AD
Home Blog Page 437

Middleburg Review: ‘The Persian Version’

Maryam Keshavarz’s Festival Breakout Is A Generational Crowd-Pleaser

Based on elements of director Maryam Keshavarz’s own life, The Persian Version is a crowd-pleaser. Winner of the Grand Jury Prize, the Audience Award, and the Screenwriting Award at 2023’s Sundance, the film embodies the idea that the more specific a situation is, the more universal it is. 

The film starts out in the mid-2000s. We meet Keshavarz’s stand-in, a recently divorced lesbian and aspiring filmmaker named Leila (Layla Mohammadi). She’s wearing the top of a burka and swimsuit bottoms and is walking down a New York street. When she gets to the Halloween party, she meets who she believes is a drag queen and the two quickly have sex. 

Throughout the opening sequence and well into the film, Leila gives us her story in hilarious voiceover, cutting to various visual bits to prove her point. She introduces us to her Iranian family where she is the only girl amongst a sea of boys. Her father, Ali Reza (Bijan Daneshmand), is a former doctor in poor health and the family is held together by Shireen (Niousha Noor), Layla’s domineering and homophobic mother who happens to be a powerhouse realtor. 

After Leila gets pregnant by the drag queen (who’s really an actor named Maximillian performing in Hedwig and the Angry Inch) and her father is hospitalized, she decides to go searching for answers as to why her mother is the way she is. This is where The Persian Version gets its heartbeat. We flashback to Shireen’s marriage at fourteen where she was taken to a remote village away from her family. As her story unfolds it becomes clear that the sacrifices she made for her family came at the price of her own peace and her own dreams. 

Layla Mohammadi gives a bouncy and lively performance, playing with the dialogue and bringing a relatability most millennials will recognize. But this movie belongs to the women who play Shireen. First-time actress Kamand Shafieisabet gives a heartwrenching performance as a young woman without control over her circumstances. There’s a pureness and vulnerability in her eyes that is absolutely devastating. Niousha Noor gives a commanding and layered performance as the older Shireen, determined to help her family succeed. There’s a sexy and aloof confidence that she touts in the first half of the film that turns into a resigned regret once her story is told. Though the story is about Leila, Shireen is the one you can’t look away from. 

The first half of the film feels disjointed like Keshavarz is setting up a series of bits that don’t fully go off or land properly. By the time, we get to Shireen’s story, The Persian Version finds its footing and is a joyous tale of an American family.

The Persian Version is in theaters now, expanding to DC on October 27th.

DC Readers: Attend A Free Early Screening Of David Fincher’s ‘The Killer’

We’re happy to offer our DC readers the chance to attend a free early screening of David Fincher’s The Killer, starring Michael Fassbender.

SYNOPSIS: After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.

The screening takes place today, October 25th at 7:00pm at AMC Georgetown. If you’d like to attend, fill out the RSVP form here. Please remember all screenings are first come first served and you’ll need to arrive early to ensure seating. Enjoy the show!

The Killer is in select theaters on October 27th, followed by Netflix on November 10th.

Review: ‘The Holdovers’

Alexander Payne And Paul Giamatti Bring Grumpy Charm To The Holidays

The 1970s aesthetic deployed by Alexander Payne in his charming new dramedy, The Holdovers, isn’t a mere gimmick. From the technicolor palette to the pops of vintage film stock to the fading transitions, the film more than looks the part. But it’s the sweet-natured, simple storytelling and melodramatic character arcs that evoke the period more than anything else. Payne’s latest couldn’t be more different than his unnecessarily bloated sci-fi comedy Downsizing, and fans of the filmmaker will be pleased with this welcome return to form.

It’s also a treat to see Payne reunited with Paul Giamatti, the actor whose grumpy wine connoisseur in Sideways catapulted both of their careers. In The Holdovers he plays Paul Hunham, a history professor at Barton Academy, one disliked by the staff and the students mostly due to his arrogance and unwillingness to cater to rich kids and elitist colleagues. When not insulting everyone in sight, in ways many of them aren’t smart enough to notice, Paul can be found drowning his sorrows in Jim Beam. Once again, Giamatti is a grumpy drunk who drinks straight from the bottle.

