NETFIX: 5 Hysterical Black Comedies You Won’t See Coming

July 20, 2015 by Matt Oakes Posted in Lists, Netfix Tagged Four Lions, Netfix, Netflix, Sightseers, The Trip to Italy, Tucker and Dale vs. Evil, Wetlands Leave a comment

The great thing about Netflix is that it gives you a lot of TV and movie watching options. The bad thing about Netflix is that it gives you…a lot of TV and movie watching options. To cut down on your Netflix search and discover time, Netfix aims to ease the process of parsing the good from the bad. The great from the not so great. From action films to foreign dramas, we’re raked the catalogs to offer only the finest that the preeminent streaming service has to offer. So settle in, get your remotes ready and prepare for the red wave of Netfix to wash over you.
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2014 SIFF Offers 435 Films, I Offer 25 Must Sees

May 5, 2014 by Matt Oakes Posted in Festival News Tagged Boyhood, Calvary, Cannibal, Creep, Difret, Fight Church, Film Festivals, Firestorm, Frank, Grand Central, Happy Christmas, How to Train Your Dragon 2, In Order of Disappearance, Kumiko the Treasure Hunter, Leading Lady, Lists, Lucky Them, Mood Indigo, Obvious Child, Seattle International Film Festival, SIFF 2014, The Grand Seduction, The Internet's Own Boy, The Skeleton Twins, They Came Together, Time Lapse, To Kill a Man, Venus in Furs, Wetlands

Update June 3: More reviews added, no standing replacements.

Update May 17: Seeing that some of these didn’t live up to expectation, some prior “Must Sees” have been yanked and new additions have taken their place. After all, who doesn’t love some corrections and omissions?!

For its 40th, the Seattle International Film Festival is again raising the bar on itself, this year offering a whopping 435 films including 198 feature films, 60 documentaries, and 163 short films from 83 countries. Of those, 44 are world premieres, 29 North American premieres and 13 US premieres. All this amongst a slew of festival favorites from this year and last. Let’s just say that the odds of seeing them all just got that much slimmer.

Kicking the festival off is Oscar-winner (12 Years a Slave) John Ridley‘s Jimi: All is By My Side, a zero frills biopic that chronicles the afro-ed classic rocker’s year in Britain leading up to his iconic Woodstock performance. And all by his side is 12 Years alum Chiwetel Ejiofor who will be in attendance May 19 (6 PM @ The Egyptian Theater) to talk about his new film Half of a Yellow Sun, an African-produced historical drama about Nigerian’s civil war through the 60s. Ejiofor will also take place in a Q&A with an audience eager to speak with the Academy Award nominee that same evening.

The festival will close June 8 at the glorious Cinerama with The One I Love starring Elizabeth Moss (Mad Men) and Mark Duplass (The League) which saw strong reviews opening at Sundance and is said to mix elements of modern romance with “Twilight Zone” twists and turns. Add it to the ever growing “To See” List.

But likely the most exciting and anticipated film of the festival will be found in SIFF’s Centerpiece Gala in Richard Linklater‘s Boyhood on Saturday, May 31 @ 5 PM. I had the great fortune of being amongst the first audience to see this at Sundance and it did nothing short of blow me away. Though I don’t want to be greedy and steal away the seats of those yet uninitiated to Boyhood, I look forward to experiencing it again and may not be able to resist a second viewing.

Since it’s all but impossible to see everything at SIFF, I have a list of 25 must sees that should put you on the right track for this year’s festivities.

The 25 Must Sees of SIFF 2014

Boyhood
Obviously Boyhood is gonna be on the list. I absolutely loved it and could wax said love over this page all day but I’ll spare the gushing and just tell you that of the 80+ films I’ve reviewed this year (!!!) this is the only to have yet received an A+. Sundance review here.

Mood Indigo
Michael Gondry returns to the realm of the weird, this time in his native French language, in what should be equal measures charming, bittersweet, and esoteric. The incredibly alluring Audrey Tatou is Chloe, who becomes wrapped up with a quirky inventor, even though she’s dying (because she has flowers growing in her lungs.)

