Kaitlyn Dever – We Are Movie Geeks

NO ONE WILL SAVE YOU – Review

Wow, can you believe that Halloween will be here in just over five weeks? Oh yes, it’s time to get in the mood with a creepy thriller mostly set at night but stretches well past dawn. Okay, we’ve got some of the essentials for a modern “chiller-Diller”. There’s a big house near the woods, far away from any neighbors. Check. Its sole occupant is a single young woman. Double check. Naturally, there are eerie shadows passing by the windows at night, accompanied by strange noises. Yup, a hat trick! Must be a distant cousin of Jason or Michael. Let’s put the brakes on, because this menace is much more sinister…and otherworldly. Now if he (or it) could “use its words”, I’m sure it would utter a variation of this dire warning to the home’s solitary occupant: NO ONE WILL SAVE YOU.

This modern “terror tale” begins in that swell country house just at the edge of a forest at around daybreak (much like a Thomas Kincaid painting print). It’s another quiet morning for twenty-something Brynn Adams (Kaitlyn Dever), the only resident of the place. Strolling into the front yard, coffee in hand, she notices an odd bare spot in the lawn, resembling a crescent. Strange, but not as weird as her postman, who tosses a big box at her mailbox (nix on a porch drop off). Seems pretty cruel. At least its contents weren’t damaged. It’s the newest miniature shop addition to her expanding tiny toy town display. Then it’s off to her sewing machine to finish a dress, wrap it, and stuff it into a large manilla envelope. With that and another package, she drives her SUV to the main street of her “picture perfect” nearby village. Oh, but there are no friendly waves or “hellos” from those on the sidewalks, only stares and hushed comments. After popping her mail in the boxes in front of the post office, it’s off to the cemetery for a picnic lunch…at her mother’s gravesite. When Brynn notices some mourners gathering down the trail, she quickly gathers her basket and drives home. Following writing a letter to her old friend Maude, a few minutes practicing ballroom dancing to an old LP, and a nice dinner (with plenty of vino), it’s bedtime. Brynn’s slumber is soon interrupted by odd noises and fleeting shadows across the windows. These aren’t caused by kids pulling a prank, or burglars. The silhouette in the moonlight reveals the outline of a creature she’s never seen. This “thing” takes out the house’s electricity, shuts down the car, and disables the phone (yes, she’s got a landline). Can Brynn evade it or will she have to fight for her life? And what if it’s not alone?

What may seem like a very simple story is elevated by the bravura performance of the gifted Ms. Dever. Though she’s recently made a name for herself in the area of light comedy (“Last Man Standing” on TV, BOOKSMART and ROSALINE on the big screen), Dever builds on the dramatic gifts she spotlighted in early works like SHORT TERM 12. Mind you, she was a terrific “team player” in those efforts and has a few supporting players here, but this is foremost Brynn’s story. She’s in almost every scene and Dever confidently carries the film, drawing us into the sheltered life of this young woman. In the opening scenes, Brynn appears to be a quirky eccentric with interests more fitting of a person two or three times her age. Miniatures? Ballroom dancing? But from Dever’s wide eyes and bright smile, she conveys the joy these unique hobbies bring her. It’s not until the “outsiders” intrude that her inner struggle begins to seep in. Brynn appears to be content in that big two-story house all to herself until she leaves the driveway and gives a hesitant wave to a neighbor, who merely sneers. How will she ever get a dance partner? Brynn’s a woman of mystery until she’s thrust into the role of “scream queen” and “action heroine”. Dever superbly shows us the panic in her eyes, soon tempered with her survival instincts. We can almost hear her brain going into overdrive, pushing past the raw shock, and scrambling for weapons or a hiding spot. Coupled with Dever’s athleticism we’re made to feel as though we’re sprinting right alongside her, as she encounters each new threat. Oh, and she does this with perhaps only a handful of words.

That’s right, there are only two or three lines of dialogue in the whole film, essentially making this a modern “silent movie”. Imagine the Best Picture Oscar winner THE ARTIST mixed with the classic Twilight Zone episode “The Invaders”. Plus there’s a big element of mystery at the story’s core. Just what happened to make Brynn an outcast, a despised pariah, in this Mayberry-like burg? And this backstory isn’t ignored once Brynn’s fighting for her life. It all comes together smartly thanks to the script and direction of Brian Duffield, in only his second feature (after several screenplays). Sure, there are “jump scares”, but they feel “earned” and not cheap tactics to keep us awake. Also, the unexpected twists and turns in the plot keep us guessing from scene to scene. Luckily Mr. Duffield has enlisted an army of talented craftspeople, from the sound crew to the special effects team, to the skilled art department who have enhanced the classic look of the aliens (culled from years of “abduction” testimonies) and made them the “stuff of nightmares” (these are some evil ETs). All abetted by the cinematography of Aaron Morton and a riveting music score by Joseph Trapanese. Some may be put off by the lack of dialogue and the big “open for interpretation” finale, but those last moments should spark some interesting post-viewing conversations. That won’t happen outside the multiplex, unfortunately. Like two films that premised on this app last year, PREY and BOSTON STRANGLER, NO ONE WILL SAVE YOU is most worthy of a theatrical release. Catch it now, then perhaps savor it with some leftover candy as Halloween dies down.

