This week for our poll, inspired by the re-release of 2001: A Space Odyssey in theaters as it celebrates its 50th anniversary, we thought it would be appropriate to talk about its creator. Stanley Kubrick is a legend in the world of cinema, and for good reason. His canon is among the best of all-time, many consider 2001 to be his very best. But…we’re going to let you have your say on the matter.
What is your favorite Kubrick film? Vote now!
Director: Aneesh Chaganty
Writers: Aneesh Chaganty, Sev Ohanian
Stars: John Cho, Debra Messing, Joseph Lee
Synopsis: After his 16-year-old daughter goes missing, a desperate father breaks into her laptop to look for clues to find her.
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Aneesh Chaganty’s Searching is a deftly constructed thriller which is cleverly written, contains strong performances, and contains a Hitchcockian twist which will blow your mind.
Now, this might seem like a bit of an oversell for a film released in late August but let’s examine the facts. First off, Searching is framed entirely on electronic screens (laptops, cell phones, and even security cameras). Now for some, this might seem like a bit of a gimmick, but in the context of this narrative, it’s certainly reflective of our society. What’s remarkable is how seamless it felt watching the story unfold through various devices. Chaganty indeed took a risk, and it resulted in one the more relatable thrillers in quite some time. What parent isn’t always telling their children to stay off their phone or tablet? We are continually monitoring whom our children chat with, but what happens when our worst fears come true?
The narrative centers around David Kim (John Cho) who is desperately searching for his daughter, Margot (Michelle La), who disappeared after a night of studying with friends. Using clues acquired by hacking into every social media account his daughter has, he tracks down false lead after false lead resulting in escalating frustration. Friends suggest that Kim should reach out to his daughter’s friends, but he doesn’t even know where to start. How can a father and daughter appear to be so close but no little about one another? Searching certainly makes a massive statement about social media. While Kim indeed uses social media to get the word out about his daughter, Chaganty’s film showcases the evils associated with the services. In the midst of his search, he encounters dead end after dead end (because people tend to hide who they are online).
What stood out to me most in Searching was the use of quick edits. Chaganty quickly cuts in out of various mediums allowing not a single moment in the film to feel wasteful and for the audience to not get sucked into the novelty of how the film is framed. The pacing of the film is fantastic allowing the tension to reach a fever pitch. Cho is outstanding as the father desperate for answers and the man who regrets not being involved with his daughter. Debra Messing plays Detective Vick (the officer assigned to their case) and delivers a nuanced performance as well. Cho and Messing are dynamite on screen. Each seems hell-bent on bringing a resolution to this case. Overall, the cast is strong, but Cho and Messing certainly stand out.
The lesson to be learned in Searching is no one should ever sacrifice good storytelling for the sake of a gimmick or a unique narrative device. Whether the film is framed on a computer screen or FaceTime, nothing should ever supersede the action. It was that commitment which allowed Searching to reach its full potential. Overall, I can’t imagine a more creative and pulse-pounding time at the movies than Searching.
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Hear our podcast review, coming soon on Extra Film.
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This week on Episode 288 of the InSession Film Podcast, we continued our year-by-year retrospective series by taking a look at 2006, a pretty great year for film despite a lack of consistency. It may have been slightly top heavy with films such as Children of Men, Pan’s Labyrinth, and Letters from Iwo Jima – films that will go down as some of the very best of all-time in their respective genres – but there were also some great hidden gems. So, this exercise was still a great challenge. However we were ultimately very satisfied with our selections and we hope you enjoy them as well.
NOTE: On #288 we only discussed our Top 5 movies of 2006, 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 2006.
JD
1) Pan’s Labyrinth
2) Children of Men
3) United 93
4) Man Push Cart
5) Letters from Iwo Jima
6) Brick
7) Half Nelson
8) L’Enfant
9) The Proposition
10) Stranger Than Fiction
11) Old Joy
12) The Prestige
13) Mission: Impossible III
14) Babel
15) The Devil and Daniel Johnston
16) Casino Royale
17) A Scanner Darkly
18) Shortbus
19) Little Miss Sunshine
20) Volver
Brendan
1) Brick
2) Children of Men
3) Volver
4) The Proposition
5) Letters from Iwo Jima
6) Pan’s Labyrinth
7) The Fountain
8) The Descent
9) The Science of Sleep
10) Bug
11) United 93
12) L’Enfant
13) Man Push Cart
14) Half Nelson
15) Stranger Than Fiction
16) Little Miss Sunshine
17) The Prestige
18) Casino Royale
19) Marie Antoinette
20) Old Joy
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 2006 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].
For the entire podcast, click here or listen below.
For more lists done by the InSession Film crew and other guests, be sure see our Top 3 Movie Lists page.
This week’s episode is brought to you by Patreon and our awesome listener’s like you. Sign up today and get some awesome rewards!
This week on the InSession Film Podcast, we continue our year-by-year retrospective series by reviewing Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan and discussing our Top 5 movies of 2006!
While 2006 had arguably more defining films such as The Departed, Children of Men and Pan’s Labyrinth, we wanted to steer away from those for reasons we talk about on the show. Sacha Baron Cohen is a unique figure and Borat is arguably still his best work to date, and it’s a film that in many ways helps characterize 2006. At any rate, 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: Borat (3:57)
Director: Larry Charles
Writer: Sacha Baron Cohen, Anthony Hines
Stars: Sacha Baron Cohen, Ken Davitian
– Top 5 Movies of 2006 – Picks #5 / #4 / #3 (37:11)
2006 may have been slightly top heavy, but overall it was still a very good year. In fact, some of these films will go down as some of the very best of all-time in their respective genres. It may not have been a consistent year, but it was anything but lacking so this exercise was still a great challenge. However we were ultimately very satisfied with our selections and we hope you enjoy them as well.
Top 5 Sponsor: First Time Watchers Podcast
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RELATED: Listen to Episode 236 of the InSession Film Podcast where we discussed There Will Be Blood and our Top 5 Movies of 2007!
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– Top 5 Movies of 2006 – Picks #2 / #1 (1:28:36)
To finish our 2006 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 2006?
– Music
Kazakhstan You Very Nice Place – Borat Soundtrack
The Winner Is – DeVotchKa
Pan’s Labyrinth Lulliby – Javier Navarrete
The Return of the Eagle – Atli Örvarsson
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InSession Film Podcast – Episode 288
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Main Review: 2001: A Space Odyssey
2018 Fall Movie Preview
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Director: Susan Johnson
Writers: Sofia Alvarez (screenplay by), Jenny Han (based on the novel by)
Stars: Lana Condor, Noah Centineo, Janel Parrish
Synopsis: A teenage girl’s secret love letters are exposed and wreak havoc on her love life.
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No matter how hard we try as moviegoers, I think it’s impossible to keep from sizing up a movie before you see it. Whether it’s from a trailer, a poster, or simply word-of-mouth, I think we all come in with preconceived notions when we go to watch a film for the first time. That’s why I enjoy when a movie understands this, and tries to keep us guessing. I think Netflix’s new film To All the Boys I’ve Loved Before does exactly that.
