McCarthy’s newest is pas mal, thanks to Damon and Cottin
Oklahoman Bill (Matt Damon) navigates the complex city of Marseille as he tries to help his daughter.
Stillwater is a strange movie that somehow works in spite of itself. It tries to be many things: a murder mystery, a character study, a redemptive father/daughter drama, a romance, and a fish out of water culture clash, to name just a few. Some of these elements are strong and some are weak, but, taken together, they create a whole that is worth more than its parts, and make the picture worth a look despite its flaws. Continue reading “Film Review: “Stillwater””
Spinning Platters wraps up its coverage of the 59th San Francisco International Film Festival, which ended last Thursday, May 5th, after showcasing nearly 200 films from over 40 countries. The Fest may be over, but many of its offerings will be released throughout the year, so be sure to use our eight spotlight posts as a guide for potential future viewing.
We conclude our coverage by looking at three final films and two special events.
The Bandit (USA, 2016, 82 min, Closing Night Film)
Burt Reynolds (l.) and Hal Needham during the filming of Smokey and the Bandit.
Local filmmaker Jesse Moss, who found success two years ago with his intense, stunning, but somber documentary The Overnighters, told us at the Q&A after the closing night screening of his new film that after that emotionally wrenching experience, he wanted to go in an opposite direction and make a “fun car comedy” like the films he loved while growing up – films like the ’70s Burt Reynolds-helmed, car chase classic Smokey and the Bandit. Still a documentarian, though, Moss has thus made what he terms the first “action-comedy” documentary. Indeed, as a look at ’70s heartthrob action and comedy star Burt Reynolds and his lifelong friendship with Hal Needham, the Hollywood stuntman turned writer/director who made the iconic Smokey, Moss’s new film succeeds brilliantly at echoing the good ol’ boy charm of the best of Needham and Reynolds’s pictures. Featuring historical interviews with Needham (who passed away in 2013), as well as interviews with former Smokey co-stars, country music stars, friends, colleagues, family, and Reynolds himself, The Bandit is chock full of juicy behind-the-scenes insider stories and enough old TV and movie clips to please the most ardent pop culture fans. As a portrait of both a bygone era of movie-making and, more importantly, of a singular friendship that could shift between respect and rivalry, Moss’s picture mirrors the good natured southern charm of the Reynolds-Needham collaborations, while also examining more serious issues of fame, competition, and deep, enduring friendship. The Bandit took home the Audience Award at SXSW this year, and deservedly so; a genuine crowd pleaser, the picture is a must-see for students of ’70s cinema, and anyone who values engrossing, well-made documentary stories.
Spinning Platters film critics present their top 10 films of 2015
Spinning Platters film critics Carrie Kahn and Chad Liffmann each share their ten favorite films of 2015. Here is Carrie’s list, presented in alphabetical order. (And you can find Chad’s here.)
1.) Brooklyn
Eilis (Saoirse Ronan) shares a tender moment with boyfriend Tony (Emory Cohen).
The immigrant experience in America is exquisitely captured in director John Crowley’s finely crafted film about love, loss, and longing in 1950s Brooklyn. Based on the novel by Colm Tóibín, Nick Hornby’s screenplay presents us with the intrepid young Irish woman Eilis, who leaves her family in the Irish countryside for adventure and opportunity in New York. Saoirse Ronan suberbly conveys Eilis’s gradual shift from shy newcomer to confident cosmopolitan. Called back home for a family emergency, Eilis must choose between familiar comforts and new possibilities, and Ronan depicts Eilis’s struggle with heartrending openness and aching honesty. Emory Cohen and Domhnall Gleeson, as competing suitors on opposite sides of the Atlantic, also deliver strong, sharply drawn performances.
Power of the press is real hero of McCarthy’s inspiring, well-executed picture
The Boston Globe Spotlight team (from left: Rachel McAdams, Michael Keaton, and Mark Ruffalo) uncover a major story.
Writer/director Tom McCarthy is perhaps best known for his character-driven films like The Station Agent, The Visitor, and Up. With his new film Spotlight, though, McCarthy stresses the story itself, yet his film proves just as successful – if not actually more so – than his earlier pictures that favored rich character development. Indeed, not since 1976’s All the President’s Men has a film so deftly and engagingly captured the heart-pounding excitement of intrepid reporters uncovering a major story of enormous national significance.
As an actor, Tom McCarthy is that guy you know you’ve seen somewhere. You can’t quite put your finger on it, but he was definitely a cop/lawyer/scientist/reporter in something. And in his 20 years as a screen actor, McCarthy has indeed worked with an impressive roster of directors, including George Clooney (Good Night and Good Luck), Peter Jackson (The Lovely Bones), and Clint Eastwood (Flags of Our Fathers). He also had key arcs on acclaimed TV series Boston Public and, perhaps most notably, the final season of The Wire. But it is McCarthy’s work as a writer and director which has earned him the greatest praise.
After breaking out with the 2003 Sundance favorite The Station Agent, in which Michelle Williams took one of her first major steps toward becoming the indie queen she is today, McCarthy directed the celebrated drama The Visitor, which scored an Oscar nomination for lead actor Richard Jenkins. And now, after receiving his own Oscar nomination for co-writing Up, McCarthy is back with the highly anticipated Win Win, the crowd-pleasing tale of a down-on-his-luck high school wrestling coach (Paul Giamatti) who unwittingly discovers a talented young wrestler (newcomer Alex Shaffer) while engaged in some shady business dealings. McCarthy recently sat down with Spinning Platters to discuss the plight of wrestling in New Jersey, how he nearly turned down The Wire, and the creative liberation of costarring in 2012.