3.5 Out of 4

NO ONE WILL SAVE YOU is now streaming exclusively on Hulu

TICKET TO PARADISE – Review

Still Photography on the set of “Ticket To Paradise”

Hmmm, now this is something pretty rare. The two films I’m reviewing for this weekend have a few things in common, “subject-wise” (y’know, aside from being in color, being a “talkie”, etc.). This too concerns an estranged couple reuniting for a non-holiday event. With RAYMOND & RAY, it’s about two stepbrothers having to travel to their dad’s funeral, while this new release is about an estranged (long-divorced) parents having to travel to their daughter’s wedding. And it’s not a two-hour car trip, but a rather long flight to an exotic island. Oh, and the former marrieds are played by Oscar-winning Hollywood royalty, or about as close as you can get to that. Plus it’s their fourth flick acting opposite each other (fifth if you count when he directed her). So lots of moviegoers are hoping that their chemistry is still potent as they go to their multiplex box office, or more likely its website, to purchase a TICKET TO PARADISE.

In a bit of a switcheroo, the story begins with the main couple still apart. Each is telling their best buddy about how impossible it was to live with the other (with widely different riffs on their meeting, courtship, etc.). This all leads back to them being “pulled back in” by their only child Lily (Kaitlyn Dever). She wants them both in attendance for her law school graduation ceremony and assures them that their reserved seats will be in distant sections of the auditorium. So the big day arrives and …David (George Clooney) begrudgingly takes his place right next to his ex Georgia (Julia Roberts). Then the duo takes their daughter, along with her best pal/college roomie Wren (Billie Lourd) to the airport for her post-grad “vacay” to Bali. Her parents heave a sigh of relief as the ladies enter the gate, knowing they won’t have to endure each other for a loooong time (or so they hope). Lily and Wren have “tons o’ fun” until they get separated from their tour group while snorkeling. Luckily the long swim to shore is avoided when they spot a boat. And the luck keeps rolling along as Lily is immediately smitten by their rescuer, a hunky young seaweed farmer (there’s such a thing) Gede (Maxime Bouttier). Soon she’s contacting her folks again to invite them to her “destination wedding” to him. And, wouldn’t you know it, they get booked in the same section, on the next flight to the island. Plus (talk about a “co-inkee-dink”), the pilot is Georgia’s much-younger French “bae” Paul (Lucas Bravo). When the duo arrives they cease their bickering long enough to agree to join forces to stop this too-hasty nuptials (she’s throwing away her law career, darn it). But can these former feuding lovers really work together, or can true love really triumph against such formidable forces?

So the best description of the acting style of the two leads may seem like an insult, though it’s certainly not my intention. As the film progressed I feel as though Ms. Roberts and Mr. Clooney were, well, …coasting. It’s not that they weren’t making any effort, but rather they’re so confident and “at ease” with their screen personas that they were just going “with the flow” feeling that their audience will follow their path. This certainly was the case for many classic screen pairings of the “Golden Age” such as William Powell and Myrna Loy or Spencer Tracy and Kathryn Hepburn. It’s not just that their characters engage in playful sniping at one another. In a couple of sequences, they talk about the dissolution of their married union with remorse and regret. And their uneasy alliance results in some truly awful behavior. Yet somehow the screen personas of the two can elevate even the frothiest of premises. This audience goodwill carries over a bit to their screen sibling as Dever scores many laughs in the ingenue”second-gen” role. She’s engaging, but it feels like a bit of a “step back” after her “take charge” snarky smart turn last week in the Shakespearian farce ROSALINE, which far fewer people will see since it went straight to Hulu. Dever delivers, but the role is no challenge for her skills. Happily, she’s often paired with Lourd as Wren who brings some much-needed off-kilter energy as the rom-com cliche, the “hard-partying” frisky BFF. Speaking of another rom-com cliche, the very photogenic Bravo gives the thankless role of Paul, the “Baxter” who’s not much of a romantic threat, though his best efforts make him more sweet and endearing than this clueless doofus deserves. As for the groom Gede, Bouttier is the required gorgeous and way-too-understanding “dreamboat” who’s got a boat.

