FlixChatter Review: PILGRIMAGE (2017)

It’s been ages since I’ve got time to write a review, but I knew I had to write one for this after I saw it last weekend.

I’ve mentioned PILGRIMAGE all the way back in January 2016. It’s been a long time coming but I’m glad I got to see it on the big screen (though it’s a shame it’s only playing in a single theatre in Twin Cities suburbs with odd screen times!)

In 13th century Ireland, a group of monks must escort a sacred relic across an Irish landscape fraught with peril.

The premise is simple, but it’s packs a punch in terms of its thought-provoking story and the unrelenting violence these monks face along the journey. It opens with a horrific stoning of Saint Matthias, the apostle chosen to replace Judas Iscariot following his betrayal. The barren landscape of Ireland, an island on the edge of the world is striking… there’s otherworldly feel to this raw, beautifully-shot film that immediately grabs your attention.

I saw this film mainly for the French actor Stanley Weber who plays a Cistercian priest, Brother Geraldus, and boy did he make quite an entrance. He came to the monastery and soon the monks are on a pilgrimage to escort a holy relic all the way to Rome. Naturally there’s tension mounting between the monks themselves, each have their own views of the significance of this relic.

Pilgrimage explores the themes of what faith means to people. It’s not a deep study of the subject, but it certainly makes a compelling case about religious fanaticism and that radical ‘faith’ can ultimately lead to radical consequences. The film is more of an ensemble cast comprised of four main characters, Tom Holland as Brother Diarmuid (the novice), Stanley Weber as the Cisterian, Jon Bernthal (the mute with a violent past) and Richard Armitage (Norman knight Raymond). I’d say Bernthal is perhaps the most fascinating of the four, simply because of his charismatic, wordless performance that makes you wonder throughout just exactly who this man is. He’s loyal to a fault to the monks but you know he’s a ruthless and dangerous man. It’s a physical role but that demands a quiet menace which Bernthal pulls off with aplomb.

Acting-wise, Holland, Bernthal and Weber are the most memorable to me. Armitage is good but I feel like he’s basically reprising his role as Guy of Gisborne in BBC Robin Hood, though his French is rather impressive. Interesting that Holland and Bernthal are now part of the lucrative Marvel Cinematic Universe (as Spiderman and Punisher respectively), but they’re both such talented actors that I hope they’ll continue to seek out smaller work such as this one that stretch their acting ability. Weber might not be a household name yet despite being cast in season 2 of Outlander, but he’s certainly got the charisma and acting chops of a leading man.

The film is quite violent, especially the attack in the woods that left practically everyone slashed, chopped and bludgeoned to death. There’s also a torture scene involving a Medieval torture device that sure made me wince. The action didn’t let up until the very end, set in a desolate beach that really takes your breath away. It’s so refreshing to see something unique that doesn’t fit the Hollywood mold. This is one of those rare films that’s not based on any literary works but is an original script by Jamie Hannigan. I love that director Brendan Muldowney also uses many languages in the film, Gaelic, French, Latin, English. I also appreciate that the film is shot on location, you can practically feel the misty air and cold breeze as you’re watching the film, which adds to the intense, gritty and bloody realism of the film.

If this is playing near you, I urge you to see it on the big screen. We need to support original films like this one as it’s becoming even more of a rarity. Made with a shoestring budget yet generates a big impact, I certainly don’t mind seeing this again on Bluray. I so agree with Keith’s review that big budgets aren’t essential to good moviemaking… and this film is definitely a testament of that.



Have you seen ‘PILGRIMAGE’? Well, what did you think? 

FlixChatter Review – Annabelle: Creation (2017)

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Directed By: David F. Sandberg
Written By: Gary Dauberman
Runtime: 1 hr 49 minutes

I’ve never understood why people find dolls in horror movies scary. They can’t bend their limbs, they’re usually made of porcelain or plastic or something else not very durable, and they’re usually not any taller than your knee. You can just drop-kick the thing away from you. As someone who is thoroughly unimpressed by possessed dolls and hasn’t seen any of the other Conjuring series movies (I KNOW, I’m a bad horror fan; I promise they’re on my list), I didn’t expect this movie to be that scary. I was wrong.

In Annabelle: Creation, a group of orphans (Lulu Wilson as Linda, Talitha Bateman as Janice, Grace Fulton as Carol, Philippa Coulthard as Nancy, Lou Lou Safran as Tierney, and Tayler Buck as Kate) and the nun in charge of them, Sister Charlotte (Stephanie Sigman) move into the house of Esther and Samuel Mullins (Miranda Otto and Anthony LaPaglia), who have opened their home to the girls after losing their own young daughter, Bee (Samara Lee), twelve years earlier. After Janice finds a mysterious doll hidden away in Bee’s old bedroom one night, things quickly take a turn for the horrifying.

