Darren Aronofsky isn’t for everyone, but he’s one of my favorite directors working today. His films are dark and sometimes bleak, but often full of emotion and genuine honesty in the questions he evokes in his films. It’s not often that you find directors who are able to find that balance in their filmmaking. Perhaps it’s just my subjective taste, but if you’re going to go dark, I need something to make sense of it without it simply being an exercise in narcissism (still looking at you Alien: Covenant). Don’t get me wrong, films *can* be about narcissism if that is its intent, but often I find films being “dark” simply for the sake of it. Aronofsky has created films that are uncomfortable at times, but they’re equally as accessible.
His latest film, Mother!, from all accounts will perhaps put that idea to the test in major ways this weekend. Will Mother! be Rosemary’s Baby part 2? You tell me.
That’s about as on-the-nose as it gets, I think. Well, even if Mother! isn’t a direct remake of Rosemary’s Baby, early reviews have indicated that it’s not for the light-hearted. I’m very excited to see what Aronofsky does with this material, and what he’s able to do with what looks like a true horror film. Knowing his directing style, I’m certain the film’s sound design, aesthetics and performances will make for a viscerally gripping experience. But going back to my prior comments, I’m guessing there’s more to Mother! than just what we see on the surface.
Additionally to that, I’m excited to see Jennifer Lawrence back in the Awards race this season. I understand she’s a polarizing figure given her boisterous personality, but on screen she’s a presence that gives weight to her characters. Say what you will about Joy, but I do think she was great in that film. Was in Oscar-worthy? In all honesty I don’t care. She was very effective as that character. Same can be said for her performances in American Hustle and Silver Linings Playbook. For what it’s worth, I do think her win for Silver Linings was justified and rightly awarded. However, since 2013 she’s mostly been out of the limelight – outside of Joy in 2015 – with roles in the X-Men franchise, Serena and Passengers. Of course, the biggie in there are her two Mockingjay performances in 2014 and 2015 respectively, but they were box office driven and dissipated from conversation quickly. My point is that her performance in Mother! could be the first time she’s heavily in the Best Actress race since 2013, and I’m excited for that.
It’s not just about Lawrence though, this film also features Javier Bardem, Ed Harris, Michell Pfeiffer, Dmhnall Gleeson and Brian Gleeson among others. That’s a solid cast and I’m very interested to see how they gel with Aronofsky’s tone and vision for this film.
Lastly I also want to give a shout out to composer Jóhann Jóhannsson and sound designer Paula Fairfield. The scores in Aronofsky films are always a major component, and in a horror film of this type, I imagine it’s even more important. Furthermore, word on the street is that the sound design here is a character in the film. So pay attention to Fairfield and Jóhannsson’s work this weekend as they’ll be a big factor to this experience.
Are you as excited for Mother! as I am?
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Here’s what else is coming to theaters this weekend:
All I See Is You American Assassin Brad’s Status (limited) In Search of Fellini (limited) Vengeance: A Love Story (limited) Wetlands (limited)
Ever since Lucasfilm announced that Colin Trevorrow would be directing Star Wars: Episode IX, it felt like that was a hourglass just waiting to pass given the backlash online. I wasn’t the biggest fan of Jurassic World myself, but I still fail to comprehend the vast amount of backlash toward Trevorrow. Perhaps there’s something about his personal life that I’m unaware of at the moment, but I still contend that Safety Not Guaranteed was one of the best films of 2012. And take it with a grain of salt, but I like the first two-thirds of The Book of Henry. Maybe he’s not personable off-set, but in my humble opinion, the guy can direct. Despite any of that though, it appears that Trevorrow’s “vision was not aligning” with Lucasfilm and they decided to move on. We’ll never know, but this may be a case where Twitter simply won.
So who did they get? The one and only J.J. Abrams! I wasn’t against Trevrorrow like many were, but I’m very excited for this news. Lucasfilm’s leadership has been somewhat volatile lately in their decision making and Abrams feels like a confident and stable choice. The Force Awakens is fantastic and I cannot wait to see what he does with Episode IX personally.
That said, we want to know where YOU stand on this. What do you think about the hiring of Abrams back to the Star Wars Universe?
This week on Episode 237 of the InSession Film Podcast, inspired by the 2017 It remake, we discussed our favorite Stephen King movie adaptations scenes. Stephen King movie adaptations have certainly seen their ups and downs over the years, ranging in quality from utterly terrible to some of the best films of all-time. Regardless of rank, these films have seen some powerful moments and memorable scenes that qualified for our lists this week, and we had fun discussing them. On that note, what movies would make your list? Here are the one’s that made ours:
**Please keep in mind that we each had different criteria for our selections**
JD
1) Standing in Rain After Escape – The Shawshank Redemption
2) My Dad Hates Me – Stand By Me
3) Twins Reveal – The Shining
Brendan
1) You’re a Woman Now – Carrie
2) Camp Fire Story – Stand By Me
3) Katie Encounter – 1408
Richard
1) Prom Showdown – Carrie
2) Jack Confronts Wendy – The Shining
3) Final Escape – The Shawshank Redemption
Honorable Mentions (Combined)
Various scenes in The Shining, The Shawshank Redemption, Stand By Me, Carrie, Misery, The Green Mile, The Mist, Pet Cemetary, Children of the Corn, Delores Claiborne, It (2017)
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. Obviously there are a ton of other movies and scenes we didn’t mention that could have made your list, depending on your criteria and tastes. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
This week on the InSession Film Podcast, Richard Newby from Audiences Everywhere join us to discuss the clown horror film It and our Top 3 Stephen King movie adaptation scenes. We also honor a Patreon donation by reviewing the 1988 Ron Howard film, Willow!