Another rom-com vet is at the helm, namely Ol Parker who last gave us the MAMMA MIA sequel. Oh and he co-wrote this with Daniel Pipski, it took a “tag team” to concoct this “lighter than air” trifle. Again, this is not meant as a “burn” as many will enjoy this while in their cushy multiplex recliner, but the plot specifics will probably evaporate from the brain during the ride home. Well, you may ponder a trip to Bali as it’s eye-poppingly beautiful here, though much of it was actually shot in Queensland, Australia (a good ad here for their own travel industry). This may be the best current example of an “auntie” or “grammy” movie as it’s a way to treat a relative to a matinee that won’t upset them (or tax the noggin), despite a blink and you’ll miss it “F-bomb”. The back-and-forth snipping between the leads gets tiresome, but it just goes to prove how powerful, and forgiving, the chemistry and charisma of these two movie icons are. They’re truly the reason why many fans will believe their theatre stub was a TICKET TO PARADISE.

2 Out of 4

TICKET TO PARADISE is now playing in theatres everywhere

ROSALINE – Review

(L-R): Kaitlyn Dever as Rosaline and Sean Teale as Dario in 20th Century Studios’ Rosaline, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Hey, it’s getting pretty close to movie award season, so what better time to, as they sing in “Kiss Me Kate”, “Brush Up Your Shakespeare”. Now, don’t think that you’re doing homework, since this new film delves into one of the Bard’s classics. Yes, it can be fun even though the cast isn’t singin’ and dancin’ up a storm as in WEST SIDE STORY. Whoops, let the “cat outta’ the bag” with that last aside. Yet, it’s a different take on the tale from what’s been shown so many times before. This new “twist” builds itself around a minor character, much as with Rosencrantz and Guildenstern from HAMLET (who got their spin-off story). Oh but in this one, the title character was only mentioned, never seen in the iconic love story. Finally, we’ll get the “dirt” on the former “bae”. Now everyone will learn that before Juliet, Romeo was romancing ROSALINE.

This film begins on a balcony overlooking Verona as Romeo Montague (Kyle Allen) proclaims his adoration for…Rosaline (Kaitlyn Dever). But much like that other story, this is a forbidden romance as she is also a Capulet. The following morning her dreams of him are interrupted by her Nurse Janet (Minnie Driver) who must get her lady ready for Lunch with a potential suitor her father Adrian (Bradley Whitford) has arranged. Once again, she scares off another much-older rich dullard, annoying papa. Rosaline needs her Romero, yet when he drops the “L-bomb” (as in love) on her later that night, she’s gobsmacked into silence. This prompts a hasty exit from him, though she implores him to join her at the next day’s masquerade. Ah, but another suitor is on tap in a few hours, though this one’s much younger and easier on the eyes. Ex-soldier Dario (Sean Teale) has planned a meal as part of the cruise in his modest boat. Though she gives him a chilly reception, their banter is spirited. Still, she needs to get to shore for the party just as a raging storm erupts. Meanwhile, a masked Romeo searches in vain for Rosaline until he bumps into Juliet (Isabela Merced) and those sparks ignite. Oh, and to make matters worse, she’s Rosaline’s visiting cousin. The next day she sees Romeo on the path to her balcony. Oh oh, he’s veering off to the left…to where? Rosaline follows and catches him locking lips with…ya’ know. After her letters to him go unanswered, Rosaline makes it her mission to bust up those lovebirds. So, she’s doomed to fail….or just maybe….

Carrying the whole enterprise is the snarky, sassy comic performance from Dever which matches her terrific work in BOOKSMART. She’s the audience surrogate in the opening sequence easing us from the flowery speech of the classic play into modern slang and vernacular, though Dever can confidently “talk all fancy”. Dever’s Rosaline is a brilliant whirlwind easily trouncing all the dolts who would put her in “her place”. But there’s still a tender vulnerability to her as she realizes her ideal might not be the “real deal”. And that first love, Romero, is played with “surfer dude ‘tude” by the cluelessly comic Allen. It’s no surprise that he’s distracted by the adorable Merced as the naive starstruck Juliet, who almost floats on a cloud of desire when she speaks of her dreamy paramour. On the other hand, Teale is firmly rooted in his budding interest in Rosaline, never folding before her witty asides, though often bemused by her frantic schemes. Also hiding his amusement at her is Whitford as the irritating but somewhat proud pop. Christopher McDonald is a much-different Capulet daddy, a pompous blowhard constantly duped. Spencer Stevenson scores lotsa’ laughs as Rosaline’s utterly fabulous pal Paris, while Driver displays a flair for deadpan exasperation as the Nurse who gets little respect from the hierarchy. Also turning in funny supporting work are Nico Hiraga, the message delivery guy who seems to always be high, and Alistar Toovey as Tybalt, who never drops his sneering squint.

