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Movie Review: ‘I Used To Be Darker’ Is Essentially About The Music

 

Who needs a complex story-line when you’ve got talented musicians to carry a film?

Matthew Porterfield’s official Sundance selection, I Used To Be Darker, is truly a beautiful and expressive piece of art starring and featuring music by singer-songwriter Kim Taylor.  The songs played throughout the film are not only for background, but also an extension of the dialogue.

When Taryn (Deragh Campbell), a Northern Irish runaway, finds herself in trouble in Ocean City, she decides to stay with her aunt (Kim Taylor) and uncle (Ned Oldham) in Baltimore hoping to escape her problems.  But little does she know her aunt and uncle are having problems of their own. Tayrn’s visit happens to be at a time when the two are trying deal with the end of their marriage.  The couple and their daughter, Abby (Hannah Gross), are having an even harder time than they expected.  Abby can’t even look at her mother.  Her father is heart broken and trying to maintain a positive demeanor.  All the while, Taryn does everything she can to avoid telling her own parents where she is.

The premise itself is intriguing, and I believe Porterfield accomplished the goal he was trying to achieve in the film.  Everyone is trying to avoid dealing with their issues or talking about their problems.   Some of the characters express their feelings through song, while others bottle up their emotions until finally unleashing it during a random outburst.

The most enjoyable scenes were when the characters finally expressed their frustration verbally.  More specifically, one of the best scenes is performed by the exceptional Hannah Gross, when she randomly barges into Taryn’s room shouting at her to call her parents.  In that moment, you are able to connect with Abby and the pain she is going through.

Articulated through song and music, I Used To Be Darker tells a heart-breaking story of family tribulations, people finding each other and letting each other go, and how to hopefully find love again. Though I can’t say this film will appeal to all audiences, music and indie film lovers should find it deep and touching.

I Used To Be Darker is  out on DVD January 28th.

I Used To Be Darker Trailer HD

Originally posted on RedCarpetCrash.com

Movie Review: “Besties” is a Friendship I’m Glad to be Done With

For many of us, films about the overly obsessive best friend who eventually goes on to have a psychotic rampage tend to be an enjoyable guilty pleasure.  However, director/writer Rebecca Cutter fails to give an equally entertaining script with her latest project.

Besties tells the story of Sandy (Olivia Crocicchia), a dorky underclassman who idolizes the babysitter that has lived next door to her for years.  Ashley (Madison Riley) is a gorgeous, fun, and popular senior.   She is also manipulative bitch.  On the night that her dad goes out of town for work, Sandy excitedly asks Ashley to baby-sit her.  Ashley takes advantage of this opportunity to throw a party in which a destructive ex makes an unexpected visit.  When things get out of hand, the night ends with deadly results.  To make sure she never reveals the secrets of that night, Ashley entices Sandy with a “friendship” she wouldn’t dare want to risk losing.

The premise sounds interesting enough.  I even appreciate the slight originality of role reversal with who is actually good and bad in this film.  Movies like Single White Female and The Roomate focus on the pretty and sweet girl who has unknowingly become a victim to the crazy, obsessive new friend.  Sandy is very much the victim in Besties.  The problem with this film, in comparison to its predecessors, is the tamed and boring actions that follow after the two girls become best friends.  Yes, Ashley is mean but there really isn’t a boiling point for Sandy that makes the audience: one- want to sympathize for her, and two- really want her to overcome Ashley.

Maybe if there were more talented actors, the movie could have been a bit thrilling.  Crocicchia was tolerable, but her attempt to act drunk was almost as embarrassing as watching Bobby Soto try to play a convincing love interest for her character.  A couple shots of vodka for Crocicchia, and a few acting lessons for Soto could have made for a better film.  Thank goodness for Riley’s performance as the conniving antagonist.  She is truly the only reason I was able to keep watching this movie.  Although, if Ashley’s mom (Jackie Debatin) and Sandy ’s dad (Corin Nemec) would have played a bigger part, I think we could have had an interesting side story.

Besties is a low-budget drama/thriller that starts out with so much potential, but falls incredibly flat.