What makes the Annabelle doll work in this movie is that it’s not overused to the point of being silly. It’s prominent, obviously, but it’s mostly shown in shadowy angles and blurry shots that make its presence even scarier. As Father Massey (Mark Bramhall) explains, the doll is a conduit- a tool for the demon to use to gain footing in the world of the living. As creepy a the doll is, the demon itself is even more frightening. The special effects in this movie are excellent. The few glimpses we get of the demon’s true form-specifically, the way it morphs and moves-are truly unsettling, and there’s one moment we see it in Bee’s old bedroom that left me really shaken. All of this, combined with superb pacing, keeps the suspense high throughout the whole movie.

That said, this movie isn’t flawless. Much of the dialogue between best friends Linda and Janice is so unrealistically cheesy it would make Little Orphan Annie cringe. It’s not the actresses’ faults-we already know Lulu Wilson has serious horror acting chops after last year’s Ouija: Origin of Evil, and all of her and Talitha Bateman’s non-verbal acting is great. It’s either a writing problem or a directing problem. On the subject of writing, Mrs. Mullin’s explanation for the supernatural ocurrences toward the end of the film is both heavy-handed and vague; if there had been a little more foreshadowing earlier in the movie, I might have been able to accept it more easily, but for a movie whose title implies we would be learning where the evil entity tied to the Annabelle doll comes from, it could have been more fleshed-out.

Overall, though, this is a fantastic, genuinely scary horror movie. I would definitely watch it again, and now I want to marathon the other movies in the series as soon as possible. If you like horror, you should absolutely check this out.

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Have you seen ‘Anabelle: Creation’? Well, what did you think? 

Indie Film Spotlight: LET ME GO + Interview with writer/director Polly Steele

When I first heard about Let Me Go about a year ago, I was immediately intrigued. Not just in terms of its story, but I’ve always been a champion of #womeninfilm and this one has a female writer/director AND a terrific female ensemble cast! I really wanted to see the film at Bentonville Film Festival last Spring, but I had just wrapped my first short film Hearts Want so I timing just was issue. But thanks to Evolutionary Films for sending me the screener link that I was able to see it last month.

The film is based on a true story, and though films about the holocaust are a dime a dozen, writer/director Polly Steele told the story from an unconventional perspective. It’s a unique and compelling approach on a real life story from the past that’s still relevant today. I love the talented female cast who effectively portrayed three generation of daughters being affected by a horrific past. It’s a thought-provoking, heartbreaking yet beautiful film that I wish I could see on the big screen. If you get a chance to see this, don’t miss it. Not only is it an absorbing tale, it’s also a visually striking film with an equally gorgeous score.

Let Me Go is a film about mothers and daughters, it is about ghosts from the past and the impact they leave on the present. Developed from Helga Schneider’s true life story, it explores the effect on Helga’s life of being abandoned by her mother, Traudi in 1941 when she was just four years old. The film is set in the year 2000 following not only Helga and Traudi’s journeys but the next two generations and how Beth, Helga’s daughter and Emily her granddaughter are confronted with the long-term effects of Traudi’s leaving.

 

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Read my interview with Polly Steele on her journey into bringing Helga Schneider’s story to life on screen…

Q: There are so many films about the holocaust done already but your film tells a story from such a different perspective, that is from the family of the perpetrators, instead of the victims. Can you tell me what inspired you to write this story?

When I first found this story I had no idea what attracted me to it. Looking back it was probably the vulnerable face of a small child in the black and white photo on the back cover. This vulnerability echoed inside me somewhere and I read the book. I know that trauma arises from all sides in a conflict and Helga’s trauma is no less valid than anyone else’s. Helga’s story was a difficult story to tell after the war had ended, there was no space for stories like hers. Now that 75 years has past since the war, I think we can acknowledge that innocent children from all sides of a conflict suffer. We cannot move on from our own suffering unless we acknowledge the suffering of others.

Q: How did you first hear about Helga Schneider? Can you tell us the process of getting the rights to tell her story and how long it took you to write the script?

Polly (right) meeting Helga in Italy

After reading the book, I flew to Milan to meet her, she only spoke Italian and a little French and I spoke English and French and so we used her agent to translate and we sussed each other out with a lot of looking into each others eyes. I think we came to an understanding that day and I felt that she entrusted me with her life story, I am very grateful to her.