Lana Condor plays lead character, Lara Jean. She is in high school, and she is very close to her two sisters – the younger Kitty (Anna Cathcart) and the older Margot (Janel Parrish). Margot is about to head off to college in Scotland. Before she leaves, she breaks up with her boyfriend Josh (Israel Broussard) who also happens to be the family’s neighbor. Josh and Lara Jean were friends even before he began dating her sister, so the new development throws a wrench into their relationship as well. But Lara Jean is about to (accidentally) throw an even bigger wrench into things.
The film does a wonderful job of setting up Lara Jean’s character. Like so many high school students, she is struggling to find her voice. She feels like an outsider, something her quiet, innocent nature exacerbates in the competitive nature of the high school hallways. She also loves to write, and it is there where she pours out her heart and soul. Both have been injured by heartbreak, romantic and familial. You see, Lara Jean’s mother is not in the picture.
One pet peeve I have with movies is the constant need to tell us everything about our main character. I think characters should be allowed to have lives outside of what we see on the screen. If we don’t know everything about them, they feel more fully-realized. This film does just that with the storyline surrounding Lara Jean’s mother. At first, we aren’t really sure what happened. We may even assume that her father (played by John Corbett) and mother divorced, or that she simply left. But, as the film progresses, it is clear that Lara Jean’s mother has died. But we never really learn what happened, only the effects it has had on the family left behind. You see, it was their mother who told Margot that she shouldn’t go to college with a boyfriend, and that’s what pushed her to break up with Josh. And Lara Jean keeps her letters in the hatbox her mother gave her, the place where she pours out her heart and soul.
These letters are extremely personal to Lara Jean. They are written and addressed to the five boys she’s ever had a crush on. One of them happens to be Josh, something she would never dare tell Josh or Margot. Another is Peter (Noah Centineo), who is dating Lara Jean’s former best friend, Gen (Emilija Baranac) at the time the movie begins.
After Margot leaves for college, Kitty realizes that Lara Jean is depressed. And so, without Lara Jean’s knowledge, she sends out each letter. The boys, thinking the letters to be the outpouring of Lara Jean’s current feelings for them, begin coming up to her. She is mortified, but an opportunity arises from the initial embarrassment. Even though her feelings for Josh are real, she certainly cannot let him or Margot find out. But, at the same time that the letters are released, Peter and Gen break up. He wants to win her back, and Lara Jean wants to keep part of her secret still secret. So they devise a plan to fake a dating relationship together, and the foundation for the film’s plot is set.
Now, even that initial plot summary may sound like one thing to you. But if you think this is your average teen comedy, think again. First of all, there are technical components here that you probably aren’t used to seeing from a film like this. The cinematography by Michael Fimognari bears mentioning here at the outset. He has an eye for striking visual setups in the high school hallways and adjoining athletic fields. One shot, for instance, of Lara Jean and Peter standing in a doorway each in their own separate “box” is a fantastic example of how the film uses visual cues to support its narrative. The camerawork here is impressive as well. There are even a few Scorsesian touches of overhead shots and active camera movement that take the film to another level.
Also, one must mention the performance by Condor. Her comedic timing is perfect, but more than that, she really embodies this character who is coming into her own and starting to find her voice. As the film begins, Lara Jean never really speaks up for herself. Her only outlet for her own feelings are these letters, and those aren’t even released on her terms. But, as the film progresses, she does begin to speak on her own terms, and the transformation is embodied wonderfully by Condor.
My main gripe with this film is with the script and its use of exposition. Especially in the beginning of the film, so much of the plot is told to us by Lara Jean through voice-over. Now, this strategy can work beautifully if there is a reason given to us later on for Lara Jean to be telling us all these things. This film had a unique opportunity to do just that. For instance, it could have had Lara Jean writing letters to her mother later on in the film telling her about everything that had happened. But nothing of the sort occurs, and we are simply left with being spoon-fed many important plot points. Especially in the beginning when Lara Jean is more quiet and reserved, there is no reason to think her character would do such a thing. It certainly pulled me out of the film a bit, but not to the point where I was unable to appreciate what the film had to offer the rest of the way.
I won’t spoil the rest of the plot, except to reiterate that this is a film that keeps you on your toes. For all the script’s overuse of exposition, it really does a nice job of setting us up to think one thing then taking a turn to keep us guessing. The performances are incredibly charming, especially Condor in the lead role. This film is available for streaming now on Netflix, and if you’re looking for a teen comedy that is more than just a teen comedy, don’t hesitate to pick this one.
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This week on the InSession Film Podcast: Extra Film segment, guest hosts Ryan McQuade and Jay Ledbetter tackle a pair of 2006 films in Martin Scorsese’s Best Picture Winner The Departed and Robert Altman’s last film A Prairie Home Companion!
For the first time in show history, neither Brendan or JD was a part of Extra Film in any way. They let Ryan and Jay hold down the fort and the results were not disappointing in any way. The conversation on this week’s is a lot of fun as we prep for our 2006 retrospective this weekend on Episode 288.
Have fun with this week’s Extra Film segment and as always let us know what you think in the comment section below. Thanks for listening!
– Movie Review: The Departed (4:08)
Director: Martin Scorsese
Writer: William Monahan, Alan Mak
Stars: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg
– Movie Review: A Prairie Home Companion (40:33)
Director: Robert Altman
Writer: Garrison Keillo
Stars: Lily Tomlin, Meryl Streep, Woody Harrelson, John C. Reilly
This week’s episode is brought to you by our great friends at the Subject Cinema and Next Best Picture.
– Music
I’m Shipping Up To Boston – Dropkick Murphys
Whoop-I-Ti-Yi-Yo – John C. Reilly, Woody Harrelson
The Return of the Eagle – Atli Örvarsson
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The Departed / A Prairie Home Companion – Extra Film
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The summer movie season is usually – in my experience anyway – a mixed bag of big popcorn films with a few great indie films trickled in there somewhere. Last summer seemed to have more to offer than most, but nothing has come close to the quality that 2018 gave us. In fact, I can say with confidence that this has been the best year for film in the InSession Film era, at least thus far. Of course, we’ll have to see how the fall plays out before we make any final conclusions.
Before I get into the best films of the summer, as a little caveat, I didn’t see *everything* that came out the last few months. Perhaps your experience overall is slightly lesser than mine because you took a chance on Breaking In and The Equalizer 2. I did not. And even if I did, I don’t the bad films of this summer come close to negating the great things we did get. At any rate, here are some of the best films of, not just the summer, but of the entire year in all honestly. For me, all of these films are great or very satisfying in one way or another. (these are in no particular order)
**Note: I’m defining “summer” from Avengers: Infinity War through the end of August**
Eighth Grade
Bo Burhnam’s directorial debut is nothing short of masterful. His direction is simply some of the best of 2018 and it’s hard to imagine it came from a first-timer at the helm. His vision and passion for Eighth Grade is palpable and it comes through in every frame. Elsie Fisher’s performance will most likely go unrecognized by The Academy, but that doesn’t mean it’s not as deserving. It’s one of the most authentic middle school performances I’ve seen in quite some time. She’s endearing at every level, but it’s so much more than just charm. There’s true uncertainty and eagerness in her performance that resonates viscerally. Anna Meridith’s score is also mezermizing.
