OFFICIAL COMPETITION – Review

Antonio Banderas as “Félix Rivero” and Penelope Cruz as “Lola Cuevas” in Mariano Cohn and Gastón Duprat’s OFFICIAL COMPETITION. Courtesy of Manolo Pavon. An IFC Films release.

In the satiric comedy OFFICIAL COMPETITION, Penelope Cruz and Antonio Banderas star as an auteur director and international action star, both with egos the size of Montana, who are hired by an aging wealthy businessman intent on financing a big, award-winning hit movie as a vanity project. The humor is pointed and wits are sharp, as wealth, egos, art and particularly movie-making come under the comic guns of Argentinian co-directors Gaston Duprat and Mariano Cohen in this hilarious Spanish-language satire.

As he turns 80, millionaire businessman Humberto Suarez (Jose Luis Gomez) decides he needs a monumentally big project to leave a lasting legacy. But what should be choose? A bridge designed by a famous architect bearing his name? A charitable foundation? No, a movie is more a sure thing – but a big, prestigious, award-winning one, one that is both a work of art and an enduring icon of cinema, helmed by a famous director and starring a famous movie star. Oh, sure, no problem with that.

The millionaire hires renowned auteur director Lola Cuevas (Penelope Cruz) to lead the project, and she casts international action movie megastar Félix Rivero (Antonio Banderas) along with the theater’s most revered stage actor Ivan Torres (Oscar Martinez), to play warring brothers in an adaptation of a international bestseller. The actors have never worked together, and in fact come from different worlds in acting schools of thought. They both bring big egos and wildly different ideas about acting to the project. Add in Cruz’s manipulative director, who eggs-on each and foments tensions, all to get the performance she wants, and clashes and comedy are guaranteed.

Penelope Cruz sports an impressively wild mane of frizzy red hair, hair that wears her more than the reverse, and lives in an aggressively modern glass-and-concrete mansion at the end of a long and winding road, both signals of the kind of ego we are dealing with here. The wealthy businessman financing this project only cares that the film is both prestigious and famous, and when the director shows him the book she wants to use for the film for his approval, the businessman confesses to not being much of a reader. After her meeting with the money, and having established she has free rein and a blank check, the director invites the two actors to her sparely-furnished mansion, to meet, to do cold readings and rehearse. That’s where the fun really begins.

Hollywood may love movies about movie-making but the Spanish- language comedy OFFICIAL COMPETITION is more a skewering and roast of the industry than a toast. This smart comedy actually focuses mostly on the pre-shoot preparation, as the director and actors explore the characters and rehearse, a period rarely depicted but rich in possibilities for conflict and comedy – with hilarious results. While the clash of acting theories and actors themselves gets special treatment, no aspect of the film industry really escapes OFFICIAL COMPETITION’s sly wit, as the skewering extends to the excesses of wealth, art pretensions, and battling big egos all around.

Of course, a movie about how actors act had to be catnip to the cast, and Penelope Cruz, Antonio Banderas and Oscar Martinez deliver terrific performances while seeming to having a great time. Penelope Cruz and Antonio Banderas especially seems to have great fun with the banquet of material in this twisty, smart comedy. The film is full of hilarious scenery-chewing, out-of-control one-up-manship, and ridiculous behavior as well as sharp observations and satire, as the two very different actors, one an internationally famous action movie star and the other a revered theater legend and professor, try to top each other, and the manipulative director stirs the pot.

The film delves into real acting techniques, and real disputes between schools of acting, which actually makes it all the funnier and sharper. The techniques of the director to get the performance she wants from her actors may seem extreme, even outlandish, but may not by as far out there as one might think, if some tales about film-making trickery might be believed.

We get scene after scene of craziness and humor that ranges from broad comedy to sly satire. No one and nothing escapes the knife-sharp swipes and biting humor of Argentine co-directors Gaston Duprat and Mariano Cohen. The directors, who previously co-directed “The Man Next Door,” “The Distinguished Citizen,” “My Masterpiece,” and “4×4,” thought there already were plenty of films about what can go awry while shooting a film but none on the absurdities that can happen as actors work through how they are going to play their part. And they do indeed find comic gold in that vein, although having this splendid cast is part of their lucky strike.

OFFICIAL COMPETITION is a lot of fun, but especially so if you appreciate the art of acting in the movies or theater. Each of the characters has his/her own agenda, including securing their legacy. The action star wants to prove he has serious acting chops, the theatrical star wants wider fame and to prove his ideas about acting are better, the director wants to win awards and prestige, and all are ready to do nearly anything to get what they want. While there is a kind of showdown between the two acting styles, the two actors never directly confront each other, instead each trying outdo the other, conspiring with the director against the other, or undermining what the other actor is doing. Meanwhile, Cruz’s director listens, but discretely pulls the strings.

