FLORENCE FOSTER JENKINS (2016)

August 12, 2016

Florence FJ Greetings again from the darkness. Stranger than fiction. No more fitting description can be provided for the true-to-life story of 1940’s New York socialite Florence Foster Jenkins. How else to describe this “opera singer” who performed at Carnegie Hall? Not so unusual you say? Well how about if I add the not-so-minor detail(s) that the lady, simply put, was an atrocious singer … couldn’t carry a note … was apparently tone deaf?

Meryl Streep gamely takes on the titular role, and despite her own finely honed singing voice, manages to spot-on mimic the off-key, yet enthusiastic wailing of FFJ. Beyond that, Ms. Streep captures the spirit and passion and ego that inspired her real life counterpart to pursue her lofty dreams. At her core, FFJ was a tortured soul who overcame syphilis (from her first husband) and the central nervous system challenges brought on by the mercury and arsenic treatments of the era. On the outside, she was a bubbly, eccentric personality who supported the arts and lived life to the fullest.

With inheritances from both her mother and father, Florence received full professional support (and emotional protection) from her common-law husband St Clair Bayfield – played superbly by the seldom seen these days Hugh Grant. Accompanying Florence on stage, and even composing music with her, was her piano player Cosme McMoon, in a scene-stealing performance from Simon Helberg (“The Big Bang Theory”). Also in the mix is Rebecca Ferguson as Bayfield’s mistress … did I mention how strange this story is? Other support work is provided by David Haig as FFJ’s singing coach, and Nina Arianda as … well … an interesting character.

Other than the cast, those responsible for this delightful cinematic experience are director Stephen Frears (Oscar nominated for The Queen and The Grifters), writer Nicholas Martin, and cinematographer Danny Cohen (Room, The King’s Speech). It’s a confounding movie … on the surface quite jovial and light-hearted, while also reaching emotional depths that touch on loyalty, greed, and self-delusion.

The recordings made by Florence are rare collectibles today, and the film does touch on her time as child prodigy who played piano at The White House during the Rutherford B Hayes administration. There are many life lessons here, including pursuing your dreams with a passion, and having the tenacity to overcome obstacles. There is an undeniable underlying sadness to the story, but rather than feel sorry for her, Florence provided the guiding light quote, “People may say I can’t sing, but no one can say I didn’t sing.”

watch the trailer:

 

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Posted by David Ferguson

CAFE SOCIETY (2016)

July 21, 2016

cafe society Greetings again from the darkness. 80 year old Woody Allen continues to amaze with his proclivity to crank out a movie every year. With such movie abundance comes the inevitable hit and miss conversations. Of course, there are those who have never had a taste for his work and another group who have sworn off his films due to the headlines from his personal life. Still, as a filmmaker, his work is usually good for some analysis and debate.

This time out, Woody’s story is set in the 1930’s and it revolves around a young man from the Bronx who heads to Hollywood in hopes of making something of himself. Bobby (Jesse Eisenberg) is the typical on screen alter-ego for Mr. Allen and displays many of the physical and personality traits we have come to expect. It’s a perfect fit for Eisenberg. Bobby’s naivety takes a beating as he assumes a gofer job under his Uncle Phil (Steve Carell), a power broker agent to the stars. Things really get juicy when Phil directs his secretary Vonnie (Kristen Stewart) to show the local sites to Bobby. As the two youngsters grow closer, Vonnie must choose between the romantic idealism of Bobby, and the luxuries afforded by her older boyfriend (guess who??).

Allen revisits many (if not all) of his familiar themes: religion and the afterlife, misfit relationships, Los Angeles vs New York, jazz, older man/younger woman, and one of his favorites … “what’s the point?” This time he also throws in a nostalgic look at Hollywood by name-dropping some famous stars of the era, but he’s just as quick to flash his lack of respect for the movie industry and seems to compare it to the world of east coast gangsters (such as Bobby’s brother played by Corey Stoll).

This is Mr. Allen’s first digital movie, and it’s his first time to work with legendary cinematographer Vittorio Storaro (3 time Oscar winner for Apocalypse Now, Reds, The Last Emperor). The golden hue and low-level lighting provide a nostalgic feel and warmth to the scenes – even when the characters themselves aren’t so cuddly. Excellent set design and costumes add to the beautiful and classy look of the movie. As always, Allen is working with a deep cast – this one includes Sheryl Lee, Anna Camp, Parker Posey, Paul Schneider, Blake Lively, Jeannine Berlin and Ken Stott.