Watch Besties on demand at phase4films.com

 Besties Trailer HD

Originally posted on RedCarpetCrash.com

TV Movie Review: “Lizzie Borden Took an Ax” Features a Spine-Chilling Performance by Christina Ricci

“Lizzie Borden took an axe, and gave her mother forty whacks. When she saw what she had done, she gave her father forty-one.”

We’ve all heard the infamous skipping rhyme many times that was based on the true story of the girl who allegedly killed both her parents gruesomely with an ax. Well now, Lifetime has taken the bleak tale and turned it into one of their highly anticipated TV movies.

Starring Christina Ricci in one of her most disturbing roles yet.  She gives an unforgettable performance in an otherwise tedious film.  For those of you who don’t know the story of Lizzie Borden, she was an American woman who was tried and acquitted in 1892 for the axe murders of her father and stepmother in Fall River, Massachusetts.  There were other theories that surfaced trying to explain who might have killed Lizzie’s parents.  But with no one else being as strong or as likely of a suspect, the murders of Andrew and Abby Borden still remain a mystery.  Heavy speculations about the crimes still continue today.  However, it is clear that director Nick Gomez has made up his mind about who the murderer is.

The story itself is an interesting one.  But when told through a made for television movie, it can be pretty boring.  Lifetime tends to do a good job with respecting the known facts of any true story they turn into film.  This is great for accuracy, but not always engaging enough for audiences.  Luckily, “Lizzie Borden Took an Ax” is less than half an hour long.  But even the short running time doesn’t make this film any more exciting.

The film starts off well.  We get thrown into to the murders fairly quickly, but not before we get a good amount of character development from the Borden family.  It is once the murders have happened that this film starts to go down hill.  Trying to hook the audience back in with as many random bloody axing shots, the film still has trouble trying to stay entertaining.  By this point, the audience knows all the facts and the end results.  It just becomes a matter of how the movie will handle the ending.  The last 35 minutes is a repetitive mess.  The film throws in various shots of unexplained scenes with never before scene characters.  In an effort to explain other possible scenarios, this sequence becomes confusing and a bit of tease.  Some of those shots would have been fun to watch had they fully played out, even if they were just theoretical.

What I can not complain about is the haunting performance Ricci gives as an unhinged, Lizzie Borden.  Ricci, no surprise, shines in this film.  From her creepy head tilts, to her untrusting wide eyes, she nailed this potentially dreadful role.  As long as she is on the screen, you will be kept amused until the unexpected and satisfying ending.  With all the information the filmmakers knew, they handled the end scene in the best way I could imagine; tasteful, realistic, and eerie.  No matter how you feel getting through “Lizzie Borden Took an Ax,” you will be content with the acting and conclusion.

“Lizzie Borden Took an Ax” premieres on Lifetime January 25th at 8PM ET/PT.

Originally posted on RedCarpetCrash.com

Movie Review: “The Past” Is A Storytelling Masterpiece

Academy Award winner Asghar Farhadi once again showcases his unpredictable and enticing storytelling skills in his latest drama thriller.

Four years ago Ahmed (Ali Mosaffa) left his French wife, Marie (Bérénice Bejo), and her two daughters from a previous marriage, to return to his homeland, Iran.   Now he has come back to France to finalize his divorce so his wife can remarry.  Upon his arrival, he comes to find out that Marie’s oldest daughter, Lucie (Pauline Burlet), can not stand the future husband to be, who also has his own son.  As Ahmed begins to discover the reasoning behind Lucie’s hate, secrets of how Marie and her fiancée got together start to unfold; leading to one shocking truth after another.

I think it’s best to not go into too much detail of the events that occur in this film.  The beauty and brilliance of the bilingual movie, spoken in both French and Persian, is how you are not able to figure out what will happen next.  In fact, you will probably assume that you have the entire story pegged out already.  It is definitely laid out that way in the beginning.  But like his format in A Separation, Farhadi makes the audience suspect multiple scenarios while keeping them on the edge of their seats.

The Past features spellbinding performances by the entire cast, with a stand-out performance by Bérénice Bejo.  Famously known for her role in The Artist, Academy Award nominee Bejo is even more captivating with sound.  Alongside her remarkable acting is the exceptional direction.  Farhadi not only writes a scintillating, detailed script without heavy dialogue, he also shoots his scenes in the most creative, yet subtle technique.

