keep up with the fast paced and changing world of technology that they might not be able to afford. It’s true that text messaging and social media has kept us from speaking face to face, this is not so in Stars life. She sees day to day what matters and faces some daily confrontations most never have. She is also very aware of the planet and understands the need to save it… one honey bee at a time. The environment and trying to save it is a very powerful message throughout the film, which does not go by unnoticed.

Star has strong convictions but she’s not otherwise worldly. When she joins an enthusiastic and somewhat feral group of young traveling magazine salesman, she meets who might be her first love, Jake (LaBeouf), who she surprises with her confidence and her ability to love. She’s wide eyed, has never been anywhere outside of town and hasn’t seen much, but that doesn’t mean she’s easy. Fighting off advances from family members and being witness to countless problems befall her family she’s aggressive and fierce when she needs to be. Taking on the task of sales, she tries the honest route instead of allowing Jake to teach her the way their boss Krystal (Keough, granddaughter of Elvis Presley) wants her to sell. She’s unorthodox but gets it done. Being stubborn and bullheaded does land her in some hot water more than once, however, watching this naïve girl grow up and become a part of something and discover herself as she bounces from city to city is incredibly fascinating… even though you cringe a few times.

The soundtrack, one I’d like to own, by the way, feeds the mood, especially the moment when the title song, “American Honey” by Lady Antebellum, is played and the entire crew sings with it. The actors who expertly pull you into the narrative turn the movie into a musical from time to time and make it more relatable and moving. The length is never an issue, in fact, I never once thought I was watching an almost three hour long movie.

Several scenes are surprisingly pornographic but they fall in line with the organic ambiance of the film. It’s compelling, novel, and peculiar and about as uncommon as they come, which is why I celebrate this work and suggest you go to a theatre this weekend to examine it for yourself.

It’s one of the best films of the year.

I make Simon Helberg from Florence Foster Jenkins and The Big Bang Theory laugh

October 12, 2016 (updated October 12, 2016) Published by Shari K. Green

I had just screened “Florence Foster Jenkins”, a well acted and decidedly entertaining film, when I was honored, along with a few others, to have a chance to then speak to one of its stars, Simon Helberg, most known for his work as Howard Wolowitz on the hit show “The Big Bang Theory.” I say that I was honored because not only was Helberg courteous, friendly, open and honest but he was extremely attentive and gave a lot of thought to his answers, never once giving the impression that doing press for the film was the last place he’d want to be. He was warm and pleasant and very thorough in his responses; being careful to answer the question to its fullest. Here is that interview.

Q: Outside of some other great films, your father, Sandy, was in “Spaceballs”, “History of the World pt 1”, “High Anxiety”, This is Spinal Tap, not to mention the great television he has done. Once you saw this quality in him, was it his comedic talents that encouraged you to follow in his footsteps and would you encourage your children to follow in yours?

SH: Encourage is a tricky word cuz I think you want to be supportive but I’d never want to suggest to my children (and my dad never did to me) in any sort of way, push someone into something. You’d be kind of a fool if you did that because it’s so hard to make it as an actor or a comedian or anything in the arts so, I’d be very supportive and my dad was very supportive of me and I think he was more inspiring. I watched him at “The Groundlings” and, obviously, those were great movies that you named and I think it definitely shaped me in many ways and I also say that it was very hard to, sort of, get success and make it. Even though my dad worked and did well, it… that’s kind of, that’s sort of grounding. It kind of helped me as I went into it to have a pretty good handle on the difficulty of it and then to sort of be appreciative of the successes.

Q: You character and performance has tons of facial expressions they’re a huge part of your performance; they range from very subtle to overt. In the scene where you hear Florence sing for the first time, were you already aware of what Meryl was going to sound like or were those expressions real?