“Life is a comedy … written by a sadistic comedy writer.” It’s the perfect Woody Allen line and we get the feeling he actually believes it. Heard here as a somewhat emotionless narrator, Mr. Allen makes it clear that Bobby’s character (with no apparent skills) is a fish out of water in L.A, but thrives in nightclub management once he returns to the beloved NYC. Bobby’s adventure hardens the young man, while he maintains the mushy core of first love that Woody so adores. Toss in a love triangle and little respect for the women characters, and we end up with a movie that feels like a movie about Woody Allen movies.

watch the trailer:

 

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Posted by David Ferguson

CAPTAIN FANTASTIC (2016)

July 15, 2016

capt fantastic Greetings again from the darkness. There seems to be no end to the theories on how to be an effective parent and raise kids who are productive, well-adjusted and successful.  Writer/director Matt Ross offers up a creative, entertaining and thought-provoking story of one family’s unconventional approach in a world that seems to expect and accept only the conventional.

We are first introduced to Ben (Viggo Mortensen) and his six kids as they are stalking a deer while deep in the Pacific Northwest forest … only this isn’t your buddy’s weekend deer hunting trip. Each family member is covered head-to-toe in mud and other means of camouflage, and the oldest son Bodevan (George MacKay) takes the lead with his knife in what is presented as a rite of passage into manhood.

The family carries out a daily ritual that includes extreme physical conditioning, lessons on survival and living off the land, and advanced education that includes reading such diverse material as Dostoevsky and Lolita. Each evening is capped off with an impromptu musical jam. It’s evident that self-sufficiency, intelligence and family loyalty are crucial to Ben’s approach … an approach that is challenged when circumstances require the family board their Partridge Family bus (named Steve) and take a cross-country road trip into a civilization that doesn’t know what to make of them (and vice-versa).

The film is jam-packed with social commentary on education, parenting, societal norms, societal influences, and even grief. Who gets to decide what is best for a family or what’s the best method for education? Sometimes the dysfunctional family isn’t so easy to identify. Director Ross proves this in a gem of a dinner table scene as Ben and the kids visit Kathryn Hahn, Steve Zahn and their two sons in suburbia.

In addition to the terrific performance by up-and-comer George MacKay, the other actors playing the kids are all very strong and believable: Samantha Isler as Kieyler, Annalise Basso as Vespyr, Nicholas Hamilton as Rellian, Shree Crooks as Zaja, and Charlie Shotwell as Nai. Screen vets Frank Langella and Ann Dowd bring presence to the role of their grandparents and provide the greatest contrast to the off-the-grid existence of the kids.

Viggo Mortensen truly shines here and gives a performance full of grace and depth as he displays many emotions (some of which aren’t so pleasant). He even goes full-Viggo for one of the film’s many humorous moments … though the comedy is balanced by plenty of full scale drama. His best work comes in the scenes when he begins to question that there may be some flaws in his plan … the moments of self-realization are stunning.

Many will note some similarities between this film and Little Miss Sunshine (2006), though this one carries quite a bit more heft. It’s beautifully photographed by cinematographer Stephane Fontaine (A Prophet, Rust and Bone) and captures the danger and solitude of the forest, while also capturing the more personal family dynamics. It’s a film that should generate plenty of discussion, and one of the questions is … will Noam Chomsky Day ever match Festivus in popularity?

watch the trailer:

 

 

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Posted by David Ferguson

HUNT FOR THE WILDERPEOPLE (2016)

July 7, 2016

Oak Cliff Film Festival 2016

hunt for Greetings again from the darkness. It just doesn’t seem very many movies are designed to be funny to a wide range of viewers. There are raunchy comedies for taboo lovers. There are comedies for young kids. There are even Nicolas Cage movies for unintentional laughs. But writer/director Taika Waititi actually delivers a thoroughly entertaining movie that will generate laughs across multiple generations … it’s quite simply, a fun time at the theatre.

Based on the 1986 book “Wild Pork and Watercress” by Barry Crump, who himself is a bit of a legendary figure in New Zealand, the film begins with Child Protective Services (or whatever it’s called in New Zealand) dropping off 12 year old Ricky Baker to his new foster family. Paula, the CPS agent, considers Ricky a lost cause and describes him as “a very bad egg” as she rattles off his list of previous rebellions to new foster mom Bella, who takes note of Ricky’s heft with a couple of wisecracks – delivered with a well-meaning smile.

