In the amiable comedy The Way You Look Tonight, Peter meets a woman through a dating app, but can’t find her again despite their connection and a torrid one-nighter. Still yearning for his mystery flame, he dates a series of women, but remains unfulfilled. Now, it’s hard to write about this movie without spoiling the hook, but let’s just say that he discovers that a group of people exist with a startling fictional condition.
Indeed, the two funniest sequences are when Peter finds out that he is the last human to find out about this condition and when he attends the support group for the afflicted (of COURSE they have one).
Nick Fink is appealing as Peter and the rest of the cast is uniformly excellent, especially the horde of actresses who play his dates.
Can someone get past appearance – age, race, body type – to connect with a soul mate? The Way You Look Tonight is actually a parable cloaked in a romantic comedy. This is the first feature for writer-director John Cerrito.
Cinequest hosts the world premiere of The Way You Look Tonight
In the winning comedy Vanilla, Elliot (Will Dennis) is stuck in a regimented life of coding software, emerging from his apartment only for gym workouts and food. Kimmie (Kelsea Bauman-Murphy) is a kookie free spirit, but she’s stuck, too, unable to fulfill her aspiration to become a stand-up comic. Events conspire to lead the two into a three-day road trip from New York to New Orleans. Kimmie pitches it to Elliot as a date. But Elliot really sees the chance to reconnect in New Orleans with his ex-girlfriend Samantha, for whom he still pining. What could go wrong?
We have an odd couple on the road, so funny stuff happens – and this is a funny movie. Naturally, the audience is waiting for the two to jump into bed together. But Vanilla is fundamentally a portrait of these two people, both comfortable in their ruts. Elliot is posing as an entrepreneur, and Kimmie is posing as a comedian-in-the-making; something is going to have to shake up these two so each can grow. Kimmie seems utterly intrepid, but we learn that she can be paralyzed by self-consciousness, just like Elliot.
Vanilla is written and directed by its star, Will Dennis, in his first feature film. It’s an impressive debut, rich in character-driven humor.
Dennis understands not to linger on a gag; (Yorgos Lanthimos should pay close attention to this). Dennis has Elliot try to eat a beignet in a bayou tour boat; it only works because it’s the briefest of gags. There’s a montage of bad would-be comics at an open mic night that is brilliant in its understanding of why they think they’re funny and why they’re not. Dennis also works in a random encounter with America’s most earnest fish store guy (Lowell Landes). And “Anyone ever tell you that you have a Natalie Portman thing going on?” becomes a very funny come-on line.
Dennis is very good as Elliot, subtly capturing his unease, judginess and pathetic obsession with Samantha. Bauman-Murphy makes Kimmie’s kookiness, which could easily be annoying, lovable.
Jo Firestone is perfect as Elliot’s ex Samantha. Firestone shows us a glimpse of why Elliot would fall for her, and then a massive dose of why she’s bad for him. Let’s just say that I recognized Samantha (as a friend’s ex-girlfriend, not mine).
The satisfying ending of Vanilla is authentic, true to the characters and NOT what would be expected from a run-of-the-mill rom com.
Cinequest hosts the world premiere of Vanilla, where Silicon Valley audiences will appreciate Elliot’s delusion that his clunky app will go viral – if only users would spend enough time learning it.
Comic Aron Kader in TRAVEL BAN: MAKE AMERICA LAUGH AGAIN
Since medieval court jesters tweaked royal courts, we’ve used comedy to explore difficult conversations. In the documentary Travel Ban: Making America Laugh Again, comedians confront the misunderstanding, bigotry and hatred faced by Americans who are Muslim and by Americans whose families come from the Middle East.
One unfortunate aspect of our culture is the impatience with and resistance to accepting nuance and complication. Many Americans are content to accept a world in which “the Middle East” is a nation – one entity that is ever-hostile to the United States and ever evil-intentioned to all Americans.
Muslims and Middle Easterners have always endured negative stereotypes, made worse by 9/11. But, this has worsened in the Trump Era because Trump empowers and licenses the open spewing of hate speech into our national discourse.
In response, Comics Aron Kader, Raz Jobrani and Ahmed Ahmed, who performed on the Arabian Knights and Axis of Evil comedy tours, mobilized even more stand-up comics for the Travel Ban tour.
Travel Ban includes the on-stage and off-stage banter of over a dozen American comics of Middle Eastern heritage or Muslim religion. As one would expect, some are far funnier than others. My favorite is Feraz Ozel, who also has the movie’s funniest line in response to “Why don’t the good Muslims get together and fight the bad Muslims?” (You’ll have to watch the movie for to get the devastating punchline.