Big thanks to Richard for joining us, he’s always a lovely guest and it was no different this time around. As a horror aficionado and Stephen King fan, he was the perfect guest for this show. This week’s episode will no doubt go down in InSession Film history. Given JD’s fear of clowns, the fact that he even saw It is a miracle. But just wait until you hear about his experience and reaction to the film, it was quite unexpected. And finally, big thanks to our friends over at the Joy Sandwhich Podcast and their Patreon donation, which inspired our Willow review!
On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
– Movie Review: It (6:36) Grades
Brendan: B+
JD: A
Richard: A
– Top 3 Stephen King Adaptation Scenes (44:47)
Stephen King movie adaptations have certainly seen their ups and downs over the years, ranging in quality from utterly terrible to some of the best films of all-time. Regardless of rank, these films have seen some powerful moments and memorable scenes that qualified for our lists this week, and we had fun discussing them. That said, what would be your top 3?
If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!
Director: Juan Carlos Medina Writers: Peter Ackroyd (novel), Jane Goldman (screenplay) Stars: Olivia Cooke, Bill Nighy, María Valverde
Synopsis: A series of murders has shaken the community to the point where people believe that only a legendary creature from dark times – the mythical so-called Golem – must be responsible.
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Silhouette-strewn streets and shadowy passageways star in this English language debut for director Juan Carlos Medina, an at times intoxicating sense of time and place offering buoyancy to a plot at risk of floundering. Supported by a largely British cast, the narrative twists and turns at a rate not dissimilar from the music hall productions it depicts. And nimble it must be, for beneath the veneer of post-Dickensian London lurk an unfortunate smattering of miscues.
“Let us begin, my friends, at the end”, so are delivered The Limehouse Golem’s opening lines, playfully toying with the structural fluidity of proceedings. As the curtain draws back on 1880’s London we are immediately complicit in the film as much a work of theater as cinema. The London in question is one familiar to pop culture: of opium dens and medicinal laudanum, of prostitution and vagrancy. And into this ripe setting is Inspector John Kildare (Bill Nighy) plunged, the self-proclaimed Limehouse Golem murderer the object of his sleuthing. Paired with Constable George Flood (Daniel Mays), Kildare’s investigation soon leads him into the toxic company of a troupe of music hall performers led by pantomime dame, Dan Leno (Douglas Booth), a real-life theatre actor of the period. Told in flashback, our present concerned with Kildare’s pursuit of acquittal from a charge of spousal murder connected to the Golem at the feet of Lizzie Cree (Olivia Cooke), there’s a distinct sense of visual gluttony as we delve momentarily into each thread.
Then to the film’s overwhelming flaw: a final-act twist so telegraphed I needed the prompting of other screening attendees to perceive. From about forty minutes in the reveal is bellowing at you, a monolithic neon sign illuminating every clue under Inspector Kildare’s woefully inept scrutiny. The narrative’s attempts at diversion are timid, desperate for the conviction of its rich world-building. And it’s to the film’s credit that the dichotomy doesn’t betray the painterly pleasures of Medina’s Victorian London. Adapted from Peter Ackroyd’s novel, Dan Leno and the Limehouse Golem, the literary source does seem to be the preeminent format for this tale. Vibrant and deliciously tactile its realized world may be, but the one-sided nature of its formulaic, if spritely, unfolding leaves us craving an impossible degree of interaction; we are merely along for the ride rather than a remote contributor to the Kildare-Flood-viewer triumvirate.
Still, there is plenty to be enjoyed here. Of those on screen, Nighy in particular excels in the lead role, a role originally intended for the late Alan Rickman. It would be entirely possible for some performances to be stifled by the inevitable excesses of costumes and gesticulation; that this isn’t the case is praiseworthy. Minor plot points and (un)twisty ending aside, this is certainly worth your time. Fans of the source material might find an unexpected disconnect as they’re dragged into prison cells and out of crime scenes, but this feast for the senses more than justifies itself. All the world’s a bloody stage, indeed.
This week on the InSession Film Podcast: Extra Film segment, we get our groove on as we discuss two 2017 indies that feature music as a main theme in Band Aid and Patti Cake$!
Both films are perhaps under the radar but very much worth seeking out. The music in both are greatly in tune with their respective characters and are a lot of fun overall. We hope you seek them out and enjoy them as much as we did.
With that said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!
– Movie Review: Band Aid (5:05) Grades
JD: A-
Vince: B+
– Movie Review: Patti Cake$ (36:51) Grades
JD: B
Vince: B-
We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.
