Blu Ray Review: Griff The Invisible

 

The Movie
An instant favorite of mine in the everyday superhero sub-genre, Griff The Invisible is the story of a mild mannered, oft-bullied office worker who leads a secret life as a vigilante superhero. His existence is thrown through a loop when he meets his brother's not-girlfriend Melody, a loner scientist with fantastical interests & aspirations of her own, including figuring out how to walk through walls. The connection between the two presents itself after Melody reveals her multiverse theories to a stumped Tim and fascinated Griff during an unexpected visit. The romance that unfolds is sweetly off-beat and combats any predilection towards the twee with a unique sense of humor, strong chemistry and genuine portrayals of of these innocently unhinged people. We root for their impossible dreams to come true and most importantly, root for them to pursue these dreams together.

With a seamless blending of fantasy and reality, clever knack for storytelling, pitch-perfect casting and soundtrack, and unique take on what is now a somewhat tired subgenre, Leon Ford shines in his directorial debut. The Blu-Ray, giving 16mm the 1080p treatment, looks fantastic, maintaining the gritty nature of the 16mm film without sacrificing clarity. If you’re a fan of Kwanten’s work as Jason Stackhouse on True Blood, this is an easy recommendation, but I believe this indie romance has an appeal that reaches far beyond the fan base of its lead. Maeve Dermody almost steals the show and it’s baffling that this unearthly beauty with such a precise and honest talent hasn’t yet been discovered on this side of the world. Patrick Brammall, as Griff’s obnoxious but caring brother who displays slightly more socially acceptance oddities in his personality, shows a great handle of comedic timing, obvious especially after watching the extras and hearing his contribution to the commentary.

For any of us with secret fantasies, whether they are walking through walls, saving the day or something even closer to the plane of reality we are familiar with, Griff The Invisible is meant for us. It’s a love letter to our potential and finding someone to reach it with, no matter how difficult life becomes or how much the outside world may fight against us.

Special Features

Commentary with writer/director Leon Ford, producer Nicole O’Donohue, and actor Patrick Brammall
This is where the meat of the Blu-Ray really lies if you want to learn about the shoot. We learn where the idea came from, how Kwanten got involved, insights into the music choices, including Lenka and Lykke Li, shooting locations, set dressing, which scenes were used to audition the actors, actor Toby Schmitz’s hair, how certain effects were achieved, and more. One of my favorite bis of information, since the special features left me craving a look at the technical aspects and design of the shoot, was learning about “Hero Mode”, the shorthand for all departments noting the moments when Griff becomes the superhero version of himself, with blue and yellow lights, wide, comic book-like camera lens, Ryan in the suit, and more. Brammall keeps the commentary light and littered with jokes between the anecdotes, and technical dissection.



Featurette (4:08)
Begins with the trailer then jumping to a standard featurette, featuring Kwanten talking about his connection to Griff (with an endearing confession), the leads on acting together, info on the suit and how the story was formed, and more. Short but sweet.

Anatomy of a Scene  Opening Sequence (3:16),  All-In-One Shot (2:16), Anyhoo (2:00)
Dissection of three different scenes, from storyboard to final cut, with some behind the scenes footage thrown in, including the director figuring out how to tackle one scene on location and a couple shots from the rehearsal process. Opening Sequence is very much about the action, a complicated sequence. All In One is particularly super cool, cause I wondered about they shot it myself while watching (so much simpler than I assumed it would be!). I won’t get into details so as not to spoil the moment, but you’ll see when you get there. Anyhoo is more about the actors and moments, showing on set footage, and Ford watching the monitor, and an ADR session with Patrick Brammall.

Appear Calm: Diary of a First Time Director Pre-Production (1:25), The Shoot (3:11), and Post Production (2:42)
A short self-made piece documenting Ford's first time making a feature film. Divided into three sections, pre-production, the shoot and post, it's mostly comprised of his thoughts, recorded with a webcam, paired with behind the scenes footage. Pre-Production is about a minute long, just a quick bit about beginning the rehearsal and read through process. The Shoot picks up after the first day, where we see a genuine reaction from Ford, impressed with the work of the actors across the board, and picks up again the Sunday before the final week. In Post Production, we see shots of the editing room and gain insight into the tedious process. We see him deal with needing to cut the film down, screening to producers, then holding screenings, finishing the final sound mix, getting picture lock, figuring out how to compromise and his journey to utter exhaustion.

While this feature doesn’t go particularly in depth or anything, but it’s still nice to hear tidbits about the shoot and hear from the man behind it all. Things get blurry the further you get from them, so it’s nice to have interviews filmed with only himself in the room, done *at* the time. I like some authenticity in my Blu-Ray extras.

Rain Stops Play (1:16)
During a pause in shooting while it was raining, Brammall and Ford jump into a improvised comedy bit that is genuinely hilarious. Or maybe it’s just cause Brammall's accent reminds me of New Zealander Rhys Darby that I think he's so funny, but this featurette was enough to make me research whether Brammall is well known comedian or anything, so well done Patrick Brammall!

Patrick’s Set Tour (1:24)

Patrick Brammall takes us on a brief but humorous tour of the set.

Deleted Scenes (7:36)
Here we see another clip showing Tim’s mild idiocy (and complete lack of connection to Melody), more of Griff’s scheming, Melody being awkward, many elongated scenes, including one in the office, one of Melody with her parents, and one of Griff with her parents and a sweet scene between Griff and Melody, getting to know each other, which was perhaps the only one that I wondered about being cut.

Music Video: Don’t Give Yourself Away by the Shadow Bureau
Oddly, one of my least favorite songs of all the music used in the film, which is overall incredibly strong, but it gets to be the official music video for some reason. The lyrics have a relevant and nice message, so I guess I see it, but of all he songs I was dying to hear in their entirety, this one was at the bottom of the list.