SH: Both, I guess, which is kind of a trick in doing this which is, it has to be new, sort of, every time. She’s doing something every time and she made my job a lot easier. We’d already rehearsed for about a week and a half with the music and we’d actually recorded at Abby Road, as well, which was amazing. So, we had a lot of time to laugh and figure out what we were doing and then, of course, they ended up wanting to shoot it all live so all of the stuff that we had recorded was thrown out and because of that we’re playing all that music live as you’re seeing it and as it was being shot which I think both helped… well, it helped us contain our laughter and, sort of, focus but it also made all of it very authentic; so those reactions… that was really happening, for the most part, in real time. I mean, obviously the editing is pretty masterfully as well, but what you’re seeing is actually what is coming out of us… for better or for worse.

Q: You speak in a higher pitched voice in this film and kind of change your speaking patterns, what was behind your decision to do that? Was there something you pulled from your research of him?

SH: Some of it… not from his voice, actually. The most that I could find in doing this research was some fact and little tidbits of information that were in the movie but there is a recording of him, actually, but he’s much older and he talks about that night at Carnegie Hall and I had a moment of thinking, ‘Hmm… do I want to use this as inspiration?’ because he was probably, I think, in his seventies at that point and it was a bit different than I had pictured it and his outlook was very different than it was in the script. I thought, ‘you usually always want to start with the script.’ So, to me I just saw it vividly and heard him vividly in this way but as far as the voice, I saw him as being very pure and chaised and very innocent and having no sense of cynicism and hadn’t been corrupted in any way whatsoever like a little bird or a gecko or something. And I thought, there’s something very childlike and I feel like he’s probably unaware of his sexuality and, I don’t know, he didn’t seem to me to be… uh, that’s just how I guess I heard him. I guess there are people in my life who I know kind of have… I don’t know, there’s something very chaised about him and very alien at the same time. And then there’s also the fact that it was the forties and he was walking into this elevated high society, cosmopolitan lifestyle and people actually did take speech classes and there was this sort of dignified way of talking back then and it’s just kind of all of those things combined, I guess, that led me to that.

Q: Why did you choose to be in this film?

SH: I couldn’t think of one reason why I wouldn’t be interested or want to claw my way into this movie. There’s the obvious people that were making it and involved with it who are probably the best, you know, ever at this. Between Meryl and Stephen and Hugh and… Alexandre Desplat did their music, Consolata Boyle (costume design), Alan MacDonald (production design) did the sets. I feel like I’m accepting an award. But all these people who are the most brilliant at doing this, I mean that was in and of itself a dream. I mean, the script was so unique and the scenes, I guess, really speak to me and not just the love of music but this idea of perception and sort of disparity between our perceptions of ourselves and what other people perceive and the question therein, I guess, being, ‘Does it matter that we hear one voice in our head and other people hear a different one when we all leads to the same place?’ I don’t know, there’s just something that was beautifully poetic about her journey and I felt that the script did an amazing job celebrating this woman and celebrating this love and this joy that she found in music.

Q: With it being a period piece and being based on real life events, what was the most challenging aspect of making this film?

SH: Well, the most challenging part of it was combining the music and the acting. It’s sort of being hired as an actor and having then kind of having the music take over in many ways because it was so hard and challenging and also it was such an enormous part of the film that I knew that ultimately whether I played the piano or not really wouldn’t matter. People are going to see it in my performance as an actor but then it all got tied together because Meryl was going to sing and they want to do it live and for it to be live, they want the piano to be live and it was going to be different every time so, there was just… part of the pressure of getting this music done live while they were shooting us, working with Meryl and Stephen in this incredible movie and it was just built in pressure and it was just challenging and then on top of that to find this character and do it simultaneously. It felt very, you know, it’s very hard not to play piano with two hands so it felt like I had like eight arms and I was trying to do multiple things. And then, of course, you want to be faithful to these characters because they’re real but at the same time there wasn’t a ton of information on them so that was sort of liberating because the script was really the bible. It was just ultimately great fun even when it was sometimes brutally challenging.

“Florence Foster Jenkins” is enchanting! The cast is delightful. This is an absolute must see!