Paul does have one supporter on campus; grieving cafeteria worker Mary (Da’Vine Joy Randolph), whose son recently died in Vietnam and she’s facing Christmas for the first time with him gone. Then there’s Angus (talented newcomer Dominic Sessa), a lanky, mop-haired smartass who has been abandoned over the holidays by his mother and her new husband while they take a long-delayed honeymoon. With Paul forced to supervise students left behind over Christmas, Mary, and Angus begin to bond in unexpected, meaningful ways.

It would be so easy for this film to lean hard into broad comedic strokes and conflict; setting up a common enemy for the trio to rail against. But there really isn’t any of that here. The villains in this case are loneliness, abandonment, and feelings of being underestimated. Watching the subtle ways these characters begin to move past their grief by connecting through humor, you’d be surprised to learn that Payne didn’t write the script himself, with that honor going to screenwriter David Hemingson.

And while The Holdovers does get off to a slow start, the journey is worthwhile, fulfilling, and quite funny. With both men at opposite ends of the hormonal spectrum, conversations about sex go to some unexpectedly hilarious directions, made funnier by Paul’s extremely lazy eye and fishy odor. Giamatti and Sessa spend the bulk of the film sharing screen time, trading quips and revealing vulnerable shades to their characters. This is a breakout, charismatic debut for Sessa, one in which he isn’t overshadowed by his more experienced co-stars. Speaking of which, it’s another great supporting role for Randolph, revealing more about her character with a single line than most can with an entire monologue. She’s been doing this steadily since 2019’s Dolemite Is My Name and hopefully, she’ll start getting recognized for it.

The Holdovers is actually something of a gamble. Making a downbeat holiday film that’s sorta sad in a style that doesn’t exactly scream “high-energy” is likely to be a tough sell this Christmas. But there are sweet rewards for those willing to invest, and those who do may find The Holdovers to be one of those movies they make an annual tradition.

Focus Features will release The Holdovers in select theaters on October 27th, with a wider expansion on November 10th.

Middleburg Review: ‘Frybread Face And Me’

Taika Waititi Produced Coming Of Age Story Is A Quiet Reflection On Indigenous Life

In the semi-biographical coming-of-age film, Frybread Face and Me, a young man encounters the different generations of women in his family. Obsessed with pop culture, specifically Fleetwood Mac, middle-school-aged Benny is sent to live with his grandmother on the Navajo reservation while his parents sort out their troubled marriage in San Diego. Heartfelt, grounded, and beautifully shot, writer/director Billy Luther earns his storytelling chops in his first narrative feature. 

When Benny (Keir Tallman) arrives at the reservation, he and his grandmother (Sarah H Natani) have no way to communicate as he speaks in English and she speaks Diné. His Uncle Marvin (Martin Sensmeier) also lives on the family property taking care of the livestock and bull riding in his spare time. Benny already feels isolated by his parents and his uncle’s traditional masculine ways prove to distance himself from his family.

That is until his aunt drops off Dawn, whom the aunties and uncles unaffectionately call Frybread Face as her complexion is “flat and greasy”. Played by newcomer Charley Hogan, Dawn becomes the forceful go-between for Benny and his grandmother, teaching him the ways of their family and people. Hogan gives a tender and confident performance that makes you question just how old this actress actually is. Tallman’s sweet and contemplative turn as Benny is magnified by his chemistry with Hogan, making the onscreen duo one of the best teams of the year.

Luther is probably best known for his 2006 documentary Miss Navajo which looked at the life of an Indigenous beauty pageant contestant as she competed for the titular title. His most recent work includes writing for the AMC+ detective drama Dark Winds where he also directed a 2023 episode. In Frybread Face and Me, Luther has full control over the story and manages to create a quietly moving narrative that highlights the vital role women take in indigenous communities. He uses his documentary background throughout the film, but it is highlighted in the scenes where Benny’s grandmother is weaving. 

The director smartly picks and chooses when and where to subtitle the Navajo language, depending on where Benny is in his journey. The more he connects to it, the more we know as an audience. Luther struggles to keep the pace of the narrative and parts of the dialogue feel unpolished, but Frybread Face and Me’s message of community and maternal love outshines its flaws.

Frybread Face and Me does not have a release date yet.