Overall, the features are fun, but I would have liked a lot more behind the scenes info, especially on the acting process and design elements. The film is so stylistic and specific, I would have loved to learn more about the way it was shot and put together. Commentary is definitely the place to go to for even a taste of this information, but sadly won't illuminate anything as far as acting is concerned, as the two leads do not participate.

Film: B+
Extras: B
Buy, Rent or Skip? Buy. It's a wonderful little movie that I can't help but think could use our support. I'm giving two copies, so if you're interested in winning the film, just head here and enter the contest.

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The Strangely Sweet Connection Between Kid With a Bike and Fringe

Light spoilers for Kid with a Bike and One Night In October, episode 4.2 of Fringe

One of my favorite movies at AFI Fest Presented by Audi last week was Kid with a Bike, from the Dardenne Brothers. I loved the movie on its own, with no qualifying or explanation necessary to know how much, but there was some information revealed in the Q&A that brought the story a little bit more into this world, and the world of one of my favorite television shows, Fringe. Buzzuh, huh, what now?

Let's back up. Kid with a Bike is about an 11-year-old boy who gets dropped off an at orphanage by his father, who tells him he will be back in one month. After this month passes, the boy does everything he can to get in touch, but his father is gone, moved out of their apartment and has left no indication to where he might have gone. When the boy sneaks out of the orphanage to see if his dad really abandoned him, but perhaps even more importantly, to see if his dad left the boy's beloved bike behind for him in the apartment, he encounters a woman who ends up taking the boy in on the weekends, committing herself to showing this boy the love and affection he needs to lead a good life. The boy fights back, getting involved in bad situations, seeking acceptance in places where he'll never get it, and we are left to wonder when he will realize the love he so craves is right there waiting for him in the form of Samantha.

During the Q&A the Dardenne brothers, making their first ever appearance in Los Angeles, talked a bit about what drew them to tell this story.

Movies give another chance to these characters. One can say that they give these characters another chance because for instance, this story was born out of a story that we heard in Japan told to us by a judge for Juvenile Delinquents about a boy who was now a man who had committed murder. When he was a child, his father took him to an orphanage and told him that he would come back and get him and he never came back and the boy waited and waited and waited year after year after year…and fiction allows us to say "Is this child going to be able to escape the destiny which is prepared for him? Is he going to be able to have another destiny?" And that's what we're trying to tell with Samantha.

Essentially, the brothers created an alternate universe for this boy that they heard about in Japan. They created a world where a force intervened to steer him on a different path. Hearing this immediately brought me to tears. It's not like this Japanese man truly had his life changed, it's not like anyone went back in time and gave him a caretaker, but there was something so elegant about this source of inspiration and noble about the intention of the storytelling, I was moved.

It reminded me of the second episode of this season of Fringe. No, really. In One Night In October, we watch a man in the alt-verse, John McClennan, using a device of a fringe-scientific nature to steal happy memories from people and inject them into himself, in order to get a brief high, the difference being this method makes him feel what it is to remember true happiness, not create a false sense of it through substances. Basically, he is a serial killer with the pattern of seeking out happy people.

The Alt-Fringe team discovers that in our universe, John McClennan Prime is a renowned expert on serial killers and request bringing him on to investigate and help them find where Alt-McClennan might be hiding out. We wonder why in one universe, this man who clearly has homicidal tendencies, chooses to study serial killers, while in another, he is a slave to those impulses and becomes one himself. It is revealed in a confrontation between both McClennans that they share one very particular moment in their past - when their father discovered their collection of dead animals. Alt-McClennan was severely punished and beaten for his actions. McClennan Prime ran away, fell down, got hurt, and was rescued by a woman named Marjorie, who ended up caring for the boy in spite of what he had done, telling him "Even when it’s the darkest, you can step into the light." Jealous that McClennan Prime got to have the happy life, Alt-McClennan steals his memories, which leads the team to believe that the assimilated McClennan, without those memories, would become identical to his other worldly twin and morph into a serial killer himself. But the impact of this woman on his life is too great. While McClennan Prime's memories may be gone, the irreversible impact Marjorie had on his soul remains. The power of love isn't evident merely in memories. When we have amnesia, we don't forget basic language, or the accent we grew up speaking with - the things that are ingrained in us use a different part of the brain, and being truly loved is an essential aspect to our entire being, not one of a list of memories that can fade.

Ultimately, both Kid with a Bike and One Night In October are about the transformative nature of love, seen through two universes, the one where a boy from a bad place is forced to succumb to his fate, and one where an angel steps in and alters the course of his life for the better. Both are extremely effective in telling the same sort of story, but in completely different ways. One, a classically Dardennian drama, the other hardcore science fiction, proving the worth of their respective genres and mediums by showing two very different ways to come to the same conclusion.

Perhaps fans of a movie like Kid with a Bike and fans of a show like Fringe have more in common than we think, and if fans of either are reading this right now, I encourage you to make a point of catching the one you aren't familiar with and seeing for yourself.

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AFI 2011: Best of Fest #5-1

For #13-10 of our Best of AFI Fest presented by Audi, series, click here

For #9-6 of our Best of AFI Fest presented by Audi, series, click here

5. Footnote (dir. Joseph Cedar)

As a Jew who went on birthright this year, I have no qualms about calling this movie, Israel's official foreign Language selection for the Oscars, one of the most delightfully Jewish pieces of fiction I've seen in years. It's witty, intelligent, moving, and riddled with guilt and inferiority complexes. This story about a father and son, Professor Shkolnik and Professor Shkolnik, who both work at Hebrew University in Jerusalem studying the Talmud, asks the questions, when does a role model become a rival and the student become the competition, and presents the theory that in a battle of egos, he who realizes humility first is always the winner. Expect your loyalties to fly all over the place in this smart, whimsical, and ultimately tragic intellectual comedy from acclaimed director Joseph Cedar. Inventive storytelling, a jaunty score and top notch performances help elevate an already brilliant script (it won the Screenplay award at Cannes) to even greater heights. To delve too much into the specifics of why this tale is so riveting would be to give too much away, but it's an absolute must see.