After seven years of writing and re-writing the script, working with various different companies and even putting it aside for a while, somehow the right team came together, the energy changed and here we are having raised the money in a year and made the film the following year, but the whole process was 10 years in the making.

Q: How involved was Helga herself in making this film? I believe you flew to Italy to meet with her?

After meeting her the first time, we kept in touch, I would write to her asking her questions and she would write back . I would google translate and on it went. After a couple of drafts of being completely true to her story I made a leap to include the two youngest characters who are fictitious, because I was fascinated with inherited trauma. I made these creative decisions with Helga’s blessing. The two new characters are based on information given to us by Helga who wanted to protect the real identity of her close family members. She understands now that her story has continued to affect those who came after her and that is what the film focuses on. Ironically when I met her again just before we started filming she told me that the two new characters were very accurate relative to her own experience.

Traudi (Karin Bertling), Beth (Jodhi May) Helga (Juliet Stevenson) and Emily (Lucy Boynton) – Andrew Ogilvy Photography

Q: I love the idea of a multi-generation of daughters being affected and dealing with a shared past. Would you share about the casting process for Juliet Stevenson, Lucy Boynton and Jodhi May, as well as Stanley Weber as the only prominent male character in the film?

Juliet came on board very early on. She read the script and then we met and she followed the films progress always remaining committed. She was our rock.  Jodhi also met me early on in the process and committed whole heartedly, she was fascinated by the subject of inherited trauma and also stayed with us until we were green lit. Lucy I saw on a taped video that she did in L.A and immediately thought she had a special something, elegance, an innocent maturity if that is possible and a very natural look on the screen. Lucy could only confirm very close to shooting but thats because she was up for another film at the same time but luckily we got her! Karin was the last to join and the most difficult character to cast. No one wanted to be a hardcore Nazi… but then we cast our net wider and Karin was waiting in the wings in Stockholm and she is a Gem! I am very proud of all of them and Stanley Weber, and Eva Magyar, I think they all did an amazing job.

Stanley Weber in a still from the film

Q: This is the second narrative feature you wrote and directed. What’s the biggest challenge for you as indie filmmaker in terms of bringing your story vision to life?

These days making an independent feature is an incredibly difficult task…to get the stars to align is a rare and beautiful thing but I also believe that as a woman it has been even harder. This was not an easy story to tell, but I had an amazing team of people supporting me and the film. My producer Lizzie Pickering who has been incredible, raising money relentlessly, never giving up as well as our Executive Producers Georges Tsitos who kept us on track from the beginning and then Rupert Labrum who was our first serious investor and stayed loyally with us until the end and many more who subsequently joined. We gathered support by holding storytelling circles in peoples houses and inviting them to listen to a video of Helga and hear her story and then slowly, slowly the money came.

Q: There are some really difficult scenes to watch, especially between Helga and her mother. Can you tell me what’s been the most challenging aspect of filming this?

Filming any scene whatever the content is about making sure that the actors are 100% in the space and time and world that they are meant to be inhabiting, that way they are authentic and then we have done our job. The whole reason that the scenes between Traudi and Helga are different from anything that I have seen before on this subject is that Traudi makes us understand from her perspective what normal was for them in that extreme situation. It is untenable for us in our world knowing what happened, to accept what she says but it’s equally important that we realise what it was like in their shoes. Helga’s dearest wish is that the film may play a tiny part in preventing history from repeating itself.

Still from Let Me Go trailer – All images are courtesy of Evolutionary Films

Q: I love that the films are shot on location and it was stunningly shot by Michael Wood, set to a lush score by Phil Selway. Can you share about finding the locations in the UK and Austria, as well as the scoring process?

Michael Wood is an amazing D.O.P but then he also had the fabulous Alex Walker our designer to pair up with. The two of them did a beautiful job with few resources. David Broder our other producer found Minley Manor in Kent which was used for the old peoples home and then we decided that being in a few key places in Vienna was crucial, like the Judenplatz and so made the financial commitment to shoot in Vienna too. Michael understood very quickly what I wanted to do with the light in this film and the energy of the restless camera. I feel he achieved a great look and Alex also indulged my minimalist approach to spaces, allowing me to eliminate a lot of props and furniture so that we could really focus on the emotional intensity in some of the scenes. We had a great thing going between the three of us. I also want to mention Daniel Goddard who I have worked with for many years as an editor, he too completely understood what I was aiming for, he is a very sensitive and experienced editor and worked wonders.

Philip Selway has been amazing from the absolute beginning. He came on board before most other people and immediately started talking to me about the script. He was so supportive and also so positive about the story, he really understood the themes and spent a lot of time building up sound beds and themes laying the foundations for what turned out to be a stunningly beautiful score. Philip was key in keeping me true to my initial ideas.