Generating the energetic pace running on this romp is director Karen Maine, who keeps “all the plates spinning” with skill. Wait a minute, romp? Yes, well there are a few liberties taken with the Bard’s work in the clever screenplay by Scott Neustadter and Michael H. Weber which adapts the YA novel “When You Were Mine” by Rebecca Serle. The period wardrobes are almost as gorgeous as the Italian scenery doubling for Verona. And the comedy is enhanced by the expert selection of bouncy 70s and 80s pop tunes on the soundtrack. Those familiar with the source material will watch with a knowing smile and many chuckles, while this could prove to be a great introduction for the younger set, as it’s hard to think of a more teen-friendly gateway into Shakespeare than the engaging whip-smart “firecracker” called ROSALINE.

Three Out of Four

ROSALINE is now streaming exclusively on Hulu

20th Century Studios’ ROSALINE, exclusively on Hulu. © 2022 20th Century Studios. All Rights Reserved.

DEAR EVAN HANSEN – Review

(from left) Connor Murphy (Colton Ryan) and Evan Hansen (Ben Platt) in Dear Evan Hansen, directed by Stephen Chbosky.

And a week later we’re back in the messy, stress-filled, anxiety-inducing halls of high school in this new film. Oh, this has songs too, since it’s also based on a musical produced for the stage. But that may be where the similarities end (well, Daddy’s not running the house). EVERYBODY’S TALKING ABOUT JAIMIE is set in the UK, Sheffield specifically, with a lead character who’s fairly happy, though he yearns to follow his drag diva dreams. Across the pond, in the US in an unnamed sunny suburb (probably in the West, with mostly Atlanta, again, based-locations), this title character (he gets his full name, though) doesn’t really have such long-term goals. He’s just trying to “push on” while remaining essentially invisible to his classmates. Oh, and this tale tackles life and death issues, really. Plus it was a big Tony winner back in 2015. And all the songs and drama stem from a letter that opens with DEAR EVAN HANSEN.

Actually, those are the first words we see, on a computer monitor. Nervous, always anxious Evan (Ben Platt) is completing the daily assignment given to him (along with a prescription for lots of meds) by his therapist. It’s a letter to himself, a sort of written “pep talk’, pushing him to assert himself and strive for positivity. He’s interrupted by a phone call from mother Heidi (Julianne Moore) who has to work later at the hospital (she’s gotta pick up shifts since her hubby went AWOL years ago). Soon Evan arrives for the first day of his senior year of high school. He dashes to the gym where he helps run the audio system for the big “welcome assembly” alongside old “family friend”, the snarky Jared (Nik Dodani). As usual, Evan pines for the band’s cute guitarist, Zoe (Kaitlyn Dever). Unfortunately, Evan runs afoul of her sullen brother Conner (Colton Ryan) in the computer room. After writing his name in huuuge letters on Evan’s arm cast, Connor snatches up Evan’s daily letter from the single printer. Incensed at the mention of his sister in it, Connor storms off with the letter. Days later, Evan is called into the principal’s office where he meets Connor’s distraught parents, Cynthia (Amy Adams) and Larry (Danny Pino). It seems their son took his own life and the only note found was Evan’s stolen letter. Cynthia believes it was written by Connor and that he and Evan were “secret” BFFs. In an effort to give them some comfort, a flustered Evan lies. This lie leads to others as he and Jared compose more “fake” emails for a “fake” secret online account. Soon Evan is coming over to Cynthia’s home, mostly to be closer to Zoe. But things get more complicated when the very popular Alana (Amandla Sternberg) approaches Evan about raising funds for a suicide prevention program dubbed “The Connor Project”. When his speech goes viral, Evan finds himself drowning in a sea of deception. Can he stay adrift or will he be dragged down in the depths of (well-intentioned) deceit?

