Category: Tribeca

Tribeca 2012 Review: DEADFALL

DEADFALL is bound to get comparisons to FARGO. With a few minor script tweaks and slightly different accents, this could have been passed off as a direct to DVD sequel. It is not that there are any similar characters or storylines but more so in the look and feel of the film. Had this been FARGO 2, I’d call it a worthy successor although I’m sure others will want my head on a platter (or my body in a woodchipper) for saying that. Prior to seeing the film, I heard some strongly negative feedback and was even told to avoid it completely by someone who attended an earlier press screening. Since then I’ve noticed a slew of negative reviews calling it an absolute mess and much worse. Honestly, I don’t know why everyone is ranking on this film so much because I loved the hell out of it.

DEADFALL opens with a car crash. Addison (Eric Bana) and his sister Liza (Olivia Wilde) make it out alive but their driver is not so lucky. Addison kills the first cop on the scene while Liza stuffs a bag full of the scattered money they just stole from a casino. They decide to split up as they each attempt to make it across the border. Addison ends up killing his way through the woods and Liza uses her looks to secure a ride with Jay (Charlie Hunnum) to his family’s cabin near the border. It is Thanksgiving and he is going to see his mom (Sissy Spacek) and dad (Kris Kristofferson) despite their strained relationship. Problem is Jay just got out of prison and may have accidentally killed a former business partner who refused to give him the money he owes. Addison faces some obstacle himself with the police after him investigating the murder of the trooper he killed. Despite the wishes of her father / police chief  (Treat Williams), among the search party is the very capable Hanna (Kate Mara) who just so happens to be old friends with Jay and his family.

Believe it or not, there are even more side stories and important characters that I’ve chosen to excise for time. Yes, the film is convoluted. Yes, it has moments of needless complications and mass coincidence. Yes, it can be a bit campy and has heavy-handed moments that feel a bit forced. Yes, the fairly incestuous relationship between Addison and Liza is a bit weird. Yes, the insanely sexist attitudes within Hana’s police department feel horribly outdated. Yes, I’m starting to see why some people didn’t like this film after typing all that.

But none of that really matters because DEADFALL is damn fun. And the single biggest aspect that will suck you in and keep you watching no matter how ridiculous things get is Eric Bana. If this film came out before KNOCKED UP, this would be the movie they were all toasting to in the nightclub. Eric Bana’s performance is brilliantly twisted and wildly unhinged without ever going too far over the top. Addison is a badass who does some truly awful things with a wink and a smile. The film has plenty of other great things going for it like some wonderful visuals, thrilling action set pieces, the beautiful Kate Mara, and unnecessary Olivia Wilde nudity. But the only real reason you need is ERIC F***ING BANA!

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: ANY DAY NOW

ANY DAY NOW may have a story that seems fitting for a Movie of the Week but that doesn’t change the fact that it is a incredibly well crafted film full of surprisingly powerful performances. Paul (Garret Dillahunt) is a closeted District Attorney and Rudy (Alan Cumming) is an aspiring singer currently working as lead in a drag performance at a gay bar. When Rudy’s negligent junkie neighbor ends up in jail, he looks after her son Marco (Isaac Leyva), a teenager with Down syndrome. Family Services places Marco in a foster home but Rudy soon finds him wandering the streets and takes him in once again. With temporary custody approved by Marco’s mother, Rudy and Paul begin raising him as their own. But when it is discovered Rudy and Paul are not cousins but a gay couple, they face a harsh legal battle to keep Marco in the safe and loving family environment they created for him.

Garret Dillahunt is probably best known for continuing the long-standing tradition of hilarious TV dads on Fox’s RAISING HOPE. I do not watch the show nearly as often as I’d like but he is consistently funny whenever I do. I haven’t noticed him in much else so it was a very pleasant surprise to see that just like Bryan Cranston (another former scene-stealing TV dad), Dillahunt is just as gifted a dramatic actor as he is comedic. He has a strong presence in the film and some truly great chemistry with the equally talented Alan Cumming. This may be Cumming’s best performance to date or at least his most powerful. Newcomer Isaac Leyva is truly captivating as Marco, almost immediately forming a deep connection with the viewer.