Travel Ban is NOT purely a concert film; we do see performances, but the comics also discuss their experiences off-stage. For context, there are some bracing videos of actual hate crimes and hateful rants by ignorant “real Americans”. And Travel Ban brings in some key factual tidbits; for example, zero Americans have been killed by anyone from any of the countries targeted by Trump’s travel ban.
This is a serious film with some hilarious comedy. As one of the comics says off-stage, “a good comedian makes people laugh, a great comedian makes them think”.
Cinequest hosts the world premiere of Travel Ban: Making America Laugh Again.
Many will cringe at the promise of the Belgian reality show Taboo: humorist Philippe Geubels spends time with four dying people and then hosts an entire audience full of terminally ill people for his stand-up comedy show – about their situation. It’s surprisingly empathetic and touching.
Cinequest hosts the North American premiere of Taboo in the television section of the fest. Taboo is likely to be one of the most controversial – and one of the most popular – entries in the festival. My complete review will appear when Taboo is released in the US.
In the Finnish family comedy Happier Times, Grump, a grouchy and emotionally-repressed Finnish farmer has been content to alienate everyone in his life, but then gets the chance to step up and support his teen granddaughter emotionally. The curmudgeon’s son, the girl’s father, is a Yuppie living in Belgium and he’s a piece of work himself; he has long resented the old man’s harshness and emotional detachment. The worlds of the simple old farmer and the hyper-connected urban teenager are centuries apart, but the odd couple must connect to handle a crisis in the girl’s life.
To enjoy Happier Times, Grump, the audience must 1) be amused by the politically incorrect and Luddite pronouncements of the old man and 2) relish an overtly sentimental ending.
Jeff Daniels wrote and stars in Guest Artist, a comic two-hander about a Pulitzer Prize-winning playwright drinking his way through an 18-year-old writer’s block. The playwright has sunk to accepting a guest residency from a Lima, Ohio, amateur theater company. He shows up drunk, bitter and entitled, and, of course, he hasn’t written the play that has been commissioned. His appointed Man Friday is a wannabe playwright (newcomer Thomas Macias) who desperately tries to handle the raging ego and the self-destructive behavior of his idol.
[MILD SPOILER HERE] It turns out that the writers’ block stems from a self-suppression of artistic expression. But there really isn’t any humor or insight into the artistic process that we haven’t seen before.
Jeff Daniels is very good as the frustrated genius. Daniels has been a cinema star for a long time, and for good reason. It’s been 34 years since he broke through with his star turn in Woody Allen’s Purple Rose of Cairo, and he’s beloved for roles ranging from those in the Dumb and Dumber movies and television’s The Newsroom. I most admire Daniels’ performance as professor-turned-battlefield-commander Joshua Lawrence Chamberlain in Gettysburg (1993).
Guest Artist is essentially a filmed play, and it looks like it. For some, a dose of Jeff Daniels will be enough.
In the horror comedy Blood Paradise, the author (Andrea Winter) of lurid best sellers is wallowing in malaise after her latest book bombs. For a change of pace, she gets away to the Swedish version of an agriturismo, a remote and spartan farm. The farm has every earmark of Gothic horror, and Blood Paradise has great fun with every creaky door and ominous scarecrow. The farmer explains his wife’s grave out back, “she loved the garden but now it’s only a garden of death”. The farmer’s creepy middle-aged sister is obsessed with dolls. His menacingly silent, paunchy son is mostly shirtless and fondling a shotgun. And the author’s driver is her biggest fan – and seriously unhinged. Just when the blood starts splattering, the author’s hunky, dim and besotted boyfriend Teddy shows up for a surprise visit in a white suit.
Part of the fun is that the author has adventuresome sexual fantasies and makes a living envisioning gruesome scenarios; her especially rich imagination makes every ominous cue seem even more alarming.
Blood Paradise is written by its star Andrea Winter and directed by Patrick von Barkenberg (who also plays Teddy); it is the first narrative feature for both. Winter is a good sport about her own nudity, and has fun playing the author as a brat. She also has fun with Teddy’s allergies, which erupt at the most importune times. And there’s a very amusing homage to Psycho.
This is a Swedish movie set in Sweden, but almost all the dialogue is in English. Blood Paradise plays at the 2019 Cinequest.
Here’s a really fun movie. Land Ho! features a vibrant and irascible geezer who conscripts an old friend into a rowdy road trip to – of all random places – Iceland. It’s a showcase for Earl Lynn Nelson, who essentially plays himself in the movie. Nelson is a 72-year-old Kentucky doctor who is a force of nature and has possibly an even dirtier mind than The Movie Gourmet’s. He is a friend of the 29-year-old writer director Martha Stephens who was INSPIRED to see the possibilities in sending him off on an adventure and filming the results. His friend (and ex-brother-in-law) is played by an actor, Paul Eenhoorn.