Favorite Scene: All I can say is this: It involves Uriel (the younger Shkolnik) and a tiny room full of scholars and a lawyer, and is one of the only sequences in the entire film where the score drops out completely

4. Extraterrestrial (dir. Nacho Vigalondo)

"Something urgent is not the same as something important. That's my lesson." This part of director Nacho Vigalondo's introduction to his new film Extraterrestrial stuck with me throughout the whole genre bending screwball comedy. The film opens with Julio and Julia, awkwardly dancing around each other the morning after a drunken romp. Normal post-one night stand protocol is thrown out the window when the twosome notices that all communication lines are down and more alarming still, a giant alien spacecraft is hovering outside the window. In any other film, made in any other country, by any other director, Julia and Julio would then embark on an adventure of epic proportions, falling in love as their adrenaline from massacring aliens brings them closer together. But this is Nacho Vigalondo, making a character driven story "filled with bullshit" (his words), not a soulless big budget sci-fi extravaganza. So instead, Julia and Julio use the conventions of alien invasion stories to weave an elaborate web of lies to cover up their brief affair when a nosy neighbor, Angel, and her alpha male boyfriend with a penchant for heroism, Carlos, check in on her. The series of lies becomes more and more elaborate as Angel discovers their secret, and Carlos experiences an entire film of his own off camera, seeking out alien insurgents and fighting to take back the city. Or so he thinks.

Extraterrestrial shows a masterful knowledge of every genre in play. No one could tell a story quite this humorously, this cleverly, without having a vast working knowledge of science fiction, romance, and classic screwball comedies, yet nothing about the film feels too well tread or unoriginal. Even with a straightforward narrative, a huge departure from Vigalondo's first feature, Timecrimes, the film keeps us guessing as we marvel at the absurd length these two people will go to, and at what end? With the world seemingly ending outside, how much does it matter if your boyfriend catches you cheating? It may have been more important to come up with a plan of survival, but the comically urgent human drama at hand took priority. Leads Julián Villagrán and the jaw droppingly gorgeous Michelle Jenner have incredible chemistry, which grounds the outrageous nature of the story.

Favorite Scene: A character makes a "confession" that is at once ridiculous and necessary, perhaps not to the physical survival of the human race, but certainly to the mental survival of the people involved in this comedy of errors

3. The Loneliest Planet (dir. Julia Loktev)

The winner of the Grand Jury prize, and for good reason, this story about the notion of what is masculine and feminine and the roles their fluctuation plays in our lives and relationships connected to me on a deep and immediate level. Nica (the charming Hani Furstenberg) and Alex (Gael Garcia Bernal) are happily engaged to be wed and on a backpacking trip together in the republic of Georgia. She is goofy yet tough, he is strong yet caring, and they are the picture of perfection. While in the mountains with their tour guide, Dato, a moment occurs so small, so brief, so fleeting that if you look down at the wrong time, you *will* miss it, but so powerful that it dramatically alters the dynamic of this perfect couple perhaps forever. Guilt, shame, resentment and passive aggression swallow the second half of the movie, a sharp contrast from the light, adventurous beauty of the first half. A landscape which at once seemed so freeing and filled with potential becomes claustrophobic and uncomfortable. A film like this, with little dialogue and almost no action, could have easily crashed and burned in lesser hands, but Loktev's confident direction has you completely enraptured, aching for a satisfying resolution, but unsure if one could ever be possible.

Favorite scene: Directly after the "incident", Nica and Alex walk on opposite sides of the screen, a range of emotions hanging in the air, the only sound to speak of coming from the repetitive plodding of their shoes in the muddy terrain.

2.Kid with a Bike (Jean-Pierre and Luc Dardenne)

In this hopeful fairy tale from the Dardenne brothers, a young boy abandoned by his father at an orphanage goes on a series of quests to find the familial love he has been so callously denied. In one particular instance of desperation, the boy, Cyril, sneaks out of the orphange and goes back to his old apartment to find his father, or at the very least, find his bike, an item so important to him, there is no question in his mind that his father would leave it for him. Here, he encounters a woman, Samantha (played with a delicate softness by Cécile De France) taken with his vulnerability, who becomes determined to give him what he needs in more ways than simply tracking down his beloved bike. Thomas Doret gives a heartbreakingly realistic performance as Cyril, seamlessly shifting back and forth between problem child and sweet little boy (a routine mimicked by a very different kind of child in our #1 choice below) as he seeks acceptance and worth. He is still too young to lose faith or sink into despair, and Samantha recognizes that if a glint of hope remains in his eyes, he can be saved. To awkwardly quote Shame, which also screened at AFI, he is a good person who came from a bad place, and it's Samantha's mission to nurture Cyril until he feels the love he deserves.

Favorite Scene: Cyril and Samantha go biking and share lunch. Simple, understated and a preview of their potential happy ever after.

1. We Need to Talk About Kevin (dir. Lynne Ramsey)

No amount of nurture seems to be able to bring the titular boy in Lynne Ramsay's bold return to the silver screen out of the darkness. This is a film so relentlessly upsetting that to even think about it is to rip a tiny tear in your soul. Tilda Swinton plays Eva, a mother dealing with her son's unquenchable thirst for destruction. Screaming non stop as a baby and staying in diapers till well into Elementary School are signs pointing to a defect in the boy, but all the doctors deem him normal. Still, Eva sees a side to him hidden from the rest of the world. The rot inside of him seems aimed solely at his mother and taking her down one notch at a time. But no matter how disturbed she gets by his actions, and how designed he is to ruin her, he is her son, she loves him, and nothing means more to her than his acceptance, no matter the cost.

Ultimately, Kevin may feel the same way about his mother, seeking a deeper connection to the person he felt never truly loved him, as he was initially unwanted and the reason why his mother's passion for travel had to come to an end. Because we see the film from Eva's perspective, we relate to her exasperation with him and it isn't until the movie is long over that we begin to think back on her mothering skills and wonder how much they may have affected Kevin's outcome.