Grand Central
Blue is the Warmest Color star Lea Seydoux puts in her second turn against A Prophet‘s Tahar Rahim in this French/Austrian production about a risky love affair set at the nuclear power plant where they both work.

Venus in Furs
Carnage wasn’t exactly the prodigal return for Roman Polanski we might have hoped for but it was anything but bad. Polanski continues his recent tradition of adapting lauded plays with Venus in Furs which stars Mathiew Amalric (Quantum of Solace) and is filmed in Polanski’s native French. Venus focuses on a playwright’s battle with his creative side. SIFF review here.

Cannibal
The chilling promo image alone gets me thinking Psycho and added to the fact that this production is in part Spanish, Romanian, Russian and French, gives it the taste of “something new.” Hopefully it brings the scares to the table in a SIFF surprisingly short on them. No longer considered must see, read our SIFF review here.

The Double (new addition)
Jesse Eisenberg stars as two polar opposites in this Orson Welles inspired black comedy. Wickedly weird but quietly potent, The Double might not be the best doppleganger film of the year (that award goes to Enemy) but it’s certainly compelling viewing that’ll leave you oddly fulfilled. SIFF review here.

Wetlands
A brilliantly told German satirical sexploitation/black comedy based on the popular and controversial German novel from Charlotte Roche. Wetlands is ooey, gooey fun that’ll make the hardest of stomachs churn every now and again but fully worth it for anyone up to the task. Sundance review here.

Lucky Them
What better to symbolize Seattle than the Sub Pop music scene? Megan Griffiths, who directed last year’s critically acclaimed Eden, takes on an entirely different subject right here in the rainy city and feel aided by performances from Toni Collette, Thomas Haden Church, and Oliver Platt.

They Came Together
Although the trailer shown seems to suggest a movie so deep in meta that it didn’t know which way was up, They Came Together found loads of fans when it played at this year’s Sundance. The ingredients alone – Amy Poehler, Paul Rudd, David Waine (director of Wet Hot American Summer) in a doubly farcical, heavily tongue-in-cheek rom-com – seems primed for success.

How to Train Your Dragon 2
This is a tricky one to really anticipate as sequels are as much of a toss up as one can plan for but if the quality boast of Toy Story 3 and the wild success of the first How to Train Your Dragon are any indication, this could be the best widely-released animated feature of the year.

Time Lapse
Bradley King‘s directoral debut follows a group of three friends who discover a camera that shows events in the future, and looks to combine elements of sci-fi and horror into a thrilling narrative ride. Set for it’s North American premiere at SIFF, Time Lapse looks more promising than most within its field. Not gushing SIFF review here.

The Trip To Italy (new addition)
Four years after The Trip, Steve Coogan may be more clean cut than the shaggy Brit we once was but his and Rob Brydon’s chemistry is as flammable as ever. “Their old-as-they-are relationship paves the way for improvisation prowess so organic its feels more like second natural than performance. More impressions, absolutely stunning vistas, Alanis Morissette’s croon, lazily waxing on life and pasta, pasta, pasta gives intrepid life to The Trip to Italy.” SIFF review here.

The Skeleton Twins
SNL favorites Bill Hader and Kristen Wiig join Bellingham director Craig Johnson to tell his droll comedy about a pair of twins who cheat death and reunite to vent about it. Glowing SIFF review here.

Happy Christmas
Joe Swanberg returns to SIFF to present yet another unscripted, inescapably 21st-century dramedy this time starring Girls creator and star Lena Dunham. I was a big fan of Drinking Buddies and hope this can replicate a similar sense of realism in its relationship. SIFF review here.

Leading Lady
One of SIFF’s world premieres and the return of Fanie Fourie’s Lobola (SIFF’s 2013 Best Film winner) director, Leading Lady sees a struggling actress move to South Africa to prepare for the role of a lifetime but ends up finding so much more. An absolutely abysmal film that I regret ever suggesting. Please accept my apology.