It all works. Nelson – an unapologetic hedonist – is funnier than hell, and Eenhoorn stays right with him as the more reserved and sometimes aggrieved buddy. Land Ho! is a string of LOL moments, whether Nelson is providing politically incorrect fashion advice to young women or unsolicited marital advice to a honeymooning couple or pulling out a joint and proclaiming “It’s time for some doobiefication”.
This is a geezer comedy that doesn’t make the geezers cute. Nelson may be a piece of work, but there’s nothing in Land Ho! that isn’t genuine.
I just have two knocks on the movie. It’s only 95 minutes long, but it would be crisper at about 87. And, as The Wife pointed out, there’s really no need for the huge jarring subtitles to let us know precisely where these guys are in Iceland.
Nevertheless, it’s worth a watch. The audience at Sundance loved this movie, and I think Land Ho! is a hoot-and-a-half. Land Ho! is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu, YouTube, and Google Play.
{Note: I got the meet and spend some time with Paul Eenhorn at Cinequest 2015, when he was premiering his film In the Company of Women. Great guy.]
Bitter Melon is H.P. Mendoza’s dark indie comedy on an issue that a Bay Area family must finally face. The dad has long abandoned the family, and it’s almost like he has moved to a different city (but he hasn’t). Two of the adult sons have moved to New York City and Philadelphia. The third son, Troy, lives in the mom’s family home with his wife and kid – and this guy is a nightmare. Troy (Patrick Epino) has a delusional self-image that he is somehow super-talented, even though he is unemployed and living off his wife and mom; worse, he has an anger management problem, and the entire family tiptoes around on eggshells – trying to avoid any disagreement with him.
It should be no surprise that Troy, who thinks he is entitled to his way all of the time, also beats his wife. The wife is too traumatized to seek help, Troy’s mom is in denial and the siblings, having put the family’s day-to-day life in their rearview mirrors, all combine to enable the abuse. When the two brothers return for the Christmas Holiday, the situation becomes unbearable and the family members decide that they must take an extreme step to deal with Troy.
I’ve just described a pretty grim story line, but Bitter Melon is very funny.
Bitter Melon invites us into a Filipino-American family, which is a welcome look at an underrepresented subject. But Bitter Melon is much more than cultural tourism – the characters and story here are universal, from the adult kids coming back to sleep in their childhood rooms for the holidays, the differences between first and second generation immigrants and the family issues of abuse and denial.
H.P. Mendoza is a Bay Area treasure, having written the screenplay and music for the rollicking and refreshing comedy Colma: The Musical and written and directed the genre-bending art film I Am a Ghost. I recommend the delightful Colma: The Musical for anyone, especially Bay Area residents; you can stream it from Vudu, YouTube and Google Play.
Bitter Melon begins a Bay Area theatrical run tomorrow.
The Ballad of Buster Scruggs is the Coen Brothers’ homage to the Western genre; it’s an anthology with SIX of their darkly funny stories. They clearly share Mark Twain’s cynically wry take on human nature, which they depict in Western situations of wagon trains, stagecoach rides, prospecting and hangings. The Coen brothers are not just making fun of Western clichés but also celebrating the genre, with beautiful vistas of New Mexico’s harshness and the spectacular Colorado high country.
The funniest is the opening vignette, with its over-the-top send up of Western conventions – white and black hats, saloon gambling, super fast gunplay and the rest, including nods to the “loquacious Western” subgenre. And it cements Tim Blake Nelson as having the funniest shit-eating grin in cinema.
The best performance is Harry Melling’s in the Meal Ticket segment. Melling is best known as Harry Potter’s Dudley Dursling. He plays an itinerant performer who only speaks during his performances; Melling is startlingly brilliant in those performances and even better when he silently and fatalistically regards his competition.
Harry Melling in THE BALLAD OF BUSTER SCRUGGS
By far the best story is the saddest, The Gal Who Got Rattled, about a sad-eyed young woman (Zoe Kazan) who is following her delusional brother west, to what we all know will be heartbreak. Untethered by her obligation to the brother, she gets the Old West’s opportunity to remake her destiny until the Old West’s cruel chance intervenes.
The movie peters out in the ghostly last story, The Mortal Remains, despite Saul Rubinek’s delicious portrayal of a Frenchman in the Old West.
I don’t recommend The Ballad of Buster Scruggs for general audiences, but Westernphiles and fans of the Coen Brothers dark, dark humor will find it worthwhile viewing; it doesn’t rise anywhere near the level of the Coen’s best: Blood Simple, Fargo, A Simple Man, No Country for Old Men or True Grit. The Ballad of Buster Scruggs is playing in a few theaters and streaming from Netflix.