To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!
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Director: Andy Muschietti Writers: Chase Palmer, Cary Fukunaga, Gary Dauberman, Stephen King (novel) Stars: Bill Skarsgård, Jaeden Lieberher, Finn Wolfhard, Sophia Lillis
Synopsis: A group of bullied kids band together when a monster, taking the appearance of a clown, begins hunting children.
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When examining the exterior of It, it’s not hard to grasp where all the skepticism is sprouting from. Albeit the petrifying appearance of Pennywise the Clown, the marketing team was rather stale in attempting to inflict the true horrors of such a demented story like this throughout the numerous trailers and TV spots. However, due to the masterwork of King’s novel from which this was adapted and a nauseatingly hypnotizing performance from Bill Skarsgård, it leaves behind a continuous uneasy feeling that increases as the movie progresses.
A film like It doesn’t bare anything flashy. It doesn’t possess any revolutionizing horror craftsmanship, but instead bestows exaggerated jump scares and basic beat you over the head horror antics. Despite that category of unoriginality, it’s accommodated into a project like this perfectly. Especially the decade in which the film takes place. A small, simple-minded town like this amid the near emergence of the 1990s begins to feel like it’s growing its own facade in to the films by the rising action is set in motion. It’s not how it’s incorporated, but the way it’s being exploited.
It’s somewhat refreshing to see that Andy Muschietti discloses his own sense of personal style in to such a grand horror blockbuster of mainstream media. While the movie obviously proceeded down a much darker path than it’s 1990’s predecessor, it manages to sprinkle in brief instances of the campiness that was made so iconic by Tim Curry. Muschietti certainly leaves a distinct mark on this rendering of the book which shall be remembered if it were to ever be remade.
Quite possibly the most noteworthy element regarding ‘It’ are the ample performances from each actor/actress. Bill Skarsgård is electrifying, stealing almost every fervid scene he has dialogue in. He’s absolutely frightening in every meaning of the word but also gives a genuinely integral portrayal of Pennywise. Additionally, the child actors give impressive performances too. Taking into consideration how young they are, the maturity level and skill set of each adolescent actor/actress is unbelievable at such a young age. Easily one of the strongest acting ensembles in a movie as of late, and just one of the most keen in general.
You can’t go without saying that It is liable for a couple of drawbacks. When it’s not trying to scare the soul out of you, it’s comedic presence is dialed up for a very immense amount of time. A lot of the humor is amusing essentially because it’s coming from the kids. However, the two aspects of horror and comedy, aren’t the most accurately presented here. The tone can unwittingly become inconsistent for a handful of scenes and will remain that way momentarily before snapping back. It feels as though the blueprint attached to the film might’ve been a bit scatterbrained at one point. That feeling emerges a lot more frequently than it should but by the film’s climax, it begins to settle down and ultimately balances out between the two. It’s also fair to say that towards the end of the second act, interest might be a bit diminished for some people. Topping out at 135 minutes, not only is it a bit longer than your average film, but a fair of an amount longer than a horror film. It’s pretty much inevitable that you’re going to run into problems like that for the runtime it boasts. But nonetheless, it’s nothing to seriously dwell on.
As stated before, It is definitely heart-pounding terror at its best. It’s alarmingly dangerous when presenting scares but also carries some very fascinating, soft-hearted aspects of a coming-of-age film. At the end of the day however, I’m sure it’ll give you a good scare.
Overall Grade: B+
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Hear our podcast review on Episode 238, coming soon.
Truth be told, I’m not anticipating It. It may be a cliche, but I’m genuinely terrified of clowns. Perhaps it stems from an incident when I was five that traumatized me, and the general fact that clowns are just creepy and unnerving, but I do not like them in the slightest. So, I had no inclination to see Andy Muschietti’s It, coming to theaters this weekend, especially given the updated aesthetics for Pennywise. No thanks.
But…there’s a problem. It stars Jaeden Lieberher, one of my favorite child actors working today. His work in Midnight Special was fantastic, and while many did not like the film, there are scenes of his in The Book of Henry that devastated me. It also features the captivating Finn Wolfhard, who stole everyone’s hearts in last year’s Stranger Things. Additionally, reviews for the film seem to indicate that there’s a warm coming-of-age story underneath the horror and tragedy. It’s like this film is trying to do everything in its power to speak to me on a personal level, before reminding me that there’s a f***ing clown trying to kill everyone! I’m so torn. On paper, there is a lot for me to grab on here emotionally and I really like this cast. But…as stated above…this film is also going to be major nightmare fuel.
So what do I do? Well I’ve come to the conclusion that I can’t let fear control my life. I’m going to listen to my pal Yoda.
There is a chance that It itself could lead to suffering, but it could also be very satisfying and lead to something more beyond nightmare fuel. I’ve only seen the teaser trailer for this film – and only once at that – but it does seem to have a grounded emotional core that compliments the horror extremes. We’ll see if that plays true or not, but if it does, it will be my saving grace. And it’s in that notion where I genuinely do look forward to seeing It.