Shari K. Green

Sr. Film Writer and Community Manager, tmc.io

Q: “Florence Foster Jenkins” is about someone who is an opera singer but not very talented. Luckily there are a lot of talented people on this movie, yourself, Meryl Streep being one of the best actresses of all time and so on, how do you all bring out the best in each other?

SH: (laughs) I was probably the odd man out in a sea of talent. Well, it was both like every actors dream when you can jump into a part with, honestly, the greatest people working today and maybe ever because ultimately you are only as good as the people around you and these people make you even better. I think that’s a sign of greatness… so with that also came quite a bit of paralyzing fear as well because you don’t wanna be the one that brings Meryl Streep down… not that that’s possible but it’s scary to kinda get to work with people who are your heroes but then what you kind of realize when you, and I hope this is true for everything and everyone, when you get around people that are that great, usually they’re there to make the best thing they can make and they bring their whole self to. And in order to make something wonderful I think you have to be sensitive and you have to be generous and you definitely have to be passionate; in this experience I was very warmly welcomed and it was very collaborative and I feel like and hope and think that’s true of truly great people.

Q: There’s this great moment when Cosme McMoon (Helberg) asks St Clair Bayfield (Grant) about his arrangement with Florence at St Clair’s apartment and later McMoon speaks to Florence at his own apartment and I thought McMoon really wanted to insert his opinion on Florence and St Claire’s relationship but felt better of it and that he was protecting her like everyone else in the movie. But near the end of the film, at Carnegie Hall, he says to her, ‘We can do it!’ in a very confident voice and I think at that moment it turns from protection to support. Is that how you see it or what do you think?

SH: You have really tapped into so many things that I didn’t know anyone else would necessarily pick up on and (inaudible). That is all that you said; and something at some point that I was cognizant of. That being the moment in the apartment when Bayfield is there and he says, ‘I love her. Do you love this woman?’ There was a real moment there when I thought, ‘How dare you, sir, ask me? Of course I love her!’ Because he is protecting her. Florence comes to McMoon’s apartment and he sees how broken she is by Bayfield and so this innocent little McMoon is now… he’s been sort of somewhat corrupted by this harsh and strange reality of this love… this relationship these characters have with each other and all of the sudden he does have to step up and he does feel this protective desire and I think that in Carnegie Hall that becomes the moment, you know, she’s scared and it’s just so beautiful the way the script and the movie, kind of… you can just see all the color in these people, I guess, and that’s his moment. He has that bond. McMoon is the only one who understands the music, really, with her. Bayfield doesn’t. They don’t play music together so here’s this transition from, ‘Okay, I’ll help this woman’ to ‘You know what, let’s do this.’ Like, ‘this is important not just for her but for me. We have something greater than this kind of courier minded, reputation focused… you know, frame of mind. We have the love of music and it doesn’t matter. Nothing else matters.

Q: It’s amazing how everyone around Florence continued to keep up her status. She was well protected and people truly loved her but why do you think people loved her so much?

SH: I think there’s a very human quality and I think there’s almost nothing more human than failure. I think it’s funny and it’s tragic and I think it’s comforting but only when it’s done passionately. Only when someone is putting themselves out there genuinely and un-ironically and (inaudible) kind of falling flat (no pun intended). So, I think that is one element of it and the fact that she was so filled with joy and so moved by music and wanted to share that joy and that love of music with people… I think it’s just magnetic. It’s like watching a little child with total abandon singing out and dancing. The part of your brain that had any kind of judgment or criticism is overridden by the joyous part. Other people were laughing or their jaws were on the floor or; they were enjoying themselves.

Q: The world is about to find out that you’re a very talented pianist from this. I was wondering what else do you with the world knew about you and the things you bring to the table?