Tilda Swinton bears her soul with the performance of her career, John C Riley does a fine job as her optimistically oblivious husband and Jasper Newell and Ezra Miller shine as Kevin. Both (along with Toddler Kevin Rock Duer) are stunningly beautiful and portray their up and down moments with a twisted believability.

Favorite Scene: Kevin gets sick to his stomach and for a brief evening, shows his mother the love she craves. Although he resorts to his cruel tendencies the next morning, their bond on that night has repercussions for years to come. Whether his behavior was genuine or part of a plan to upset his mother further is left to the viewer, as all dissections of the emotions running so high in this film are, but no scene better captures the heartbreak of a parents worst nightmare coming true, then this all too momentary look into what Eva's life could have been.

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AFI 2011: Best of Fest #9-#6

For #13-#10 of my Best of AFI Fest presented by Audi, series, click here

9.Carre Blanc (dir Jean Baptise Leonetti)
The best of the dystopian sci fi films presented at the fest (I also caught 80s head trip Beyond the Black Rainbow and the very Russian Anna Karenina by-way-of the fountain of youth Target), Carre Blanc depicts a society where the dead are casually used as meat, job interviews are all trick questions in the form of cruel tests, and a waiter can be beat to death for spilling champagne, but the only item reported on the news is what happened in the latest Croquet match. A disembodied voice on the loudspeaker constantly informs its citizens of the rapidly declining population, sandwiched between encouragements for teenage girls to become artificially inseminated and the same piece of elevator musak repeating on a loop. The suicide rates are high, the birth rates low and the disenfranchised work force is encouraged to smile at all times. But perhaps most horrifying is how little people seem to notice that this world has gone too far. The film asks the question, is being normal in a monstrous society just as damning as being a monster in a normal society and how do you rise above? Jean Baptise Leonetti crafts a strikingly foreboding atmosphere with the skill of a seasoned auteur, but doesn't sacrifice concise storytelling (with a healthy dose of frightening social commentary) for the sake of “mood”. Leonetti is firing on all cylinders in his feature film debut and of all the filmmakers showing at AFI is the one I’m most looking forward to keeping an eye on.

Favorite Scene: Not so much a scene as a moment, but the instance we realize the film has marked the passage of time by taking advantage of its established world in a clever and subtle way gave me actual goosebumps.

8. Coriolanus (dir Ralph Finnes)
As far as adapting Shakespeare goes, Coriolanus is about as good as it gets. As someone who has studied Shakespeare in numerous ways, including as a classically trained actor, I can say with no hesitation that Ralph Finnes pulls off a remarkable bit of craftsmanship in his directorial debut, bringing much more of a refined POV to the table than I was expecting from an actor-first. Setting this political story in a modern day version of Rome as consumed with the 24 hour cable news cycle, poll numbers, and ever growing insurgencies as we are and displaying it through handheld camera work and intimate close-ups brings a naturalistic urgency to this century's old portrait of a man thrown into an impossible position. Displaying his grasp of what cannot be sacrificed when capturing Shakespeare cinematically, Finnes often lets the camera hang in the air, allowing the story to be told the way it was meant to be, letting the breaths of the actors communicate their intentions, not the work of an editor in post-production. Finnes and the brilliant cast of players surrounding him tackle the Shakespearean text with a self-assured precision and hearty understanding helping to turn this often impenetrable story into an accessible, searing political drama. Vanessa Redgrave and Brian Cox astound in their specificity and realism, making verse look easy, and Gerard Butler, displaying some pathos for once, is the most likeable he’s ever been. I ecstatically look forward to Finnes using his talent and savvy and pulling together the perfect creative team for the task at hand to adapt a play I'm more familiar with that hasn't yet received the proper big screen treatment.

Favorite scene: Vanessa Redgrave dares you to defy her as Volumnia, mother to Caius Martius Coriolanus, in a scene where she pleas with him to bring harmony to Rome. If you’ve ever wanted to see a true professional nail an obscure Shakespearean monologue, here’s your chance. Vanessa Redgrave, get ready to meet your seventh Oscar nomination.

7. Pina (dir. Wim Wenders)
Confession: I’m not a fan of dance. I don’t understand it, I can’t do it, I don’t want it. But when I heard that German visionary Wim Wenders had constructed a 3D documentary about the art of Pina Bausch, I couldn’t stay away. Wenders and Pina had been friends for years already when Wenders approached her about making a film together. He wanted to find a way to communicate the beauty of her brand of storytelling with the world at large, but kept coming against the roadblock of film not yet developing the correct tools. After seeing the U2 3D doc, Wenders knew he had found the way to properly capture her craft. Sadly, just a couple of days before test shoots were to begin, Pina unexpectedly died . Wenders almost abandoned the film completely, but was urged on by those that loved her to keep going, so he decided to turn the film into a tribute. What results is a documentary unlike anything you’ve seen before, that defies convention and proves 3D’s use as a tool for the progression of art. In lieu of talking heads, Wenders employs a Warholeqsue series of moving portraits accompanied by voiceover, allowing us to see Pina’s dancers in moments of stillness as their voices surround us, honestly reflecting on the woman and teacher they loved so much. Archival footage of Pina floats above the proceedings as if her ghost is participating in the story, as eerie and effective a use of 3D as I’ve seen. Adopting Pina’s own choreography technique of “questioning”, Wenders asked each dancer to improvise a movement that encapsulated their memories of Pina. These movements were then formulated into solo pieces and set against locations around Wuppertal, the home of Pina’s dance company. The mountains, the forest, a factory, a cityscape, even on a suspended railway car, these pieces will move, inspire and spark your creativity, without you even realizing. Ultimately, this is why the film succeeds. The proof of Pina's legendary mastery is evident in the way your mind and body react as you experience her work and impact on those around her.

