ReelGA Reviews

La Source (2012)

I find it appropriate that my tears would be propelled by a story about water

[8/10 · 19 September 2012]

A lot of visual contrast is prominent within "La Source." In Haiti, the white sands contrast with the seemingly ever-ominous skies; while in Princeton, we see the deep grays and browns of the brick and stone frosted with thick snow and ice. Then there is the cultural contrast between the affluent students of Princeton and an immigrated janitor, working hard and still having to double as a taxi driver. Even greater, we contrast these two places against each other. They are both home to Josue Lajeunesse, a Haitian national who moved to America in 1989 seeking better opportunities to provide for his family.

His hometown, La Source (pronounced La Soos), is a remote village on the outskirts of Port- au-Prince. Two sources of water exist in La Source; one is a polluted stream shared by man and animal, the other is a natural spring high atop a mountain. The treacherous hike up and back down the mountain forces many residents to resort to bathing and gathering water in the stream, typically resulting in skin infections and diarrhea. In the wake of the January 2010 earthquake, Lajeunesse renews efforts in the plan that he and his father before him had begun in order to pipe water down the mountain and into the heart of the village.

"La Source" is a real life fairytale, where a once hopeless romantic ideal catches fire and ultimately, the dream comes true. Every fairytale is marred by some tragedy, but the tragedy here is the kind of devastation that forever changes a landscape. When Lajeunesse arrives in Haiti for the first time in years, and the first time since the earthquake, your heart has nothing else to do but break. The devastation and rubble reflects off of Josue's formerly stoic face. Seeing pictures or footage is nothing compared to watching someone return to the ruins of their home.

The rallying around of Lajeunesse by different charities, ministries and the students of Princeton is stirring. The crafting of the picture does a great job of telling the story from every setting. Once again, filmmakers Patrick Shen and Brandon Vedder ensure that contrast is an omnipresent and multilevel theme throughout the film. Don Cheadle lends his compassionate voice as the narrator, which should thankfully play well in marketing the film.

When the kids of La Source rush the faucet as water gushes out for the first time, I thought of kids rushing the buffet table at a church potluck before any of the adults. How impactful, though, the struggle and fulfillment over something as basic as water. I'm hardly ever moved to tears by film, but I find it appropriate that my tears would be propelled by a story about water. "La Source" is a meaningful film. While it has a ways to go to get the word out, I would not be surprised if the good will towards Haiti brought the film enough awareness to garner a worthy Oscar nomination for Best Documentary Feature.

4 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

Inuk (2010)

Greenland's icy landscape is both chilling and mesmerizing

[8/10 · 18 September 2012]

Considering Greenland's first feature film production was 2009's "Nummioq," I was likely not alone when I confessed to never having seen a Greenlandic movie before. (I must admit that I had to look up whether the correct demonym was 'Greenlandish' or 'Greenlandic.') That changed recently after watching "Inuk." Director Mike Magidson created an energetic look at both a boy and a culture in modern Greenland as they each undergo dynamic changes.

I was reminded a little of Danny Boyle's Oscar champ "Slumdog Millionaire," thanks to the frantic soundtrack and the youthful energy provided by a young cast of non-professional actors. While the story is neither as complex nor as contrived as Boyle's film, it maintains a simplistic charm which allows you to grow a bit closer to the both of the film's leads, Gaba Peterson (Inuk) and Ole Jørgen Hammeken (Ikuma).

Greenland's icy landscape is both chilling and mesmerizing. I cannot begin to imagine how difficult filming must have been for any crew members that were not from the area. Nonetheless, the film is shot and edited exceptionally; a fact that enough people agreed on to award it Best Narrative Feature, Best Director and Best Editing at the 2011 Savannah Film Festival. I was fortunate enough to see both Magidson and Hammeken say a few words about the film after it screened.

4 out of 5 stars.

Hombre y tierra (2011)

Maurice Ripke is fearless and demanding of the audience's breathless attention

[7/10 · 18 September 2012]

"Hombre y tierra" stood out at the 2012 Rome International Film Festival as both the only Spanish language narrative feature and as a film completely comprised of 'found footage.' Writer/director Christian Cisneros' film, co-written by Richard L. Watson, centers around a wilderness survival show host as he struggles to maintain composure and ultimately make it out of the Belizean forest alive. Maurice Ripke stars as our host, Mauro Bosque, and gives one RIFF's best performances.