Blindspotting
Blindspotting is directed by another first-timer in Carlos López Estrada, and it’s quite the debut as well. There is a bite to this film that is as poignant as it is funny. I was very surprised at how entertaining this film is given its subject matter and thematic pertinence. Daveed Diggs and Rafael Casal have a chemistry that is unmatched. Their friendship off-screen is very much felt on-screen, and in their writing (they both co-wrote the film as well). The performances are great, the music is wonderful and it has some of the best scenes of the the year. The ending confrontation and the “gun” scene are no doubt great contenders.
Sorry to Bother You
Speaking of first-time directors, here’s another one in Boots Riley. Sorry to Bother You isn’t subtle, but in this instance that’s okay. Sometimes you need to bang on the drums loud for people to hear you. The noise also gets your attention when it’s weird, and boy, is this film bizarre near the end. Yet the chaos of this film never felt disorderly, there is a rhythm and a fluidity that makes sense of everything. Lakeith Standfield gives a stellar performance as well. Hopefully this propels him to more lead roles, he’s certainly earned it. The rest of the cast – Tessa Thompson, Jermaine Fowler, Terry Crews, Danny Glover, Steven Yeun, Armie Hammer – all great in complimenting the Riley’s overall vision.
BlackKklansman
Spike Lee is doing this thing again. I’m glad to hear that people are loving this film, although let’s not forget that this is *not* his comeback. Chi-Raq is maybe Lee’s best films since Do the Right Thing, and the second-best of his career overall. That said, consistency isn’t something we haven’t seen from Lee in a long time, and BlackKklansman makes it 2-for-2 in recent years. And like Blindspotting and Sorry to Bother You, this is a really funny film for as poignant as it gets in places. This story is wild, and it’s told through a farce lens that makes it even more ironic and crazy. John David Washington and Adam Driver are great, I would love to see them work together again.
Leave No Trace
Debra Granik is a female voice that we need to hear more often than once every eight years. Her last film, Winter’s Bone, earned great recognition and launched the career of Jennifer Lawrence. Leave No Trace may not get awards love at the end of the year, but it’s equally as good, if not better. And it could similarly launch the career Thomasine McKeenzie, who is mesmerizing in this film. Her subtle performance is remarkable in emulating a daughter’s love for her father, but also the need for independence. Ben Foster is, well, Ben Foster. He’s great. His performance here may be forgotten by December, but it’s as good as you’ll find in 2018.
Hearts Beat Loud
Brett Haley’s screenplay is by far one of my favorites of the year. Where most films get trapped in exposition, Haley avoids it all cost. We simply find these characters where they are at in their lives right now. The details that come about are offered through natural dialogue or visualization. This allows the story to be more nuanced and fluid in its rhythms, which I completely ate up. I dare you to find a more charming duo in 2018 than Nick Offerman and Kiersey Clemons. I didn’t know much about Clemons going into this film, but she’s heavily on my radar now. The music for Hearts Beat Loud – including its title song – is endlessly enjoyable.
First Reformed
First Reformed is simply one of the best films of the year. It’s one of the best films about faith we’ve seen this decade, and it might feature Ethan Hawke’s best performance of his career. I know that’s a lot of “best’s” and maybe it’s hyperbole, but I’m sticking with my convictions. Paul Schrader poses questions about faith in the modern age that very much worth asking, and watching Hawke’s Toller grapple with them is fascinating on every level. This film goes to some interesting places in the third act, and while jarring, it was profoundly necessary. Amanda Seyfried and Cedric Kyles are also very good.
The Miseductation of Cameron Post
We haven’t talked about this film on the show yet, but this is another film that tackles faith and raises heartfelt questions of its own. And like some of these other films I’ve mentioned, Cameron Post balances humor and drama while exploring the fundamental truths that Desiree Akhavan explores here. There is an earnest attempt at trying to understand what the process of a gay-conversion camp is like, only to have the epiphany that you are who you are. It’s an open-minded, yet stern look at hypocrisy and humanity. Chloë Grace Moretz gives arguably the best performance of her career. Absolutely stunning in her subtlety and uncertainty.
Won’t You Be My Neighbor?
If you watch this, and don’t find any new appreciation for Fred Rogers, you may need to check your pulse. This is a captivating documentary – which will win the Oscar – that taps into notions that we as a country desperately need right now. People called him soft and blamed him for “weakening” a generation, but there’s something overpowering about love that changes lives. And the is severe earnestness of that idea in Rogers comes alive in this powerful film.
Three Identical Strangers
This story is as wild as any we’ve seen in recent years. The fact that three brothers found each other – through random circumstances – after 19 years is insane on its own. But as this story unfolds, it gets even crazier and crazier. Eventually it becomes a thrilling ride about nature vs nurture, the ethics of science and fallout of human indecency.
The Tale
Here’s another film we didn’t get to talk about on the show, and I wish we would have. Jennifer Fox’s autobiography of sorts is a fervent depiction of sexual abuse and how brazen some men are in their manipulation of women. The story here is heartbreaking on every level. Yet, I respect Fox’s admittance of her own ignorance, and how that got her in some shady circumstances. She’s not afraid to explore her own failings, but it doesn’t overwhelm the fact that she was a victim of something heinous. The results of that in the film are very powerful.
American Animals
American Animals is Bart Layton’s first narrative film, sort of, after his great documentary The Imposter in 2012. I say “sort of” because this film does feature genuine documentary-style interviews that couple with the narrative storytelling we do get. It’s a brilliant move that allows us to question what’s really going on this film. Who is telling the truth? Who isn’t? But none of it is manipulated, the guys behind this story just have their version of events and Layton allows the audience to figure it out along with him. The “heist” scene is one of the more gripping I’ve seen in recent years too.
Hereditary
Here’s another directorial debut that will go down as one of the best we’ve seen this decade. Ari Aster injects this film with a subtle horror that lingers acutely before it goes extreme in its last 15 minutes. This is one of the scariest films I’ve maybe ever seen. It doesn’t rely on jump scares, but instead in relies on storytelling and characterization to build suspend and question reality. Understandably, Toni Collette is getting a lot of praise for her performance, but I don’t think Hereditary is as effective without Alex Wolff’s performance. He’s a key figure that amplifies much of the disbelief we experience in the third act. Regardless of how you feel about the ending, you have to admit this is one hell of a film.
Beast
Beast may go down as the most underrated film of the year. Very few people are talking about it, but it’s really great and Jessie Buckley gives one of the best performances of the year. Her transformation from timidity to being a formidable presence is astounding and visceral. Michael Pearce’s direction is also great in complimenting her performance with how he stages and paces the film. Johnny Flynn is a partner-in-crime, so to speak, that also has a lot to offer with his performance. If you like dark dramas that tap into deep human truths, this film is for you.
Avengers: Infnity War
Marvel had been building up to this point for 18 years, and for my money, it lived up to the bill in every way. Mainly, it wasn’t really an Avengers film. The title is a red herring. Infinity War is a Thanos film through and through, and they made him as emotionally grounded as they did physically intimidating. By allowing us to understand his motives, it gives weight to what we see at the end. Not because the “heroes” will return, but because Thanos succeeds in his goals and for him it meant everything given the sacrifices he made – sacrifices he did not enjoy. I find that brilliant for a film that had every right to make him a one-note villain who wants nothing but death and carnage. But it’s anything but that, and I loved it.