SH: I’m not that much of a showoff. Well, I don’t know, I guess I can answer sort of as opposed to what I want people to celebrate about me, because God forbid I am somebody looking for a parade, there are different things I want to do. I love acting and the great thing about that, especially in a case like this is, sometimes that requires other talents and sometimes you don’t have ‘em and you learn to have ‘em. Look at Meryl and the things that she’s done. She has all the talent in the world but look at the things she’s learned to do for a film; violin and languages and she played a Rabbi and a man. I think that’s what’s great about acting. You get to know other people and find other interests and so, yeah, I’m interesting in discovering what else I might be able to do and when I find things I think I can’t do it’s torturous sometimes but it’s very gratifying to push through that. This was no exception. I didn’t expect that I’d be able to play all of these pieces. There were times when I felt like, ‘If Meryl can do it…’ I was working with that company and I felt, ‘Geez, she’s going to sing all of this live?! I better do my best to get there.’

“Florence Foster Jenkins” is enchanting! The cast is delightful. This is an absolute must see!

The Girl on the Train

October 7, 2016 (updated February 24, 2017) Published by Shari K. Green

“The Girl on the Train” is based on Paula Hawkins’ bestselling novel of the same name and is adapted for the screen by Erin Cressida Wilson (Secretary) and directed by actor/director Tate Taylor who directed “The Help” and “Get on Up”. There’s plenty of talent there alone to entice you to the theatre this weekend but I’ll give you a few more good reasons to catch this somewhat complicated whodunnit; Emily Blunt, who is simply brilliant in her role, Haley Bennett and Justin Theroux. The story starts with introducing you to a girl on a train, Rachel (Blunt), more woman than girl in years but girl in behavior, as she tells you of the houses she passes each day and her curiosity as to what the lives are like within them. She begins to more or less obsess over one particular couple in love, Megan (Bennett) and Scott (Evans), who reside in a house she wished she lived. He is the sexy husband she desires to have and she is the beautiful young woman with whom she longed to be. Soon, we learn that she had once lived two doors down in a lovely home that is still occupied by her ex-husband, Tom (Theroux), his wife, Anna (Ferguson), and their baby. What led to her divorce may be what now leads her to occupy her mind with such things as what goes on in what she considers to be a more perfect life than hers; alcohol, her personal demon. She drinks heavily, on the train and off, and is paranoid,often blacks out and sees things that may or may not be actually happening, because of her drinking problem.

The story has a purposely, sometimes agonizingly, slow reveal, using flashbacks to catch you up on what gets Rachel to this point in life. It also uses this trick to show the direction her life now leads as well as solidly placed scenes to throw you off the scent as to where the chiller is taking you. It’s leading up to a moment when she gets off the train, wanting to take action on a situation she sees happen and getting involved in something she shouldn’t be. Her plight gets more and more involved and she gets deeper and deeper into something she now cannot escape.

Some of the dialogue can be trite and a bit stuffy at times but overall, the mystery she becomes entangled in is one of the best I’ve seen since the fantastic, “Gone Girl” from 2014. Not wanting to reveal much more about the story I will add that Blunt is most likely looking at a best actress nomination. She plays her character with passion and despair and motivates you to go on this journey with her and you’re more than happy to hitch your wagon to it. Wilson and Taylor have given three woman the opportunity to excel and they more than do. Theroux, as well as the rest of the supporting cast, also stand out bringing this thriller to life for what will be one of your favorite complex stories of the year.

Bridget Jones’s Baby

October 1, 2016 (updated October 28, 2016) Published by Shari K. Green

I’ll admit I was skeptical. ‘Our favorite “singleton” having a baby?!’ With television programs, this is usually the “jump the shark” moment. Have studios learned nothing from that? How could this be good for a film that centers on our “Bridge” and her love affairs?!

Back in 2001, I met Bridget Jones in “Bridget Jones Diary” and have seen the film a dozen times or more since. If I happen by while someone’s watching; I’ll watch, too. If it’s on cable, I can’t resist and will stop flipping and complete the film. I loved Oscar® winner Renée Zellweger’s performance and her commitment to authenticity with the character that she took on. She was willing to gain a lot of weight, which for a woman in Hollywood is an extremely risky move, she looked “mousey” and her hair was generally a complete mess the entire time she was on screen. No matter. The success of the film proved that with a sound tale to tell, good actors and ability to provide realistic, more importantly, relatablestorylines, anything is achievable.