Reprising his Tony-winning role, Platt easily works past the media speculations about his “aging-out” of the seventeen-year-old (hey look at most teen TV dramas from a few decades ago) and is achingly believable as the awkward, twitchy Evan. His social awkwardness is expertly conveyed by Platt’s body language as he walks stiffly with shoulders haunched and arms never veeringly far from the torso. This also heightens his musical numbers as his confident singing makes up for his character’s stunted verbal skills. As his fib grows we see him start to blossom (thanks to Zoe, perhaps), occasionally lashing out (poor mum), but that “skittish mouse” is always there, especially when the “social walls” begin to close in. As Zoe, Dever projects a lot of the rebellious, but still accessible “cool kid” vibe as she delves into her complex family issues (at the dinner table she’s the unfiltered “voice of truth”). As for the main adults, Adams as Cynthia is vulnerable and somewhat fragile as she uses the “letter’ as a lifeline that will soften her grief, holding on to a fantasy of her son with her last bit of strength. Pino as Larry tries to be the “solid anchor’ for the floundering family, but he’s trying to push down his own feelings of anger at rage (over Connor, but mainly directed at himself). Though she’s absent (dashing through the hospital) for most of the tale’s midsection, Moore is strong but somewhat oblivious as the frazzled, but proud Heidi, who truly thinks her son has defeated his past demons (and Moore does well with her solo song). Sternberg is quite compelling as the high school “joiner” and organizer whose bright smile is her shield against her own insecurities as she and Evan bond over their mood-altering meds. Ryan, in a pivotal role with little screen time, ably handles the different “versions” of the volatile Connor, truly scary in hisreal encounter with Evan, and endearing as Cynthia’s “fantasy” of a sweet devoted pal. And luckily, Dodani generates some much-needed levity as the cynical Jared, taking the “p#*%s” out of his “bro” at nearly every turn.

The direction from Stephen Chobsky (best known for helming the movie of his YA novel THE PERKS OF BEING A WALLFLOWER) is very creative, exposing little of the material’s “stage roots’, while “opening up” the story and making it a bit more intimate, as the camera can focus in on the main characters. He eases the action into the musical numbers with few bombastic bits of flourish. Plus he makes great use of montages in order to bring us into the “viral world”, which is as important a setting as the school or Zoe’s opulent home (or Heidi’s modest two-bedroom tract house). Unlike the aforementioned JAIMIE, there’s not an abundance of flashy dance numbers (“Sincerely, Me”, a fantasy duet with Evan and Connor comes close), which aid in showcasing the clever songs by Justin Paul and Dan Romer (LA LA LAND). The screenplay from Steven Levenson (another Tony winner)aptly explores the social hierarchy of high school while also touching on economic class clashes (Evan likes the “swanky digs” at Zoe’s), though the third act (like many stage shows) feels a bit lacking in its denouncement, especially as Evan “faces the music” while trying to achieve a somewhat hopeful finale’.I kept harkening back to a much darker, though similar in subject teen comedy/drama from 2009, Bobcat Goldthwait’s WORLD’S GREATEST DAD, which is an underrated gem with a messier, but more compelling conclusion. The final moments aside, this is one of the better stage adaptations with soulful songs and a stellar cast giving the flick a real emotional punch. DEAR EVAN HANSEN delivers its heartfelt message both dramatically and musically, one that should resonate with all ages (and hopefully lead to some needed family discussions).

3 Out of 4

DEAR EVAN HANSEN opens in select theatres on Friday, September 24, 2021

THEM THAT FOLLOW – Review

Opening this weekend is a film about the members of a bizarre religious cult, who put themselves in dire danger, even risking death, at their services and meetings. What country is the home of such fanaticism, urging heavenly forces to protect them as they stare down doom. Most likely a faraway land, perhaps in an underdeveloped impoverished nation? Nope, this new film is set in the world of “serpent-handling” a religious rite that sprang up in this country, the U.S. of A in the last century, mainly in isolated rural communities. Most states have outlawed these rituals, but that doesn’t stop many congregations from gathering in secret locations to test their faith by scooping up rattlesnakes. So, is this film an investigative documentary, full of “hidden camera” footage? Actually, this is a family drama, focusing in on a forbidden love triangle. With hissing snakes. That weird world is the setting for THEM THAT FOLLOW.

Deep in an isolated village in the Appalachian mountains, we meet hard-working teenager Mara (Alice Englert), who runs the tiny house of her widowed papa Lemuel (Walton Goggins), the pastor of the local, secretive snake-handling church. One day Mara and her best pal Dilly (Kaitlyn Dever) hitch a ride into town, supposedly to get cleaning supplies at the general store run by one of the church elder, “Sister” Hope (Olivia Colman). But while Dilly distracts her, Mara swipes a “home pregnancy” kit. She’s promised to one of the young men that her father mentors, fervent “true believer’ Garret (Lewis Pullman). Unfortunately, she has stronger feelings for Hope’s agnostic son ‘Augie’ (Thomas Mann). And the test proves that the two have acted on those feelings. However, Mara continues with the engagement rituals with Garret, hoping that no one will learn of her secret. But what happens when she and her undercover lover are to have their faith “tested” by deadly venom-filled fangs?