Travis Fine also deserves much praise for his expert handling of this story. Not only does he prove himself a very capable director but his writing is sharp and full of emotion. Credit for the script also belongs to George Arthur Bloom who originally wrote it over 40 years ago, which was the basis for Fine’s rewrite. It can be extremely difficult to find the right balance of humor for a film like this but the light touches throughout feel completely natural and welcomed. The only time I was a little caught off guard was the introduction of Don Franklin as a quite comical lawyer who shows up in the third act. At first he seemed to walk in from a different movie but he actually adds a lot of necessary levity that eases us into the finale.

The film takes place in the 70s but its underlying themes are just as relevant today. Full of fantastic performances, this is certainly a film that will have some buzz around it come Awards season. As someone who tends to avoid movies that require a box of Kleenex with ticket purchase, I cannot recommend this movie enough. Go see it, even if you are a cold heartless bastard.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: THE GIANT MECHANICAL MAN

THE GIANT MECHNICAL MAN was a bit of a letdown for me. While enjoyable as is, the film never lives up to its full comedic potential, which is a real shame considering the talent involved. In a role written to play to her strengths, Jenna Fischer is the confused, mild-mannered Janice who finds a job selling grape drinks at the zoo. Apparently the zoo is a beacon of hope for the unemployed because this occurs the day after Tim (Chris Messina) walks in and instantly gets a job there after his girlfriend dumps him. (Seriously, is it really that easy to get a job at a zoo?) Tim also has an interesting hobby / side job of painting himself silver, wearing stilts and walking around as the titular Giant Mechanical Man. A friendship forms between the two just as Janice’s overbearing sister (Malin Ackerman) tries to set her up with a motivational speaker / author played eerily well by Topher Grace.

TGMM is a romantic-comedy that tries to be a lot deeper than it really is and that is where it falters. It works best when dealing with the rom-com aspects of the story but gets weighed down by mostly unnecessary dramatic beats that feel too repetitive. I can’t help but feel like this film would have been far more entertaining if all the main characters were not so damn depressed most of the time. I also found myself wondering why Tim didn’t just tell Janice that he was the mechanical man after she not only mentions her respect for him but also visits him while he’s in character. It seems they were saving the revelation for a fairly anti-climatic finale although it probably would have been far more entertaining watching Janice cover up and ultimately explain (especially to her sister) that she’s dating the often-ridiculed street performer.

I guess the fact that I am still wondering what could have been means there was enough substance actually in the film to hold my interest more than a week after watching it. With that in mind, I’ll recommend giving TGMM a chance. It is worth watching at least once anyway if only for Topher Grace’s crazy good take on a motivational speaker or Rich Sommer as his biggest fan.


Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: YOUR SISTER’S SISTER

With a title like YOUR SISTER’S SISTER, I was expecting to see something more along the lines of a Nicholas Sparks or Danielle Steel adaptation rather than the truly hilarious and heartfelt sort-of romantic-dramedy it turned out to be. Jack (Mark Duplass) has had a rough time dealing with the death of his brother, which happened exactly one year ago. Jack’s best friend / late brother’s ex, Iris (Emily Blunt), gives him the keys to her father’s remote cabin for a little alone time to relax and reflect on his life. Once there, he discovers Iris’ sister Hanna (Rosemarie DeWitt) is already staying at the cabin after ending a 7-year relationship with her girlfriend. After a drunken night of confession, Jack and Hanna sleep together only to be woken up the next morning by the arrival of Iris, who decided Jack shouldn’t be entirely alone after all. You may think you know where this is going but the film will still surprise you.

YOUR SISTER’S SISTER is done in the same loose and largely improvised style of Lynn Shelton’s previous films; however, it feels much more refined here. This is partly due to an upgrade in equipment but it also seems like Shelton has grown as a filmmaker both in terms of storytelling and visuals. True, there is not much story to work with but the three main characters are fully realized and a joy to watch, which is great considering they are the only ones on screen for the majority of the running time. Mark Duplass, Emily Blunt and Rosemarie DeWitt are all fantastic, bringing their roles to life with a naturalistic but never ordinary approach. Most of the comedy stems from their rapid-fire dialogue, which is equally witty and earnest.