In a terrific screen introduction, “Uncle” Hec slowly comes into frame flashing a world class scowl and a wild boar slung over his shoulder. Ricky continues his habit of running away at night, but Bella slowly wins him over with her kindness, understanding and breakfast offerings. A tragic occurrence and fear of being shipped back to the juvenile center, has Ricky disappearing into the New Zealand bush. Soon enough Hec catches up and the two begin a relationship that is the core of the film.

Rima Te Wiata plays Bella as a perpetually optimistic woman with a sincere drive to help Ricky adjust and find some joy in life. Sam Neill plays Hec in full grumpy curmudgeon mode … a nice compliment to the extraordinary presence of Julian Dennison (Paper Planes) as Ricky. Ricky and Hec together are a hoot to watch. It’s not simply the generational differences, but also a clash of one man who wants little more than to be left alone and a young boy who wants little more than to be noticed and cared about. It’s not so much the direction of their relationship that surprises, but rather the manner in which it develops.

Director Waititi’s next film is Thor: Ragnarok, so this makes us appreciate even more his pleasant little indie film that features not just colorful and interesting characters, but the beautiful landscape of the New Zealand bush … much of which we see during the humorous manhunt for Hec and Ricky. It’s a farcical comedy with a dose of profundity and loads of adventure for two social misfits. Rachel House is pretty funny as the obsessed CPS worker, and Rhys Darby (“Flight of the Conchords”) is downright hilarious as Psycho Sam. Watching criminial-wannabe Ricky literally count off his Haiku, leaves little doubt as to why this one has been such an “audience favorite” at multiple film festivals.

watch the trailer:

 

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Posted by David Ferguson

LEN AND COMPANY (2016)

June 10, 2016

Len Greetings again from the darkness. Mining a mid-life crisis for new film material often results in something we have seen on screen too many times in the past. However the first feature film for writer/director Tim Godsall and co-writer Katharine Knight draws inspiration from the 2008 Carly Mensch one-act play “Len, Asleep in Vinyl”, and what we get is a terrific little indie gem with multiple interesting characters.

Highly successful music producer Len Black has pretty much “dropped out” of society as evidenced by his quitting in the midst of an awards ceremony, and by his new hobby of floating in the algae-laden swimming pool at his country estate. His self-imposed exile seems designed to magically reveal the meaning of life and lead to a form of self-discovery. Soon his peaceful deep-in-thought zen is disrupted – first by the arrival of his estranged son Max, and then by the presence of his pop star protégé Zoe. Len is perturbed by the uninvited guests, and shows nothing approaching warmth or caring towards either.

What we really have is a 3 person collision of psychological crisis. Len is attempting to come of age (a bit late, given he’s in his mid-40’s); OCD Max has dropped out of school in hopes of making it with his band; and Zoe is on the verge of an emotional breakdown. Three messes all intertwined with each other, as Max just wants Len to be a dad this one time, and Zoe wants him to show a little compassion and not treat her like the pop music ATM she has become. Despite the relentless attention she has from her public and fans, what she needs is a bit of attention from the guy that got her into this.

Rhys Ifans plays Len, and his outstanding performance makes the film work. He realizes he’s a jerk, but has no clue how to atone for the past. Jack Kilmer (Val’s son who is also the “projectionalist” in The Nice Guys) plays Max as a carefully considered young man who is never without his “to do” list. Juno Temple plays Zoe, and perfectly captures the two sides and delicacy of young fame. As an added bonus, the fourth wheel is local kid William (Keir Gilchrist, It’s Kind of a Funny Story), who ironically is a surrogate-son type to Len, and helps out with chores around the house. There is also a brief sequence featuring the always great Kathryn Hahn as Len’s ex and Max’s mom.

The heaviness of the emotional stuff is offset brilliantly by comedic moments … some small, others not so small. The scene with Len addressing William’s classroom (in a quasi-take-a-parent-to-school day) is both hilarious and insightful. Minus any decorum or good judgment, Len spills to the students what his life has been. It’s a turning point in the film as we finally see him as more than the dirtbag we originally thought. It also leads to Len’s rant – right in Max’s face – about the roots of rock and roll, and how a privileged, uptight young man couldn’t possibly have the soul and spirit required to make a go of it.