Although many movies that feature simulated self-shot handycam footage instantly feel forced, "Hombre y tierra" begins with a very authentic atmosphere. Most films of this nature require the audience to adjust their perspective, eliminating any natural feeling the film could have possessed. After a small introduction that features Chucho, Mauro's friend and producer, the largest chunk of the film features our lead shooting footage for his television show without incident. Even for filming a television show, the script seems a little exegetic. Being fed too many basic survival facts and hearing the same cues too many times would only support the fact that Mauro is filming the show's pilot episode, when we already know otherwise. This doesn't make the monologue unrealistic (many reality shows are repetitive), however, our interest starts to wane. Soon enough, though, mysterious events and Ripke's unflinching charisma transform a modest heart-tapping tension into a forceful heart- pounding suspense.

Once the ball is rolling, the audience is kept riveted until the credits roll. After being taunted by a enigmatic force for days, Mauro is forced through a spectrum of emotions. As the story reaches an expected and terrifying zenith, Mauro becomes fearless and demanding of the audience's breathless attention. Ripke shows tremendous talent in this role and has hopefully caught the eye of many filmmakers as "Hombre y tierra" tours the festival circuit.

"Hombre y tierra" was filmed in both Spanish and English, with each scene being filmed in both languages before moving along to the next. After the film screened at RIFF, Cisneros said that the English version would be released to festivals next, although I question if it will possess the same spark that Ripke brings to the film in his native tongue. Nonetheless, "Hombre y tierra" easily wins the title of the most thrilling film out of RIFF.

3.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

The Red Machine (2009)

Completely self-aware and self-confident

[7/10 · 18 September 2012]

"The Red Machine" has been juicing the festival circuit for years, after first going into production in 2009. The Depression-era caper has two solid leads in Lee Perkins and Donal Thoms- Cappello and an equally strong supporting cast, featuring the Thelma Ritter-like Mo Byrnes in a standout role. Perkins and Thoms-Cappello are perfect foils for one another and while there could have been a tad more development on their friendship, the chemistry is certainly there. Completely self-aware and self-confident, colorful edits go to show that no one is taking themselves too seriously along this quick, fun ride. "The Red Machine" is more of a period piece "White Collar" than it is "The Lives of Others," but that's totally fine with me.

3.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

Grow! (2011)

A fresh and encouraging look at Georgia's evolving agricultural society

[8/10 · 18 September 2012]

With local farmers' markets and organic eateries located all over metropolitan Atlanta these days, it is easy to forget that organic, locally-produced food was much harder to come by a few years back. When photographers Christine Anthony and Owen Masterson moved to Atlanta from Los Angeles in 2005, they turned their personal quest for local food into a professional mission to shed light on Georgia's growing organic scene. "GROW!" is an involving look at 20 young farmers from 12 farms located all over the state.

A lot of documentaries weave their way through Georgia's film festival circuit. "GROW!" couldn't be more suited for the tour even if it tried. The film screened at the Savannah Film Festival and won awards at the Macon Film Festival, the Rome International Film Festival and DocuFest Atlanta. After making the festival rounds, the film was re-edited with more footage in preparation for the DVD release.

Anthony and Masterson do a great job as first time filmmakers to strike a smooth balance between the visual and voice-over elements of the documentary. We aren't forced to just hear about farming, we are invited into the fields to witness it for ourselves. While this prospect might not excite everyone, the passion and energy of the farmers is very convincing. These are former accountants, medical students, teachers and scientists that all felt a strong calling to get their hands dirty. The film isn't mounted atop a crusade to convict anyone for what they eat. Instead, it focuses on who grows our food, why they grow our food and why they love what they do.

Though the film runs short of an hour, you quickly develop attachments to many of the farmers. I would be surprised if the film doesn't make every viewer visualize themselves on a farm somewhere. Someday, you should drive through rural Georgia, between the endless cotton fields and pecan groves. It wouldn't be so bad to be called 'the salt of the earth.'

"GROW!" is a fresh and encouraging look at Georgia's evolving agricultural society. You can now buy or rent the film digitally at iTunes and Amazon, or purchase a DVD from the official website, www.growmovie.net.