Intruders (new addition)
Considering that I’ve hacked a lot of Foreign language World Cinema out of this list of Best Sees, I wanted to make sure to draw some attention to one of the better of the foreign films and a film that is sure to excite audiences willing to pop on their glasses for 90 minutes. Intruders is Hitchcock by way of South Korean, an exciting thrill ride that doesn’t let up until the credits roll. SIFF review here.

Obvious Child
Jenny Slate might be the new face of NYC faux-chic after the string of success Obvious Child has seen. Honest, hilarious and horny, this tale of growing up in a modern age has been winning support like Daenerys liberating Slavery’s Bay. SIFF review here.

Calvary
If you leave the theater after Calvary dried-eyed, you must be at least part Fembot. With a monstrous performance from Brendan Gleeson, stunning cinematography and a decidedly more mature turn for director John Michael McDonagh, Calvary is a must see. Sundance review here.

Firestorm
This 2013 Hong Kong feature was nominated for a slew of native film awards including Best Action Choreography, Best Editing, Best Visual Effects and Best New Director and with my penchant for violent Asian cinema, I have trouble believing that this won’t be a surprise victory for SIFF. Could not be less of a must see. Ugly SIFF review here.

10,000 KM (new addition)
A vivid portrayal of love fading under the constaints of long distance, this Spanish romance is filmed with lively realism and overflowing with brillant performances from its captivating leads. A definer of the phrase “must see”. SIFF review here.

Frank
Although the stars seem alligned to keep me from this film (I stood in line for it at Sundance and SXSW and was denied) the fact that it’s coming to Seattle seems to either be mocking me or setting up a third times a charm situation. The fact that I already own a Frank mask pretty much necessitates me seeing this strange musical drama starring Michael Fassbender enclosed in a giant head. SIFF review here.

The Grand Seduction
Taylor Kitsch plays a doctor, Brendan Gleeson a fisherman in this Canadian comedy that looks to play fast and loose with the deadpan side of things. Seeing Kitsch and Gleeson (much anticipated) return to comedy oughta be worth the price of admission alone. SIFF review here.

Creep
Mark Duplass returns again, this time as a twisted stalker. He chews up the scenery like never before and is an absolute joy to watch. First time director Patrick Brice has made the found footage flick his own, crafting an unnerving thriller that’s frightening and cleverly twisty to boot! SXSW review here.

The Internet’s Own Boy
I asked someone at Sundance what their favorite film at the fest was and they pointed out this unassuming documentary. Following the life of Aaron Swartz, who laid the groundwork for RSS feeds and all but invented Reddit before killing himself at age 26, The Internet’s Own Boy appears heartbreaking and need to know. SIFF review here.

In Order of Disappearance
Stellan Skarsgard plays a snowplow driver who’s son is brutally murdered, leading to a chilling dark comedy that marries bloody revenge to belly laughs in this twisted fantasy said to be a tonal cousin to Fargo. SIFF review here.

Difret
SIFF programmer Dustin Kaspar gave the insider tip on the Africa Film segment, calling Difret the early “best of fest.” A 14-year old Aberash guns down an attacker that leads into a long court trial that bleeds into an ethical tribunal on Ethiopia’s warped marriage traditions that smile on kidnapping and rape. All based on a true story. Mild SIFF review here.

To Kill a Man
You know when you’re a critic when you look at a movie’s description and “Grand Jury prize-winning,” “vigilantism” and “Chile/France” pop out to you like solid gold. In sum: a man weighs the benefits and consequences of taking revenge. SIFF review here.

Kumiko, The Treasure Hunter
There must be something in the water making us all think Fargo as the cult Coen classic seems to be at an all-time high in terms of its popularity and influence. Kumiko, The Treasure Hunter sees an outcast Japanese misanthrope travel to Minnesota to seek out Steve Buschemi‘s abandoned satchel stuffed with cold, hard ransom cash. It’s a delightfully unorthodox romp, nothing short of epic. SXSW review here.

Fight Church
A documentary about a group of church goers who beat each other up to prove their devotion to God? Sign me up. Mildly disappointed SIFF review here.

