Tag: saint louis

SLIFF 2010 Review: FAT CITY

Review by Stephen Jones

While it hasn’t aged as poorly as some films from the same era, FAT CITY feels very much of its own time. The whole time I was watching it, I was reminded of 70’s staples “The Last Picture Show” (which also starred Jeff Bridges) and “Five Easy Pieces.” “Fat City” isn’t quite as good as either film, but it has the same formless sort of vibe that permeated a lot of films of the decade. But while “The Last Picture Show” and “Five Easy Pieces” had substance, “Fat City” just feels like it’s meandering a lot of the time.

I think the main problem is that it’s hard to tell whose movie it’s supposed to be. The first big scene is with Jeff Bridges and Stacy Keach, and the rest of the film is mostly split between the two. That’s fine, except the Jeff Bridges story is fairly plodding, and seems to have more screen time than the Stacy Keach story. The Keach story has all the big moments and scenes, and is better overall, which just makes me wish that it had been the primary story of the movie, with the Bridges part maybe trimmed down to the B-story.

Stacy Keach does a great job as Tully, an old boxer looking to get back into the sport, paralleling Bridges’ equally good performance as the younger, optimistic boxer. Susan Tyrell as Oma, Tully’s alcoholic girlfriend, was nominated for an Oscar for her performance. But the performance that stood out as the highlight of the film for me was Curtis Cokes as Earl, Oma’s boyfriend at the beginning of the film. Surrounded by scrappy young boxers and drunken histrionics,  Cokes has a scene with Keach that was refreshingly plain and soft spoken.

As a look back on the era, or for people who haven’t seen much in the way of 70’s movies, “Fat City” would be interesting to see in the theater. Generally, though, I wouldn’t call it worth going out of your way to see.

FAT CITY will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 14th at 1:00 pm and 4:30 pm in the Young Hall Auditorium on the Lindenwood University campus. These screenings are FREE.

Actor Stacy Keach will be in attendance. The 1:00 pm  show will feature a clip reel of highlights from Keach’s storied career, the presentation of the Lifetime Achievement Award, and an interview with Keach conducted by Riverfront Times theater critic Dennis Brown. The 4:30 p.m. show will feature a Q&A with Keach.

SLIFF 2010 Review: DANIEL AND ABRAHAM

Review by Stephen Jones

DANIEL AND ABRAHAM  is a surprisingly impressive three-man show. Director Ryan Eslinger co-wrote with stars Gary Lamadore (Abraham) and David Williams (Daniel), and the three of them filled out the rest of the crew positions. Aside from some minor details – some dodgy sound mixing, plus Daniel’s beard looks a little too groomed for being in the woods for over a week – that bugged me just a little, the film mostly worked. The whole time, though, once it got going, there was something that felt off about it that I couldn’t shake.

I was enjoying the movie well enough, there weren’t any parts I disliked, something just wasn’t working. It wasn’t until I thought back on it in order to review it that I was able to put my finger on what the problem was. Each individual scene is quite good. Well acted, pretty scenery, et cetera. The problem is that the scenes – good as they are – don’t quite fit together. There are some scenes of immense tension that are fine in the moment, but the preceding scene didn’t begin to justify it. Everything only really works within the moment, not in the context of the film as a whole.

Some of that may have to do with the film’s short running time. At a trim 74 minutes, they seemed to be rushing toward the conflict between the two men.  If the movie were just a little longer, there may have been more time to build up to the bigger scenes. I understand that with only two characters, the film runs the risk of dragging the longer it gets, but it seems like they were in too much of a hurry to get to the good stuff.

Having said that, DANIEL AND ABRAHAM is never boring, and certainly never outright bad. As I said, the individual scenes are well done; Lamadore does a very good job as Abraham, and the trio make fantastic use of the Catskill mountains as their location. There’s a particularly memorable montage halfway through the film of Daniel trying to fend for himself without Abraham’s help that will definitely register with those of us who are what you’d call “indoorsy.” Overall, DANIEL AND ABRAHAM is definitely worth checking out.

DANIEL AND ABRAHAM will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 14th at 1:15 pm at the Tivoli Theatre.