‘Wicker’: Olivia Colman & Dev Patel To Star In Unconventional Romance From ‘Save Yourselves!’ Directors

This was an unexpected email that came through this afternoon. Black Bear has acquired the unconventional romance film Wicker, which is set to star Oscar winner Olivia Colman and Oscar nominee Dev Patel. Behind the camera are Alex Huston Fischer & Eleanor Wilson, known for one of our favorite films here on the site, sci-fi comedy Save Yourselves!

Here is a synopsis: On the outskirts of a village by the sea, lives a Fisherwoman (Olivia Colman); smelly, single and perpetually ridiculed. One day, fed up with her stuffy, small-minded neighbors, she commissions herself a husband to be made from wicker (Dev Patel). In an otherwise conservative town, this unconventional romance sparks outrage, jealousy and chaos.

Definitely sounds like something that will push both Colman and Patel. The film will have a script written by Fischer and Wilson, adapting Ursula Wills-Jones‘ short story The Wicker Husband.

Filming won’t begin until 2024, and is not currently affected by the SAG-AFTRA strike.

‘Best. Christmas. Ever!’ Trailer: Heather Graham, Brandy, And Jason Biggs Lead Netflix’s Latest Holiday Comedy

Some people live for the holidays, and not necessarily because they love gift-giving and spending time with family. They love it because they are showered with Christmas movies, some from big studios, many from Lifetime who have made a market out of them, and on Netflix who are muscling in on that territory, as well. Case in point: the new trailer for Best. Christmas. Ever!, a holiday comedy led by Brandy Norwood, Jason Biggs, and Heather Graham.

Also starring Matt Cedeño, Jason Biggs, Wyatt Hunt, Abby Villasmil, and Madison Skye Validum, the film centers on old college friends whose friendship is tested over a boastful Christmas letter.

The film is directed by Mary Lambert, a veteran filmmaker known for directing Pet Sematary and its sequel, as well as The In Crowd which Gen-Xers probably remember well. This is Lambert’s second holiday movie for Netflix after 2021’s A Castle for Christmas.

Here’s the synopsis: Every Christmas, Jackie sends a boastful holiday newsletter that makes her old college friend Charlotte feel like a lump of coal. When a twist of fate lands Charlotte and her family on Jackie’s snowy doorstep just days before Christmas, she seizes the opportunity to prove her old friend’s life can’t possibly be that perfect. Starring Heather Graham, Brandy Norwood, Jason Biggs, and Matt Cedeño.

Best. Christmas. Ever! hits Netflix on November 16th.

31 Days Of Horror: Day 24 ‘Extra Ordinary’ (2019)

Directed by: Mike Ahem and Enda Loughman

Synopsis: In Extra Ordinary, Rose, a mostly sweet and lonely Irish driving instructor must use her supernatural talents to save the daughter of Martin (also mostly sweet and lonely) from a washed-up rock star who is using her in a Satanic pact to reignite his fame. 

Feeling responsible for the death of her father, Rose (Maeve Higgins) walks away from her paranormal family business to pursue something more normal like being a driving instructor. That’s short-lived because as much as she wants to be done with that world, it isn’t done with her. She is constantly ignoring spirit-related requests from the locals to exorcise possessed everyday items and just live a normal life. Then there’s Christian Winter (Will Forte), a washed-up, one hit wonder of a musician that has made a pact with Astaroth the Demon promising to deliver a virgin in exchange for a return to greatness. So, he places a spell on local teen Sarah Martin (Emma Coleman) in preparation for the Blood Moon ceremonies causing her to float in stasis. Martin (Barry Ward), Sarah’s father reluctantly contacts Rose for help, hoping she can overcome her fears, harness her supernatural abilities and rescue the young girl before it’s too late. 

This movie was exactly what I needed. It’s the perfect blend of humor, horror, and awkward love story all rolled into one. Maeve Higgins plays the sweet, lonely, slightly awkward Rose extremely well and the on-screen cringe-worthy interactions between her and Martin had me rolling. Barry Ward seamlessly shifting between different possessing spirits was an impressive feat. Will Forte as the washed-up rock-star holding on to hopes for a comeback and the relationship with his brash wife was hilarious. The effects were solid using a blend of CGI and practical. The story kept me interested and glued to the screen. This ticked every single box for me. I really have no complaints about this one and I seriously wonder why it took me this long to watch it. Kudos to Mike Ahem and Enda Loughman on a damn near-perfect film. 