For anyone who enjoyed A Separation, I guarantee you will not be disappointed with The Past.  Following the same style and tone, this film draws you in and keeps you guessing till the very end.  The magnificent final shot will leave audiences experiencing various emotions when the last character that you would expect, sheds a tear.

Rated PG-13 for mature, thematic material and brief strong language.

The Past hits theaters on January 17.

The Past Trailer HD

Originally posted on RedCarpetCrash.com

 

TV Movie Review: ‘Flowers in the Attic’ Is A Cringeworthy Remake You Can’t Stop Watching

If you’re like me, the previews for the upcoming Lifetime filmFlowers in the Attic, was the first time you that have heard about the controversial story that shocked millions in 1979.  After some extensive research, I was prepared for the uncomfortable and disturbing tale of incest.  What I wasn’t prepared for was how entertained I would be by such an extreme premise.

Known as “the book you were forbidden to read,” V.C. Andrews’s hot-button novel is being made into film once again, this time on the little screen.  Previously adapted in 1987 on the big-screen, the film received backlash from critics and fans that were unhappy with the many changes from the novel.  The most obvious change was the removal of the inappropriate romance between the brother and sister characters, Christopher and Cathy.  But don’t worry, Lifetime’s version made sure to not make that same mistake twice.

When and if you watch the television premiere of Flowers in the Attic on January 18th, you will get plenty of sibling romantic tension that will make it impossible for you to avert your eyes.  The movie focuses on Cathy (Kiernan Shipka) and Christopher (Mason Dye) Dollanganger, a brother and sister who along with their younger twin siblings are locked away in the attic for over two years by their self-centered mother (Heather Graham) and psychotic religious grandmother (Ellen Burstyn) after their father’s unexpected death…And no, I don’t know why Academy Award winner Ellen Burstyn agreed to playing this role. Yes, she did an amazing job nonetheless.

Besides Burstyn’s terrifying portrayal of such a cold-hearted grandmother, the other performances were pretty mediocre.  Graham was like a character straight out of The Stepford Wives, showing no true emotion throughout the entire film.  She really was an “ornament” like her character said, just there to look pretty.  And Shipka and Dye spark interest in the second half of the film, due to their blossoming romance that you shamefully root for.

Flowers in the Attic is like that car accident that you want to drive pass quickly to avoid traffic, but your curiosity of the gruesome details makes you want to observe every second of it.  Whatever way you look at it, Lifetime’s take on the dysfunctional Dollanganger family will draw plenty of attention to audiences, good and bad.

Premieres on Lifetime Saturday, January 18.

Flowers in the Attic Official Lifetime Trailer

Originally posted on RedCarpetCrash.com

Movie Review: “Black Nativity” is Passable for a Holiday Movie

Let me just say that this movie is lucky they had such a talented all star cast, otherwise it might have been unbearable to watch.

This is a simple and standard script.  The originality lies in its musical numbers and the interesting way they parallel the story of Jesus Christ’s birth with another pregnant couple who has nothing, but never seems to loose faith.  To be fair, the film is based on the 1961 Off-Broadway play.   I have a feeling this story works better on stage then on screen.

When his mom (Jennifer Hudson) is forced to foreclose their home, Langston (Jacob Latimore) must spend Christmas break with the grandparents he never knew.  Played by Forest Whitaker and Angela Bassett, the two welcome their grandson with open arms.  Since it is clearly obvious his grandparents have been living a life of luxury, Langston becomes suspicious and angry as to why they haven’t helped him and his mom financially.  Langston begins to ask more and more questions.  Leading up to what some might call a “shocking” reveal, the family secret starts to unfold.

Now I did enjoy all the moments with Whitaker and Bassett.  The two are just such great actors.  Even in a mediocre film like this, they some how make it pleasurable with their performances.  The music is great, and once again Jennifer Hudson shows off her strength in her power ballads.  Everyone else sings well, but there is a clear “Idol” out of the bunch.