The film is not without flaws but they are so minimal in comparison to all that it gets right. While the editing is fairly tight for this kind of style, there are a few moments that tend to linger on just a little too long, especially during a montage towards the end. Speaking of the end, I personally felt it concluded perfectly but those who prefer everything to be wrapped up may be upset when the credits begin scrolling. The story may not be the most original, nor are some of the situations, but the manner in which they are presented in makes it all feel fresh and authentic.

Despite being a fan of Shelton’s HUMPDAY and this film’s solid cast, I was just not really looking forward to seeing this. I really think the title played a large part in that but the less than riveting description found in the Tribeca guide probably didn’t help either. On the advice of several people at the festival, I gave the film a chance and I’m so glad I did. Not only was it one of the best films there but also one of the finest I’ve seen this year. IFC Films will be releasing the film next month and I highly recommend you make an effort to seek it out.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: JACKPOT

Oscar Svendsen (Kyrre Hellum) wakes up in a seedy strip club, underneath the body of a dead oversized stripper, and surrounded by cops. What follows is the story of how he got there told mostly through flashbacks while being investigated by a very thorough and incredibly compelling detective (Henrik Mestad). This is a tale of lottery, greed, corruption and fake recycled Christmas trees.

JACKPOT is bloody good fun, pure and simple. It is a pitch black Norwegian comedy that tosses around clever dialogue and dead bodies with glee. The structure is similar to films like THE USUAL SUSPECTS and there are familiar elements throughout, although it all still feels fresh and fun. Jo Nesbo’s writing is sharp and each character is a good mix of quirky and dangerous. Director Magnus Martens handles the material quite well and strikes a good balance of comedy, blood splatter and intrigue. There are some really great visual gags including some set up early that lead to fine payoffs later on. I’d rather not spoil any of them but my favorite is on display at the very end of the trailer below if you are curious. Personally, I suggest only watching the trailer up to the title card if even that far.

If this sounds at all like a film you want to see, I highly recommend seeking it out rather than wait for the (most likely) inferior American remake, which is always a strong possibility with films like this.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: EDDIE – THE SLEEPWALKING CANNIBAL

EDDIE – THE SLEEPWALKING CANNIBAL is a fun little dark comedy that will surely find a nice audience although it might not rise to a level of cult phenomenon that one might think based on the deliriously twisted plot. Lars Olafssen is a former well-known artist who lost his muse 10 years ago. Finally content with not painting anymore, he takes a small teaching gig in Koda Lake, Canada where he ends up also having to care for Eddie, a seemingly harmless handicapped adult played perfectly by Dylan Smith. Eddie was traumatized as a child by the death of his parents so he no longer speaks. He also has a tendency to wake up in the middle of the night, shed his clothing down to his tighty-whities and eat people while still asleep. This would be horrible if not for the fact that seeing Eddie’s carnage somehow triggers a creative response in Lars, leading him to start painting again.

One of the things I absolutely hate about movies set in the art world is that often people are depicted as creating their so called masterpiece and when you see the artwork, it is nothing special. A large part of EDDIE is Olaf’s paintings yet they are given the golden briefcase treatment, meaning we never actually see them. This is one of the many things the film gets right. It knows exactly what to show, as evidenced by the very brisk pacing and perfectly short running time. While the film may not always be nonstop hilarity or thrills, it is certainly never dull. I do agree with some other people’s sentiments that the film gets better the bloodier it becomes but I think the restraint from showing much gore at first works thematically as both Eddie and Olaf strive towards their magnum opus. There are a lot of other little details in the film that work equally well, such as the running joke of the radio DJ commenting on how each of the classical music pieces played throughout the film directly correlate to tragedy and scenes of death.