If you’re looking for a fun little horror/comedy this spooky month and tend to agree with me on most of my critiques, I highly recommend this flick. You can head on over to Shudder and watch Extra Ordinary as of this writing. Believe me, you won’t be disappointed. 

Join me again tomorrow as we continue this strange little journey down the horror rabbit hole.

Martin Scorsese Talks ‘The Wager’ And Possibility Of Adding A Co-Director

Martin Scorsese Reportedly has a New Orleans Mafia Film in the works

At the age of 81, Martin Scorsese probably only has a couple more movies left to direct in his storied career. But as Killers of the Flower Moon proves, he’s still got a lot left in the tank. Last summer, Scorsese agreed to reunite with Leonardo DiCaprio for The Wager, an adaptation of another David Grann book. But in a recent IndieWire interview, Scorsese suggests he may need some help on this one.

The film set in the 1740s follows a mutiny on British naval ship the HMS Wager after a shipwreck on a desolate island off the tip of South America.

And since much of the film will be set on the water, Scorsese thinks a co-director may need to be brought aboard to help out…

“First of all, the issue is now that the writer’s strike is over, and because so much is on me to go out there and spread the word about “Killers of the Flower Moon,” let me take a break. And we’ll get working with writers and see if we get it on the page. And maybe it’s something I could co-direct, so to speak. It’ll be difficult. But there are ways now, with certain technical things we could do, to make it bearable. Depending on how we get the script together.”

This is still very early on, as Scorsese also admits in the interview that DiCaprio’s role isn’t even set in stone yet. Until a script is finished, talk of a co-director will have to be tabled. But who would be a good choice? Who would be a director with filmmaking experience on the water who would get the honor of working alongside Scorsese?

‘Occupied City’ Trailer: Steve McQueen’s Epic 4-Hour WWII Documentary Arrives On Christmas Day

Following his acclaimed Small Axe anthology and the BBC miniseries Uprising, Steve McQueen returns with the whopping four-hour-long documentary, Occupied City. Based on McQueen’s partner Bianca Stigter’s book, Atlas of an Occupied City, Amsterdam 1940-1945, the film chronicles the city during five years of occupation by the Nazis during WWWII.

Here’s the synopsis: The past collides with our precarious present in Steve McQueen’s bravura documentary Occupied City, informed by the book “Atlas of an Occupied City (Amsterdam 1940-1945),” written by Bianca Stigter. McQueen creates two interlocking portraits: a door-to-door excavation of the Nazi occupation that still haunts his adopted city, and a vivid journey through the last years of pandemic and protest. What emerges is both devastating and life-affirming, an expansive meditation on memory, time, and where we’re headed.

Melanie Hyams narrates the doc, a co-production by A24 and New Regency. McQueen spent three years collecting the archival footage used in the film, which premiered at Cannes.

Occupied City opens in theaters on Christmas Day.

‘Leave The World Behind’ Trailer: Julia Roberts, Ethan Hawke, And Mahershala Ali Face The End Of Everything

Who would you want to ride it out with if the apocalypse were coming? How about Julia Roberts, Mahershala Ali, and Ethan Hawke? In Leave the World Behind, the new post-apocalyptic thriller from Mr. Robot creator Sam Esmail, all three are stuck together in an Airbnb after the world is struck by a debilitating cyberattack that has left it in a blackout.

The film is based on Rumaan Alam’s 2020 novel, and will be making its world premiere at AFI Fest later this month. Also in the cast are Myha’la Herrold and Kevin Bacon. Ali’s role had previously been for Denzel Washington, but he dropped out prior to filming.

Here’s the synopsis: In this apocalyptic thriller from award-winning writer and director Sam Esmail (MR. ROBOT), Amanda (Julia Roberts) and her husband Clay (Ethan Hawke) rent a luxurious home for the weekend with their kids, Archie (Charlie Evans) and Rose (Farrah Mackenzie). Their vacation is soon upended when two strangers — G.H. (Mahershala Ali) and his daughter Ruth (Myha’la) — arrive in the night, bearing news of a mysterious cyberattack and seeking refuge in the house they claim is theirs. The two families reckon with a looming disaster that grows more terrifying by the minute, forcing everyone to come to terms with their places in a collapsing world.

Leave the World Behind will be in select theaters on November 22nd, followed by streaming on Netflix beginning December 8th.