It’s not even so much the cheesiness of this film that bothers me.  I like musicals, so that was not a problem for me either.  Although, some of the songs ran longer than they should have.   It was more the fact that so many problems that occurred would get resolved so unrealistically quick.  Because this film is a family holiday movie, minor details like that can be overlooked.  Had it premiered during the Lifetime channel’s Christmas movie marathon, Black Nativity would have fit right in.  In fact, the film would have been a stand out TV movie.  Unfortunately, big screen holiday competitors like The Best Man Holiday and Frozen are likely to leave more lasting impressions this season.

Rated PG for thematic material, language and a menacing situation.

Black Nativity hits theaters November 27th.

Black Nativity Official Trailer HD

Originally posted on RedCarpetCrash.com

Interview: Steve Coogan talks “Philomena”

It is the film every journalist should see!

After losing his job as a Labour government adviser, Martin Sixsmith (Steve Coogan) meets Philomena Lee (Judi Dench).  A woman who recently admitted that 50 years ago she was forced to give up her son in Ireland, because she was not married during her pregnancy.  She has thought of her son every day since she had to give him up, and desperately wants to track him down to just know if he is okay.  Initially not interested in doing a human interest piece, Martin decides he needs the work and takes on the story.

In what happens to be a more comedic team during a tragic situation, Philomena and Martin travel to Washington, DC.  They soon uncover a shocking truth that will have you walking out of the theater with anger and satisfaction.

To no surprise, the performances in the film are exceptional.  Though this is about a serious topic, the real surprise is how you will catch yourself laughing more than crying due to the incredible screenplay written by Steve Coogan and Jeff Pope.  Taking a story that you might normally dread to hear, and turning it into a light-hearted drama with an endearing message.

Based on true events, Philomena is a captivating story about seeking answers, while respecting feelings and truly accepting forgiveness.

Steve Coogan took time to sit down and talk about his new film.

photo

It’s interesting to see the transition of how Martin goes from unsympathetic to more caring of Philomena’s situation.  In your opinion, do you need to lack a certain amount of sympathy to get the answers you want for a story?

“Well, obviously there’s a line isn’t there?  If you just considered not wanting to offend anyone at anytime or upset anyone at anytime, you probably wouldn’t get to the truth. So there’s a case of sometimes having a little, chutzpah in trying to pursue things.  I think you can’t make hard or fast rules, but I think that there are ethics involved.  And it’s a judgment call about what those ethics are.  And I think there are some very tenacious journalists who are in the pursuit of the greater truth and are motivated by that.  Then there are journalists who are just bottom line willing to shift people and are looking to just pay their mortgage.  And that’s understandable, but it doesn’t necessarily make it noble.  So, as I said I think it’s a judgment call.  Martin has struggles with that in the film.  Really, it’s partly about cynicism and how he is cynical and Philomena is not cynical despite what all has happened to her.”

One of my favorite lines Philomena says was, “You should be nice to the people on your way up.  You might meet them on your way down. 

“(Laughs) That line is what my mum said to me once. So I put that in the movie.  But I like the simplicity of the language.  She wasn’t over eloquent; we kept her simple and straight forward.”

That line just stuck with me.  Have you come across with anyone that maybe wasn’t nice to you before your success?

“I have to be very careful (Laughs) because sometimes I think I’m going to see that guy one day.  Especially sometimes there are those people that don’t give me roles that I wanted and thought I could have done.  And I’m like “well they’ll be sorry now” (Laughs).  If you start thinking like that it’s like what Philomena said to Martin at the end of the film.  “I don’t want to go through life hating people.”

Yes, that was another great line!

“Yeah!  And because you know, as we all know, sometimes you get eaten up by that stuff and in trying to seek revenge, the person you destroy more than anyone is yourself.  But it’s ok to recognize it, as long as you recognize the limitation of your feelings and how they are not always right, I think that’s good.  You just need to think out loud about it.”

 Philomena hits theaters November 27th.

Philomena Trailer HD

Originally posted on RedCarpetCrash.com

Movie Review: “Exit 727” has an Interesting Story but the Wrong Execution

I’m going to try and not be too hard on this film, because it was Eric Ortiz’s first time directing, writing, and acting in his own full length film.  Given that the film is based on true events, it is probably also special to him.  The story is actually pretty interesting, but the film-making and acting is so amateur that it is hard to take anything going on in this movie seriously.