Rather than spoil any more surprises, let me just recommend checking out EDDIE when it finds some sort of a release. This is a damn fun film and despite the outlandish concept, it is easy to relate to especially for creative types. There’s no telling how far some artists will go to get their muse back…

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: FREE SAMPLES

I will throw myself onto the altar as a sacrificial lamb so that fellow critics much better than I do not fall prey to using the following super cheesy & painfully obvious opening statement in their future reviews of this film. Remember me as a hero…

Much like the parked ice cream truck Jess Weixler finds herself stuck in for the majority of the running time, FREE SAMPLES goes nowhere. Yes, I know that’s bad. It’s the sort of line your friendly neighborhood entertainment guru will say in his segment on the local news in attempt to be clever. Unfortunately it does perfectly apply to the film. Hungover and unsure of pretty much everything in her life, Jillian (Jess Weixler) finds herself working all day parked in a vacant lot handing out free samples of an ice cream-like substance to a cast of quirky characters. There are a few subplots including a distant “kind of” fiance, a quick-witted guy she met the night before (Jessie Eisenberg), and a friendship with an elderly patron (Tippi Hedren).

In the end, there is some very minor character growth but it is in no way a substantial arc. This would be fine if the journey was entertaining but even at 80 minutes, the film seems to drag its feet far too often. This is not the fault of the actors; everyone seems to do well with what little material they have to work with. Jess Weixler channels her inner Winona Ryder as the smart yet irritatingly bitchy Jillian and Jason Ritter seems to have fun as Wally. Jessie Eisenberg is on his game as a much more confidant version of the character we have seen him play many times before. Sadly many of the hilariously quirky characters that show up for free ice cream fail to be hilarious or even relevant to the story in any way. The jokes falling flat could be due to poor delivery but it is more likely due to the script that could have used a bit more love before cameras started rolling. There are a few really good moments, namely the ones with Jason Ritter and Jessie Eisenberg, but they do not appear nearly often enough to save this slow mess.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: DON’T STOP BELIEVIN: EVERYMAN’S JOURNEY

With a title like DON’T STOP BELIEVIN: EVERYMAN’S JOURNEY, one might expect a fairly cheesy music documentary that would only appeal to fans of the band. Instead we are treated to a fairly fascinating real life fairy tale where a struggling musician from the Philippines is chosen to be the new lead singer of world famous rock group he has been a fan of since he was a kid. Arnel Pineda had dozens of videos on Youtube of himself performing cover songs, including many of Journey’s biggest hits. Guitarist Neil Schon came across these videos while in the midst of searching for a replacement for their lead singer who was forced to leave the band for medical reasons. This documentary covers everything from Arnel’s initial auditions to the conclusion of their very first tour together as the new & improved musical juggernaut that is Journey.

DON’T STOP BELIEVIN is an inspirational film detailing Arnel’s struggles both before and after joining the band, as well as the subtle changes within the band after his inclusion. One of my favorite moments in the film came when he performed his first full concert in a crowded arena in Chile. Prior to going on stage, he is a wreck asking to go home but once the lights kick on, he owns the stage. Then afterward he is told not to go so crazy on stage because Journey’s music is not meant to be performed that way. He apologizes then tells the cameras that they will get used to it. Arnel really is just a captivating and entertaining presence who is a joy to watch.

My biggest and only real criticism is that the doc does feel its running time of close to 2 hours. There are plenty of little things that could be trimmed to tighten up the pacing although I’m sure Journey fans will want to see it as is. There will probably be some sort of editing depending on the type of release this gets even if just to remove the surprising amount of f-bombs dropped throughout. It also would have been nice to get the opinions of some former band members on the new lineup although I understand how that may not have been possible in some cases. Their absence is not really noticed while watching the film and is more of a curiosity I had after the credits rolled.

You don’t need to be a Journey fan to enjoy this film although you need to at least be able to tolerate them because their music is on constant rotation throughout the film. I would consider myself only a casual listener but I will admit that since watching the film, I thought about buying their greatest hits CD. Then I found out my dad already had one so I just borrowed it from him. Now that’s a scary thought, isn’t it?

