Released a little over two decades ago, Eraserhead is David Lynch’s feature film debut and the beginning of a filmography both wonderful and strange. Set in a grimy, industrial town, it tells the story of Henry Spencer (Jack Nance) a young man who finds himself in a tumultuous relationship after his girlfriend has given birth to their child. After a long night of listening to their child cry, Spencer’s girlfriend leaves him to watch over the sick, mutant baby. At its core, it’s a film about fatherhood and the struggles and fear that come with it, but Lynch’s approach results in a nightmare fueling film unconcerned with the conventions of traditional storytelling. Eraserhead is a prime example of what makes Lynch’s films great — it’s shocking and innovative in its storytelling, visuals, and even sound. Continue reading “Oh, You Are Sick!”: An Eraserhead Review→
Unlike Steven McQueen’s film Twelve Years A Slave and Toni Morrison’s literary novel Beloved, which cover the horrors of slavery, director Kasi Lemmons’ biographical drama Harriet showcases the powerful freedom fighter Harriet Tubman in a way that is accessible and emotionally invigorating. The film portrays Harriet Tubman’s (Cynthia Erivo) escape from slavery and the dangerous missions she led to free hundreds of slaves through the Underground Railroad. Minimalist cinematography paired with an emotionally intriguing score, and grounded performances capture the power of this heroic figure. Continue reading The American Hero: Harriet Hits Theatres→
Actor Edward Norton returns to the director’s chair almost two decades after his directorial debut with the crime drama MotherlessBrooklyn. In addition to directing, Norton wrote, produced, and starred in the film based on the 1999 novel of the same name by Jonathan Lethem. The film centers around Lionel Essrog (Norton), a private investigator with Tourette syndrome as he tries to solve the mystery behind the death of fellow PI and mentor Frank Minna (Bruce Willis). Taking on multiple production roles, Norton’s labor of love showcases his remarkable sense of style in this creative adaptation.
Last week’s GEMS mini-festival–the Miami Film Festival’s annual fall showcase–featured an interesting mix of highly anticipated new projects from prominent directors and first features, films that traverse familiar directorial ground and movies that represent departures. The festival, which once again focused on international hits with arthouse crowd, brought an advanced screening of some sure Oscar contenders as well as more niche fare to Miami audiences. Read our first takes below.
Yorgos Lanthimos’ The Lobster is about the dangers of a society obsessed with compatibility. Despite its tense tone, Lanthimos manages to make it refreshing with dark humor. David (Colin Farrell) navigates the aftermath of a marital affair in a society which requires everyone to find a compatible partner, or be turned into an animal. On this journey he comes across The Short-Sighted Woman (Rachel Weisz) and together they rebel against the pressures of society.
Although The Lobster can be hard to watch, those familiar with Lanthimos’ body of work will find his penchant for dark humor similar to recent works of his, such as The Favourite. Lanthimos excels at constructing the dystopian universe housed within the film, creating an atmosphere of constant fear and desperation through its characters. Colin Farrell is unrecognizable in his role as a divorced husband in unfamiliar territory, while Rachel Weisz serves as a stoic narrator for the first half of the film. The remainder of the cast does well to present the idea that this is an unpleasant society to live in. Continue reading The Lobster: A Dark Take On Compatibility→
Ironically enough, a film about the clown prince of crime is director Todd Phillips’ first dive into drama. His recent lineup of work is comprised of comedies like The Hangover franchise and War Dogs, but looking back at his earliest work, it’s obvious that Phillips has merely come full circle. Phillips kicked off his film career with a documentary about GG Allin, a notoriously controversial punk artist, and having seen Joker it becomes apparent that he has a fascination with violent men. Joker is a character study focused on Arthur Fleck’s (Joaquin Phoenix) miserable descent into becoming the iconic villain. It checks all the award season boxes — incredible lead actor, score, and cinematography. However, it’s difficult to praise Joker without acknowledging that the plot is a victim of its obsession with glorifying the actions of its main character.
Kenny Riches’s A Name Without a Place is about grief, a weird recluse millionaire, and porn. But this exciting premise is also the film’s problem — it tries to be too much. Gordon Grafton (Bryan Burton) is struggling with the loss of his twin brother and dealing with his overbearing, much older, aging starlet girlfriend (Elizabeth McGovern). As a result, he decides to take a solo trip to the Florida Keys and along the way meets aspiring porn star Emma Lee (Charlotte Best) before the two ultimately crash their car into an eccentric’s (Patrick Fugit) secret estate.
Yorgos Lanthimos’ The Lobster is about the dangers of a society obsessed with compatibility. Despite its tense tone, Lanthimos manages to make it refreshing with dark humor. David (Colin Farrell) navigates the aftermath of a marital affair in a society which requires everyone to find a compatible partner, or be turned into an animal. On this journey he comes across The Short-Sighted Woman (Rachel Weisz) and together they rebel against the pressures of society.