SLIFF 2010 Review: ONE LUCKY ELEPHANT

“I’ve always wanted an elephant.” These words are spoken by David Balding — the former guardian of Flora — an African elephant for which Saint Louis’ own Circus Flora was named. Having adopted Flora as a young orphaned elephant, he developed a strong and caring relationship with her and turns her into the star of his circus.

ONE LUCKY ELEPHANT is a charming documentary that begins with David having a bittersweet epiphany, that as much as he loves Flora, she is getting older and needs to be retired from show business. The film follows David’s search for a suitable new home for Flora, but David finds out this is not only like watching your child leave home for good, but that the process is far from smooth.

First considering a return to Africa for Flora, David searches for a sanctuary where Flora will be safe and happy. ONE LUCKY ELEPHANT documents David’s emotional nine-year journey. Flora is an elephant that has spent most of her life with humans, isolated from other elephants, making the transition complicated, but David refuses to give up on the strong bond he’s forged with Flora, even after he relinquishes guardianship.

ONE LUCKY ELEPHANT delves into the psychological effects of such a relationship, both on Flora and David. The film combines a great deal of storytelling from Flora’s current life with archival footage and interviews with David Balding, his wife and others who have worked with Flora. The interviews are incredibly sincere, at times painfully honest, but director Lisa Leeman does a fantastic job of capturing the authentic human emotions of both David and Flora.

In the end, ONE LUCKY ELEPHANT is a testament to how great things can evolve from terrible incidents, with baby Flora having witnessed her mother killed in front of her, then being adopted and cared for by David. At the same time, this is a film that questions the ethics of holding wild animals in captivity, regardless of how well they are cared for. For animal lovers, this film is both fascinating and heart-breaking, but definitely worth seeing, whether or not you’re a native of Saint Louis.

ONE LUCKY ELEPHANT will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 5:45 pm at the Hi-Pointe Theatre.

SLIFF 2010 Review: WAITING FOR FOREVER

Review by Mike Gregory

WAITING FOR FOREVER  is the story of Will (wonderfully played by Tom Sturridge), a drifter with a long love for
Emma (Rachel Bilson), and what happens when he meets her after years apart.

This is a low-key film that tugs at the heartstrings, but director James Keach can’t decide whether
this is a fantasy or a realistic drama. By trying to do both at the same time, he deals a serious
blow to his film. The film flows very well for most of the running time, but the final third is
where it begins to fall apart.

The performances are very strong. Tom Sturridge gives a star-making performance as Will.
Will is a dreamer who is guided by his heart, and only his heart. He’s the kind of guy who
sincerely believes John Lennon’s famous quote: “All you need is love.” Will is living in a
fantasy world that he created, and the film implies that he may have underlying psychological
problems; nevertheless, he’s virtually impossible not to like. As Emma, Rachel Bilson is
adorable. It’s not hard to understand why Will is in love with her (or thinks he is). The other
important performance is Jim, Will’s realistic older brother. Jim, played by Scott Mechlowicz,
has grown up, gotten married and all that. He’s matured while Will hasn’t. Mechlowicz has a
tricky role. We view him as a jerk because he’s telling Will the hard truths about life, but he’s
also right. Bit performances by Richard Jenkins, a miscast Nikki Blonsky (Tracy from the movie
musical of “Hairspray”), and an uneven Blythe Danner round out the supporting cast.

As wonderful as this film is, the film’s final third is mishandled, and for a movie that’s only 90
minutes long, that’s a large portion of it. I don’t want to give anything away, so I won’t say what
happens, but by not tipping the scales either way, he has gotten himself into a corner and as a
result, the ending is unconvincing. I almost decided the film wasn’t worth going out to see, but
the bottom line is that I really enjoyed this film, regardless of its faults, and that’s the bottom line.

WAITING FOR FOREVER will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 7:00 pm in the Winifred Moore Auditorium on the Webster University campus.

SLIFF 2010 Review: WELCOME

Review by Mike Gregory

The title of the powerful and provocative drama WELCOME  is steeped in irony; apparently, the US isn’t the only country with immigration issues. Regardless, Philippe Lioret’s stark drama puts a face on
the issue, and it doesn’t matter that it takes place in France; the themes are still relevant.