Q: Last but not least, would you tell me some of films that’ve influenced you, particularly those dealing with WWII?

I actually grew up in many different countries but spent ten years of my childhood in France and was very influenced by French films. They have far more stories that are about the emotional journey rather than the physical one and that very much influences how I like to tell stories. I can’t say that I see this film as a WWII film and so never approached it like that. I just wanted to tell the story of a family , who had lost their men in the war and had to find their way in the world together, four women , carrying with them a secret that was so extraordinarily heavy, a secret that could have destroyed them all, but they were given a moment in time to let it go, to tell the truth and to let it go and in that way there is hope.
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The film is available in UK cinemas & digital download on September 15. Hopefully it’ll be available in the US soon.
For more info visit Letmegomovie.com


Thanks so much Polly for chatting with me!

FlixChatter Review – Atomic Blonde (2017)

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Directed By: David Leitch
Written By: Kurt Johnstad (screenplay)
Runtime: 1 hr 55 minutes

When I found out I would be reviewing this film, I pulled up an article on it for a little background information-and made the mistake of reading the comments. They were mostly all the same, with guys accusing Atomic Blonde of being pandering and asserting that the movie is unrealistic because women are too frail and weak to be badass action heroes. It was infuriating, and it made me hope that that this movie would be amazing, just to spite the trolls. Fortunately, I was not disappointed.

In Atomic Blonde, an adaptation of the graphic novel series The Coldest City by Antony Johnston, MI6 agent Lorraine Broughton (Charlize Theron) recounts her mission in Cold War Berlin to track down a list of double agents to MI6 executive Eric Gray (Toby Jones) and CIA official Emmett Kurzfeld (John Goodman). From the moment she meets up with fellow agent David Percival (James McAvoy), Lorraine is plunged into danger and intrigue as she works to complete her mission.

This is an incredibly fun action movie. The fight choreography is impressive, ranging from creative and graceful to realistically graphic, and even some of that is surprisingly gorgeous; there’s one scene where blood is spattered on a large painting of a woman’s face right on her mouth, making it look almost like a messy lipstick kiss. Having it all set to a phenomenal soundtrack of 80’s rock makes it even more entertaining. 
 The technical aspects of the movie are impressive as well. The editing is tight and creative; one moment that stands out is in a scene where a body being thrown into a river, and as soon as it hits the surface, the scene cuts to Lorraine’s face breaking the water as she sits up in a bathtub. There are several gorgeous, well-balanced shots. The film overall is dark and gritty but glossy, which is perfect for a graphic novel adaptation, although the green filter is a little overused.

It can be hard to critique acting in a movie like this when so much of the focus is on the action and visuals, but Charlize Theron and James McAvoy still manage to shine in their roles. Theron is cold, calculating, and tough but still shows brief moments of panic and sadness without being melodramatic. McAvoy is so much fun to watch in this as well; he is so good at acting goofy but still a little unhinged and sinister (as proven in Split earlier this year). My one critique is some of their line reads are hard to understand, but I’m not sure if they’re mumbling or if there’s a sound-mixing problem.
 If you’re looking for a fun, beautifully-shot action movie to see this summer, you should definitely check this out. Ignore the trolls.

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Have you seen ‘Atomic Blonde’? Well, what did you think? 

TCFF Insider Series: KID WEST movie & my interview w/ filmmaker Jesse Mast

I first met Minnesota filmmaker Jesse Mast when he was premiering his action thriller short The Just starring Michael Madsen back in 2015 at TCFF. I then met him again at one of the TCFF after parties when I first heard him talking about the idea for Kid West.

So I was thrilled that Twin Cities Film Fest is presenting this movie as part of its INSIDER SERIES event. I’m always intrigued by the process of filmmaking, especially indie films now that I’ve dipped my toes into making my first short film. I have even more appreciation and respect for indie filmmakers and am always grateful for the opportunity to learn from them.

Synopsis:

A young spitfire cowgirl, and her coolheaded Native American friend, race a gang of neighborhood bullies to find a mysterious treasure supposedly having mystical powers.

This event will take place on
Monday, July 31 7 PM – 10 PM
The Heights Theatre

3951 Central Ave NE,
Columbia Heights, MN 55421

Go to TCFF official site for more info & to get tickets

You went from doing an action thriller to a family adventure film. What’s the inspiration behind this movie?