Starred Up (new addition)
A brutal prison drama starring Jack O’Connell and Ben Mendelsohn showcasing the transformative power of a jail cell, Starred Up is certainly a hard watch but one that will leave you thinking. SIFF review here.

——————————————————————————————–

Surely there are many, many (many) more and there’s a good chance that some on the above list may end up stinking and sinking but we’re still mostly doing guesswork at this stage. However from word of mouth, early reviews and first hand experience, you have a good chance of catching some great material if you follow any above recommendations.

Check out the trailer for SIFF’s 40th anniversary here and visit SIFF’s website to buy tickets and check out more of the lineup.

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David Wnendt Talks Stunning WETLANDS

January 30, 2014 by Matt Oakes Posted in Interviews, Uncategorized Tagged David Wnendt, Germany, Interviews, Sundance, Sundance 2014, Talking, Wetlands 1 Comment

The biggest surprise out of Sundance came in the form of a German sexplotation film so aptly named Wetlands. It’s a film that surged with raunch, comedy and genuine drama that had me wincing, bursting out laughing and deeply feeling for all at once. Simply put, it’s a stunner. So all the better that director David Wnendt came out and had a chance to briefly speak with us about his divisively awesome film. Talking about how he skirted around censorship, being a man making a feminist film, German cinema and Quentin Tarantino, Wnendt goes into up the skirt on the making of Wetlands.

Q: So how did you come up with the story? What were you thinking?

David Wnendt: There’s a novel which this film is based upon. A German novel, it’s very popular in Germany, this film is an adaptation of that novel.

Q: What decided you to direct such an intensely feminine story as a man?

DW: That’s not the first time I heard that question. But I do believe that a guy or man could direct a female lead role and vice versa. So I think it would be very strange for men to only direct men’s stories about other men basically. So I think it’s pretty possible to do it. You work with the actors who brings their own view into the whole thing. It’s a collaboration with her of course.

Q: What kind of conversation did you have to have along the way, in terms of getting the movie to how explicit it was? Were there any memorable battles you had to fight, in terms of showing things or not showing things?

DW: Well, we were in a very lucky situation. The author who sold the rights…usually a best seller like that is auctioned off to the company with the most money and that’s in Germany…one or two production companies, if they would had done it, they would have done it very old fashioned, it would have turned very differently. But she decided to give it to not to the producer with the most money, but the one whose films she admired. So it was kind of like, for Germany, an independent producer. And that decision alone made it possible to create a completely different kind of film. But of course along the road, there were like many challenges because of course even if people hadn’t read the book, they knew of the book. And we had all kinds of problems, for example, even finding some locations, like finding the location of this one small church scene was nearly impossible because people were really scared with the title of the movie.

Q: Why do you think the character was so comfortable with bodily fluids?

DW: There’s no real easy answer to that. Y see her background, you see her trauma of her childhood, but the good thing is you can’t reduce her to that, so it’s not such an easy explanation, like that something happened to her in her childhood and that’s why she’s like that. That’s just one small part of her. But in the end, she finds herself. She also enjoys sex, she enjoys her body and she’s interested in everything that has to do with her body, and she doesn’t understand why this should be so taboo.

Q: I was wondering how much Charlotte Roche, the author of the book, was involved in the movie or the post production?

DW: She decided she didn’t want to be involved at all but she was really just wanted to see the final product in the cinema, and that was fine. But what she did was she took that decision I told you about, she chose that producer. There she set us on a path, which allows us to create the film in the way it is right now so that was really a very important decision she made. But other than that she was not involved in writing the script, so she really only saw the final product at the end.

Q: Where did you find the actress who played the main character, Helen?

DW: Well we had the regular, normal casting process. We had also a casting director, who made suggestions, and we looked all around. And she’s actually from Switzerland, so we didn’t just look in Germany but in other German-speaking countries. And we had them come to Berlin and we did regular casting sessions. And in these sessions I tried to find out if they were able to play all the different aspects of that character. For example, one aspect was the language, because the language of the novel and the dialects was a very special kind of language, and it was not a natural language in a way, so the actor had to be able to bring it across in a natural fashion. That was one thing. She also had to have the courage to play this role. She had to have the courage to be nude in front of the camera of course. And she had to be able to act with the other actors of course. So we set up casting sessions to find out exactly that. And so, in the end, Carla Juri, the main actress, she was the one who convinced me in these sessions.