Bilal (Firyat Ayverdi in a stunning debut) is a Kurdish teen who wishes to go to England to
marry his girlfriend from back home. After failing to cross the first time, he attempts to swim
the English channel with the help of a swim coach, Simon (Vincent Lindon).

The performances are superb and the characters are engaging and sympathetic, which is more
than can be said for many films (even serious dramas). As Bilal, Ayverdi is incredible. This
is the kind of performance that can really only be given by a novice performer, and that’s what
makes it so unique. Bilal is intelligent but naïve; he thinks the world is a lot simpler than it
actually is, and while this kind of character has been dealt with in the movies before, there’s
no sense of artifice in Ayverdi’s understated portrayal. Vincent Lindon gives an Oscar-worthy
performance as the swim coach (the chances that he will get any recognition are slim to none
because the film hasn’t been picked up for distribution as of yet by a studio). This is a man who
takes the huge risk of helping this refugee because after his divorce, he feels like he has nothing
to lose. The film wisely doesn’t explain what he gets out of it, however.

This is a truly remarkable film, but the narrative gets a little choppy at times. In high-end
dramas, it’s not uncommon to find a narrative that makes the mind fill in the blanks. It’s almost
always a stylistic choice, and when used effectively, it can enhance the material. However, there
are times in this film where it doesn’t work, and it pulls the viewer out of the story (however
briefly). Nevertheless, this is a film that is a must see for any serious filmgoer.

WELCOME will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 1:30 pm and Sunday, November 14th at 8:30 pm at the Plaza Frontenac Cinema.

SLIFF 2010 Review: SUICIDE DOLLS

Review by Dana Jung

Disney fans who are used to seeing actress Christy Carlson Romano as the consummate Disney mean girl in such fare as CADET KELLY, the CUTTING EDGE sequels, EVEN STEVENS, and the voice of KIM POSSIBLE may be shocked at her performance in SUICIDE DOLLS, showing at SLIFF. The talented Romano gave hidden depth to many of the stereotyped Disney good/bad girl roles, but in SUICIDE DOLLS, she does a complete 360 as the foul-mouthed, drug-addled high-schooler Amber who, with her best friend Jade (LaQuita Cleare, also one of the film’s producers), is contemplating ending it all.

Giving themselves one day to record a video diary and do some things for the last time, the girls basically sit around talking, complaining, arguing, and generally baring their souls. Both have problems, both think they have nothing to live for, and both lean on each other for comfort and support. These two young women could almost be the girls of THIRTEEN grown older, if not wiser.

Director Keith Shaw, an experienced AD in films and television, keeps things moving nicely in a dialogue-heavy film. The story unfolds in non-sequential fashion, inter-cutting different episodes from the girls’ past with the present day. We see how they first meet in a charming scene, we see the family issues at the root of some of their emotional problems, etc. Screen time is pretty evenly divided between the two, however, Romano dominates the movie in every scene she’s in. With her unconventional dark good looks and always-present hoodie, Romano shows how good she might have been as Lisbeth Salander in the DRAGON TATTOO series. When Jade asks if she’s worried about going to Hell after committing suicide, Amber replies flatly, “I’m already in Hell” And you believe her. Amber’s final moments onscreen are as harrowing and raw as it gets.

Unfortunately, the script, by first-time writers Charissa Gracyk and Gillian Perdeau, hits every teen suicide cliche and then some, including sexual abuse, HIV/AIDS, broken homes, drug and alcohol abuse, and more. Though at times it crackles with wit and real emotion, many scenes & plot-lines, such as Amber’s relationship with her stoned-out mother (the ‘Sheila monster’) just don’t ring true. While earnest, this approach (along with its somewhat cop-out ending) ultimately gives the project an After school Special vibe. But with Romano’s powerful performance guiding it, SUICIDE DOLLS is elevated to a memorable movie experience.

SUICIDE DOLLS will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 4:30 pm at the Tivoli Theatre.