A talented cast struggles to bring some urgency to this often muddled script. Lead actress (and relative film newcomer) Englert endeavors to bring out the conflicted nature of the passive Mara. We see her averting her eyes, trying to hide her “shame”, but Englert is able to express Mara’ inner torment (and passion) through her less repressed interactions with pal Dilly and lover (on the “way-down low”) Augie. Luckily Goggins brings some much-needed energy to the lethargic plot as a very believable charismatic (perhaps that’s the “sect”) Lemuel. But it’s in the quieter moments, at home staring at the wine bottle he wants to open when we see the character’s real turmoil. His spouse’s death has left a hole in his heart that no amount of study and sermonizing can fill. It’s a shame Goggins isn’t in a better flick. One of the big draws here is the first big-screen role for Colman since her surprising Oscar win a few months ago for THE FAVOURITE. But Hope is a dour character, admonishing the “young ‘uns” with the sourest expression. Ultimately that works when she exhibits a shocking compassion for the “unclean”, though later her devotion may prove very costly. In an offbeat bit of casting, comedian Jim Gaffigan is paired up with her as hubby Zeke (really, right outta’ “Snuffy Smith”), who has little to do till the gruesome final scenes (he’s the more affable “elder”). Dever, so enchanting this Summer as half of the BOOKSMART duo is regulated to supportive “sidekick” whose main function is to be a “sounding board” for Mara when she not providing alibis. As for Mara’s suitors, Pullman is so stiff and shy we secretly hope for the inevitable “breakout”, much like his BAD TIMES AT THE EL ROYALE “time bomb”. Mann, playing the only real voice of reason and logic, as Augie mainly dashes around in his pick up, until a “bombshell” makes his character do a most abrupt “180” to add an extra bit of much-needed suspense to the last act.

Written and directed by the team (really, it took two) of Britt Poulton and Dan Madison Savage, the film squanders what could be an engaging exploration of belief and faith. Everything looks authentic and lived in, especially Lemuel’s nearly falling apart cottage (maybe more of a shack), but very little of what happens in those settings is compelling. There’s scant passion in the love triangle, so we’re biding our time for the scaly co-stars to deliver on the promises of the marketing department (the trailer and posters have a 1980’s exotic Natassja Kinski vibe). Plus, little is made of the cult’s hiding from the law. Lem and Garret gasp when a state trooper vehicle pulls up from behind them, but the authorities seem to be turning a “blind eye” (though Garret “takes the rap” in one bit of exposition). The subject could have been thought provoking drama or slithery “grindhouse” thrills, but THEM THAT FOLLOW fails to really sink its teeth (fangs) into moviegoers. Hssss, indeed.

1.5 Out of 4 Stars

BOOKSMART – Review

You don’t have to be a genius to get through high school and into a great college. There’s not a specific mold one has to fit into to advance in life. Smarties can be losers, stoners can excel, and jocks aren’t always jerks. BOOKSMART presents these labels and more, and just as quickly, shows off how in 2019, the John Hughes 80s-movie stereotypes don’t apply. And much like actress-turned-director Olivia Wilde, you can defy the expectations set out for you.

Olivia Wilde directs a raunchy comedy from the modern, high-school girl perspective in the spirit of SUPERBAD and CAN’T HARDLY WAIT with a healthy dose of BROAD CITY thrown in. Despite the unoriginal premise of the “final party before high-school ends,” the screenwriters (a team of four talented women) prove that you don’t need an original concept when you’re making a clever and laugh-out-loud statement about stereotypes and high-school tropes. You just have to beat them at their own game. And between Wilde’s carefree confidence behind the camera and the writing team’s admiration for the characters, it’s no wonder that BOOKSMART is one of the best high school stories put on screen.

Amy (Kaitlyn Dever) and her best friend, Molly (Beanie Feldstein), are ready to move on to two of the top schools in the country. While their intentions may be good, their elitist attitude towards this achievement quickly vanishes when they learn all of their classmates are also going to top schools despite what their appearance and weekend partying may signify. This leads the duo to prove that they are also brainy and fun, like the rest of her classmates. There’s just one catch: they need to figure out where’s the big house party that takes place the night before graduation.

Kaitlyn Dever and Beanie Feldstein lead this comedic freight-train that barely takes a minute to breathe through the breezy 97 min runtime. Their presence on screen and the love they extend to the characters make the constant jokes feel much more natural than it sounds. The two have dynamic and infectious chemistry that you feel in every scene, leading to one of my favorite comedic duos in recent memory.

