Jimmy Olsson’s latest short, “Notes,” is the cathartic relationship movie you didn’t know you needed.
One of the most difficult parts of living alone is the silence. If it weren’t for FaceTime lunches with friends, work calls, and daily conversations with my cat, there might be days where I didn’t even hear the sound of my own voice. When my TV is off, my phone stops buzzing and there’s no sounds coming from outside, there’s this brief terrifying moment where I wonder if everyone else on Earth has disappeared. Even if I break the silence by talking to myself, it feels like I’m just sending my voice out into an empty void where no one will ever hear it. Writer/ director Jimmy Olsson captures this kind of loneliness in his short film, Notes, in which he offers a hopeful answer to the question that appears on the poster, “how can you speak when you have no one to talk to?” In Notes, a man moves into a temporary apartment after his bathroom floods, where he proceeds to work on a song he’s composing for his girlfriend’s birthday. He’s a little rusty on the keyboard and can’t quite find the right notes, but his neighbor chimes in through the wall to help him out.
Let the spectral agents in: Bring home independent gem “A Ghost Waits” on Blu-ray from Arrow Video.
With limited resources at hand, the incredible cast and crew of A Ghost Waits truly came through with teamwork and creativity. Making the most of what they had and pooling resources from family and friends, the team shot the movie in Cincinnati, Ohio, in 2016. After its first public screening at Fright Fest Glasgow in March 2020, the movie underwent a few more tweaks and changes before it was released for streaming on Arrow in February 2021. The final version of this quirky horror/romcom is a testament to the crew’s perseverance and collaborative efforts, showcasing their enormous love for filmmaking. In the words of director and co-writer Adam Stovall, the movie isn’t perfect, but it’s “the best version of itself” possible. You can now get the full scoop on the story behind the film from the interviews and commentaries included on the Blu-ray from Arrow Video, which makes the perfect gem to add to your home collection.
Originally posted on Elements of Madness.
Storytelling is essential. It’s one of the easiest ways to communicate our values, express our beliefs, and process our experiences. Even our 280-character tweets are a form of storytelling, and many of us couldn’t make it a single day without a little micro-storytelling on social media. While it’s natural for us to jump into a detailed account of our own experiences, it’s not as natural to stop and listen to a different perspective. Movies and TV shows can give us the opportunity to explore other perspectives by replaying the same event from different points of view, the results of which can be comedic, horrific, or totally mind-blowing. In the case of The Get Together, we get to experience a Friday night party from the perspective of four very different twenty-somethings: an outcast who wasn’t really invited, a nervous guy trying to plan the perfect proposal, a career-driven student who returns to her hometown for the first time in months, and a wannabe musician who’s wondering if his dreams might be too big.
Director Paul Starkman showcases his mastery of filmmaking in his feature debut, “Wheels.”
Wheels starts with its greatest strength: music. A lively rock-n-roll tune plays over a black screen as a few opening credits fly by, and we hear the protagonist, Max (Arnstar), introduce himself while doing what he loves most: DJing. But when the music comes to a halt, we see that Max isn’t DJing at a club or fancy event, but at a children’s birthday party. The film’s memorable introduction is just a small sample of the masterful cinematic storytelling that writer/director Paul Starkman offers in his feature debut, a well-crafted coming-of-age-film that brings together the Emmy-nominated director’s love of hip hop and his fondness for his hometown, Brooklyn. Wheels premiered at the 2018 Woodstock Film Festival, where it took home the Audience award and the Best Narrative Feature award. After a successful festival run, the film was released to general audiences in September 2020.
Ran Slavin’s feature debut, “Call for Dreams,” is “A Page of Madness” for the 21st century.
According to the press notes for Call for Dreams, Israeli director Ran Slavin started the project in pursuit of a “new cinematic form.” Slavin began with the idea to collect dreams from strangers that he could use as inspiration for his film and he ended up incorporating this idea into the plot of the film itself. Call for Dreams revolves around a young woman named Eko (Mami Shimazaki) who posts a “Call for Dreams” advertisement in a Tokyo newspaper. Strangers can describe their dreams to Eko by leaving a message on her answering machine, and if she approves of the dream, she’ll visit the customer and act out their dream for a fee. Meanwhile, an investigator in Tel Aviv (Yehezkel Lazarov) listens to old tapes on Eko’s machine as he investigates a murder. The two stories overlap in abstract ways that blur the lines between dreams, memories, and reality. Although the film flew under the radar for its international streaming release in late 2020, Call for Dreams is an intriguing film that deserves praise and critical attention.