Mission: Impossible – Fallout
I know many of you will disagree with me when I say that Fallout fixed the problems I had with Ghost Protocol and Rogue Nation. I do like both of those films overall, but Fallout is by far the best of those three for me. It takes what we love about those films – the action, the energy, the characters – and couples it with a storyline that finally makes sense of Ethan’s emotional progression as established in M:I 3. We finally get to crystallize the relationship between Ethan and Julia, and it was beautiful in every way. The cast is great as always and Tom Cruise flying a helicopter is going to go down as one of the most breathtaking stunts of the series.
Deadpool 2
I understand that these Deadpool films aren’t for everyone, but I love them and I think Deadpool 2 was better than the first one. It’s more emotionally grounded – that opening with “Ashes” by Celine Dion is so great – and it felt like this film was more wide open with its playbook. It didn’t have to worry about its origin story, it could just have fun and I think Ryan Reynolds delivered on that big time. I’m not sure I had a more entertaining experience in the theaters this summer. The scenes between Deadpool and Colossus are pure comedic gold.
Crazy Rich Asians
Crazy Rich Asians is not only a great film for Asian representation in mainstream Hollywood, it’s legitimately a great rom-com. On its face, the story will have familiar beats, but its screenplay actually has a lot more on its mind. In fact, it’s somewhat of a sleight of hand in that the film is equally (if not more) interested in how it builds these characters through interesting parallels and juxtapositions, while diving into ideas of class, culture and tradition. Constance Wu is a star, or at least she better become one after this film. She is wonderful, as is Henry Golding, who is also great. Their chemistry together is magnetic. Gemma Chan is arguably the unsung hero, and I wouldn’t mind seeing a spin-off with the Awkwafine and Nico Santos characters.
Here are some other films I saw this summer that I wanted to highlight real fast. Not all of them were actually released between May and August, but that’s when I saw them and it does make the overall experience that much better for me. The romantic-comedy Set It Up is really good for its type. It’s on Netflix, I urge you to see it. The Russian film Loveless is easily one of the best films of 2018, but it’s devastating. Absolutely heartbreaking on every level. Foxtrot is another very good film that I saw and in many just as affecting as Loveless. I finally caught up with Sebastián Lelio’s Disobedience, and really liked it a lot too. Rachel McAdams steals the film and is by far one of the great contenders for Best Supporting Actress this year.
On the mainstream side of things, I also really enjoyed Ant-Man and the Wasp too. In fact, it’s secretly one of the smarter films in the MCU in that its stakes are somewhat “small scale” while simultaneously massive in where things are going to go next. The Incredibles 2 proved that Pixar can do sequels well when they have the right filmmaker and story in place. It’s not quite as good as the original, but still refreshing and progresses its characters in great ways overall. I know it was only mildly well received, but I freakin loved Ocean’s 8. Yes, it’s decidedly more simple than its predecessors, but it has so much fun with its characters and isn’t interested in contriving drama. The film simply lays out what it wants to do and goes for it with charm and energy.
My only major disappointments are with Jurassic World: Fallen Kingdom (and even that film had things I appreciated) and Sicario: Day of the Soldado (worst film of 2018 for me). Most everything I saw was satisfying in some way. Even Solo, a film I didn’t love, had things I could get on board with overall. Same could also be said for Revenge and How to Talk to Girls at Parties.
As noted above, I didn’t see everything this summer, but I saw most of the notable offerings and I could not believe the consistency in the quality. For awhile there in July, my Top 5 was constantly changing and becoming harder to decipher. If the fall continues this trend, 2018 will truly go down in the record books as one of the best this century. Fingers crossed that it also delivers.
What did you think of the summer movie season for 2018?
It’s that time again? Our next retrospective, tackling the year 2006, will be this weekend on Episode 288 and we are very excited. As we do with these polls each time, we like to gauge where everyone else stands as far as what defines the year the most. At least broadly speaking – of course it may be different for you individually. It was a pretty good year for film and we are curious which of these stand out to you the most.
That said, what is the best film of 2006? Vote now!
Until the 1970s, the film industry in Australia was virtually nil. Everything was imported from Britain or America and Australian actor went to either place to make their name known. Then, the government stepped in to invest in bringing up a culture of art, investing in multiple film boards that pushed the wave for 20 years and beyond. The Australian Film, Television and Radio School followed the model of the American film school that birthed out gifted storytellers and promoted unflinching tales of violence and subtle sensuality, a push for a more socially progressive Australia. The results were many great films and notable actors and directors that would make their mark internationally in future works. Here are some of those masterpieces.
Nicholas Roeg is British but came to Australia to film Walkabout, the story of two white children who are stranded in the Outback after their father kills himself. In the scorching heat, they encounter an Aborigine boy on his ritual walkabout where he has to survive on his own for six months on his ability to hunt and find water in such a place. Despite not sharing a language, the boy helps the two children in making it through alive. Roeg, who served as his own cinematographer, captures the beauty yet dryness of the desert and the how the environment can alter anybody’s view of life, especially when coming from the cities. It also was a watershed moment for the portrayal of Aborigines; the Australian government had just ended their policy of forced removal of children from the land, the “Stolen Generations.”
That same year, another Outback adventure tale came out, but in a more shocking fashion. A schoolteacher is stuck in a town and slowly begins to lose his grip on reality with drinking binges, kangaroo shootings (this was not fake) and random sexual encounters, creating the unsettling realism that some were not too thrilled when released. Many thought the original negative was lost, put pieces of it were found and reconstructed for a special Cannes Film Festival showing in 2009. The director, Ted Kotcheff, would go on to the States to make First Blood, bringing the character John Rambo to life in its bloody original form, a lot like Wake In Fright.
Amazon has just released a mini-series based on Joan Lindsay’s novel, but it was Peter Weir who would get to direct the formal adaptation for the screen in its dreamy yet unsettling state. The story about a group of girls who go missing in the 1900s was quite provocative and that noted ending still left many wondering. And yet, within its mystery, Weir showcases the taboo of sexual ideas amongst girls who are all virgins and then the spookiness of leaving without a trace and without any resolution to the missing girls. It becomes less about what happened to three girls and their teacher and more about how the rock is somewhat of a magical setting where daydreams go to be fulfilled – or be killed.
George Miller lit up the screen and gave us Mel Gibson in the first of his four installments regarding the collapse of society and a thirst for revenge from Max Rockatansky, a highway patrol officer. The apocalyptic setting, the strong violence, the basic themes of war for water and oil start from here. Miller made it all on a low budget and did some guerrilla filmmaking by shooting some scenes with a permit, as well as hire actual bikers as extras. But they were still able to modify vehicles to their radical look that evolved over time with each film. This rugged movie led to its two sequels in the 80s and then the acclaimed Fury Road in 2015.
Bruce Beresford struck it hard with the true story of a controversial court-marshall and execution of three soldiers who have entered folklore as scapegoats to cover the war crimes of the Boer War in 1901 South Africa. It is their ultimate courtroom drama, where we intercut between the passionate scenes of defense to save the men from the firing squad, raising the moral question of capital punishment, and the tragic events that unfolded before. These are men who were doing their job in fighting the enemy and told to do so with extreme prejudice and then given a blindfold, a rope, and a chair as their “reward.” It is A Few Good Men but tried and true with pride and guilt in the name of the Empire.