SLIFF 2010 Review: WOMEN WITHOUT MEN

WOMEN WITHOUT MEN is told from the point of view of four women. The time is Iran 1953 and there is political unrest and unrest of another kind brewing. Munis is a 30 year old unmarried woman living in her brother’s house. He wants her to marry but she does not want to marry. Munis is very upset and concerned about the events that are transpiring in her country. She is glued to the radio for news. Faezeh is Munis friend. She is love with Munis brother but he is going to marry someone else.

Farrokhlagha is a 50 year old woman unhappy in her marriage to a military man. She realizes just how unhappy she is when she encounters an old beau who has come back to Iran from the west. Zarin is a prostitute who is numb to life until she looks up and sees a man without a face at her bedside. Zarin flees from him, her life and the city; she stumbles upon an orchard as a refuge. Farrokhlagha  is longing to escape her marriage and decides to buy an orchard. Thus Farrokhlagha and Zarin’s life intersect.  Munis is bound to help the cause for her country’s freedom and in the wake of her quest her friend is raped. Somehow Munis knows about the orchard and she delivers Faezeh there. The three women find friendship and solace there. The unrest in the town is becoming more and more violent until the violence spills over into the orchard.

This film reminds me of Ingmar Bergman films; there is lots of walking through bleak landscapes aimlessly. The landscape seems to play off of the events that are occurring in the town; more unrest, bleaker landscapes. The film is interesting in that it reveals the repeat of history; a lone girl (Munis), in a mob, protesting the government which leads to a death and the allusion to more current events. The film is slow going in spots but the portrayal of the women and the men that they interact with is very telling about the society. The film is interesting to watch and the visuals are beautiful. The film was nominated for the Golden Lion Award and won for The Silver Lion Award and UNICEF at the Venice Film Festival.

WOMEN WITHOUT MEN will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 7:15 pm and Sunday, November 14th at 4:45 pm at the Plaza Frontenac Cinema.

SLIFF 2010 Review: THE BRITISH IN BED

If you’re going into THE BRITISH IN BED thinking you’ll be treated to a XXX-type exploitation type film (maybe Benny Hill romps too racy for TV), then you’ll be a bit disappointed. On the other hand, you may be delightfully surprised by this simply made documentary that explores relationships via eight diverse couples. They differ in age, ethnicity, and sexuality, but all speak candidly from the comfort of their cozy boudoirs.

We first meet Alf (84) and Miriam (74) who have been married for 49 years. As he explains their life, she tends to throw in little wisecracks , while he is lightly amused. At the other end of the spectrum  there’s a young black couple, Khadijah (17) and Tariro (18) who have been together for a few months and seem still a bit tentative with each other. One of the more colorful couples is Peter (67) and Rumy (48) whose great desire for each other is tested by her Eastern European family (particularly a teenage daughter from her previous marriage). Mo (52) and Pete (53) married 52 years seemed to have grown up together and share a tissue as they tear up talking about the loss of a newborn twin and contending with her medical issues. Harismrren (26) and Jujhar (28) talk openly of their attraction for each other (surprising since they seem to be part of a culture that usually suppresses such talk). Irene (52) and Danny (76) married 52 years openly talk of his need of medical help to sexually perform. A gay couple, Sam (23) and Dean (21) give their definition of infidelity. The most candid couple may be Chris (49) and Jessica (53). She believes that he has lost desire for her, while Chris ties to convince otherwise. Jessica admits to a lack of paternal instinct and now lavishes her attention on beading and her many pets. I’d be interested to know if they were able to work through these problems.

The film was shot simply with long establishing shots of the couples sitting up in bed and addressing the camera. Occasionally we will see a close up of them holding hands and shots of the rest of their homes (kitchen, framed pictures) and the exteriors of their bedroom windows.There’s no film making breakthroughs here, but you might enjoy spending an hour with these couples and their takes on relationships British style.

THE BRITISH IN BED will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 5:15 pm at the Plaza Frontenac Cinema.

SLIFF 2010 Review: THE MOTHER

THE MOTHER is a documentary set in the heartland of Russia. It is a strikingly beautiful portrait of a three-year period of a woman’s difficult life. We are introduced to the main character on a train ride through the countryside. She is reflecting on her life as you see the landscape slip by; her escape from an abusive husband, her work and how she raised her many children in the midst of extreme poverty and deteriorating health.