I’m also interested in seeing Andy Muschietti’s direction here and how he combines story, aesthetics and tone. I enjoyed Mama for the most part and his hiring made sense to me when they announced that he would be replacing Cary Fukunaga.
What about you? Are you anticipating It?
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Here’s what else is coming to theaters this weekend:
Home Again 9/11 (limited) The Limehouse Golem (limited) Rebel in the Rye (limited) School Life (limited)
Well this week is going to be quite the experience for me. As many of you know, I’m not a big fan of purposefully scarring the pants off myself in a theater. Not only that, but I hate clowns with a glorious passion. So, I blame Brendan for the fact that we’re seeing and discussing It this weekend on Episode 238. It – of course being a Stephen King adaptation – is the inspiration for our poll this week as well. We’re simply asking; what is your favorite Stephen King adaption?
This week on Episode 237 of the InSession Film Podcast, we discussed our predictions for the 2017 fall movie season. As we did for the summer, instead of simply naming the films that we are most anticipating, we decided to branch out and talk about the questions that are lingering for us as we head into the fall and how that translates to our predictions.
**Please keep in mind that we each had different criteria for our selections**
JD
1) Phantom Thread – will see Daniel Day-Lewis go out on top with another Oscar nomination, and possible win, for Best Actor.
2) The Shape of Water – will be a major awards contender and see Sally Hawkins nominated for her performance.
3) Star Wars: The Last Jedi – will be the best conventional blockbuster of 2017.
4) Blade Runner 2049 – will continue to prove Denis Villeneuve’s prowess as one of the best directors working today.
5) The Post – will earn Steven Spielberg his next Oscar nomination for Best Director.
Brendan
1) We will see a first-time winner for Best Actor – Gary Oldman (Darkest Hour) / Joaquin Phoenix (You Were Never Really Here) / Adam Sandler (The Meyerowitz Stories)
2) The Florida Project – will be the best film about childhood innocence in 2017.
3) The Disaster Artist – will prove that James Franco is a capable filmmaker.
4) Wonderstruck – will show that Todd Haynes is another acclaimed director to aptly make a family film.
5) Blade Runner 2049 – Roger Deakins will finally win an Oscar for Best Cinematography.
Honorable Mentions (Combined)
Other films that we are highly anticipating – mother!, Call Me By Your Name, Racer and the Jailbird, Three Billboards Outside Ebbing, Missouri, Thor: Ragnorok, The Killing of a Sacred Deer, Downsizing, Suburbicon, Last Flag Flying, Coco, Mute, Murder on the Orient Express, Lady Bird, Molly’s Game, Wildlife, How to Talk to Girls at Parties, Battle of the Sexes, The Snowman, Flatliners, The Square
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. Clearly there are a lot of other films coming out this film that we skipped over for one reason or another. That being said, what would be your Top 5? Leave a comment in the comment section or email us at [email protected].
This week on the InSession Film Podcast, we discuss Steven Spielberg’s classic 1977 film Close Encounters of the Third Kind as it’s back in theaters for its 40th anniversary. We also preview the fall movie season with our Top 5 predictions for the films we’ll be seeing this fall (and December) to finish out the year.
This week’s show is also unique for a couple of reasons. One, we love getting to review all kinds of film, but especially movies that we consider to be one of our all-time favorites. Secondly, getting to look ahead to the fall is exciting as we consider the films that may end up topping the year as the very best. And thirdly, this is our first show as a member of the PodFix Network, an absolute honor that we are thrilled to be a part of going forward.
On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
– Movie Review: Close Encounters of the Third Kind (3:29) Grades
Brendan: A+
JD: A+
– Top 5 Predictions for Fall 2017 – Part 1 (32:58) As we did for the summer, instead of simply naming the films that we are most anticipating, we are simply laying out a few predictions we have for the fall movie season and what we should expect later on in the year.
– Top 5 Predictions for Fall 2017 – Part 2 (1:12:49)
For our third segment this week, we continue our fall predictions with our last two selections and we list some honorable mentions in regards to other films we’re very excited to see before year’s end.
On that note, what are your predictions for the 2017 fall movie season?
Main Review: It
Top 3: Steven King Adaptations
Patreon Review: Willow
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Help Support The InSession Film Podcast
If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!
This week on the InSession Film Podcast: Extra Film segment, we discuss the great Robert Pattinson in Good Time and The Vern joins us to break down Aubrey Plaza in Ingrid Goes West!
Big thinks to Vern for joining us on Extra Film this week, he was a great guest as always. We don’t always have guests for this particular show, but he was there to help us in a pinch since neither Brendan nor JD had seen Ingrid Goes West yet. It was really fun to discuss both of these unique indie films that feature two of the best performances we’ve seen so far this year.
With that said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!
– Movie Review: Good Time (6:26) Grades
Brendan: C+
Vince: A-
– Movie Review: Ingrid Goes West (35:44) Grades
Vern: B-
Vince: A-
We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.
To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!
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Help Support The InSession Film Podcast
If you want to help support us, we would greatly appreciate it! For more info, CLICK HERE.