Staying with Mel Gibson, he and Peter Weir worked on telling a story within the confines of the Australian’s army trial by fire: the ill-fated Gallipoli campaign during World War I. Two men, both runners, start a friendship that takes them across to Egypt and then Turkey into the horrors of war. The result is a spirited scene of life for a new country (Australia was given self-government in 1901), the enthusiasm they had to join the war and prove themselves, and the brutal truth of war when they arrive on the peninsula, which was run by Winston Churchill 25 years before the events of Darkest Hour took place. It should be noted that Weir got rejected for public funding and it came via a new production company co-founded by Rupert Murdoch.
The most notable figure of this is Peter Weir, who went on to Hollywood to make Witness, Dead Poets Society, and The Truman Show. Beresford directed Robert Duvall’s Oscar-winning performance in Tender Mercies 3 years after Morant, followed by his Best Picture-winning Driving Miss Daisy. We know about Gibson; other actors that came about in this period included Sam Neill (Jurassic Park), Jackie Weaver (Silver Linings Playbook), and Paul Hogan (Crocodile Dundee). It also produced two Oscar-winning cinematographers in John Seale (The English Patient) and Russell Boyd (Master and Commander, also a Peter Weir-directed picture). A post-Wave group of works then came in the 90s, solidifying Australia’s reputation as a center of dynamic filmmaking that could transcend its boundaries.
Follow me on Twitter: @BrianSusbielles
This week on Episode 287 of the InSession Film Podcast, inspired by Crazy Rich Asians, we thought it would be appropriate to honor the greatness of Asian Cinema. Asian Cinema is often a rich sect of cinema that we typically enjoy quite a bit. Some of our favorite films in any given year come from that region of the world. So, narrowing it down to three films from the last 18 years was nearly an impossible challenge, but that’s exactly why we wanted to do it. Also – some of these films we mentioned will be all-timers when it’s all said and done, and that’s worth celebrating. On that note, what movies would make your list? Here are the one’s that made ours:
(Note: Please keep in mind that we each had different criteria for our selections)
JD:
1) In the Mood for Love
2) The Handmaiden
3) Like Father, Like Son
Brendan:
1) The Handmaiden
2) In the Mood for Love
3) House of Flying Daggers
Nguyen:
1) Pulse
2) Spirited Awaay
3) The Handmaiden
Honorable Mentions (Combined)
Crouching Tiger Hidden Dragon, The Raid, The Raid 2, The Tale of Two Sisters, Hero, The Golden Flower, I Saw the Devil, The Ring, Departures, Mother, The Host, Memories of Murder, The Assassin, Oldboy, Internal Affairs, After the Storm, Still Walking, Knowbody Knows, Our Little Sister, Train to Busan, Kung Fu Hustle, A Separation
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. As noted above, narrowing 18 years was a huge challenge and clearly we skipped out on a ton of other great films that could have (should have?) mentioned. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
For the entire podcast, click here or listen below.
For more lists done by the InSession Film crew and other guests, be sure see our Top 3 Movie Lists page.
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This week on the InSession Film Podcast, our very own Nguyen Le joins to discuss Jon M. Chu’s latest film Crazy Rich Asians and our Top 3 films of Asian Cinema in the 21st Century so far. We also recap the Summer movie season and talk about Michelle Yeoh for our poll.
This show was an absolute blast. It was great to celebrate Asian representation in film, and having Nguyen as part of that celebration was wonderful. Hearing his passion for Crazy Rich Asians and Asian Cinema was everything to make us get through our week. We hope you feel the same. Also, Constance Wu better become the next big star y’all!
On that note, let us know what you think in the comment section and thanks for listening to the InSession Film Podcast!
– Movie Review: Crazy Rich Asians (3:56)
Director: Jon M. Chu
Writer: Peter Chiarelli, Adele Lim
Stars: Constance Wu, Henry Golding, Michelle Yeoh
– Notes / 2018 Summer Recap (50:28)
This year’s summer movie season was absurd in its high quality, at least if you ask us. Back on Episode 272 we talked about our expectations for the summer, so we thought it would be fun to reflect back on those expectations and talk about how they played out for us.
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RELATED: Listen to Episode 286 of the InSession Film Podcast where we discussed BlackKklansman!
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– Top 3 Films of Asian Cinema in 21st Century so far (1:05:02)
Asian Cinema is often a rich sect of cinema that we typically enjoy quite a bit. Some of our favorite films in any given year come from that region of the world. So, narrowing down three films from the last 18 years was nearly an impossible challenge, but that’s exactly why we wanted to do it. Also – some of these films we mentioned will be all-timers when it’s all said and done, and that’s worth celebrating. That said, what would be your Top 3?
– Music
Yellow – Katherine Ho
Money – Cheryl K, Awkwafina
Crouching Tiger, Hidden Dragon – Yo Yo Ma
The Return of the Eagle – Atli Örvarsson
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InSession Film Podcast – Episode 287
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Review: Borat
Top 5: Films of 2006
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This week on the InSession Film Podcast: Extra Film segment, we discuss Hot Summer Nights starring Timothée Chalamet and the A24 Thai-prison film A Prayer Before Dawn!
JD is off once again, but filling in is the great Ryan McQuade, who is wonderful as always. One of these two films gets much more praise than the other, and the conversation gets quite interesting in reflecting those disparities.
Have fun with this week’s Extra Film segment and as always let us know what you think in the comment section below. Thanks for listening!
– Movie Review: Hot Summer Nights (4:48)
Director: Elijah Bynum
Writer: Elijah Bynum
Stars: Timothée Chalamet, Maika Monroe, Alex Roe
– Movie Review: A Prayer Before Dawn (28:47)
Director: Jean-Stéphane Sauvaire
Writer: Jonathan Hirschbein (screenplay), Nick Saltrese (screenwriter)
Stars: Joe Cole, Pornchanok Mabklang, Panya Yimmumphai
This week’s episode is brought to you by our great friends at the Subject Cinema and Next Best Picture.
– Music
I’m So Free – Beck
Loscil – Biced
The Return of the Eagle – Atli Örvarsson
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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Hot Summer Nights / A Prayer Before Dawn – Extra Film
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Director: Dominique Rocher
Writers: Pit Agarmen (novel), Jérémie Guez (screenplay
Stars: Anders Danielsen Lie, Golshifteh Farahani, Denis Lavant
Synopsis: The morning after a party, a young man wakes up to find Paris invaded by zombies.
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The zombie film sub-genre has had a bit of a lull recently. Aside from AMC’s The Walking Dead one might find it difficult to find good quality zombie cinema, although some may argue that even The Walking Dead has lost its appeal. However, there is hope on the horizon with trailers recently released for some new upcoming films such as I Think Were Alone Now which will star Game of Thrones‘ Peter Dinklage and the zombie musical Anna and the Apocalypse, both set to release later this year. Until then though there are a few random scattering of films that flew under the radar but can still satiate your appetite. The other night I finally got a chance to watch The Night Eats The World, a French film original titled La Nuit a Dévoré le Monde and director Dominique Rocher’s first feature-length film.