Lessons are learned by all, and much enlightenment has occurred by film’s end. Of course, those doing the teaching and those doing the learning are a bit unconventional, as it’s Len who finally figures out solitude and loneliness may not be a worthy goal. It’s a wonderful first feature from the filmmakers and a top notch performance from Mr. Ifans.

watch the trailer:

 

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Posted by David Ferguson

MAGGIE’S PLAN (2016)

June 2, 2016

maggies plan Greetings again from the darkness. A significant portion of Woody Allen’s film career has been projects that seem designed to appeal to (sometimes only) the New York intellectual sub-culture. You know the type … those who thrive on talking (incessantly) about all the things they know, often without really accomplishing anything themselves. They are the kind of people we usually laugh at, rather than with. Filmmaker Rebecca Miller appears ready to accept the passing of the Woody Allen baton, and at a minimum, her latest is heavily influenced by his comedic-brain food.

Ms. Miller casts perfectly for her first film in six plus years (The Secret Life of Pippa Lee, 2009). Greta Gerwig plays Maggie, whose ever-evolving “plan” is both the title and focus of the film. Ethan Hawke plays John, the middle-aged crisis guy who wants desperately to be showered with attention. Julianne Moore plays Georgette, John’s slightly odd and brilliant wife, and mother to their two kids. Other key players include Travis Fimmel as Guy, a pickle entrepreneur and the center piece to Maggie’s master plan; Bill Hader and Maya Rudolph as friends and confidants of Maggie; and Wallace Shawn, always a treat on screen.

The story starts out pretty simple, and then gets complicated, and then kind of loses focus before ending just right. Perpetually whining Maggie has admittedly given up on ever finding the kind of true love that results in a happy family. Because of this, she has recruited former schoolmate and math whiz and pickle dude Guy to supply the missing link for her artificial insemination. This leads to one of film’s rare cheap laughs and one that not even the quirky Gerwig can pull off. A payroll mishap brings Maggie and aspiring novelist John (a ‘ficto-critical anthropologist’ by trade) together, and her willingness to read his writing and offer some support, is all it takes to finish off John’s slowly disintegrating marriage to Georgette (Ms. Moore dusting off the Euro accent she used in The Big Lebowski).

Writer/director Miller is the daughter of famed playwright Arthur Miller, who wrote Death of a Salesman and was once married to Marilyn Monroe (after Joe DiMaggio). She also directed The Ballad of Jack and Rose, which starred her husband, Oscar winner Daniel Day-Lewis. Much of her latest film feels contrived and over-written … as if every scene carries the burden of generating a laugh out loud moment. It shouldn’t be too surprising that the ultra talented Julianne Moore creates the most interesting character, though unfortunately, she has the least amount of screen time among the three leads. It’s good for a few laughs, as well as some cringing … and an ending that actually works.

watch the trailer:

 

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Posted by David Ferguson

THE NICE GUYS (2016)

May 29, 2016

nice guys Greetings again from the darkness. Shane Black sold his first screenplay at a very early age which led him to become something of a phenom with the success of that film, Lethal Weapon (1987). Later, he disappeared from Hollywood for about 10 years before resurfacing in 2005 by directing his own terrific script with the immensely entertaining Kiss Kiss Bang Bang (my favorite movie of that year), and then hitting big-budget time with his script for Iron Man 3. This time, Mr. Black (directing and co-writing with Anthony Bagarozzi) returns to the detective-farcical-comedy-mystery-action genre and even adds an element of being a 1970’s period piece.

Black’s rapid-fire wise-cracks were perfect fits for Mel Gibson and Robert Downey Jr, and for this project he’s working with Ryan Gosling and Russell Crowe … both fine actors, though neither known for their comedic work. What’s clear from the beginning of the film is that both Gosling and Crowe are fully committed to the material and their respective characters. Gosling plays a boozy Private Detective and single dad who just can’t quite get things right, while Crowe plays a hired-hand bruise type – think of his Bud White in L.A. Confidential (1997), only with an extra 50 pounds (or did he borrow Eddie Murphy’s Norbit fat suit?) and a lot of miles. These two damaged boys play off each other very well, and with Black’s dialogue and visual gags, the film provides a good number of laugh out loud moments … more silly than the sophomoric humor that’s so pervasive at multiplexes these days.