This weekend kicks off the Fall Movie Season for most cinephiles and leading the charge this year is…Close Encounters of the Third Kind? The Steven Spielberg film? That can’t be correct.
Well, as it turns out, it is. Of course there are new releases this weekend, such as Justin Chadwick’s Tulip Fever and Michael Apted’s Unlocked, but those films will only add to an already disappointing year at the box office. The weekend’s big release is actually a re-release of Spielberg’s classic 1977 film, Close Encounters of the Third Kind for it’s 40th anniversary! If you ask me, not only is Close Encounters one of Spielberg’s best films, I’d argue it’s one of the best films of all-time. And as many of you may know, I wasn’t around in 1977 to see this in all its glory then, so to see it on the big screen now is such a delicious treat.
Close Encounters for me is a transcendent experience that combines wonder, startling terror, gripping emotion and stunning characterization that leaves you breathless by the end. The way Spielberg stages each scene is spellbinding and visually magnetic. The score by John Williams is masterful and iconic. The performances all around are fantastic. Richard Dreyfuss, in particular, gives one of the best performances – if not the best – of his career.
The fact that we are getting a chance to experience this in theaters has me salivating for a mound of mashed potatoes. The only thing that could make this better is if I could see the film at Devil’s Tower in Wyoming, which is apparently a thing that is actually happening. Sadly I will probably not make that screening, but a 4K big-screen experience isn’t too bad either. And boy I cannot wait.
What about you? Will you be seeing Close Encounters of the Third Kind in theaters?
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There’s not much else available, but here’s what you can expect this weekend at the box office:
Tulip Fever Unlocked (limited) Goon: Last of the Enforcers (limited)
This week for our Episode 236 InSession Film Podcast: Bonus Content, Matt Neglia from Next Best Picture joins us to discuss the awards season for the films of 2007, as we tie in this discussion to our 2007 Retrospective. It was a lot of fun, check it out!
We offer our bonus content for free, but we do encourage and appreciate a small donation of $0.99 as a way to help support the show. Click on the PayPal button below to donate and thanks so much for your support. You can also hear all of our Bonus Content via our mobile apps. See the information at the bottom of the post for more details.
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We hope everyone had a great summer movie season, it was certainly full of good films and perhaps even a few that could turn into classics – looking at you Dunkirk! I’m not sure where the time goes, but the fall is finally upon us. The fall-winter movie season is always full of speculation when it comes to awards, but even outside of that, the year could (and should) end on a spectacular note. There are some great gems heading our way, and hopefully they live up to the bill.
That said, what film are you most anticipating outside of that little flick called Star Wars: The Last Jedi?
Or so goes the line, paraphrased, from William Shakespeare’s The Tempest. For many of us Shakespeare is something we ditched after high school English classes; or so we thought. From the books we read, movies we watch, to expressions we use regularly, we take the old bard and his influence with us. Not only the old bard, but as well those things we learned in school from our teachers.
My most memorable class in high school was English class. Other classes are memorable too, but most subjects teach you the rules. English has its rules too, but what it most teaches you is how to put your thoughts into words; how to be yourself.
Sean Riley is a teacher of English class. Born in Baton Rouge, a graduate of USM living in Mississippi, from childhood he has had a love of movies. Working on student films in college and short subjects later in life, Sean has kept himself involved in film. The one thing he had not done, though, was take that leap into making a full length feature film…
…Until now.
Fighting Belle is a movie made in Mississippi. With filming in Ocean Springs, Pass Christian and Gulfport its heart is truly ensconced in the Mississippi Gulf Coast. With cast and crew from the South, its Southern flavor and charm are not imported or ‘put on’ as it would be in a Hollywood production but are a natural part of the movie.
Fighting Belle is the story of Delilah, a beautiful Southern Belle with a loving heart who has her life plans in order, including her wedding day. But that one biggest day in her life hits a bump in the road as she’s left at the alter. Her bubble has been burst, but she has a plan to get even by challenging her ex-groom to a rematch of sorts, but with boxing gloves this time.
“A southern fried romantic comedy with a distinctly different approach to finding love succeeds in delivering a one-two punch with a wonderful performance by Jessica Harthcock and excellent direction by Sean Riley.”
“… an entertaining movie with solid acting, snappy dialogue, and a fresh new take on the concept of getting even. Jessica Harthcock makes Delilah’s transformation funny and yet believable, and all the characters get their own chances to shine. It’s a strange combination of warm southern charm and ice-cold revenge that somehow works beautifully.”
Sean Riley is still teaching; in the classroom and out of the classroom. The biggest lesson he is teaching to students of all ages is dreams are only dreams if you don’t reach for your goals in life and make them a reality. Fighting Belle is a romantic comedy about people realizing their dreams. From writing to directing to producing, Fighting Belle is the stuff dreams made.
Fletch: Before this stage in your life of making your first feature film you had a successful career as a teacher. What subject did you teach and, because your students probably want to know, how did you do in that subject in school?
Sean Riley: English–seventh through 12th grade–primarily high school. I seem to remember being an average student. Sadly, outside of the occasional creative writing assignment and interesting piece of literature, I wouldn’t say that I was necessarily inspired by any of my English teachers.