4 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

We Need to Talk About Kevin (2011)

Swinton's face so naturally lends itself towards desperation

[10/10 · 18 September 2012]

Ever since Scottish director Lynne Ramsay's "We Need to Talk About Kevin" premiered to critical acclaim in Cannes this past May, I've been one of many with high, high hopes. Going back to 2008 when star Tilda Swinton won her Best Supporting Actress Academy Award for "Michael Clayton," I was a bit of a sore loser over her beating out Cate Blanchett's Bob Dylan in "I'm Not There." I think Swinton is a gifted actress, but I've only really become a fan with her post-Oscar roles. Her stunning performance in "Kevin" is all the more rewarding because it anchors such a powerful film.

Based on a 2003 novel by Lionel Shriver, "We Need to Talk About Kevin" follows Eva Katchadourian (Swinton) as she raises her son and deals with the aftermath of the mass murder he commits at his high school. The film manages to accomplish a lot without the use of much dialogue. The book is written as a series of letters from Katchadourian to her husband Franklin (John C. Reilly), but Ramsay was able to tell the same story without any narration. Recollections are intertwined seamlessly with present day, allowing the audience to see a full account of the tension and struggle of the past with the misfortune and uneasiness of Katchadourian's present circumstance.

I haven't seen a single color used so purposefully throughout an entire film since the same deep red was used so handily in Pedro Almodovar's "Volver." I would think such a visually- leaning film like this would be easier to make if it were an original screenplay rather than adapted, but I see that as a testimony to the talent of the filmmaker.

The film certainly doesn't offer any comfort aside from a couple of unexpectedly touching moments between mother and son placed at two polar opposite times in the story. Swinton's face so naturally lends itself towards desperation, making those moments all the more meaningful when she is transformed. Kevin's character, played by Ezra Miller and younger counterparts Jasper Newell and Rocky Duer, is definitely a tag-team effort. Miller isn't any better than Newell despite having a bit more to chew on. Reilly was good enough as Kevin's lovable lump of a father, but perhaps could have had more to do.

If the movie can get seen by enough Academy members, it should have no problem landing Swinton a Best Actress nod in the very least for one of the best performances I've seen all year.

4.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

In Darkness (2011)

Evokes the proper sense of claustrophobia

[9/10 · 18 September 2012]

My last day in Savannah, I had the the misfortune of having to choose between seeing Lily Tomlin in person at a tribute/screening of "The Late Show" or seeing Agnieszka Holland's baity but promising Holocaust drama, "In Darkness." I chose the later with the hope that I would see Tomlin somewhere around town. I didn't spot her, but I am very pleased with my choice.

"In Darkness" tells the tale of Leopold Socha, a Catholic sewer worker in Lvov, Poland during the Nazi occupation. Along with his work partner, Socha (played magnificently by Robert Wieckiewicz) has begun breaking into the vacant homes of Jewish citizens that have been moved into the ghetto and stashing their valuables in the sewers for his own personal safekeeping. Meanwhile, as the Nazi's began their assault on the ghetto, a large group of Jews manage to dig down under their house and into the sewers where they are surprised by Socha just minutes after breaking through. Socha sees an opportunity to make some money and a deal is struck.

The audience is introduced to so many characters in the first half hour, it can be a bit difficult to know who you really need to focus on. Aside from the obvious lead, Socha, it soon becomes apparent who the other main players are and you form your attachments appropriately. While you see Socha as a loving husband and hard-working father right off the bat, how he takes advantage of the already desperate crowd he finds beneath the city showcases him as a bit less than a hero. Having him forced on you as the unlikely protagonist allows for a great evolution to play out. Wieckiewicz gives us a deeply nuanced turn as he we watch him learn both the impact he has had on those in the darkness and the impact they have had on him.

Visually, the movie is as dark as the name suggests. At least half of the film takes place in the sewers, thus evoking the proper sense of claustrophobia. A couple shots in particular felt nearly iconic to me; a woman in vivid blue running through the gray streets of the ghetto during the Nazi raid, Socha bringing a little girl up to the surface just enough to poke her head above the street. The production tips closer to minimalistic than lush, which works well under Holland's careful direction and in the bleak setting.

The movie is very powerful and carries a scholarly tone that should allow it to maintain a presence in the genre for years. As far as the Academy is concerned, this is a sure bet for a Best Foreign Language nomination (as Poland's submission) and a definite contender to take home the trophy. Wieckiewicz would have a place on my ballot as well as considerations for the film in Best Picture and several technical categories. This would be a great film for the Atlanta Jewish Film Festival to add to their lineup.