Somehow I knew I’ll be asked this question. The short answer is: my wife. She told me a while back, if you want to win over my heart with a movie. Give me kids or charming old people. Some movies combine them, sometimes it’s one or the other. I immediately thought about doing a Western. So I have an idea for a modern Western with kids. That started to develop a little bit. Overall what I wanted to do as a filmmaker is take the spirit of films that I love and repackage them with original characters for new audiences. So taking inspiration from Indiana Jones, Kid West was created.

So this film is basically a combination of what my wife said to me and my desire to make films that were birthed from films that I love.

So did you go on to write the script once the concept is developed? I know you worked with another writer for this film?

Yes, his name is Nick Bain. He lives in LA but originally from Minnesota. We had written another script together the year before that we thought ‘oh hopefully we’ll get to make this into a film one day’ But when that one had to be put on the shelf, I asked if he’d be willing to write Kid West with me. I don’t like writing first drafts. I’m such a perfectionist and so much has to change so I asked him, ‘hey would you consider writing the first drafts?’ He wrote a lot of really good stuff and then I went in and change what needed to change. I’m really glad we worked together on this. I find that working a script by yourself is really hard, so having him to collaborate with was really great.

How long ago did you finish the script?

The script was finalized in February 2016. Then we shot it in the Summer of 2016. So the script was totally done five months before we started shooting.

What’s the process from the time the script is finished to shooting the film? Five months doesn’t seem like a long time of pre-prod for a feature.

We did some pre-production that happened before that. The most important part is raising the funds to make this movie.

So can you talk a bit about how you raised the funds for your film?

Yeah I raised nearly all the funds (about 80%) through donations from friends and family. These are people who want to see me succeed. They’d say ‘here’s money towards your film.’ A few people gave a large gift, some are smaller. So we didn’t go through Indiegogo or Kickstarter, I mean there’s nothing wrong with those things. But I thought if I were to raise money for this, it’d be from people I know, those who believe in me. So I raised half the budget by the time the script was done. Then I knew I needed to raise the rest by the time we finished shooting. So I had raised enough to film it, to hire the actors, etc. While I was doing post production, I raised more money for that. Once the script was done, that’s when I worked on casting. Then when casting was done, then I worked on pre-production stuff.

That’s a good segue as my next question is casting. I love the young actress Mary Bair who’s the lead of your film. How did you find her?

I’m friends with a SAG actor by the name of Bruce Bohne and I went and saw him in To Kill A Mockingbird at the Guthrie in the Fall of 2015. I saw a lot of young talented actors in the play. So I ended up casting four out of the six kids in the movie from that play, including Mary, who played Scout in the play. There were a few other adult actors from there that I ended up casting as well. So anyway, Bruce was friends with Mary’s mom and I said, ‘hey can you get me in touch with her?’ So I contacted her about my interest in casting Mary in my film. I basically sat down with her and offered her the role right then and there. Seeing someone perform in something is a great audition. You just knew they could do [this role in my film] when I saw her in this play.

How about Ashley Rose Montondo? How did you come to cast her?

Ashley was also part of To Kill A Mockingbird. So Bruce, Ashley, Ansa Akyea, Regina Williams were all in this play. When I saw them perform I was like, ‘oh they’re great!’

Where was the film shot in the Twin Cities?

It’s mostly shot in the east side of the cities near Wisconsin. In a town called Bayport. Bayport is a cute little quiet town. I have a childhood friend who lives there growing up so we had some fun memories there. But I wanted the look of the film to look like what it would look like when I was growing up. I wanted a nostalgic look of a town. I tell people that Kid West is like The Sandlot meet Raiders For The Lost Ark with 12 year-old girls. So when I said The Sandlot versus The Goonies or The Little Rascals which was fun but a little silly, but The Sandlot has a lot of charm and a lot of depth. It’s not as ‘adult’ as Stand By Me, which has a lot of mature themes. Kid West is more lighthearted. But The Sandlot, you still take it seriously. You care about the people, they’re very real, very charming. It’s lighter in its tone but it’s not silly.

What do you love about making Kid West?

I like that there’s a lot of humor in Kid West. And that’s something that, after I made The Just, which I enjoyed, I like the action in it, but there’s barely any moment of levity in the whole thing. I think the audience loves to laugh. When they see a movie, they want to feel something and maybe the most they want to feel is a release of laughter. Even when I’m watching a drama, when there’s an unexpected thing that comes up, it’s always a laugh out loud moment because it gives you a breather from the seriousness. I feel like The Just didn’t have any of that, it didn’t have any breather, it’s all suspense. But with Kid West, there is suspense and moments of serious action but it’s action that made you grin y’know, and the humor is strong. I’m looking forward to the premiere and hopefully there’ll be moments of laughter from the audience.

Lastly, your film will be available in Amazon in August. What has been the challenges for you in getting distribution?