More than most high-school films, the supporting characters are just as important (even a throwaway character is the crux to the entire conclusion of the film). These characters accentuate the themes and aren’t just roadblocks in the way of our leads’ end goal. In fact, many of them have just as strong arcs by the end of it. Billie Lourd is fantastic, playing a Puck-like character (one of a few Shakespearean allusions in the film) that mysteriously pops up throughout the film for some off-kilter fun. But its the quirky bond between the strong, feminist duo that provides most of the heart and humor in the film.

While many films depict the lives of high schoolers as narcissistic, callous, and lacking any sense of what the “real world” is like, Olivia Wilde offers a softer and more sensitive lens to her characters. Their high school revelry, including trashing the hallways on the final day of school and rowdy late night parties, is depicted without judgment (albeit, with a strong knack for slo-mo flare set to some amazing pop songs). Unlike SUPERBAD and other high-school comedies, the struggles of the two leads aren’t trying to get booze or laid – they simply want to have their voices heard. In the end for Amy and Molly, it’s telling their respected crushes how they feel and also to prove a point to their classmates that they can have fun too. But it’s much bigger than that. As the feminist references and jokes throughout the film remind the audience, it’s making an enthusiastic statement at a time when it’s needed most. The two “nerds” at the center of the film don’t need to follow the rules to get through life, just as the woman at the helm of the film doesn’t have to stick to the book when it comes to teen comedies. And that’s what makes it smart.

Overall score: 4.5 out of 5

BOOKSMART opens in theaters May 24

DETROIT Poster Features John Boyega, Anthony Mackie, Will Poulter And Algee Smith

Annapurna Pictures has just released a new poster for director Kathryn Bigelow’s DETROIT.

Check out the poster which features John Boyega, Anthony Mackie, Will Poulter, and Algee Smith.

You can see even more of the incredible ensemble cast in “Detroit | The Cast of Detroit”

From the Academy Award winning director of THE HURT LOCKER and ZERO DARK THIRTY, DETROIT tells the gripping story of one of the most terrifying moments during the civil unrest that rocked Detroit in the summer of ’67.

John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Kaitlyn Dever, Jack Reynor, Ben O’Toole, Joseph David Jones, Ephraim Sykes, Leon Thomas III, Nathan Davis Jr., Peyton Alex Smith, Malcolm David Kelley, Gbenga Akinnabve, Chris Chalk, Jeremy Strong, Laz Alonzo, Austin Hebert, Miguel Pimentel, Kris Davis, with John Krasinski and Anthony Mackie star.

DETROIT hits theaters everywhere August 4, 2017.

Visit the site: http://www.detroit.movie/

Get A First Look At Kathryn Bigelow’s DETROIT Poster And Trailer

Annapurna Pictures has released the first trailer for the upcoming film DETROIT.

From the Academy Award winning director of THE HURT LOCKER and ZERO DARK THIRTY, DETROIT tells the gripping story of one of the darkest moments during the civil unrest that rocked Detroit in the summer of ’67.

The huge cast features John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Kaitlyn Dever, Jack Reynor, Ben O’Toole, Joseph David Jones, Ephraim Sykes, Leon Thomas III, Nathan Davis Jr., Peyton Alex Smith, Malcolm David Kelley, Gbenga Akinnabve, Chris Chalk, Jeremy Strong, Laz Alonzo, Austin Hebert, Miguel Pimentel, Kris Davis, with John Krasinski and Anthony Mackie.

Annapurna Pictures, founded by Megan Ellison, has garnered a total of 32 Academy Award nominations for their projects, including ZERO DARK THIRTY, JOY, THE MASTER, FOXCATCHER, and THE GRANDMASTER. Ellison is also one of only four honorees ever to receive two Best Picture nominations in the same year, with HER and AMERICAN HUSTLE both earning nods in 2014.

The company is also in production on Paul Thomas Anderson’s untitled new period film starring Daniel Day-Lewis and is developing the film adaptation of Maria Semple’s WHERE’D YOU GO, BERNADETTE, to be directed by Richard Linklater.

Annapurna’s most recent projects include Mike Mills’ 20TH CENTURY WOMEN, which was nominated for two Golden Globes and earned Mills a Best Original Screenplay Academy Award nomination, as well as SAUSAGE PARTY, WIENER-DOG, and EVERYBODY WANTS SOME, with THE BAD BATCH set for release by Neon in 2017.

DETROIT hits theaters everywhere August 4, 2017.

