Nature documentary “Awaken” is a magnificent cinematic experience, reminding us that humankind is part of a much larger narrative.
Press materials for Tom Lowe’s Awaken describe the film as a documentary that explores “humanity's relationship with technology and the natural world.” Although I didn’t realize it until I was halfway through the film, this description set me up to expect a depressing film about climate change. Of course, it’s more important than ever to educate ourselves on the reality of climate change, but Lowe doesn’t use depressing imagery and horrific statistics to send a message about preserving nature. By using breathtaking montages of our planet’s most exquisite sights, Lowe puts nature itself at the center of the story and positions humanity as an integral part of the natural world rather than an inherently destructive force. The visually stunning and immersive documentary sends a hopeful message of renewal while reminding us of our responsibility as Earth’s caretakers.
Action/adventure flick “Burn It All” trips and stumbles over its stiff dialogue, making it difficult to take the story seriously.
Originally published on Elements of Madness.
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.
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.
Created by the founding members of American folk-rock band, The Sweet Remains, "The Independents" takes us on a delightful musical adventure
Simply put, The Independents is about three guys, a van, and some jams. That tells you just about all there is to know about the content of this little indie film, but it doesn’t account for the experience of watching it or the incredible way that this flick establishes a nostalgic, comfortable tone. The Independents stars Rich Price, Greg Naughton, and Brian Chartrand, real-life band members of The Sweet Remains, who play fictionalized versions of themselves. Loosely based on their actual interactions and experiences, The Independents tells the story of three down-and-out artists who happen to meet at a time in their lives when they need to make music more than ever before. As you might expect, this road-trip band fantasy movie is filled with musical montages, crowded bars, shared joints, and even a grandiose monologue delivered on a hilltop overlooking LA. More than anything, however, The Independents is about capturing a certain mood, like a glossy motion-picture scrapbook of the band’s favorite memories.
Outside of a few unfortunate parallels to current events, “Rams” is a quaint comedy/drama with a delightful cast.
Originally published on Elements of Madness
Director Jeremy Sims brings together the talents of Sam Neill, Michael Caton, and Miranda Richardson in Rams, his English-language remake of the 2015 Icelandic film, Hrútar. Rams centers around feuding brothers Colin and Les Grimurson (Neill and Caton, respectively), who have been engaged in a silent-treatment standoff for decades as they keep separate flocks of sheep on opposite sides of their family land. After Les wins the local ram judging contest, Colin and the local vet, Kat (Richardson), make a life-altering discovery. Les’s prize-winning ram is infected with Ovine Johne’s disease, a deadly bacterial disease that could easily wipe out all the local herds. The community’s agricultural department orders all farmers in the area to eliminate their flocks and undergo extreme decontamination procedures, effectively destroying the town’s main source of income. While Les responds by lashing out in drunken rages, Colin devises a secret plan to hold on to his family’s specially bred sheep for a little while longer. At the risk of losing the things they love most, Colin and Les must figure out how to reconcile their differences in the face of unexpected changes and grief.
"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it."