What I’ve learned about Amazon is that they try to make it very easy for independent filmmakers to get their films out to the audience. Over the last six to eight months I’ve emailed them many times, asking specific questions. They’ve been very clear, very quick in their responses. The difficulty for any independent filmmakers has always been ‘how do you get your film out? How do you make some money?’ and there are different ways to go, but when another filmmaking friend told me about Amazon, I thought it was a good idea. I mean, you don’t sell your rights to them, it doesn’t cost anything and when you submit your film, for every sale, for every rental, they split the cost 50/50. So they get half, we get half. For every stream we get a little bit of money. I would love to continue to choose Amazon in the future… I think it’s a great avenue for this, I mean everybody knows Amazon. As soon as your film is on there, you’re putting the film into someone’s pocket. They can watch it on their phone, their tablet, etc. I mean the reach is amazing.

Thanks Jesse for taking the time to chat w/ me!


FlixChatter Review: DUNKIRK (2017)

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After three super hero and two sci-fi films, Christopher Nolan is ready to tackle a war genre. Of the current well-known directors working in Hollywood today, Nolan might be the most popular among movie fans. He’s able to secure $150mil for his latest picture and he didn’t need to cast any big named stars to be appear in it.

In the summer of 1940, German forces successfully marched forward with their plan to take over Europe. Many British and French soldiers were forced to leave Dunkirk but help isn’t coming as fast they should. As the film begins, we see young British soldiers being ambushed by unseen enemies, one of them named Tommy (Fionn Whitehead) was able to escape. He ran into some of his fellow soldiers named Gibson (Aneurin Barnard) and Alex (Harry Styles). They want to leave Dunkirk and will do anything to get away and avoid their commander Bolton (Kenneth Branagh). We then see a civilian named Dawson (Mark Rylance) and his son make their way into Dunkirk to help rescue the soldiers. While in the air, pilots Farrier (Tom Hardy) and Collins (Jack Lowden) are trying to shoot down the German planes that have been dropping bombs on the soldiers and rescuing boats.

Nolan, who also wrote the film, decided to tell the story in a non-linear way. We saw three perspectives of the event, from land, air and sea. Personally, I thought the way he constructed the story is work of genius. There have been so many WWII films through the years and I’m glad to see Nolan decided to make something that really hasn’t been done before when it comes to this genre. Shooting the film in 65mm, including IMAX cameras, this is a film that needs to be seen on the biggest screen you can find. Nolan mentioned that he wants the audience to experience what those soldiers experienced and I thought he achieved that task. Since it’s based on a real event, I was worried that Nolan might glamorize the battle scenes, thankfully that didn’t happen. The action scenes were not something I would called “entertaining” but the aerial battle sequences were great to see on the big screen.

Performances were great all around. Whitehead, Barnard and Styles were believable as young soldiers and some would call them cowards. They didn’t have a lot of dialogues so their performances were mostly about body language and facial expressions. I’ve never been a soldier or seen any real battles in my life, so I don’t know how I would react if I was in their situation. Rylance, who’s always been great in the films I’ve seen him in, shines again in this one. There’s a scene where he showed raw emotion that I don’t think many actors can achieve. Hardy spent most of the film in the plane and technically he’s the “hero” of the story. Lastly, Branagh’s great as always. He conveyed a man who’s in total control even though he knew he might lose his men in any moment.

This isn’t the kind film where there are character developments and there’s no plot to speak of. Nolan wants the audience to experience the horror that happened during this event and to me he succeeded. Just like his previous film Interstellar, this one it’s being shown on various formats. Nolan’s preferred formats are 70mm IMAX or regular 70mm. If there’s a 70mm IMAX theater near where you live then I highly recommend you see it there.

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So have you seen DUNKIRK? Well, what did you think?

HEARTS WANT in the press – only hours left on Kickstarter

Ok here’s the last Kickstarter post you’ll see here… Y’know what, whatever happens I’ll be so relieved when it’s done. If you think it’s tough making a film, well, try launching a Kickstarter campaign 😉


We’re still only 75% funded with mere hours left as I’m done posting this. I’m a glass half-full kind of person so I’m extremely grateful for our backers! Of course I’m not gonna lie I’m nervous we won’t meet our goal… and if you’re not familiar with Kickstarter, it’s an all-or-nothing campaign which means if we don’t meet our goal we’ll get nothing. Zero. Zilch. Nada.

But hey I’m optimistic 😬 … [well what choice do I have]… and I’m super grateful for my friends who have been so supportive, both financially and also in spreading the word about my Kickstarter campaign!

THANK YOU again Paula, Shivani, MarkNostra, and Dan for your tremendous support on various social media channels!