4.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

Butter (I) (2011)

A lost opportunity, but not a waste of time

[5/10 · 18 September 2012]

"Butter" hasn't received much press until just now as it is hitting the festival circuit. A trailer has yet to be seen and a release date has only recently been nailed down. All we knew about it was that the cast is full of good names, it is a satire built around a butter-carving competition and that director Jim Field Smith is only known for by-the-numbers romantic comedy "She's Out of My League." But somewhere, somehow, the name "Juno" was mumbled by someone and comparisons were just waiting to be made.

The question of similarity to "Juno" would be appropriately enough raised, but I'm afraid the similarity ends just past the 'Jennifer Garner movie' and 'Midwestern family ensemble comedy' labels. "Butter" has a bit of bite, but it lacks both the quirk and emotional depth that "Juno" had. The screenplay goes more for gags than being clever and fails to really shine outside a handful of scenes.

This is not to say the film isn't going to be surefire entertainment for many moviegoers. There were a few times in the film when I couldn't even hear a few lines because the whole house was laughing for so long. Garner, newcomer Yara Shahidi, Olivia Wilde and Kristen Schaal all do some comedic heavy-lifting. Shahidi provides a bit of tenderness as both the narrator and the heart of the film. Garner, meanwhile, gives us a performance we haven't ever seen from her. She will be an Oscar player one of these days.

I went into this one hoping to be surprised by just how great it was, but not expecting to be. I wasn't surprised, but I wasn't disappointed either. A lost opportunity, but not a waste of time.

2.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com

American Songwriter (2012)

It is instantly clear that, fame or no fame, Darst is a legend

[9/10 · 8 September 2012]

Director Michael Altman matter-of-factly states that Danny Darst resides in the same class as Leonard Cohen and Tom Waits. Seeing as Darst and Waits have both ricocheted back and forth between music and film (even starring together in "Short Cuts"), the Waits parallels are much more firm than those with Cohen. Nonetheless, I would have to agree. Unfortunately, most people simply have not heard of Danny Darst.

"American Songwriter" is at once both a long form music video and a biographical documentary. The film's mosaic structure tells a large story in tiny pieces; propelled at different times by a song lyric, a fire-lit performance, a stroll down Nashville's Broadway or an interview conducted from the passenger side of Darst's 1950s Oldsmobile. It is instantly clear that, fame or no fame, Darst is a legend. A guitar is the tap to his maple tree and stories just pour out of this man. His complete lack of attention grabbing only adds to his appeal. He is the Dos Equis man, except more interesting and with a wardrobe seemingly comprised completely of weathered denim. The sunglasses permanently fixed on his intransigent face make him appear imposing, only to have his occasional laugh completely disarm you.

In between some of the more travel-centric portions of the film, we learn about Darst's arrival in Nashville and his break into the industry as an acclaimed songwriter. The trucker mentality he so naturally possessed provided a new voice on the scene.

"A songwriter is a potential timebomb because he can roll-in in shirtsleeves, sleeping in a dumpster, throw a song out there and six weeks later, they are writing him huge checks."

His 'breathe, think and don't stop' philosophy allowed his career to quickly progress, carrying him across the country; an endless routine between Nashville, Los Angeles and New York City.

Robert Altman had many frequent collaborators, Darst counted among them. His first foray into the film industry was as a songwriter, but it only made sense for filmmakers to see that someone as talented and colorful as Darst shouldn't have any trouble acting. Weaving his way through the catalogues of both Altman and Jonathan Demme throughout the 1980s and 90s, Darst quietly built a sturdy film résumé. While we can be thankful that his film work was responsible for his friendship with the Altman family, his true calling was always songwriting. In recent years, Robert Altman's son Michael and Darst have continued to build on their friendship with a solid business partnership.

The film is no technical marvel, but possesses everything it needs to get the job done. Some less-than-perfect sound editing makes it a little difficult to shift your focus between Darst's monologue and song vocals, but they are both telling the same story in the end. A passion project between the two friends, the film's goal of spreading the word about Darst's boundless talent is met without obstacle. The accomplishment could further be measured by the countless new fans created at each new screening.

The Rome International Film Festival has the exceptional privilege to showcase "American Songwriter" as their 2012 opening night film. Both Altman and Darst will be in attendance and can expect a legion of new devotees in Northwest Georgia.

4.5 out of 5 stars.

Check out more reviews by Cameron McAllister at Reel Georgia - www.ReelGA.com