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: RESOLUTION

Whichever distributor picks this film up is going to have a hell of a time figuring out the proper way to market this beast. RESOLUTION tells the story of Michael (Peter Cilella) who attempts to get his former best friend Chris (Vinny Curran) to leave the burnt out shell of a house he is living in and go to rehab. When Chris refuses, Michael handcuffs him to the wall and plans to wait the seven days it will take for the drugs to clear out of his system. During the course of the week, some strange characters show up including drug dealers, Indian reservation security, and members of a local cult. With Chris suffering from extreme withdrawal, Michael cares for him while piecing together various forms of media he finds scattered throughout the surrounding woods that seem to be hinting at a much bigger story. Oh, and it’s a comedy, albeit a fairly dark one. As I said, not an easy sell but I truly hope someone rises to the challenge because this film deserves to be seen.

Similar to THE CABIN IN THE WOODS in that it is a film that works best with the audience knowing as little as possible going in, I will not reveal anything else about the plot. If you are at least intrigued by the film, I suggest you don’t even watch whatever trailers they eventually release for fear of spoilers. I genuinely had no idea where the film was headed next and that is a rare feat nowadays. Full of clever twists and witty dialogue, the film culminates in what may be the most spectacularly meta ending in cinema history. I know the meta term scares some people but it really works in this film.

The script is sharply written by Justin Benson, who also did an equally fantastic job co-directing with Aaron Moorhead. Visually intriguing, utilizing interesting camera and editing techniques, the film has a great look and feel that really enhances the story it is trying to tell. Peter Cilella and Vinny Curran get the bulk of the screen time, which is great since they have excellent chemistry and are totally engaging to watch. These are really breakout performances for each of them and I look forward to seeing more of them in the future. I am also looking forward to future collaborations between Moorhead and Benson because these guys seriously know what they are doing.

Not that this means anything but of the 18 features I saw, RESOLUTION is my favorite film of the 2012 Tribeca Film Festival.

http://vimeo.com/28909207

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: TAKE THIS WALTZ

TAKE THIS WALTZ opens with a fun little meet-cute between Margot (Michelle Williams) and Daniel (Luke Kirby) who soon find out they are actually neighbors. This is unfortunate because Margot is (un)happily married to a chicken cookbook author played by Seth Rogen. I write it that way because although she doesn’t seem happy most of the time, none of her reasons seem solid enough to justify why she is so upset with her life. At one point she goes into a rant to which Seth Rogen asks what the f— she is talking about, as if speaking for the entire audience. Perhaps it is my slight man-crush on Seth Rogen but he seems like a pretty good husband to the often childish Margot. She is simply just bored of her everyday routine, which is what leads to a growing fascination with the shiny new toy that is Daniel.

But all new things get old eventually. That isn’t spoiling anything by the way. It is pretty much the running theme of the film since it constantly beats you over the head with this message throughout the bloated running time. This grows increasingly more frustrating leading up to an ending that feels more like a series of alternate endings played in succession. Repetition is apparently the name of the game. This may have been a stylistic choice by writer / director Sarah Polley since the film plays out in a steady stream of highs & lows and reoccurring themes much like Margot’s life. However, if that is the case, it just didn’t work for me. It is too bad though because there are some truly great aspects to the film.

Visually the film is stunning in terms of direction, cinematography, locations and even the color palette. This film just looks fantastic and it is often paired with a wonderful soundtrack that adds greatly to the feel. Everything really comes together perfectly for a scene in which Margot & Daniel go on the spinning Scrambler ride while “Video Killed The Radio Star” blasts on the radio. It is a fantastic sequence that says so much without any dialogue. It just works on so many levels, which is part of what makes the film so frustrating. There are moments like this that work so well but they are thrown off by so many other scenes that don’t. One other scene worth noting is an absolutely hysterical segment that has Margot and her sister-in-law (Sarah Silverman) attending a seniors water aerobics class, which was probably one of the funniest moments of any film playing at Tribeca this year. Speaking of Sarah Silverman, she and Seth Rogen really step up to show they have serious dramatic chops in addition to perfect comedic sensibility.

In the end, there is enough good in the film that I wouldn’t tell anyone to avoid it but I wish they found a way to say more with less.

http://vimeo.com/40636873

Jerry Cavallaro – @GetStuck – JerryCavallaro.com