I mentioned a couple weeks ago that I was invited to be a guest on The Film Pasture podcast [thanks Vern!] Link below:


I’m also honored to be featured on Top 10 Films site run by my pal Dan Stephens [thank you Dan!]. Read on if you’re curious about my filmmaking journey…

It’s fun being on the other end of an interview once in a while 🙂


If you listen to InSession Film podcast later this week you might hear about Hearts Want there too (thanks JD Duran!)

 


Just a quick note on what I’ve been watching…

Well I managed to see War For The Planet of the Apes and I LOVED it! The three ‘Apes’ films now stands one of my favorite cinematic trilogies ever. It’s such a compelling journey of this genius ape, living in two worlds whilst trying to save its kind from extinction… it’s such a heart-wrenching, poignant story that’s strangely relatable. Definitely one of my faves of the year.

I haven’t got around to seeing DUNKIRK just yet, for sure we will next weekend. The press screening happened to hit on the day I’m meeting with my composer for the film, so obviously that takes priority.


Ok folks, I’ll be sure to post a review sometime this week (from our awesome contributor Richard of Cinemuse Films). I also have a couple of interviews with a MN-based director and a female filmmaker whose film just screened at Edinburgh Film Festival. So stay tuned!

Just days left on HEARTS WANT Kickstarter campaign

Can’t believe we’re in mid July already! Time sure flies in the Summer time… and time seems to fly even faster when one is running a Kickstarter campaign.

Yep, it’s just 9 days to go until our campaign ends folks… and we could really use your help in crossing the finish line. We are still hoping to submit this film to Twin Cities Film Fest soon to be eligible for 2017 run in October, so time is of the essence. If you’ve always wanted a chance to be a part of a female-led indie film with talented indie filmmakers and actors, this is your chance!

Watch this video from our leading man Peter Christian Hansen on why you should back our film…

Minnesota theatre goers might’ve seen Peter on stage in various productions, including at the Guthrie. He’s also the artistic director of Gremlin Theatre), as well as the leading man of the Australian indie sci-fi Project Eden whom I interviewed last February.

Did you check out the rewards yet?

On top of the automatic rewards of feeling good for being a big supporter of indie film [natch], there are also actual rewards!

My hubby and co exec-producer Ivan had been working tirelessly to make props for the film just a week prior to filming! This is NOT the film poster, but rather a poster of the play within the film that’s called Hearts Want where the lead characters Jacques & Lily reunite for after seven years apart.

Check out this time lapse video of Ivan’s poster sketch:

My hubby also created these theatre posters that’s posted on the wall of Lily’s dressing room:

Check out the various updates posted on the Kickstarter page… including meeting the mostly-female crew who were super fun to work with on and off set.

As a longtime supporter of #womeninfilm I’m extremely grateful for the chance to work with so many amazingly talented women in the Minnesota film community!


You can follow the journey of Hearts Want film on Facebook, Instagram and also Pinterest!


 

Valerian and the City of a Thousand Planets review

Luc Besson is not a filmmaker I would consider a favorite of mine. In fact, the last film I saw that he directed was The Messenger: The Story of Joan of Arc way back in 1999. Sure I’ve seen the films he produced and wrote such as the Transporter and Taken series, while I did enjoy some of those films, I would only consider them “guilty pleasures”. I was never fan of his cult favorite Leon: The Professional and I mildly enjoyed The Fifth Element. He’s now back with another big budget sci-fi adventure film that’s based on a supposedly popular French comic books; although I’ve never heard of these comics before.

Set in the 28th century, the film opens with a group of alien beings who looks kind of like the Navis from Avatar and skinny human super models, enjoying their peaceful lives on a distant planet when suddenly space ships started clashing into their lands. Then we’re introduced to a couple of very young looking humans named Valerian (Dane DeHaan) and Laureline (Cara Delevingne). At first it looked like they’re on vacation at some remote beach but it turns out they’re special agents whose mission is to find something important and bring it back to their superiors. They met up with other agents on some planet and got in some trouble while trying to retrieve the product they were told to retrieve. Once they got what they needed, they headed to a planet that’s full of alien beings and humans living in harmony and the film spent most of its runtime on this city/planet.

If it sounds like I’m not sure what the film’s really about then you’re correct. The film has no coherent story or character development. It’s full of cool 3D effects and that’s pretty much it. Written and directed by Besson, I believe his only motivation was to make a very cool looking film and show off his 3D shooting skills. I love film that has great visual and 3D effects but I also want to see good story and interesting characters; this film contains neither. The film also lacks, of all things, good action scenes. In fact, I don’t recall any memorably action sequences at all.