Visit the site: http://www.detroit.movie/

MEN, WOMEN & CHILDREN – The Review

The modern world is both complicated and yet very simplified. One on one conversations and the work that is required to converse in person with someone has been replaced with email or a quick text message. An expression of deep sadness or eternal gratitude has been replaced by an emoji icon. Even a feeling that is specific to you in that very moment has been replaced with universal acronyms like WTF or OMG. These are all instances of how life has become inanely simple, but where the complication comes into play is how so much is lost in translation. Communication is a defining part of our humanity and yet it has become secondary (or even less) to other factors in our busy lives. We are all running around with our head down in our own bubble. Because of this the modern world can be seen as a rather cold and unwelcoming place.

Jason Reitman does more than just show you this side of the world with his new film MEN, WOMEN & CHILDREN; he practically slams your face repeatedly into the digital screen as to wake us up to a very real problem. His adaptation of Chad Kultgen’s novel of the same name is as unsubtle as I assume the source material is. This is Reitman’s fourth adaptation of an original novel and his track record proves he is drawn to material that is loud and proud. THANK YOU FOR SMOKING, UP IN THE AIR, and now this all leave any form of subtext at the door. The message here seems that technology has created a rift in our everyday lives. But in telling a story about how emotionless and distant we have become with one another, Reitman has in fact achieved his goal by giving the audience what he wanted to showcase but maybe not the experience he exactly intended – a herd of mindless drones that we don’t actually care about.

In a way that recalls the work of Robert Altman, the film revolves around a large cast of… yes, you guessed it… the title is indeed correct. Several families and their subsequent problems are interweaved with one another. Adam Sandler plays a father and husband that struggles to connect with his wife and kids and turns to an escort that he found online for solace. Judy Greer plays a mother who encourages her daughter’s modeling career through overly sexual photo shoots that she orchestrates and posts online. Ansel Elgort and Kaitlyn Dever play two high school teens who form a connection despite their parents pulling them in different directions; Elgort is feeling the guilt of quitting the football team in favor of focusing on his online Warcraft-esque game and Dever is dealing with an overly protective mother played by Jennifer Garner who reads and monitors her daughter’s Facebook profile and text messages. All of this and so much more are spotlighted in a tech trendy manner with a dash of “classic” narration by Emma Thompson – in a role that seems only to stroke the ego of screenwriter and novelist Chad Kultgen.

Having such a large and diverse cast does mean that there are going to be some standouts amongst the rest. Elgort and Dever as the star-crossed lovers deliver a very real and believable relationship, even if sparks aren’t exactly ignited. The same could be said about the relationship between Dean Norris and Judy Greer. Norris in particular carries a level of heartache in his scenes that feels genuine even if it is just another dramatic element for Reitman to overstress.

MEN, WOMEN & CHILDREN is a dreary drama that sticks to its style at the cost of the audience’s enjoyment. Reading text messages and Internet searches across the screen become tiresome, and seeing one note characters shamble through their unhappy lives is indeed quite a drag. Aside from a scene where one of the characters is getting her photo taken, I’m almost certain no one actually smiles in the film. The same could be said about the audience. I’m all for a heavy relationship drama. I love characters that have to overcome a problem with their significant other or with a friend or foe. However, good drama rests entirely on characters successfully interacting with one another while simultaneously engaging the audience. When you have a film where the basis of the story is about these artificial connections, how are we supposed to connect with them if they can’t even connect with each other?

Overall rating: 2 out of 5

MEN, WOMEN & CHILDREN opens in wide release this Friday, Oct. 17

Jason Reitman’s MEN, WOMEN & CHILDREN Gets A Poster

Check out the official poster for Jason Reitman’s MEN, WOMEN & CHILDREN. Starring Kaitlyn Dever, Rosemarie DeWitt, Ansel Elgort, Jennifer Garner, Judy Greer, Dean Norris, and Adam Sandler, the movie will have a limited release starting October 1st and in theaters nationwide October 17th.

MEN, WOMEN & CHILDREN follows the story of a group of high school teenagers and their parents as they attempt to navigate the many ways the internet has changed their relationships, their communication, their self-image, and their love lives. The film attempts to stare down social issues such as video game culture, anorexia, infidelity, fame hunting, and the proliferation of illicit material on the internet.

As each character and each relationship is tested, we are shown the variety of roads people choose – some tragic, some hopeful – as it becomes clear that no one is immune to this enormous social change that has come through our phones, our tablets, and our computers.

MEN, WOMEN & CHILDREN is based on the novel by Chad Kultgen, with a screenplay by Jason Reitman & Erin Cressida Wilson.

From Paramount Pictures, the film will make its world premiere during the Toronto International Film Festival.

Official site: http://www.menwomenchildrenmovie.com

Facebook: Facebook.com/MWCmovie
Twitter: Twitter.com/MWCmovie
Instagram: Instagram.com/MWCmovie

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