Favorite Scene: A section from one of her pieces, Mueller’s Cafe, that was one of four dances restaged and shot in 3D for the film, that can best be described by me as an embodiment of the line “the course of true love never did run smooth” The ferocity with which the three dancers throw themselves into this simple repetition of 7 or 8 basic moves had the audience spontaneously break out into applause upon its conclusion.

6. Michael (dir. Markus Schleinzer)
Movies about pedophiles are never easy and this Austrain film about a creepy Tony Hale lookalike, named Michael who keeps a ten year old boy locked in his basement, is no exception. In a departure from most films of this nature, no information is ever explicitly given and no sexual act is ever explicitly shown, the film is mostly communicated in befores and afters, small, but telling moments. Michael himself is a fascinating creature who takes equal pleasure in quoting torture porn to the boy as he does behaving like a strict yet loving father, allotting time for TV, providing fresh home cooked meals, and taking him on day trips. As an audience, we become filled with questions and concerns, eagerly awaiting a rescue, never sure if it will come. Director Markus Schleinzer, best known for casting the films of Michael Haneke, deliberately removes all judgement and solely tracks the day to day interactions between this man and this boy, a perspective not often seen. But no amount of objectively chronicling a few months in the life of a child molester makes the act any more acceptable, which is part of the point. Even the most mundane implications make you want to this man to pay for what he's done and pay hard. The last frame of Michael is frustrating, yet powerful, and a fitting end to this slice of a-very-fucked-up-life drama.

Favorite Scene: A simple tracking shot of Michael walking to his car in a parking lot with a new friend had me on the edge of my seat fighting back tears.

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AFI 2011: Best of Fest #13-#10

Crossposted on Film.com

This past week in Los Angeles, AFI threw it’s 25th film festival, presented by Audi, taking over the Chinese and Egyptian theaters on Hollywood Blvd. The films screened were divided into nine categories. Galas & Tributes, Special Screenings, Guest Artistic Director, Spotlight and Midnight were ineligible for awards, while World Cinema, Young Americans, and Breakthough all had an Audience Award at stake, which went to KINYARWANDA and JIRO DREAMS OF SUSHI in a tie, WUSS, and WITH EVERY HEARTBEAT, respectively. New Auteurs had not only an Audience Award, which went to BULLHEAD, but three prizes awarded from a specially selected jury, THE LONELIEST PLANET receiving the Grand Prize, ATTENBERG the Special Jury Prize and Matthias Schoenaerts in BULLHEAD walking away with accolades for his universally lauded performance. But with 26 screenings under my belt, I figured I should award my personal Best of Fest to the thirteen films that struck me personally the most, from all categories. First up, #13-#10.

Note: I saw Melancholia and The Adventures of Tintin separately from the festival in a non-review capacity, so will not be including them in this list. Though had they been a part of my AFI experience, they would have both easily made the cut. 

13. With Every Heartbeat (dir. Alexandra-Therese Keining)
In this Swedish romantic drama, two soon to be step sisters, one of whom is engaged to be married, find themselves drawn to each other at their parents’ engagement celebration. Ruth Vega Fernandez does a great job as the conflicted Mia, but it’s Liv Mjones as the free spirit Frida that steals the show with her offbeat confidence and grace. Although the third act becomes a bit too formulaic for my liking, the attraction between these two women is palpable, resulting in one of the best love scenes on screen this year, and their entire love story is well worth watching.
Favorite Scene: After an unexpected encounter in the woods alters their previously icy relationship, Frida climbs into bed with Mia and the unexpected occurs.

12. The Dish & The Spoon (dir. Alison Bagnall)
Alison Bagnall returns to the scene after an eight year haitus with this sad, sweet look at two lost and dejected souls who find comfort and care in each other. Greta Gerwig plays Rose, a woman who just discovered her husband’s infidelity and is on the brink of losing it altogether. Gerwig’s performance dangles the question in front of us – did her husband cheat because she’s crazy, or is she this unhinged solely because of the adultery? As she begins to formulate her plan to take down the other woman, she encounters an equally alone British teenager, played by Olly Alexander. The two quickly bond and embark on a safe, quirky, perhaps even pretend, romance straight out out of third grade, complete with stories, costumes, games and role-playing. Whether this connection is real or a coping mechanism remains a concern as we revel in their awkward glow.
Favorite Scene: After their first real kiss, Rose and the boy plot out their future together, complete with marriage and ten kids. It’s utterly innocent and endearing in the best way possible. For a brief moment, you think they could be in it for the long haul.

11. Jeff Who Lives At Home (dir. Duplass Brothers)
When a movie opens with a slightly flabbier Jason Segel ruminating on the relevance of M Night Shyamalan’s Signs to life at large, and meaning every damn word, you know it’s going to be good. In this delightful follow up to last year’s Cyrus, about three people who find themselves stuck in lives they never wanted, forced to find their true paths on one fateful Louisiana day, the Duplass brothers deliver yet again. Segel’s optimism as the titular Jeff is infectious and could melt even the most cynic movie goer’s heart with his determination. And, can I just say, Susan Sarandon looks amazing? Like. Amazing. I had a smile plastered on my face for practically the whole film and in a fest full of mostly depressing material, it was a welcome change of pace.
Favorite Scene: Judy Greer’s Linda and Ed Helms’ Patrick have a confrontation about their marriage that challenges the quirky other-planeness of the universe that had been so carefully established. It’s not the typical choice to have Judy Greer play the person most grounded in reality, and the film greatly benefits from thinking outside of the type-cast box.