The film begins with Michael (Jereme Badger), previous druggie, recounting the events that happened during a fatal summer.  Michael, his brother Dominic (Eric Ortiz), and their friend Ben (Anthony Ashmore) had given up all hope on life.  Unable to accomplish their dreams, they settle for a construction worker job where they meet bad boy James (Nathan Spiteri).  He might have been the only experienced actor in the film, and the most tolerable to watch.  It might have been the Australian accent, but he at least fully committed to his character.

After Dominic pulls his antics on the boss, everyone gets fired.  Angry at Dominic for causing him to loose his job, James pressures the guys to help him rob a bank.  And it all goes down hill from there.

Ortiz might want to focus more on his screenwriting skills versus his directing and acting.  He proved he could deliver lines quickly, but failed to have any meaning behind them.  As far as camera work goes, I’ve seen better filming from my past production classes. The beginning had some awkward out-of-focus shots, and the movie had too many unnecessary scenes.  I’m not sure who was in charge of audio, but the sound was all over the place.  At times, it was as if the characters had been mute or maybe they were just mumbling; I’m not really sure.

The premise gives this movie so much potential.  Had the movie been filmed differently, and with better acting it would have made for an admirable independent film.  Sadly, Exit 727 fails to perceive the impact or message it was trying to get across.

Exit 727 Trailer

Originally Posted on RedCarpetCrash.com

Movie Review: Instructions Not Included

At first glance this film might seem like a predicable slap stick comedy;  but after a deeper look, you will see there is much more to this movie than meets the eye.

Eugenio Derbez and Loreto Peralta star in “Instructions Not Included”

Eugenio Derbez makes his directorial debut in the family comedy, Instructions Not Included.  Derbez stars in the film as Valentin, the resident playboy in Acapulco.  His life gets completely turned around when one of his ex-flings, Julie (Jessica Lindsey), drops off his unknown baby on his door steps and takes off with out a trace.  In hopes to find Julie and return the baby, Valentin leaves Mexico and heads to Los Angeles.  He ends up finding a job and a home in LA for him and his new found daughter, Maggie (Loreto Peralta).  Not knowing a thing about how to raise a child, Valentin is forced to grow up, and finally make a commitment to one girl.  After six years of raising Maggie, he has established  a comfy life as Hollywood’s top stuntman with Maggie as his on-set coach.  Their lives are turned upside down when Julie returns out of nowhere and Valentin is in danger of losing his daughter.

Even with the cast being mostly new to the big screen, they don’t show any signs of amateur acting.  Eugenio Derbez is one of the biggest actors in Mexico, if not the biggest.  Having already made a few small appearances in American films like Jack and Jill and Girl in Progress, he makes a giant leap as the star, director, and co-writer of Instructions Not Included.  He is a natural comedian and is hilarious in either language.  From his dumb-founded facial expressions to his genuine caring father moments, you’re immediately connected to this character.  Throw in newcomer, Loreto Peralta, as the adorable smart-aleck daughter and you have a dynamic duo.  These two have such great chemistry and a heartwarming father/daughter relationship.  Of course watching Valentin figure out how to take care of baby Maggie using whatever he has around him, including a clever backpack with holes for legs as a baby carrier strap on is priceless.  Maggie’s mother Julie plays a less lovable character.  Jessica Lindsey, does a fantastic job as a selfish and confused baby mama who can’t quite make up her mind on whether or not she’s capable of motherhood.

Instructions Not Included may seem similar to other films where the main character living the single life gets thrown into parenthood.  But this movie isn’t as predicable as Jersey Girl or Raising Helen.  There are moments in this film where you might think you have it figured out, but chances are, you don’t.  The film is in both Spanish and English, but which ever language, the story is clear.  All through the movie Valentin is extremely scared of almost everything, heights, bugs, wolves, commitment.  Once thrown into fatherhood, he naturally starts to conquer all his fears because of the love he has for his daughter.

Rated PG-13 for sexual content and language, Instructions Not Included is film the whole family can see.  There’s laughter, there’s tears and most importantly there’s heart.

Instructions Not Included hits theaters today!

Instructions Not Included Official Trailer HD

 

Interview with Writer/Director/Actor Eugenio Derbez

Eugenio Derbez