Fletch: When did you first get involved in filmmaking?
Sean Riley: I’ve been obsessed with movies for as far back as I can remember I think it was when I was doing some recreational reading in middle school when it dawned on me how visual a book could be in my own mind. Soon after I learned what a director did. Something clicked in my mind that this might just be the career path for which I was born. My bedroom became a film study. I watched everything I could get my hands on–from Chinatown to Steven Seagal movies. I ordered screenplays from the back of Premiere magazine, saved up and bought a Brother electric typewriter, and hammered out the worst screenplays imaginable. In high school I goofed with friends making video sketches and eventually studied film formally at the University of Southern Mississippi.
Fletch: Who would you say inspired you to want to make films?
Sean Riley: Michael Mann, Alan Parker, Walter Hill, the Coen Brothers, Adrian Lyne, Mickey Rourke, to name a few.
Fletch: People make career changes all the time, especially in their 20s, but pushing 40 not so much. Why grab the reins now?
Sean Riley: Thanks for making me feel old! Really, though, I don’t consider filmmaking to be a career change so much as the culmination of my life choices and obsession. I tried to bottle my filmmaking aspirations for a good part of my life, but it wouldn’t be denied. It’s such a large part of who I am as a person that it ultimately seemed to finally just erupt. Fortunately, I was able to start a family and establish a career in education along the way, which has made me a more complete person and provided me with extraordinary life experience. I can’t imagine what I would have had to say as a filmmaker in my 20s.
Fletch: Being this is your feature film breakout as a director, a lot of independent filmmakers would have started in easier territory, such as horror. A romantic comedy, to me, would seem like a more challenging first path to take as a filmmaker. Had you considered other genres?
Sean Riley: I think every first-time filmmaker has considered the horror genre. But like the stock market, I think there’s a lesson in trying to time the film market. So much comes down to having a great screenplay. Filmmaking is so laborious and expensive. Why would you want to marshal the troops without a solid foundation? A first-class screenplay allows you to start with a leg up on the competition because it seems like there are so few out there that make it to feature film status. I didn’t have money, name actors, or veteran crew, but I did have a wonderful and unique screenplay by Aimee Parrott and Antonio Gangemi, so I decided to roll the dice with that one sales point. So many people and articles argued vehemently about making a romantic-comedy, but you know what? When it came time to talk with distributors after Fighting Belle was complete, guess which long-popular genre had started to cool and which long-maligned genre was suddenly in demand.
Fletch: When you were looking for a script to shoot were you specifically looking for one with a Southern accent, so to speak?
Sean Riley: Well, I was looking for a script that I felt I could shoot economically. That’s for sure. I wasn’t looking for something “Southern,” per se. Just something I felt I could shoot locally with the resources on hand. It just so happened that this script, written by a couple of New Englanders living on the West Coast, was having trouble finding someone to take it on. Fortunately, being a Mississippian now, I was at ground zero to pull it off.
Fletch: Mississippi is not the first place people think of when they think of the film industry, shocking as that may be. How did you connect with others to make your film?
Sean Riley: Mississippi is a really well-kept secret. We’re within driving distance of New Orleans and Atlanta, two major hot beds of motion picture production to pull from. Fortunately, there’s a small but talented base of filmmakers throughout the state and especially in the Coastal area. I worked with my cinematographer, Chaz Singleton, and my Assistant Cameraman, Chad Raines, on a short film called “The Perfect Tense” that had made a few festivals the year prior. Having worked with them, I felt I knew what I could accomplish at a more ambitious level. From there, I began researching state and regional talent agencies and websites to handpick my cast.
Fletch:Fighting Belle has quite a bit of Southern flavor embedded in the humor. Was this in the script originally or did you and/or the cast inject your own touches of Southern style into it?
Sean Riley: Certainly the lion’s share was already embedded in the original script. I added a few touches here and there. The characters in the script were very large caricatures. I tried to cast those who embodied the spirit of those characters, with a few exceptions.
Fletch: Two of your locations you use extensively in Fighting Belle are a Southern mansion and a gym. There were also locations such as the boutique. When approaching local businesses in the area for location scouting were they pretty open to the idea or did you get some strange looks along the way?
Sean Riley: I was no-called, sent on my way, and strong armed by my share of property owners. Fortunately, there were a few brave, generous souls who welcomed us with open arms. Those are the locations you see in the film. The Julep Room bar location was a last-minute switch because it’s just an amazing location and I had to have it. I worked and worked to secure an old-timey drug store with a soda fountain for that scene but ultimately was turned down. I think we wound up with a better location instead.
“Fighting Belle” set shoot, Sept. 10 and 11
Fletch: Jessica Harthcock was simply fantastic in her performance in the lead role. In a conversation I had with you previously I mentioned that I was embarrassed as a reviewer that I did not pick up on this right away, simply because she was so natural that she seemed effortless in her performance. I think somebody once said that you can tell a good actor by the effort they put into their work, and a great actor when you can’t see that effort. When casting for the lead, was there a moment or something that stood out about Jessica that said she was the one for the role? How was it working with Jessica?