I’ve never read the comic books but I assume the lead characters probably look quite different from the actors who portrayed them in the film. DeHaan and Delevingne both look like they’re 16 year olds and I find that hard to believe they’re some kind of special agents. Also, they have zero chemistry and their bantering throughout the film sounds forced. The supporting characters were also forgettable except Clive Owen, who happens to be the villain but he’s on the screen for only like 5 minutes, such a waste of his talent here.

I wanted to say something positive about this dreadful film but I couldn’t think of anything else besides the cool looking 3D effects. It’s one of the most excruciating films I’ve sat through. I would highly recommend you stay away from it.

TedS_post


So have you seen Valerian? Well, what did you think?

Week In Review: A comedic play, Spider-man Homecoming and podcasting

How’s your weekend everyone? Well it’s been quite a whirlwind week for me, but a fun one nonetheless. I didn’t get an extra day off for Fourth of July, but still a four-day work week is better than five 🙂

I did manage to see a fun play on Friday night, a French farce called Don’t Dress For Dinner. It’s actually the opening night of the theatre company run by my lead actor Peter Hansen, in which he also starred in with five other actors.


I also got to see one of its rehearsals last week which was really fun to see. I had never been to a play rehearsal before and the fact that it’s a comedy is even more delightful to watch. Oh as if I hadn’t been busy enough w/ my film AND Kickstarter campaign, I also helped redesign his theatre website. (yep I need a vacation real bad!)

Saturday was a hot day, so after a scorching afternoon going to Art Crank in NE Minneapolis, we cooled off watching the new Spidey flick.

I have to admit I wasn’t all that enthused to see this so if it wasn’t for my hubby’s insistence, I probably would’ve waited for its VOD release. Fortunately it ends up being a pretty decent flick which is NOT an origin story, thank goodness!

It’s fun to see Peter Parker being a proper teenager and Tom Holland is perfectly believable in the role. Some of the banters between him and his BFF Ned (Jacob Batalon) seems too cutesy with all the ‘awesome’ which at times doesn’t ring true. But as the film progressed it didn’t bother me and they do have some fun memorable moments. Our young’un hero is far more eager to be a hero than in past interpretations but I’m glad actually gets to do something heroic and does it on his own account.

I hadn’t paid much attention to this film so I was pleasantly surprised to see Michael Keaton as the villain. He’s definitely one of the best villains in the plethora of Spidey movies I’ve seen over the years. My fave is still Doc Ock (Alfred Molina) from Sam Raimi’s Spider-man 2 and Keaton’s Adrian Toomes is right up there with him. I like villains who are more of a tragic character, not an all-out monster hellbent on destroying the world. I enjoyed watching Keaton as a cross between Batman and Birdman when he’s wearing the birdlike costume, but his character actually has some depth. There’s also a pretty bizarre father-daughter storyline here that I did not see coming.

The movie starts out pretty light, Peter’s fanboy-ing over Tony Stark also gets overdone, but the movie actually grows darker with a genuine sense of dread. I am however quite puzzled by the hype over Zendaya in this movie. Not because her acting wasn’t good but her character barely registers here to even make any impact. Yes I appreciate that she’s not just another love interest but I wish the slew of writers actually gave her something to do. The movie does hint that she perhaps will have a larger role in the inevitable sequels.

Despite me feeling blasé about this reboot, this movie ends up being pretty enjoyable. There are a couple of thrilling action sequences though the finale is still way too loud & bombastic. Casting-wise, Holland fits the role nicely and he seems to have fun doing it. There are fun moments of Peter poking fun at members of the Avengers which is in keeping with him being a 15-year-old kid. It was pretty fun seeing Iron Man (Robert Downey Jr.) and his chauffeur/personal assistant ‘Happy’ (Jon Favreau) as part of the story too. I’m not exactly clamoring to see more of Spidey movies though, but I suppose if they gotta make ’em at least they don’t suck.


The weekend is topped off w/ my first time doing a podcast! It was fun being a guest for an episode of The Film Pasture, hosted by my friend Vern from Vern’s Video Vortex with film blogger Kristen Lopez. Vern was kind enough to invite me to discuss our picks of Top 5 Female Filmmakers and let me promote my short film Hearts Want which I can proudly say has a strong woman of color in the lead and done by a mostly-female crew.

I will post the podcast here once it’s up. As you know I’m a big supporter of women filmmakers and having just written/produced my first film, naturally I have even more respect for those who’ve made it in the male-dominated film industry.


Well, did you see anything good this weekend? If you’ve seen the newest Spider-man movie, what did you think?