If you like satire and behind the scenes of movie-making, the hard-hitting, hilarious OFFICIAL COMPETITION is a winner.

OFFICIAL COMPETITION, in Spanish with English subtitles, opens in theaters on Friday, July 1.

RATING: 3.5 out of 4 stars

CLOUDS OF SILS MARIA – The Review

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The “metacinema” is a small but ever-present category of films that span all genres, typically are of a smaller, art house or independent scale of production and typically are also hit or miss. Metacinema, for the sake of this review, is loosely defined as a film presented as a story about its own production. These films, albeit possible, are usually not documentary, but are presented in a way that can seem based in non-fiction. For this reason, some viewers find them confusing or distracting. Some of these films are rather pretentious, while others are quite groundbreaking.

CLOUDS OF SILS MARIA falls somewhere safely between pretentious and groundbreaking on the scale of successful metacinema filmmaking. Truth be told, this is not actually a true example of metacinema, as its not a film about its own production. However, it is a film about an actress preparing for a major role in a play and the insecurities she has in connection with the play, her career and her stage in life.

Juliette Binoche plays Maria Enders, a popular but aging actress who must face an uncomfortable reflection of herself when she reluctantly agrees to taking part in a revival of the play that kick started her career 20 years prior. In the revival, however, she plays an older character, while a much younger rising actress named Jo-Ann Ellis (played by Chloe Grace Moretz) takes on the role Maria played 20 years ago. Struggling to connect with her current role and still emotionally attached to her original role, Maria must face the young actress and herself and embrace her place in time.

CLOUDS OF SILS MARIA is set within the Swiss Alps as she and Valentine, her personal assistant, travel by train to attend a tribute to the playwright and director that gave Maria her break, only to have tragedy strike and alter their plans. Having made the journey into the mountains, Maria and Valentine decide to make the most of it and prepare for her role. What ensues is a rather surreal, often uncomfortable blending and blurring of reality and rehearsed performance that juxtaposes the two throughout the two women’s time in the mountains.

Valentine, played by Kristen Stewart, provides a sort of balancing reality check for Maria, who is far too caught up in her own drama to focus herself on the role. Maria needs Valentine, not only to organize and plan her daily life, but also to challenge and force her to delve into her role, no matter how it makes her feel. Stewart gives a surprisingly deft and articulate performance, carrying much of the philosophical workload for the film. Stewart trademark persona is still present, but it takes a backseat to the script’s strengths and to her veteran co-star who outshines her, despite Stewart’s commendable portrayal.

CLOUDS OF SILS MARIA is written and directed by Oliver Assayas. As is typical of his past work, Assayas still proves to be a writer filling the role of a filmmaker, delivering though-provoking stories with strong characters. Aside from the most obvious dilemma of dealing with one’s own aging and sense of losing relevance, some other smaller but related themes pop up as well. There is a thread of generational and cultural gaps that runs through the film, represented by Maria and Valentine. One of my favorite scenes occurs when the two are having drinks together and discuss a new big budget superhero science-fiction blockbuster in the works and their difference of opinions on the topic. Valentine thoughtfully supports and defends the underlying nature of the genre and its themes while Maria can only laugh and mock the over-the-top, often cheesy superficial appearance of the genre, which she clearly discredits.

Continuing this string of underlying subsurface themes, Maria gradually proves herself to be the quintessential self-indulgent elitist, the type who is concerns with herself and her own life before all else. Manners and compassion for other matter only when convenient for her, but these less desirable traits are subtle and not forthright enough to make her a villain, only occasionally uneasy to like. On the other hand, there are moments when the generational and cultural gap present themselves in reality as well as fiction. For example, when Maria and Valentine take a dip in a lake amongst the mountains, its the aging, not as fit as she once was Binoche that strips down to her full birthday suit, whereas the younger and still more conventionally desirable Stewart who chooses to swim in her panties and bra. This is not to say she should have stripped down as well, but what does this say about the generational and cultural difference in how we see ourselves? I do not believe this was a choice by the character, but rather by the actors.

CLOUDS OF SILS MARIA ultimately proves to be an interesting, if somewhat uneven character study that occasionally gets lost within itself. Accompanied by a score that is curiously engaging and eclectic and some immensely beautiful scenic landscapes, the film is certainly not a disappointment, but also does not quite live up to its own potential.