Sean Riley: I spent a really long time trying to find the perfect Delilah. The entire movie rested on that one casting choice since the character appears in almost every scene and carries the entire movie. Delilah is such a huge character that not many actors could pull it off. I was out of options and noticed her on my Facebook friend list. I didn’t know her personally but knew we had a distant Mississippi filmmaking connection. I had nothing left to lose and sent her a message in desperation around midnight one weekday. She answered immediately, and I had an audition waiting in my email box the next day. I was floored when I saw the audition. Jessica had nailed the part better than even more established actors at the time I had auditioned. I immediately showed my wife, Candy, and we agreed that she was the one.
On set, Jessica was a consummate pro. She absolutely nailed her scenes, which saved a lot of valuable shooting time and money. I quickly learned that she was someone I could trust and depend on as a director and producer. Always positive on set and willing to try anything crazy I threw at her–and there was no shortage of craziness that I threw at her. Directors would be fools to not consider her.
Fletch:Fighting Belle is also a boxing movie, has wedding scenes involving large groups of people, a scene shot into a mirror, and some really good scene structure and composition, none of which I imagine are on anybody’s ‘easy list’ of things filmmakers do. What was most challenging to you?
Sean Riley: Surprisingly, I would say the first boutique scene and the charity event scene. Somehow we got turned all around with screen direction while in the boutique. The sun was going down outside, and the blocking just wasn’t working. We probably spent 2-3 hours on just that one scene. Fortunately, we shot the other two boutique scenes directly after, and they pretty much went off without a hitch.
The charity even scene was difficult because it was intended to be such a bigger set piece, complete with waltzing and the whole nine yards. When it came time to shoot the scene, 90% of my extras, those who had just finished filming the opening wedding scene, were nowhere to be found. One of my many guardian angels on the shoot, extra-turned-stills photographer-turned PA, Dee Dempsey, told me that an extra had told the others that shooting was done for the day. I was about to give up but assembled the few remaining saints that had stuck around. I quickly tore down the scene, mentally, to its essential ingredients, blocked off a small area of the ballroom, and salvaged a sure disaster.
Fletch: You’ve done short films, now your first feature film. I understand that you are now working on a series of podcasts and have some other film projects on the horizon?
Sean Riley: I want to take a little break from filmmaking and let a new script idea incubate. I’ve been inventorying new interests and have recently cultivated an interest in podcasting. I’m developing a podcast called Second Acts Podcast, which explores how early success has shaped and defined the current lives of entertainers. My first interview is with Joel M. Reed, the cult director of Blood Sucking Freaks, whom I met surreptitiously through Fighting Belle. I hope to invite many more unique guests on the podcast. Be sure to “Like” our Facebook page at https://www.facebook.com/secondactspodcast/ in anticipation for the inaugural episode. And, of course, if you haven’t already, I’d love for you to check out Fighting Belle on Amazon Video and drop me a line with your thoughts.
I want to thank Sean Riley for taking the time to answer questions, and of course providing us with an entertaining movie like Fighting Belle. I’m sure all of us hope to see even more films and projects coming from him and the wonderful and talented cast and crew of Fighting Belle.
This week on Episode 236 of the InSession Film Podcast, we continued our year-by-year retrospective series by taking a look at 2007, one of the best years in the modern era for film. In fact, one could argue (and we did on the show) that 2007 is the deepest year in terms of quality that we’ve seen this century so far. From There Will Be Blood to No Country to Old Men to Zodiac and beyond, it was quite the year for movies. And given that it was such a robust year, narrowing down that vast amount of great films to a Top 10 – and arranging them into some sort of order – was impossibly difficult. In most years, the films in our 6-10 would easily find a spot in a Top 5 for us. As rewarding as this exercise was, the challenge of conjuring a list with these films was a bit cumbersome. However we were ultimately very satisfied with our selections and we hope you enjoy them as well.
NOTE: On #236 we only discussed our Top 5 movies of 2007, so be sure to listen to the show to hear us discuss why these particular films were the very best of that year. However, as you’ll see below, we have listed our full Top 20 lists from 2007.
JD
1) Once
2) No Country for Old Men
3) Zodiac
4) There Will Be Blood
5) Juno
6) Ratatouille
7) Atonement
8) The Orphanage
9) The Assassination of Jesse James by the Coward Robert Ford
10) This is England
11) The Diving Bell and the Butterfly
12) Harry Potter and the Order of the Phoenix
13) Away From Her
14) Gone Baby Gone
15) Into the Wild
16) The Bourne Ultimatum
17) Hot Fuzz
18) Persepolis
19) The Savages
20) The King of Kong
Brendan
1) There Will Be Blood
2) The Diving Bell and the Butterfly
3) Ratatouille
4) Zodiac
5) The Assassination of Jesse James by the Coward Robert Ford
6) Once
7) Into the Wild
8) Away From Her
9) The Orphanage
10) No Country for Old Men
11) Atonement
12) The Lives of Others
13) Harry Potter and the Order of the Phoenix
14) Before the Devil Knows You’re Dead
15) The Bourne Ultimatum
16) This is England
17) Knocked Up
18) American Gangster
19) Persepolis
20) Superbad
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. Clearly there are a lot of other contenders from 2007 that battled for our lists, that just missed the cut. That being said, what would be your Top 10? Leave a comment in the comment section or email us at [email protected].