10. Jiro Dreams of Sushi (dir. David Gelb)

This film that tied for the World Cinema Audience Award takes a look at the three Michelin star sushi bar in Japan, widely considered to be the best in the world, Sukiyabashi Jiro, and more specifically, the man behind it, 85 year old Jiro Ono, and his two sons, the oldest of which, Yoshikazu, will eventually and inevitably succeed Jiro as head chef. Although director David Gelb originally set out to make a documentary on sushi restaurants all over the globe, after his experience with Jiro and he food he makes, there was no question that Sukiyabashi Jiro would be the focus. We learn about the techniques that took years to discover, hone, and pass on. Everything from the temperature and texture of the rice, to the fish dealer, to the cut of the fish, to the number of minutes spent massaging an Octopus has been boiled down to a science. Or to be slightly more accurate, an art. The family drama surrounding the question of whether the son can truly follow in the footsteps of his father, the legend, brings in a whole other level. As an audience member, I equally found myself wanting to get to Japan as soon as possible to make sure Jiro himself would be the one crafting my fish, and wanting the food community at large to acknowledge that Yoshikazu will be the best heir to the restaurant any father could ask for. But Gelb takes Jiro far beyond a simple documentary. A goal of his was to shoot food the way Planet Earth was shot, which explains the clean, direct and full cinematography and in order to properly set the tone of watching a master at work, Gelb chose music from Philip Glass to accompany Jiro’s tale, elevated music for an elevated skill.
It should also be noted that in the post-screening Q&A, director David Gelb was asked where he recommends we have sushi in Los Angeles, and the first suggestion was Sushi Nozawa, aka my favorite sushi place in the U.S.
Favorite Scene: We are taken through the entire, specially created, twenty piece menu, described by food critic Yamamoto as a symphony broken into three movements. Each piece of fish looks as delectable as if it were right in front of you and guaranteed, your mouth will inadvertently water.

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November At The Movies

A bizarre, under-performing October filled with some great (Ides of March, Puss in Boots), some surprisingly good (Footloose, Paranormal Activity 3) and some supposedly awful (Three Musketeers, The Thing) with all too few horror offerings, we have to hope that November proves much better both in quality and box office. Entering in to the last two months of the year definitely marks the beginning of Oscar season, so expect Oscar talk to begin in full force, if it hasn't already after smaller films like Like Crazy, Take Shelter, and Martha Marcy May Marlene stole October right out from under the big budgeted flops.

Want To See Anything With Oscar Potential?

J Edgar (Nov 9 limited Nov 11 wide)
Six days after opening AFI Fest, Clint Eastwood's biopic starring Leonardo Dicaprio comes out officially in theaters. I'm generally not a fan of Eastwood's directorial work, but I'm hearing this film may be his best in years. It's an easy guess that DiCaprio will nab his fourth Oscar nomination this year. But will it be his first win?

Am I seeing it? Absolutely. Though it being Academy season, I'm not sure I'll head out to theaters when I can just watch it at home.

Melancholia (Nov 11)
Already one of my favorite movies of this year, it may be difficult for you to summon up the energy to actually seek out a movie that's prime focus is examining depression, but trust me, it's worth it. Lars Von Trier directs his cast to perfection, with Kirstin Dunst giving a heart-shattering performance that hands down deserves her an Oscar nod. She won Best Actress at Cannes, and not for nothing. Other great performances provided by Charlotte Gainsbourg, Keifer Sutherland, Stellan AND Alexander Skarsgard, John Hurt, Udo Kier and Charlotte Rampling. It's a movie that gets under your skin and stays there. Highly recommended.

Am I seeing it? I already have. Not sure I could experience the emotional turmoil I went through the first time again, but that won't stop me from recommending it to everyone I know.

More after the jump!




Into The Abyss (Nov 11)
Werner Herzog's latest documentary, premiereing at AFI Fest this week, that takes a look at a triple homicide case in Texas for which the culprit is on Death Row, "probing the human psyche to explore why people kill and why a state kills."


Am I seeing it? I certainly am, next week at the festival

The Descendants (Nov 18th)
Alexander Payne's most recent film, following past beloved flicks Citizen Ruth, Election, About Schmidt (my personal favorite), and Sideways. He's been off the movie scene for a while, but all signs point to trumphant return with this film, starring George Clooney, about a dad trying to reconnect with his daughters after their mother gets into a horrible accident. Word is the film is not only a Best Picture/Actor contender, but that Shailene Woodly, best known for the ABC Family show The Secret Life of an American Teenager, could snag a nomination of her own.

Am I seeing it? As soon as physically possible.

Hugo (Nov 23)
Martin Scorsese's latest, based on the beloved book by Brian Selznick, has already defied expectations with its New York Film Festival secret screening. Before it screened, I was hearing mostly skeptical things, folks brushing it off as something that could be fun, but Oscars? No way. Instead I've heard it makes you "remember what you love about film", utilizing the medium in a truly magical way (with the best 3D since Avatar) that has taken in even most cynical of movie reviewers.

Am I seeing it? Absolutely, and this one is hands down happening in a movie theater

My Week With Marilyn (Nov 23)
An account of one week in the life of Marilyn Monroe, when she was working with Lawrence Olivier on the film The Prince and the Showgirl, by Olivier's assistant, Colin Clark, who fell for the troubled actress during this time. I've heard mixed things, landing all over the spectrum, those who love it, and those who find it worthless, but if the trailer is any indication, I suspect I will land on the more positive side of things. I adore Michelle Williams and with Oscar Talk surrounding both her and Kenneth Brannagh, this is definitely one to add to the list.

Am I seeing it? Of course!

The Artist (Nov 23)
A black and white silent film made in 2011 about Hollywood 1927, with almost universally ecstatic reviews. I've already heard some (unpublished) negativity from people who think it's already been overhyped to the point of damage, which is a reason I hope to see it as soon as possible. Seems totally up my alley, combining a sweet sentimentality and nostalgia with creativity and innovative use of the medium.

Am I seeing it? Yes, ideally on the big screen.

A Dangerous Method (Nov 23)
David Cronenberg is back with a film about the relationship between Sigmund Freud and Carl Jung starring Viggo Mortsenson, Kiera Knightly, and most importantly, Michael Fassbender. If you aren't interested based on that alone, I encourage you to go watch the trailer. While not praised across the board like many other November releases, there is certainly enough to warrant a viewing. I'm personally looking quite forward to it.

Am I seeing it? Um. Yeah. Noticing a trend here?

Wanna Check Out And Have A Laugh?