I will start by saying I was really looking forward to watching The Night Eats The World, I was very excited. The most recent zombie films I had seen were Cargo and Ravenous or Les Affamés, both films recently released on Netflix (I guess Netflix didn’t get the memo on the lull) and decent films but nothing compelling and both lacked that quality of dread and terror you might normally find in the genre. And with a World War Z sequel far out of sight and Zombieland 2 constantly stalled I knew there was going to be a long wait for anything from a major studio, so when I heard about this new French film and finally caught the trailer I couldn’t wait. Footage from the trailer reminded me a lot of the 2010 German film Rammbock with a similar setting and gritty feel, a film I greatly enjoyed so my hopes were high.
The film has a very familiar start. It begins by introducing our protagonist Sam played by Anders Danielsen Lie and offers us a bit of character development as we follow him around a house party thrown by his ex Fanny (Sigrid Bouaziz). There’s a history there with moments of tension and additionally it becomes clear that Sam is not fond of crowds, an element that takes shape later in the film. After more tension Fanny directs Sam to wait in a room far off in the house where he will be more comfortable alone and they can later have a chat. Sam makes his way there and soon falls asleep in a chair. Cut to the following morning. This storytelling technique is used often in zombie films and allows the audience to experience the new world at the same pace as the lead character who, as audience surrogate, wakes with no concept of what has occurred and is thrown unprepared into this chaotic world. When done properly this can make for a great start for a film and Rocher handles it fairly well. Sam steps out of the room and seeing the house a wreck and blood spattered about is immediately overcome with panic and fear and slowly learns the fate of Fanny and her house guests along with the rest of the outside world. The one complaint I would have about this opening is I found Sam adapting to the situation almost too quickly which is ironic because most zombie films have the opposite problem. Usually the characters require quite a bit of time to adjust and between this period make very simple mistakes and irrational decisions which can be frustrating at times to watch. Sam however encounters numerous threats right away and manages to narrowly escape each time with quick but accurate judgment. It is not jarring in any way but noticeable however I accepted this minor fault for the sake of getting the story in motion.
The next hour or so of the film is mainly spent watching Sam simply survive. The action on-screen ranges from Sam cleaning the complex he is stuck in clear of zombies to him scavenging for food and supplies and often to just him walking/sitting around in his own thoughts and emotions. With the exception of a few incidents the best description for a bulk of the film is ‘mundane’. Some films can fill the quiet and routine nature of everyday tasks with atmospheric emotion. Like watching a spider spin a web on some random BBC documentary, an ordinary and routine event but somehow witnessing it becomes almost a meditative experience. Some films can capture these moments in this way, instead the day-to-day survival of Sam feels basic and absolutely dull which in turn complicates making meaningful connections with his character. It is not totally uneventful however, there are some scenes that although short are brilliant and left my jaw on the floor. One scene early in the film involves a zombie swarm outside Sam’s window and the other is a gruesome attack that is very raw and brutal and is quite terrifying to watch. Again these are brief but Rocher captured them remarkably well and I wished there were more of them in the film. And though Sam is quite alone through most of the film he does encounter one other survivor, a young girl named Sarah played by Golshifteh Farahani. I will say without getting into details I did not particularly like her role in the film and felt her character could, and should, have been kept out of the final cut.
Of course with The Night Eats The World being a zombie film there is going to be the typical study on the nature of solitude and what loneliness and the lack of emotional feedback can do to the human psyche. Lie does well emoting how lonesome Sam is and just how heavy the seclusion and feelings of abandonment weigh him. There is a moment in the film where it is clear that Sam’s isolation has taken its toll and he acts out in a very dramatic fashion. The climax of this scene is meant to be juxtapose to Sam’s persona at the beginning of the film where its implied that he is a more solitary individual as he intentionally avoid contact with others at the party. It is definitely an interesting scene and one that will most stand out in the film.
The Night Eats The World has a few moments that will astonish and have you asking why you haven’t seen more of that in other zombie films. It also does a decent job of capturing Sam’s loneliness as well as his precarious mental state. But aside from those moments the going is very slow and unlike other films that manage to have a single character carry the film while keeping the audience engaged it becomes tedious not too far in. Additionally due to some ambiguity surrounding the passage of time and some scenes that seem to stretch out a bit too long the film makes it very difficult to keep your attention on the screen. I often found my mind wandering and more unfortunate when my attention would snap back to the film I got the impression there wasn’t much I missed. Still for zombie fans I would recommend it as a film worth watching, it may not wow you but it will at least prime you for what is coming down the line.
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This week for our Episode 286 InSession Film Podcast: Bonus Content, we are joined by Ryan McQuade as we honor another Patreon donation by reviewing Spike Lee’s 1989 masterpiece, Do the Right Thing!
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Director: Jon M. Chu
Writers: Adele Lim & Peter Chiarelli; Kevin Kwan (novel)
Stars: Constance Wu, Henry Golding, Michelle Yeoh, Awkwafina, Ken Jeong, Lisa Lu, Ronny Chieng, Nico Santos, Gemma Chan, Sonoya Mizuno, Harry Shum Jr.
Synopsis: This contemporary romantic comedy, based on a global bestseller, follows native New Yorker Rachel Chu to Singapore to meet her boyfriend’s family.
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They have always existed — the Asians who indulge, with looks fitting for a life-long GQ photoshoot, live in homes that turn 90210 into random digits and have pockets deep enough to buy deeper pockets — but it’s their foil that has the higher profile. You know, the Asians who tirelessly work or study, know a kick or two, low in physical appeal, Airbnb-rized their cultural attributes, and don’t mind being evergreen sponges for is-that-even humor? You know, the usual Asians whose presence ironically contributes to this ethnic-specific drought? This is a picture in need of an update, and what Crazy Rich Asians brings is exactly that, even if the patch notes can be summed up as “new hand” more than “reinvented game.”
The cards won’t underwhelm, however. Taking what NYU economics professor Rachel Chu (Constance Wu, both tender and sharp) advises to her game theory class to heart, director Jon M. Chu and company adapt Kevin Kwan’s bestseller, which is loosely based on the author’s charmed upbringing, with the winner mentality. Every move everyone makes, as a result, is an attention-getter, all designed to inspirit the inner tourist, foodie, interior designer and fashionista. It seems fair to warn that the film shouldn’t be seen on an empty stomach or after an itinerary-less month, unless you find it all right to have the renowned street eats of Singapore and handmade dumplings make you misbehave, or have the beaches and architectural marvels rouse the wanderlust bug. By default, d.p. Vanja Cernjul and editor Myron Kerstein like to gaze and not peek at all the tasty exhibits. Traveling does wonders, and so a major thank-you should be given to Rachel’s beau Nick Young (Henry Golding, with an infectious smile) for suggesting a journey farther east than Queens — his childhood friend is about to become a husband and has asked Nick to be the best man — and authoring a wondrous, eye-opening and mind-broadening travel zine. Art also gets to imitate life as prior to acting Golding is a travel host for BBC (nice touch if intended, casting department, though for sure it still can’t sit with the purists).