Q: Is Quentin Tarantino a popular director in Germany?

DW: Yeah, very much so.

Q: Member: I’m not familiar with German cinema, but this film strikes the same nerve that Tarantino does.

DW: That’s a very big compliment so thank you very much. And we have many American films in our cinemas.

Q: I really like the animation sequence towards the beginning, that was really nice. Two questions, can you describe what metaphors you were trying to describe in there, and, also, how was that done?

DW: Well, one part of her quest, for her freedom to express everything about her own body, but of also she’s against too much hygiene basically. So to show this, in a bit of an exaggerated and kind of ironic fashion, we came up with this animation short in the beginning. And it was just a very good animation artist who could bring this to life, so we just delivered the shot of the toilet and with that he did all the rest basically.

Q: How long ago did you read the novel and then actually want to develop it into the film? Then how long was that process?

DW: Um, the novel itself is I think six years old, it was published six years ago and I read it four years ago. And at that time, I would never have thought of doing this film. I was still in film school at that time, and actually, the rights were with the producer, and then he chose a director for this film. He liked my first movie, my graduation film from film school, and that’s how we got together. But I really liked the book long before I was about doing it, turning it into a film.

Q: Is this your first feature?

DW: It’s my second feature, my first feature was my graduation one.

Q: I’m just curious, what were some movies that you drew inspiration from?

DW: Well, the producer has the vision when he talked about the film, but that it should be a mixture of Nine Songs and Trainspotting. That was the goal.

Q: Was the author happy with your interpretation?

DW: Lucky for me, she was. So I was really, extremely nervous when she was finally there, in the cinema. I was really, very, very scared. Because she’s very much known to my generation. She was a TV presenter on MTV basically. As a teenager, I grew up with her on TV. I really admired her. So it would have been really terrible if I were to have disappointed her in a way. But luckily she saw the film and was very, very happy. Even the things we added on, we invented some scenes, some scenes are in the book, they’re really just one line, very, very short, we turned into an actual scene, let it play out, she was really happy with that. She, in the end, wasn’t sure what was actually in the book and what we invent. That was a really great compliment.

Q: Was there any point when you thought we can’t actually go that far or show this in a movie?

DW: Yeah. Obviously that wasn’t the biggest concern. From the start it was clear that I didn’t want to make the most provocative of the movie, it’s not what the movie’s about, for the only point to be shocking. And actually during the shooting, I was busy with all other problems there was, work with the actors, all kind of problems that just come up, I wasn’t constantly thinking about that aspect. So there was a little more in the editing, where we just found a way to do it in the best sense of the shooting. I was occupied with other stuff.

Q: On that same note, the film with all the in your face movement , in the scenes you happened to do it, did you do it several different ways, then edit it and figure out what you wanted to go with?

DW: It’s really different from the scenes. Some scenes which we storyboarded, especially if it had an effect or so, were very much planned. Other scenes where we had an emotion or it was about feeling the chemistry between two actors we tried to find something to give them freedom. So complete freedom to move around on set, we had the camera on the shoulder, most of the lighting was done on the windows, so they could move everywhere and the camera could see everything. And with this kind of shooting you have more material, you develop the rhythm and the scene itself in the editing room. But other things, they were really much planned ahead.

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Sundance Review: WETLANDS

January 20, 2014 by Matt Oakes Posted in Festival Reviews Tagged Carla Juri, David Wnendt, Foreign Film, Germany, Reviews, Sundance, Sundance 2014, Wetlands 4 Comments

Raunchy German picture Wetlands is graphic, poignant teen sexploration to squirm and cackle through. Helen is a young nympho with a passion for bodily fluids of all sorts and a serious case of hemorrhoids. When a shaving incident lands her in the hospital, she tries to pull a parent trap and get her divorced, and fundamentally estranged, parents back together. Read More