A Very Harold and Kumar Christmas (Nov 4)
Considering every trailer for any Harold and Kumar movie has made me laugh, and I dig both John Cho and Kal Penn, you'd *think* I'd at least have seen one in this stoner comedy series. But alas, no. The latest is a 3D Christmas extravaganza that dares you to not get high in the bathroom beforehand. Can you meet the challenge?

Am I seeing it? Probably not, just cause I haven't seen one yet and have no investment, but if I was a Harold and Kumar fan, I would be on cloud nine

Tower Heist (Nov 4)
I was prepared to outwardly dismiss this Brett Ratner/Eddie Murphy vehicle (Oh Oscars, I'm so sad for you), but I've heard surprisingly okay things about this comedy heist flick. It has a strong enough cast certainly, with Ben Stiller, Alan Alda and Casey Affleck, I just can't stand Brett Ratner or the Eddie Murphy of the past ten years.

Am I seeing it? Jury's still out, but probably not.

Jack and Jill (Nov 11)
I have never meant this statement more in my entire life: You could not pay me to see this movie. And that is all I have to say about that.

Am I seeing it? No.

Want To Have Fun With The Kids?

Happy Feet 2 (Nov 18)
The sequel to the smash animated film about dancing penguins that I never saw but is apparently great.

Am I seeing it? I don't generally make a point of seeing somewhat generic animated flicks, but let's go with maybe.

The Muppets (Nov 23)


MUPPETSMUPPETSMUPPETSMUPPETSMUPPETS is there anything else to say?! AUGH MUPPETS YAAAAAAAAAY!!!!!

Am I seeing it? Yesyesyes opening weekend, I am so there, this is happening

Arthur Christmas (Nov 23)
From Sony animation and the writer of Borat and Bruno (.....?) comes this movie about Christmas Eve at the North Pole, Santa's youngest son, and an urgent mission. The voice cast is a regular who's who of awesome Brits (James McAvoy, Hugh Larie, Bill Nighy, Jim Broadbent, Imelda Staunton, Ashley Jensen) and the press reaction to footage has been overwhelmingly positive.


Am I seeing it? I make a point of seeing everything James McAvoy touches. So. Yes.

Didn't Get Enough Genre Fare This Summer?

Immortals (Nov 11)

Although the buzz on this movie about Theseus (Henry Cavill...nomnom) and Zeus (Luke Evans, also a nomnom) waging a war against King Hyperion (Mickey Rourke, not so much with the nomnom) hasn't been great, I love director Tarsem Singh and specifically his film The Fall, and I can't help but think if you simply go into Immortals with the correct mind frame, it will blow your mind. I'm staying positive for now.


Am I seeing it? Yes. Hopefully opening weekend, in theaters.

Breaking Dawn Part One (Nov 18)
Part one of the final installment of the Twilight Saga, adapted from the only book in the series I haven't read. There's only so much self inflicted torture I can take, you know? In this film Bella and Edward get married and some disturbing things go down that I won't spoil for you here if you somehow don't already know. Expect the film to make a bajillion dollars.

Am I seeing it? I mean....sigh....yeah. Probably. I don't even know why. But it's gonna happen.


So there you have it. What on this list are you looking most forward to? And which one will ultimately rule the box office? (Spoiler Alert: There is no answer to that question but Breaking Dawn) Sound off below.

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Most Anticipated Films of AFI Fest 2011

Starting today in Los Angeles is the 2011 AFI Festival, a film fest held in Hollywood, CA that features a collection of the most talked about films from fests all over the world, along with a handful of premieres and programming from guest Artistic Director, Pedro Almodovar. AFI Fest is an especially rockin place to catch the best of World Cinema, being the only festival in the US to hold FIAPF accreditation. With an extensive list of films being screened, we've decided to sift through them and present our 18 most anticipated of the fest. Some of these still have tickets available, so Los Angelos, get on it!

Note: No films I have previously seen are listed in this preview, but I highly recommend checking out Melancholia and The Loneliest Planet at the fest if you have the chance

Extraterrestrial
Spanish director Nacho Vigalondo follows up 2008's Time Crimes with this romantic comedy set against an alien invasion backdrop. This sounds like precisely my kind of movie.
Where you might have seen it previously: Toronto, Fantastic Fest
Tickets still available? Yes  

This Is Not A Film
An account of one day in the life of director Jafar Panahi as he tries to overturn his sentence from the Iranian government that prevents him from leaving the country and making films, which is why this documentary, shot on an iPhone, is not a film, even though from what I hear, it's one of the best films of the year.
Where you might have seen it previously: Cannes, NYFF
Ticket still available? Check today

Miss Bala
Mexico's official Foreign Language Oscar entry about a beauty queen who gets mixed up with Mexican drug cartels of which I have been hearing nothing but raves. I cannot see this quickly enough.
Where you might have seen it before: Cannes, Toronto, NYFF
Tickets still available? Check today

Target (Mishen)
It's a two and a half hour Russian film set in a dystopian future where if you're rich enough, you can have access to a "fountain of youth" of sorts. Kind of like In Time, but with less Justin Timberlake and more, if the trailer is any indication, quality filmmaking.
Where you might have seen it previously: Berlin
Tickets still available? Yes

Carré Blanc
Another dystopian sci fi film! The plot description is at once so revealing and disturbing, I almost don't want to write anything on what the film is actually about here. Let's just say it's 80 minutes and may or may not have some things in common with Soylent Green.
Where you might have seen it previously: Toronto, Fantastic Fest
Tickets still available? Check back the 4th and 8th

The Dish And The Spoon
Greta Gerwig plays a woman who, coming off of discovering her husband's affair and eager for revenge, befriends a British teenage boy and an unconventional romance possibly ensues.
Where you might have seen it previously: SXSW, San Francisco, London
Tickets still available? Check back the 4th and the 5th