Yet, all eyes should (and will) be on Rachel more often. “All” refers to the populace awaiting her arrival on the island country, scrutinizer mode preemptively activated — including Nick’s mother Eleanor (Michelle Yeoh, entrancing), her mother (Joy Luck Club’s Lisa Lu), Eleanor’s entourage, and every yet-spoken-for belle — and the viewers. Rachel is Chinese-American, and it’s the latter that Eleanor disapproves. For the matriarch, the western world’s hands-off lifestyle that has been ingrained in Rachel contrasts, and thus threatens, the harmony of class and of family that Eleanor determines to preserve. To eternally accentuate. Wu delights as she maintains a delectable sense of control throughout, going from (unknowingly) being an anchovy in barracuda-infested waters to one with better armor/dress (principal costumes or not, the wardrobe Mary E. Vogt provided is the bee’s knees). Crazy Rich Asians is no wuxia film, that’s a certain, but the argument can be raised; verbal exchanges between Rachel and Eleanor have power and poetry in them akin to swords, and where the exchanges happen are in places appropriate for battle (they are just palaces and gardens with a modern touch!)
Success doesn’t come knocking on the daily, expectedly — in a mahjong-driven moment with Yeoh at one point — though we will never cease to desert Team Rach day or night, in Newton Food Centre or on a private island (the site of a gutting, pun intended, bachelorette party). Not unlike reality and not exclusive to Asians, her idea of “home” or “roots” will buckle when tested; her sense of purpose, since it isn’t so dependent on the past or future, will be alien; her search for the aforementioned two will be beleaguered by prying eyes and acidic lips. Worry not, however, since she’s not alone in this trial-by-culture: Rachel’s Ellen-esque college mate, Peik Lin (Awkwafina, most spirited), and eventual ally, Oliver T’sien (Nico Santos, to the teeth with fire retorts) also tag along, sharing what they have seen and done on the moneyed theater so our fresh-off-the-Big Apple lead can survive (and, when able, offer some gut-busting respites).
It can be apparent where the script exerts more force than others, mainly to keep a particular joke afloat or a value anchored. What gets traded are the smoothness of the pacing and the space for certain roles. But our writers always manage to recapture our attention at a moment’s notice with their illustrating of visited dynamics through new voices and navigating well-worn avenues using new maneuvers. The best example of this has to be the London prologue where the Youngs and their relatives checking into a hotel drenched and adorned in Louis Vuitton suitcases. There, they meet prejudice. Then, they emerge with pride. This also marks the last time someone else controls the destinies of foreigners in this film. Mother doing that to her son, on the other hand…
Chu also deserves kudos for letting the sets from Nelson Coates be the production’s more pronounced aspect; the toning down of the noise and glitz amplified in two Step Up sequels and Now You See Me 2 pushes Crazy Rich Asians away from the Baz’s “Singaporean Gatsby” banner and closer to a world of its own. Not quite there yet, of course, but let’s not force baby steps to be giant leaps on their first day. Be glad they are here at last, and with enough power to ignite something more.
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Check out our podcast review on Episode 287, coming soon!
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This week for our poll, inspired by her new film Crazy Rich Asians, we are talking about the great actress Michelle Yeoh. Perhaps best known for her work in Crouching Tiger, Hidden Dragon and Tomorrow Never Dies, Yeoh is a great actress that demands the screen. She’s very exciting to see, and her role in Crazy Rich Asians looks very appetizing as well.
With that said, what is your favor film starring or co-starring Michell Yeoh? Vote now!
Jean Vigo (1905-1934) was only 29 years old when he died of tuberculosis. The son of an infamous anarchist who was murdered for his outspoken opposition to the First World War, Vigo endured a rough, sickly childhood in a boarding school, contracted the disease that would kill him, and be able to make four films, the last of which was his only full-length feature. Yet, the directors and authors of the French New Wave would cite him as a major influence in their industry because Vigo was a director ahead of his time. The last four years is when he made his short resume, all poetic and slightly surreal in tone, and his rebellious nature is visible in these works.
First came À propos de Nice, or About Nice, in which Vigo made this silent 25-minute documentary with Boris Kaufman. Kaufman worked with Vigo in all of his works, moved to the United States, and win an Oscar for his cinematography in On The Waterfront, and work with Sidney Lumet on seven different features starting with 12 Angry Men. Nice, the beautiful Mediterranean coast town just (number) miles from Cannes, was as much then a major vacation spot in the summer. Here, Vigo and Kaufman don’t make the city as a place to come but instead attacks the society that comes there for not recognizing the reality of the Great Depression. Nice is a burlesque show with hidden shots of people having a good time while outside the city there are slums. It was followed by an even shorter film, a five-minute piece on Olympic swimmer Jean Taris. Like the fancy editing of Nice,it gets inventive with close-ups, freeze-frames, underwater shots, and reverse motions on Taris’ diving and swimming techniques.
The last two raised the stakes on his ability to tell stories. The first is arguably his most notable, a scathing attack against boarding school and a message of anger to what he felt was their fault of him contracting his fatal illness. “Shame on those who, during their puberty, murdered the person they might have become,” Vigo wrote. Zero for Conduct is a forty-minute story of four boys, done with the strict punishment of their teachers, execute a revolt that riles up the rest of the students to overthrow the authoritarian teachers. On its release, it was hated, condemned, and banned because of the fear it could instill anarchist views and disrupt order. After World War II, when Vigo was examined by film historians, Zero for Conduct was seen as a brilliant statement of young repression and brought back memories of what a child might have been like for many. (The film is on the public domain for now; above is in full.) The playful rebellion scene which involves a major pillow flight and a satire exit with the new king of the students. It is no surprise that it influenced Francois Truffaut’s The 400 Blows and Lindsey Anderson’s if…
Finally, there is L’Atalante, a conventional romantic story of a new marriage that is about life on a barge and the instant issues faced because, well, they live on a barge because that’s also the husband’s workplace. It is a plain short story that Vigo and his magical mind took and converted it into a dream shot. It is a funny look at a new chapter of life but the old habits die hard, especially with two crewmen who’ve not seen a woman in a long time. When the couple gets separated, it turns into a melancholy look with a slate of Kaufman’s creative light symbolizing the anxiety of separation. The dream underwater sequence was magnificently shot intercut with the windy glow of the wife, a dreamy sequence of how a man like the captain of a barge got a beautiful woman like her.
In France, the Prix Jean Vigo was established in 1951 and awarded to a director for their achievement in originality and stylistic filmmaking. Alain Resnais and Jean Luc-Godard were among the first decade of winners; later winners include Olivier Assayas (Personal Shopper) and Mathieu Amalric (known more for acting, notably as the Bond villain Dominic Greene in Quantum of Solace). Vigo’s short life still left a major impact to historians and directors of the next generation and his work has been preserved. The total of his work is shorter than Titanic, but it is more entertaining than that – even L’Atalante – and done on the cheap. Knowing his own mortality, Vigo poured out everything he could give and showed what greatness we could have watched had he not departed.
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Director: Lauren Miller Rogen
Writers: Lauren Miller Rogen (screenplay by), Anders Bard (story by)
Stars: Kristen Bell, Kelsey Grammer, Danielle Davenport, Kimiko Glenn
Synopsis: A workaholic woman who is left at the altar takes her honeymoon trip anyway, joined by her overachieving father, who left her mother because he believed his family was holding back his career.
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You may think you have Lauren Miller Rogen’s 2018 comedy Like Father sized up by the previews, but it has unexpected treasures in store along the way. Rogen displays talent across the board in this film as writer, director and producer. Her writing, especially, shines through.