Of course for comedy to really click, there needs to be some type of story to follow. In the opening scene a young boy (Ty Simpkins) watches as a car slams through his house, culminating with a “model/actress” named Misty Mountains meeting a not-so-pleasant ending. We then learn that Gosling’s Holland has been hired to find Amelia (Margaret Qualley), who bears an uncanny resemblance to Ms. Mountains – with two significant exceptions. Simultaneously, Amelia has hired Crowe’s Jackson to convince Holland to stop searching for her. Soon enough, Holland and Jackson are working together on the “case” that mixes in the Auto industry (Big 3), Porn industry, Justice Department (government conspiracies), environmental protestors, Killer Bees, LA parties, LA smog, The Waltons (John Boy), The Rockford Files, Detroit, and Richard Nixon … all hot topics in this 1977 era.

As much as the story is needed, it really doesn’t much matter. This is a movie of moments … some of them featuring funny words, while others focus on pretty astute physical comedy. Gosling (and his stunt double) provides some pretty impressive gags as he is bounced and slammed around for most of the run time. The surprising heart of the film … and moral core … is Holland’s daughter Holly played by Angourie Rice. Despite the title, she is really the only “nice guy” in the whole film, and her good-hearted nature keeps us rooting for Gosling and Crowe, despite their flaws.

Other support work comes from Matt Bomer as a “John Boy” hit man, Keith David, Lois Smith, Yaya DaCosta (quick, name another Yaya), Beau Knapp (as the toothy Blueface), Jack Kilmer (Val’s son as a “projectionalist”), and Kim Basinger (re-teaming with her LA Confidential co-star, Crowe). Also playing a significant role are the mid-to-late 1970’s vehicles, the period music and houses and décor that puts us right in the moment, and the clothes and hairstyles that are sure to inspire a chuckle or two.

Fans of Lethal Weapon and Kiss Kiss Bang Bang will surely find plenty of laughter here … despite one of the worst trailers in recent memory and even if the film is lacking the one thing it advertises – nice guys.

watch the trailer:

 

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Posted by David Ferguson

LOVE & FRIENDSHIP (2016)

May 23, 2016

love & friendship Greetings again from the darkness. Jane Austen ROCKS! Sure, that might be a slightly exaggerated description of the writer who passed away almost two hundred years ago, and is known for such subtle and nuanced work as “Sense and Sensibility” and “Emma”. But it’s difficult to argue the fact that Ms. Austen’s 2016 is off to an impressive start. First came Burr Steers’ highly creative and entertaining Pride and Prejudice and Zombies, and now Whit Stillman delivers a cracking version of her (apparently) unfinished novella “Lady Susan”.

Thanks to the standout performance from Kate Beckinsale, and the manner in which words from Austen and Stillman go zipping by (sometimes honestly, sometimes not), this is one fun and briskly-paced romp … more descriptions not typically associated with the prim Ms. Austen. Ms. Beckinsale as Lady Susan Vernon flashes spunk and comedic timing that we have not previously seen from her. She fits marvelously in the dress of the late 1700’s, while packing a diabolical and manipulative nature more often displayed in contemporary settings.

The supporting cast seems to be having a marvelous time. Chloe Sevigny is Alicia, Lady Susan’s confidant and gossip buddy … and one whose husband (Stephen Fry) continually threatens to ship back to Connecticut (as if it were the coal mines or outback). Emma Greenwell is Catherine DeCourcy Vernon, adversary and sister-in-law to Lady Susan, and Mofryd Clark plays Frederica, Susan’s somewhat mousy and inconvenient daughter.

Though the women are standouts here, the men hold their own. Xavier Samuel is Reginald DeCourcy, the somewhat naïve and susceptible-to-advances-from-Susan young man, and Tom Bennett manages to steal most every scene as the quite silly and funny (and wealthy) Sir James Martin. Adding their own special touches are James Fleet and Jemma Redgrave as Sir Reginald DeCourcy and Lady DeCourcy, respectively; and Jenn Murray as Lord Manwaring … one of three suitors to Lady Susan.

This spoof/parody will strike a chord for anyone accustomed to the uptight nature of most period pieces, as well as the importance of status, decorum and the corresponding insecurities (a weakness the cunning Lady Susan will most certainly seize upon). Mr. Stillman (Damsels in Distress, The Last Days of Disco) is an immensely talented writer, and certainly a welcome complement Ms. Austen’s posthumously published work.  It’s a deliciously funny and intricate story that features such quips of gold as “Facts are horrible things.” Welcome to the zany verbal barrages of Lady Susan, Whit Stillman and Jane Austen. Yep … zany and Jane Austen in the same sentence.  I told you she ROCKS!

watch the trailer:

 

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Posted by David Ferguson

THE MASTER CLEANSE (2016)

April 30, 2016

Dallas International Film Festival 2016

master cleanse Greetings again from the darkness. Sometimes, it’s just difficult to know how to describe or discuss a movie. This happens more frequently at film festivals where the most creative and risky films often find their only audience. This first feature film from writer/director Bobby Miller isn’t really a comedy – though there are some uneasy laughs; and it isn’t really a horror film – though isolated cabins in the woods and creepy little creatures give the impression that it could go that way.