This week’s episode is brought to you by MoviePass, sign up today for just $9.99/month and see unlimited movies! This week’s show is also sponsored by the movie Road to the Well, now streaming on Amazon Prime!
This week on the InSession Film Podcast, we continue our year-by-year retrospective series by reviewing Paul Thomas Anderson’s There Will Be Blood and discussing our Top 5 movies of 2007!
As you’ll hear on the show, and as you’re probably aware of already, 2007 was such a rich year for film. It is arguably the deepest year we’ve seen this century in terms of quality, making this retrospective a very satisfying experience. We hope you enjoy our reminiscing and the discussion we had on these great films.
On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
– Movie Review: There Will Be Blood (15:30) Grades
Brendan: A+
JD: A
– Top 5 Movies of 2007 – Picks #5 / #4 / #3 (59:43)
As mentioned above, 2007 was a robust year for film and narrowing that down to a Top 5 was impossibly difficult. In most years, the films in our 6-10 would easily find a spot in a Top 5 for us. As rewarding as this exercise was, the challenge of conjuring a list with these films was a bit cumbersome. However we were ultimately very satisfied with our selections and we hope you enjoy them as well.
– Top 5 Movies of 2007 – Picks #2 / #1 (1:35:46)
To finish our 2007 retrospective, we discussed our favorite films films of that year in this last segment. We also discussed our 6-20 selections, rounding out our Top 20.
On that note, what would be your top 10 movies of 2007?
Main Review: Close Encounters of the Third Kind
2017 Fall Movie Preview
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This week on the InSession Film Podcast: Extra Film segment, we discuss Taylor Sheridan’s Wind River starring Jeremy Renner and also the quirky comedy Brigsby Bear!
These two films couldn’t be more different from one another and that’s one of the more fun aspects to this week’s show. While neither are perfect, they’re both worth seeking out before they leave theaters, and we hope you enjoy them as we did! Also, JD gives his thoughts on Magic Mike since he was out last week on the show.
With that said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!
– Movie Review: Wind River (7:29) Grades
JD: A-
Vince: A-
– Movie Review: Brigsby Bear (41:02) Grades
JD: B
Vince: A-
We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.
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Director: Josh Safdie, Ben Safdie Writers: Josh Safdie, Ronald Bronstein Stars: Robert Pattinson, Ben Safdie, Jennifer Jason Leigh
Synopsis: A bank robber finds himself unable to avoid those who are looking for him.
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Good Time is a void-like odyssey that will leave many people in a haze. The Safdie Brothers craft a brazen semblance that overlaps in to an overwhelming feeling of surrealism. This component is established rather early in the film, while they simultaneously introduce the dismal atmosphere that tends to creep up on you from time to time. Between both of these, there’s constantly a shell of exhaustion encapsulating the movie regardless of whatever scene is playing out.
There are those rare films that can make good use out of every scene presented in the movie. But every scene in Good Time, has a purpose. All movement put forth by every character is brisk. It never allows you to take a break. There are definitive moments that feel like you’re currently in frame, observing every second with sweat filled palms and an adrenaline filled body, waiting for something to escalate. This can be said for both the film’s surface conflict, and Robert Pattinson’s characters internal conflict. There’s always something to pay attention to. In fact, each complication will tend to collide with one another during a certain point in the film.
Robert Pattinson gives without a doubt one of the best performances of 2017 thus far. He’s entrancing every second he speaks a new line of dialogue. He completely embodies the grime and guilt of the situation he’s battling through in the film, not just physically but mentally. Ben Safdie is credited as a co-director but also portrays Pattinson’s characters brother. The emotional weight that’s lugged between the sincere bond of their brotherhood is harrowing as a viewer. It feels like salt in the wounds by the finale too.
There’s truly a lot of due credit to give for a project like this. Between the directing, writing or acting, the Safdie Brothers deserve every ounce of it, as you have to respect their audacity for a lot of the choices they opted out to. The synth pop soundtrack echoes throughout each scene along with the luminous neon aesthetic. The psychedelic cinematography mixed with every other advancement you can think of in the technical department. Everything they accomplished is unparalleled. This should definitely put each of them on the map of up and coming directors to keep an eye on.
When running down Good Time, it’s virtually impeccable from every aspect. It’s soaked in upbeat music and editing. It never has an over abundance of plot points nor does it ever feel like it’s attempting to be something more superior than what it wants to be. This couldn’t have been as good as it was without taking the direction it did.
To conclude, although a film from this genre may not be the most appealing to some, the cast and crew is really deserving of all the support it should get. It’s also an essential experience to see this in theaters. An exhilarating stimulation of emotion and intensity.
Overall Grade: A+
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Hear our podcast review on Extra Film, coming soon.