Pina
The official Foreign Language Oscar selection from Germany, this documentary from Wim Wenders (Buena Vista Social Club, Paris, Texas, Wings of Desire) chronicles the art of the late choreographer Pina Bausch, complete with interviews from her dancers and most importantly, the dances themselves, showing off an innovative and beautiful use of 3D. I normally am not one for watching dancing, but I suspect this film may blow apart any preconceived notions I may have about my understanding of the art form.
Where you might have seen it previously: Berlin, Telluride, Toronto, NYFF
Tickets still available? Yes

Kill List 
A film I've managed to only hear described as "damn" and "holy shit", it's about a former hitman who gets back into the business when he can't handle the day to day pressures of suburban dadhood. 
Where you might have seen it previously: SXSW, Toronto
Tickets still available? Check back the 4th and 5th

Into The Abyss 
A new documentary from Werner Herzog that follows a man on death row convicted of a triple homicide, examining murder and the death penalty, bringing this controversial issue front and center.
Where you might have seen it previously: Toronto
Tickets still available? Check back the 5th and 6th

Footnote 
The official Foreign Language Oscar pick from Israel, I may have some bias going on here, having gone to Israel this summer, but there is no way I'm not seeing this film. It's about the rivalry between a father and son, both professors at Hebrew University, and I hear it's dramatic and funny in all the right ways and is emerging as an unexpected crowd-pleaser. Also worth noting that this film swept the Israeli Film Awards and director Joseph Cedar's film, Beaufort nabbed an Oscar nod in its year.
Where you might have seen it previously: Cannes (Palme d'Or for Screenplay), Toronto
Tickets still available? Check back the 5th

Coriolanus 
So, I'm a Shakespeare nut, and this is one of his few plays I'm not *that* familiar with, despite being positive that I saw it at San Diego's Old Globe at some point in my youth, so I'm thrilled to see this film adaptation, which also marks Ralph Finne's directorial debut. If you're making a point of seeing every 2011 release featuring Jessica Chastain, make sure you don't miss out here, as she co-stars alongside Finnes, Vanessa Redgrave, Gerard Butler and Brian Cox.
Where you might have seen it previously: Berlin (out of competition) and Belgrade
Tickets still available? Yes

Jiro Dreams of Sushi
Sure, it might seem a little weird that one of my most anticipated films is a documentary about sushi, but GUYS, it's a DOCUMENTARY about SUSHI!!! More specifically about 85 year old sushi master, Jiro Ono, who owns what is known as the best sushi restaurant in Japan, and his son who will soon take over the business, set to a score by Philip Glass. I'm already planning my post-Jiro Dreams of Sushi sushi dinner.
Where you might have seen it previously: Tribeca
Tickets still available? Yes


Jeff Who Lives At Home
The Duplass' Brothers follow up to a movie I was a huge fan of last year, Cyrus, starring Jason Segel as a slacker who ends up on a search of sorts for the meaning of life.  Also starring Judy Greer, Ed Helms and Susan Sarandon, I'm all kinds of excited for this movie. I thought Jonah Hill was outstanding in Cyrus, paving the way for a series of more dramatic roles coming his way, and I'm looking forward to seeing how a similar situation will be handled by funny man Segel.
Where you might have seen it previously: Toronto
Tickets still available? Yes

The Artist
The black and white silent film set in 1927 Hollywood that I already feel like I've been hearing about for eternity comes to AFI Fest in one of their Gala screenings. The film is being almost universally praised and is currently on track with The Descendants and War Horse as a shoe-in for a Best Picture nod at the Oscars. 
Where you might have seen it previously: NYFF, Hollywood Film Fest (Spotlight Award, Jean Dujardin & Berenice Bejo), Cannes (Best Actor, Jean Dujardin), Hamptons (Audience Award, Best Narrative Feature)
Tickets still available? Check back the 7th

Kid With a Bike
The new film from the Dardenne brothers about a young boy abandoned by his parents that is unfortunately not the Foreign Language Oscar pick from Belgium (that honor goes to Bullhead, also playing AFI), I've heard this film is nothing short of wonderful.
Where you might have seen it previously: Cannes (Grand Prix Winner), Toronto, NYFF, Telluride
Tickets still available? Yes

Shame
Michael Fassbender and Carey Mulligan play siblings in Steve McQueen's follow-up to the critically acclaimed Hunger, this time tackling the subject of sex addiction. Of all of the Galas at AFI Fest, this is the one I want to attend most and is perhaps my most anticipated film of the entire fall season. Where you might have seen it previously: Toronto, London and Venice (CinemAvvenire Award and FIPRESCI Prize for the film, Volpi Cup for Fassbender)
Tickets still available: Check back on the 8th

Alps
The next film from Yorgos Lanthimos, the man behind last years Dogtooth, Alps is about a group of people who provide a service for the grieving where they "inhabit the role of the dearly departed". It provides me with much comfort to know if I don't get into the gala for Shame, I can go see Alps, playing only once, simultaneously to Shame, instead. 
Where you might have seen it previously: Venice (Won the Golden Osella for Screenplay), Toronto
Tickets still available? Check back on the 8th

We Need To Talk About Kevin
The mother of a son who went on a killing spree at his school, played by Tilda Swinton, tries to deal with the reality of something so horrifying. Talk is Swinton gives a phenomenal performance, and this being director Lynne Ramsay's first film in nine years, with music by Radiohead's Jonny Greenwood, it's no surprise this was one of the first films of AFI to sell out of tickets.
Where you might have seen it previously: Cannes, Telluride, Toronto, Fantastic Fest
Tickets still available? Check back the 8th and 9th

For constant updates about the fest, check out their tumblr and be sure to check back here on the 11th for our Best of Fest list.


Note: Interested in the Foreign Films up for Oscar Consideration? Make a point to see Belgium's Bullhead (playing with the short Mens Sana in Corpore Sand), Germany's Pina, Greece's Attenberg, Hungary's The Turin Horse, Iran's A Separation, Israel's Footnote, Mexico's Miss Bala, and Turkey's Once Upin A Time in Anatolia

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