Risk to her health was not taken this time as Zellweger once again plays Bridget Jones, oddball and overall crazy person. She remained her svelte self and even though her character is pregnant this time around she preferred padding to real weight gain, letting the make-up department get her to where she needed to be.

What “Bridget Jones Baby” mostly gives is why you loved it in the first place and that is mostly what you’d hope… Bridget. In fact, it felt a lot like the first one without being unoriginal. Needless to say, there’s a fight between two men and you picking sides is once again at the heart of things.

Humor is throughout the plot, aimed straight at Jones and her choices. She has two nights with two different men and now, not knowing who the father of the baby is, she’s trying desperately to find out the answer to this predicament she’s in… without letting them know what she’s up to. Her prenatal doctor is played by Emma Thompson and she couldn’t have been more delightful.

For the most part, the secondary characters are a joy and add surprisingly detailed elements to what could have been a disaster. What made it work was its ability to remain a Bridget Jones film. It was as reliable as Bridget herself, yet at the end, it introduced her reason to be a little self indulgent and close her diary for good for it’s time to put someone, other than her lovers, in the forefront of her life. There are a few moments that are very touching, even scenes from the first film that will have you realizing how many years have gone by.

So, which man will get her heart, Mark or Jack? You’ll have to watch and see. Will it be the one you want her to end up with? You’ll have to return and answer that for me yourself. So, if you liked the first movie, you’ll like this one. Aside from a few silly scenes, I have to recommend you check this out for a good laugh; it’s enjoyable and amusing.

Masterminds

September 30, 2016 (updated February 24, 2017) Published by Shari K. Green

“Masterminds” is a comedy based on the true story of one of the largest bank heists in America… and one of the most simplistic minds there is. Galifianakis plays David Ghantt who would do anything for the woman of his dreams. Galifianakis would do anything for a role, going as far as “sharting” in a pool for this one. Okay! I couldn’t help myself. I laughed at that. Sometimes the really stupid funny makes me giggle and this is about as stupid as they come.

Based in North Carolina, Hess uses every southern stereotype he could find from wood paneling on all the walls to a high-rise double-wide trailer to the hicks in them but the worst is the extra nauseatingly thick accent Galifianakis uses. It gets old very fast but there’s something about his comedy in this movie that you can’t help but find amusing and enjoy. I’d guess it’s his chemistry with director Jared Hess of “Nacho Libre” and “Napoleon Dynamite” that works to create a blissfully ignorant hayseed who is somehow still smart enough to pull of a 17 million dollar heist for the woman he loves, Kelly (Wiig), who is not his fiancé, might I add. His fiancé is Jandice and portrayed by McKinnon who does white trash brilliantly and the only way to describe her character is “weird”. McKinnon is always good at weird but this Jandice character goes way beyond the norm. Wiig, executes the love interest in the film and is, for the most part, playing straight for a change. There are a few laughs from her but it seems oddly fitting that she is the balance to all of the crazy going on; you expect insane from her in a film like this but when she delivers compassion and caring for someone getting taken advantage of, the story seems more real.

Masterminds Armored CarMasterminds Armored Car

Kelly gets David to help her and her pals steal the money and behind his back they have planned on David to also be the fall guy. Steve Chambers (Wilson) is running the show and after David steals the money from Loomis, Fargo & Co., which becomes the second largest cash robbery in U.S. history, even appearing on shows like “America’s Most Wanted” because of it, he sends David to Mexico with a small allowance until things cool down and they “meet up with him later.” While they are living the good life, he’s in Mexico waiting for his girl. So, perhaps the David in the film isn’t so far removed from reality. However, feeling the pain of being the patsy, perhaps an exaggerated film of bringing them all to justice was his best revenge.