It’s strange to think that children born within the last eight years or so will develop their first memories in a world where social distancing and mask wearing are the norm. While most of us have made significant lifestyle adjustments during the pandemic, this group of children has never known anything different. We certainly hope things will have gone back to “normal” by the time this generation comes of age, but there’s no doubt that COVID-19 will have many lasting effects on the world. In the short film “6,480 Days,” writer/director Ran Slavin imagines a future in which the lockdown never ended, and the virus is still a very real threat. The narrator, a young man born sometime after the initial outbreak, reflects on the pre-pandemic world he never knew. But like any good post-apocalyptic vision, “6,480 Days” has a lot more to say about our current fears and attitudes than those of future generations.
John Berardo’s horror flick, “Initiation,” will make you too paranoid to leave your phone on silent.
If you’re thinking that a horror movie called Initiation must be about pledge week, you’d be correct. In his first feature as solo director, John Berardo focuses on the horrors of frat culture, social media, and monetary corruption within universities. He co-wrote Initiation with Brian Frager and Lindsay LaVanchy, who also stars as Initiation’s heroine. The writing team borrows stylistic conventions from years of teen thrillers to create a horror flick that is decidedly about the social media generation. Berardo's love for and knowledge of the horror genre is evident throughout Initiation, which neatly pays tribute to horror classics of the past in both style and form. While it's an entertaining flick with standout technical elements, Initiation struggles to strike the right tone as it juggles important themes without fully unpacking them.
Action/adventure flick “Burn It All” trips and stumbles over its stiff dialogue, making it difficult to take the story seriously.
Like a well-choreographed action sequence, movies have a lot of moving parts. While certain aspects of a film might not fall into place, the film may do so well in other areas that it turns out alright in the end. With so many different elements at play, movies can usually balance out or even cover up their weak spots. However, Brady Hall’s Burn It All gets so tripped up by its own dialogue that it never quite finds its balance. While there’s clearly a talented team at work behind the camera and in post-production, their talents can’t quite make up for the movie’s cringe-worthy speech.
If you go into "The Courier" expecting a feel-good historical drama, you won’t be disappointed.
As literature and media consumers, we’re accustomed to reading stories that fit neatly into one of a few familiar narrative templates. Regardless of genre, even the most unique original screenplays can be reduced down to a basic plot formula that we’ve already encountered a million times (according to author Christopher Booker, there are in fact 7 basic plots, hence the title of his 2004 book). The hero’s journey, for one, is proven cinematic gold, as we’ve seen with the Marvel franchise’s takeover of 21st century cinema. This plot structure not only provides us with a thrilling adventure, but it allows us to indulge in the possibility that we, too, could one day be a hero. With social media personalities plastered all over our screens, it’s nice to escape into a fantasy world where the most ordinary people get the chance to prove their moral strengths. This is the kind of fantasy that screenwriter Tom O'Connor created in his Cold War espionage thriller, The Courier. Working with director Dominic Cooke, O'Connor pulls together a variety of historical sources to craft a classic based-on-true-events story that reminds us why we keep going back to the movies.
Florian Zeller’s "The Father" explores aging and dementia by questioning our need for a stable point of identification
The Father is the kind of film that’s got “awards season” written all over it - which is also the kind of film that’s difficult and daunting for an aspiring critic to approach. With its untouchable cast (namely, Oliva Colman and Anthony Hopkins) and unconventional narrative style, The Father may seem, at first glance, like a lofty art film that’s supposed to go over everyone’s heads. Directed by Florian Zeller and based on his play of the same name (Le Père), The Father has already received lots of attention ahead of its U.S. release. After its world premiere at the 2020 Sundance Film Festival, The Father secured four Golden Globe nominations along with a slew of other award considerations. Unlike other stage-to-screen adaptations, which tend to be dialogue-driven, there’s a lot more going in The Father than lengthy speeches used to show off a certain actor’s mastery of the craft. At first, we might expect it to be a highbrow, intellectually-driven film, and perhaps that’s what Zeller was going for. But I don’t think that’s necessarily the best way to watch it.
"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it."