Kristen Bell stars as Rachel, a workaholic who is left at the altar by her fiancé, Owen (Jon Foster). The opening scene of the wedding does such a great job of setting up Rachel’s character in the film. We learn so much about her character where, in lesser films, this would have simply been handled using exposition. Miller Rogen shows us rather than telling us. For instance, Rachel takes a work call as her wedding processional is commencing which actually makes her late to her own wedding. She puts her phone in her bouquet before she walks down the aisle, and when Owen realizes what happened, it brings about second thoughts in front of all their family and friends. Included in that group is Rachel’s estranged father Harry (Kelsey Grammar), who she hasn’t seen since she was five. Afterwards, Harry seeks her out to console her, and they go out to the bar together to reconnect and drown their sorrows. They drunkenly decide to accompany each other on the cruise that would have been Rachel’s honeymoon, and the film’s basic plot begins to take shape.
I resonated with Rachel on a bit of a deeper level given that I, too, work in the advertising industry. In my day job, I am an assistant account executive at an agency in my hometown. Rachel is an account executive too, but she has her sights set on a promotion to accounts director. Her position is one aimed at wining and dining clients and securing new business. While my job isn’t quite the same, I could appreciate the unique responsibilities of such a position. There’s a draw to the job, and Rachel has certainly caught the bug.
The film certainly unpacks the notion of being too tied to one’s job. This is something that many comedy films have used throughout the years, often in the form of a parent who is too focused on work at the expense of their children. Here, it is Rachel’s addiction to work that pulls her out of being present in her life. It certainly had an effect on her wedding, but we see other effects it has on her life, too. In fact, her phone is almost another character in this film, and I thought Miller Rogen’s writing handled that material well.
The film is also supported by wonderful performances from Bell and Grammar. They both had me laughing at various times, but they find the humanity in their characters that takes the film farther than one might expect.
When the film moves to its sea-faring setting, it becomes possibly the most successful product placement I’ve ever seen in a film. The Royal Caribbean logo and title appear so much in the film, it almost seems like one long commercial. It would be hard to watch this film and not want to go on a cruise afterward. The unique experience of meeting random people who then share the entire trip together has a clear effect on Rachel and Harry and aids in bringing them together.
They meet a group of other honeymooning couples who quickly find out about Rachel and Harry’s unique situation. They all encourage each other to make the most of the cruise by participating in the evening activities. One of the funniest scenes comes when Rachel and Harry play the cruise’s house game show (a spin on The Dating Game). It had me laughing hard as their answers are juxtaposed with those of actual honeymooners. At the same time, I didn’t feel like the film had quite enough for the supporting cast to do. I feel it would have been stronger if we learned a little bit more about the rest of the group and there could have been more fodder for the film’s unpacking of relationships in their various forms.
At the end of the day, though, this is a film about one relationship in particular – the one between Rachel and Harry. In most other films of this kind, we’d go through the whole thing and come to a happy ending on the other side in a basic flow. This film takes some unexpected stops and pauses that keep you on your toes, even if it eventually gets to the happy ending on the other side.
Another great moment that I must mention comes when Miller Rogen’s real-life comedian husband, Seth, joins the film in a minor role as Jeff, a man that Rachel meets at the bar. They have a fling, and Jeff thinks it is more than just a one night stand, so he tags along with their group excursion when the ship docks in Jamaica. Before he realizes that Rachel is not looking for anything serious, there’s a great self-referential bit where the tour guide passes around a joint and Jeff refuses saying that he’s never smoked marijuana. The joke was obviously written with Seth Rogen in mind, and the execution is perfect.
Though it takes some leaps of varying sizes, some of which we may not be inclined to fully believe, Like Father is an enjoyable film that brings genuine laughs, has well-acted lead performances, and unpacks our culture’s need to stay connected at the expense of the present moment. It strays from the formula just enough to keep things interesting, and it’s a comedy that is well worth your time.
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This week on Episode 286 of the InSession Film Podcast, inspired by Spike Lee’s BlackKklansman, we decided to talk about our scenes from his patent Spike Lee Joints. Lee has been an important voice for almost 30 years now, and it’s wonderful that we still have someone like him making films that are as vital today as they were in 1989. He’s made over 25 feature length films at this point, so there are plenty of great scenes to choose from that help define his career, and the man himself. Hopefully we did him justice. On that note, what scenes would make your list? Here are the one’s that made ours:
(Note: Please keep in mind that we each had different criteria for our selections)
JD:
1) Love And Hate – Do the Right Thing
2) Gym Scene / Confrontation – Chi-Raq
3) Monty Bathroom Rant – 25th Hour
Brendan:
1) Third Act – Crooklyn
2) Racial Stereotypes – Do the Right Thing
3) Be Safe – Chi-Raq
Bianca:
1) Hallway Fight – Oldboy
2) Prison Shower Conversation – Malcolm X
3) I Like Getting High – Jungle Fever
Honorable Mentions (Combined)
Various other scenes from these films – Mo’ Better Blues, Jungle Fever, Do the Right Thing, Malcolm X, Inside Man, He Got Game, 25th Hour, She’s Gotta Have It, Get on the Bus, 4 Little Girls, Chi-Raq, BLackKklansman
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. As noted above, there are many great scenes in the Spike Lee canon that we could have mentioned that perhaps would make your list. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
For the entire podcast, click here or listen below.
For more lists done by the InSession Film crew and other guests, be sure see our Top 3 Movie Lists page.
This week’s episode is brought to you by Grammarly. Download the app for free today!
This week on the InSession Film Podcast, we discuss Spike Lee’s latest film BlackKklansman, starring John David Washington and Adam Driver. We are also joined by Bianca Garner from Filmotomy to talk about our Top 3 Spike Lee scenes. And since it’s the talk of the town, we give some thoughts on the changes made by The Academy this last week as well.
This summer has given us an endless barrage of great films and you can add BlackKklansman to that list. We had a lot of fun talking about what that film means for today, and why Spike Lee was the perfect voice for it. Speaking of, a huge thanks to Bianca for joining us this week as we talked about our favorite Lee moments in film. She was the perfect guest and we can’t wait to have her back on the show.
On that note, let us know what you think in the comment section and thanks for listening to the InSession Film Podcast!
– Movie Review: BlackKklansman (3:53)
Director: Spike Lee
Writer: Charlie Wachtel, David Rabinowitz
Stars: John David Washington, Adam Driver, Laura Harrier
– Notes / Thoughts on The Academy (42:33)
As you probably heard last week, The Academy made some massive changes to the Oscars ceremony and most people were not happy about it. Well, we give our thoughts on the matter, and spoiler alert, we weren’t big fans either.
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– Top 3 Spike Lee Scenes (56:08)
Spike Lee has been an important voice for almost 30 years now, and it’s wonderful that we still have someone like Mr. Lee making films that are as vital today as they were in 1989. He’s made over 25 feature length films at this point, so there are plenty of great scenes to choose from that help define his career, and the man himself. Hopefully we did him justice. That said, what would be your Top 3?
– Patreon review: Do the Right Thing
Stay tuned for our Episode 286 Bonus Content as we honor another Patreon donation by reviewing Spike Lee’s iconic masterpiece Do the Right Thing from 1989.
– Music
Ball of Confusion – The Temptations
Fight the Power – Public Enemy
Pray 4 My City – Nick Cannon
The Return of the Eagle – Atli Örvarsson
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InSession Film Podcast – Episode 286
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Review: Crazy Rich Asains
Top 3: TBD
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