The sight gags in “Masterminds” are great. The characters are grotesquely over-the-top and you’ll laugh but to dig deeper into what you’re seeing, the structure isn’t there and doesn’t hold up. It feels as if you’re clicking on Youtube, looking for the funny clips and all the while not as entertained in-between the clicks. However, the costume changes and bizarre you get from Galifianakis and then the relationship that develops between him and the man sent to kill him, Mike McKinney (Sudeikis), makes this absurd film one to take a peek at. It has that “Napoleon Dynamite” feel to it and I wouldn’t be surprised if it picks up momentum with people watching this more than once to take it all in again and to perhaps take another look at the characters to figure out who may have taken the still missing two million dollars. Now you’re interested. By the way, stay at the end for some extra fun stuff.

Interview with Mark Geist and John Tiegen of “13 Hours: The Inside Account of What Really Happened in Benghazi”

August 12, 2016 (updated July 8, 2019) Published by Shari K. Green

Former Marines, Mark “Oz” Geist and John “Tig” Tiegen, were unable to quiet their minds and bodies on September 11, 2012. They were in Benghazi, Libya, when what they were trained and ready to do, not what they were actually there for, kicked in; and luckily for anyone who survived because many wouldn’t have, had these men not been willing, ready and able to be, not in their words, heroes. Read more

Interview with “Unsullied” director Simeon Rice

August 9, 2016 (updated April 23, 2018) Published by Shari K. Green

Interview with “Unsullied” director Simeon Rice

Directed by: Simeon Rice

Starring: Murray Gray, Rusty Joiner, James Gaudioso, Erin Boyes, Cindy Karr and Nicole Paris Williams

By Shari K. Green

“Unsullied” is a film made by Simeon Rice, who directed and helped write the film after film school. He graduated film school after he retired from pro-football in 2009. He played for the Arizona Cardinals and also earned a Super Bowl ring in 2003 when he played for the Tampa Bay Buccaneers.

He was a very good football player but I’m not so sure that he’s going to be as successful behind the lens unless he learns more about what he’s doing. We do need to keep in mind that this is his directorial debut, but he should take on smaller films and lighter topics first, “pay his dues” so to speak, because as it turns out, the film is sloppy and chaotic… muddled, and the problems with it were exactly what you’d expect from a new director who needs a bit more experience.

When learning that there were several writers on the project, you can see why so much commotion made it to the screen. I won’t lie to you… if you like the type of action/horror movies that come from indie or student filmmakers, this is what “Unsullied” has in store for you and you’ll like the film. It isn’t special and it isn’t new. What doesn’t work? It’s in conflict with itself and its overall message is unclear. What works? Well, Rice has surrounded himself with some good people, chiefly, his cinematographer, Scott Winig. The movie looks good so, Rice has some experts in his corner and if he wants to continue making movies, his love of film and eye for talent behind the camera could begin to work for him.

As he declares in my interview with him, he’s very passionate about filmmaking and is humble enough to ask for assistance when he needs it. It’s my belief that as he learns more about the game, as he did in football, there’s little doubt he’ll improve and even become good at this. That said, “Unsullied”, a story about Reagan (Gray), a track star who is kidnapped by a pair of sociopaths for a game of cat and mouse, is an extremely formulaic “B” movie, made more for Rice to get a feature under his belt than for an audience to love and then tout for their new favorite director.

I hope he absorbs the criticism about his film and what is said about him. He should make improvements based on his mistakes and focus on creating a story that isn’t rife with commonality and concentrate more on entertaining his audience than proving something to himself and his friends.

SG: Everyone dreams of a second career and I know you’ve been asked this question a lot, but I must ask you… why film?

Rice: I have a passion of storytelling. I have a passion of… of creating concepts and being able to express yourself on a theatrical standpoint so… film, to me, is one of the ultimate levels of expression and freedom. To be able to do that and tell your own stories in your own way from facts to fiction is just one of those things that resonated with me… and improved itself over time.

SG: You had made a short film, a comedy, and then you tackle an entire feature next. Why such a tough project right away and what is the ultimate message you’d like to convey?