Johnny Galecki (“The Big Bang Theory”) stars as Paul, a down-on-his-luck nice guy who hasn’t recovered emotionally from being dumped at the altar by his fiancé. One night he’s dozing on the sofa when a TV ad captures his attention … it’s a spiritual retreat for the downtrodden!  The timing couldn’t be better.

He’s joined at the isolated retreat by struggling actress Maggie (Anna Friel), a young couple, Eric (Kyle Gallner) and Lily (Diana Bang) working through relationship issues, and a quasi-caretaker and holdover client played by Kevin J O’Connor. The on-site leader is played in full-bellow mode by the great Angelica Huston.

Day one is the juice cleanse, and the participants have to force down a disgusting concoction designed to “eliminate” … the step preceding “termination”. Elimination is pretty easy to figure out, as our new friends expel from both ends (fortunately this is mostly implied, not shown).  While that part might be expected, the surprise comes in the form of the eliminated creatures unique to each of our players … little critters representing the emotional baggage we all carry inside.

In the midst of misery, the retreaters are told that the movement (no pun intended) leader (Oliver Platt) will be arriving soon. He’s kind of a cult-like figure without the expected pretentiousness. In fact, he’s a pretty nice guy that seems to really care. Of course, that would be a pretty boring story, so plenty of things go awry during the process.

“Let’s Get Pure” is the name for the retreat, and the idea of physically removing our negative energy and emotional baggage does make some sense. Director Miller seems to blend the worlds of early David Cronenberg and Gremlins to deliver an odd little film that could develop a cult following of its own. It’s a serious message conveyed in a not so serious way. Galecki and Friel do a nice job of keeping us grounded and giving us some peeps to pull for.  Just watch that final step … termination can be brutal.

 

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Posted by David Ferguson

SING STREET (2016)

April 20, 2016

DALLAS INTERNATIONAL FILM FESTIVAL 2016

sing street Greetings again from the darkness. The vast majority of 1980’s music usually inspires nothing but groans and an immediate change of the radio channel from me. Yet writer/director John Carney masterfully captured and held my attention with this crowd-pleasing story that leans heavily on the tunes from that era.

Mr. Carney was also responsible for two previous music-centric movies, Once (2007) and Begin Again (2013). He is an exceptional story teller who puts music at the center, but avoids the label of “musical” by making it about people, rather than notes.

It’s 1985 in economically depressed Dublin, and a strong opening sequence introduces us to Connor (Ferdia Walsh-Peelo) as his ever-arguing parents (Aidan Gillen, Maria Doyle Kennedy) inform him of the economic necessity of pulling him out of prep school and enrolling him into a much tougher environment … one that comes with bullies and hard-nosed teachers/clergy.

Soon enough Connor is hanging with the misfits and inviting an enchanting “older” girl to star in his band’s video. She agrees, and wide-eyed Connor quickly sets out to form a band that didn’t previously exist.

There are two interesting and fully realized relationships that make this movie click: Connor and the enchanting Raphina (Lucy Boynton), and Connor and his older brother Brendon (Jack Reynor). Brendan is Connor’s life mentor and music guru. They are quick to jump on the new world of music videos, and it’s a real hoot to watch Connor emulate the style and fashion of Duran, Duran, The Cure, etc.

It’s fascinating to note that Connor, while a pretty talented lyricist and singer, doesn’t really seem to be in love with the music except as a means to an end … a way to get the girl. That said, the real message here is that while teenagers often feel like they can’t fix the outside world (parents, teachers, bullies), they can fix themselves by finding a passion in life (the movie uses the term vocation).

It’s hard not to notice the influence of such filmmakers as John Hughes and Cameron Crowe, and Carney certainly brings his touch of romanticism. Plus, one must appreciate any movie that delivers an original song as catchy as “Drive it like you Stole it”, while also taking a shot at Phil Collins. It’s a funny and sweet movie that should really catch on through positive word of mouth.

watch the trailer:

 

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Posted by David Ferguson

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