The harshness of this woman’s life is played out in the interactions that she has with other members of the dairy co-op and between members of her immediate family. But, through all of the misery and hard work, the woman’s strong determination to keep her family healthy and happy prevails.

The director’s use of scenery and imagery convene more than the surroundings, they also show the overpowering harshness and brutality of the environment, but through it all this woman’s love and concern shine for her children. I enjoyed this film very much. The film was nominated for best documentary in 2008 by the European Films Award and by the Swiss Film Prize.

THE MOTHER will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 1:00 pm at the Tivoli Theatre.

SLIFF 2010 Review: BOMBER


Review by Dane Marti

Directed by Paul Cotter, this U.K./U.S. co-production is possibly my favorite of the recent films I’ve seen for the festival:  BOMBER reminds me of the great Ealing films of the postwar 1940’s and 1950’s British films that were done with such skill, such cunning and such undeniable precision to craft that it often made the yank’s Hollywood work of the same period appear gaudy by comparison. Ealing did such quality work as the inspired genius of ‘Kind Heart and Coronets,’ ‘The Lavender Hill Mob’ ‘The Man in the White Suit’ and the original ‘Ladykillers,’ among many other great works.

Like, THE END, the Hungarian film that I recently enjoyed, this clever flick also deals with an elderly couple. Is something in the water? Are the elderly the next Big Thing in cinematic entertainment?  Move over Justin Timberlake! Yep, that’s correct, kiddies: I’m talking about OLD PEOPLE. And they can act, too. In particular, the old gentleman at the center of this poignant film:  His name is Alistar (played with subtle honesty by Benjamin Whitrow).

Now let me explain this first off:  years ago I wouldn’t have appreciated this work. Oh, I would have seen it and smirked, but… I wanted youthful, underground, grungy, in-your-face power cinema. However, now that I’m in my latter — ancient — 40’s, this film’s winningly simple subject matter has taken on a bountiful new amount of relevance, what with my own folks getting up in years themselves.  Anyway, it’s great to see films dealing with people — married people — in the autumn of their years. And these are definitely not films that withhold blemishes…

So… an elderly man has his own private bucket list the things he has longed to do before he shuffled off the earth. He wants to visit Germany and resolve some ‘issues’ from his distant past — a past that everyone under the age of 60 seems determined to forget.  He is quiet and reserved, a man from ‘the Greatest Generation’. He speaks “The king’s English.” He reminds me a little bit of my father. His wife (with facial expressions that convey so much frustration and compassion, is played by Eileen Nicholas — of  ‘Trainspotting”) has much the same temperament as her husband. Well… she is more compassionate and open, but she stands by her husband. She is the rock behind the throne, if this simple man could be considered a king. Their ‘arty’ son (Shane Taylor — amazingly sensitive and over-expressive. He was excellent in ‘Band of Brothers’) is the compassionate, modern product of Art College, but with no job whatsoever. Near the start of this semi-humorous film, his girlfriend of a year and two months breaks up with him. I love films that demonstrate conflicts, the type that happen in every family’s lives. The storyline doesn’t appear forced, only honest in its cinematic intentions.

In keeping with the sub-genre of The Road Movie, the elderly couple — with their hapless son in tow — leave England on a trip through Europe. Everything in the movie is down with style and substance. It is also very funny, but understated. Peter Sellers, Woody Allen, Mel Brooks and Monty Python exempted, I really do appreciate situational comedies in which the humor is a direct outgrowth of the characters and story. Still, I’m not giving up The Marx Brothers! Nope.

This is a beautiful film in every way: professionally shot with slick precision, with excellent location photography of Europe and just the rights touch of humor. I especially loved the small roads the British Family traveled through on their misadventures: for instance, the wonderful, old trees stationed closely along the small roadways like white-barked sentinels. Nothing in the film is completely wrapped up in a neon bow by the conclusion of BOMBER, but you do get a feeling that the small cracks within this families’ relationship might take a turn for the better. Let’s hope — I really liked these people.

BOMBER will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 4:30 pm and Sunday, November 14th at 9:15 pm at Plaza Frontenac Cinema.