Rice: That I’m a filmmaker. That I’m telling a story and I can create details. I want to go so far left of what people would expect from me and to show that I’m a serious filmmaker; as a storyteller and as of a responsible storyteller. I have a film going into theatres nationwide and it comes from a very organic place. Those tales I create are going to stay in the pulse of people. I watched the film “No Country with Old Men” and as I sat and watched that film, I was so enthralled and into this movie, that I said, ‘I want to make a film similar to this’… one that’s going to lead you to the edge of your seat… that’s going to be an adrenalin rush of a film, that’s going to take you to epic heights and the lowest of lows, and things of that nature… so, I wrote “Unsullied” and “Unsullied” to me… it typifies the tipping point of what an action/thriller/suspense could be.

SG: You achieved all of that. It’s crazy, this movie. Murray Gray was the perfect choice for it. She was tough mixed with innocence. Were you involved in casting her?

Rice: Yes. I cast her. She was brought to me by a casting agent slash one of our producers, Michelle Gracie and… yeah… I watched a lot of girls. I sat in that process and ultimately picked the one who suited this role the best. Her and her ability to translate emotion really spoke to me and she really went after this role and took on a full commitment and the responsibility of what a lead actress would do and I’m overjoyed with her performance.

SG: Now the cinematic side. You had to have spent many days in the woods, not a Hollywood set, and shot day for night and such in those woods. I have to commend you for picking the right director of photography, as well, Scott Winig, who started his career shooting music videos and won many awards there. He got some really beautiful shots that had to have been equally as difficult to capture. How many days did you spend in those woods?

Rice: We were there just about twenty days. The shoot was twenty-three days and we were in the woods about seventeen or eighteen of those days.

SG: Wow. That’s a LOT of work! What was the biggest challenge for you there?!

Rice: I dealt with a lot of challenges but I think the biggest challenge was just… ummm… the anxiety of it. Dealing with my own anxieties before shooting and having confidence in my own ability as a director. But once I got on set, I think the biggest anxiety was the unknown; the fear of the unknown when you’re going into production. But once I got on set, it all made sense… it all felt natural and I felt that I shouldn’t have been anywhere else but right there in the director’s chair creating this film.

SG: Well, congratulations.

Rice: Thank you.

SG: I must know your opinion here. Which do you find harder, a three-week film shoot or a seventeen-week football season?

Rice: They both have their inherent strengths. You have to endure so much as a player. You have to endure so much as a filmmaker slash writer slash producer and executive producer. They are both very respected in their own different ways. Obviously playing football has a toll on me physically and creating films, you deal with great highs and lows… they both are different but both have their levels of complications. I respect both professions.

SG: Who came up with the title, “Unsullied”? Are you a “Game of Thrones” fan?!

Rice: I’m a “Game of Thrones” fan but it was more related to what she went through. It begs the question, “Unsullied”, does she or does she not, you know? It was just one of those things… the fact that the guys were so sullied… so tainted, you know? She goes through this and we want to know, does she lose her way?

SG: Right. Does she stay clean?

Rice: It’s also an open-ended question.

SG: Exactly. So, what was your favorite part of directing?

Rice: My favorite part of directing? I don’t really deal in favorites because that’s an absolute. I kind of enjoyed every aspect of it but really connecting with the actors is my biggest joy in terms of directing. To connect with the actors in terms of the role, in terms of expression, in terms of casting them and communicating an idea and then working through some of the complications that come with it… that’s a joy.

SG: Is there anyone out there you’d like to work with in particular?

Rice: I’m so humble. I’m so fortunate if anyone would work with me. There are so many great actors out there in the platform of theatre and production that if I’m connected with anybody out there that wants to tell a great story, I’d be overjoyed.

SG: What’s your advice for anyone who wants to go into filmmaking?

Rice: Come in the game very prepared if you want to see your story through. Tell your story. Tell your tale. Be dedicated. Make sure, whatever you do in terms of storytelling, that you have an outlet for the big game. Be honest in your creativity. Be honest in your storytelling… but be a responsible storyteller and make sure that the message you’re trying to convey is parallel with the message you want to get out there.

Author: Shari K. Green

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Interview with “Unsullied” director Simeon Rice

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