Overall Rating: 3.5 out of 5 stars

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TRUST ME – The Review

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Clark Gregg may not be a household name now, but that will soon change. Undoubtedly best recognized as the loveable Agent Phil Coulson, Gregg has captured the hearts of comic book fans by perfectly personifying the character on the big screen in movies including THE AVENGERS, THOR and IRON MAN, as well as on the small screen in the Agents of S.H.I.E.L.D. television series. In retrospect, it could be said that making your name in such big blockbuster movies would pigeonhole an actor, but TRUST ME is proof that such tried and true assumptions are always subject to exceptions.

The truth is, when you are as multi-talented as Clark Gregg, you become nearly impervious to the typical industry stereotypes. TRUST ME is a film as fascinating behind the scenes as it is a fascinating story, but you can do your own Google search to read about the making of the film. A truly indie film that maintains studio production value, TRUST ME is a dark comedy with a touching dramatic flair. Clark Gregg stars as Howard Holloway, a former child star turned Hollywood agent for child actors. Fulfilling one minor legendary stereotype, Howard struggles to regain that sense of importance and fame vicariously through his young clients. The trouble is, he hasn’t enjoyed any notoriety since he was 15 years old and at the top of his acting game.

Poor Howard is truly a good guy, sometimes slightly misguided, but ultimately holds true to having the proverbial heart of gold. TRUST ME is a film whose central character is repeatedly pummeled by misfortune and bad luck. As an audience, we feel every single scrape and blow as if it were our own. Howard is one of those underdog characters we cannot help but empathize with and root on, no matter what the odds. From the very beginning of the film, Howard gets stepped on, most frequently and cruelly by his arch nemesis Aldo Shocklee, played by Sam Rockwell with a marvelously subdued flamboyance. Aldo, fulfilling the film’s other primary stereotype, is a successful big shot agent with deep pockets and absolutely no ethical code of conduct. Howard finds himself constantly in battle with Aldo, having to defend each of his rarely acquired clients from Aldo poaching them with more money, extravagant gifts and outlandish promises.

Lydia, played by Saxon Sharbino, is a promising 14-year old actress being groomed by Howard for a new romantic fantasy franchise based on a popular series of books. A major studio has tapped Ang Lee to direct and has eyes for Lydia, but Howard stumbles upon some secret family issues that may not only threaten Lydia’s chances, but also change Howard’s own perspective on his purpose in life. Sharbino is a rising young star with a short but surprisingly diverse and impressive resume. She has that quintessential girl next door appeal, but has the flexibility to shift into complex dramatics on a dime, exerting what appears to be minimal effort in making it look and feel natural. This plays a pivotal significance in the film’s third and final act as the truth about her character is revealed.

The relationship that develops between Howard and Lydia is honest and rich with depth of character, even if it does ultimately prove destructive. Gregg is absolutely compelling, given an opportunity to explore a more textured role than superhero movies can allow. Gregg nurtures this relationship between Howard and Lydia, resulting in a sweet and dangerously innocent chemistry between the two actors. TRUST ME is a film driven by honest performances, enhanced by Clark Gregg’s personal touch both in front of and behind the camera. Gregg not only stars in the film, but also wrote and directed the film, making it a tremendously important notch on his journey of becoming a respected and influential storyteller.

Consider this… how many creatively successful films can you name that have the same name credited as writer, director and star? Charlie Chaplin’s CITY LIGHTS. Orsen Welles’ CITIZEN KANE. Woody Allen’s ANNIE HALL. Sylvester Stallone’s ROCKY. Clint Eastwood’s UNFORGIVEN. This is a small list, and by no means complete, but when you consider the members of this rather exclusive club, it’s a pretty amazing accomplishment to be included. If this isn’t enough to convince an audience to seek out this relatively small film, perhaps you may be convinced by TRUST ME’s supporting cast that includes Amanda Peet as Howard’s love interest, Felicity Huffman as the studio’s executive producer, Allison Janney, Molly Shannon and William H. Macy. TRUST ME, this film aims to please and hits the bull’s eye.

TRUST ME is available May 6th, 2014 through Video On Demand and iTunes, with a limited theatrical release scheduled for June 6th, 2014.

Overall Rating: 4 out of 5 Stars

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NYCC 2011: Brian O’Halloran Interview

On Saturday I had the pleasure of interviewing actor Brian O’Halloran. He is best known for playing the character of Dante in Kevin Smith’s CLERKS & CLERKS 2. He also recently appeared in BRUTAL MASSACRE and the upcoming CALENDAR GIRL. He was at the New York Comic Con this weekend signing autographs and agreed to an impromptu interview. We talked about the convention, theater, horror films and more. He even offered some great advice for indie filmmakers. After he interview, I ended up hanging around the booth another 15 minutes talking with him and some other fans who stopped by. Check out the full interview below!

Jerry Cavallaro – www.JerryCavallaro.com