Quentin Tarantino’s last few films have crept closer to cinema’s theatrical roots. Sequences occur in contained rooms, recalling the claustrophobic, object-driven narrative environment established by the physicality of the stage. These scenes are dominated not only by the director’s trademark dialogue but also by an assured language of compositional details, which guide our eyes through the frame and divulge information with a meticulous sense of craft. Tarantino’s detractors are bothered by his compulsion to bloat his works with references to cinema’s long, colorful history, as well as an occasional penchant for comically distorting his vested tone. But after recently having the opportunity to re-watch Inglourious Basterds, it became clear that the work overall was more significant than the handful of lame gestures that prevented me from outright embracing it. A filmmaker calling attention to himself is often irritating, especially when he uses dialogue to inject his own opinion of what he’s created. But this isn’t, and shouldn’t be, anything but an unfortunate stumble along a journey that’s far more complex and rewarding than the singling-out of that gesture would imply.

The Hateful Eight is Tarantino’s most confined feature yet, which initially calls into question his use of the 70mm format. Upon first blush, the decision registers as an arbitrary homage to the golden age of American Westerns. While it is that to some degree, it’s also a method to capture minuscule details in the expressions and appearances of each duplicitous character.

The film begins in the early stages of a Wyoming blizzard as John Ruth “The Hangman” (Kurt Russell, channeling The Duke) nears the end of a journey to collect his reward, Daisy Domergue (Jennifer Jason Leigh). Along the way, they encounter two stranded individuals who Ruth reluctantly adopts as passengers. The first man is the clever and cruel Major Marquis Warren (Samuel L. Jackson), a bounty hunter we learn fought in the union army during the Civil War and the closest thing the film has to a lead character. The second scoundrel to be happened upon is Chris Mannix (a viscerally animated Walton Goggins), who identifies himself as the newly appointed sheriff in the town of Red Rock, where the entire ensemble is headed.

The four arrive at Minnie’s Haberdashery, a cramped, one-room lodge where they meet the remaining faces that make up the titular hateful eight. Bruce Dern’s Sanford Smithers was a Confederate general during the war. He has made the trek to Wyoming in the twilight hour of his life hoping to learn how his son was killed. John Gage (Michael Madsen), is a reserved, weathered cowboy who is almost certainly hiding something. Oswaldo Mobray (Tim Roth, chewing scenery in the best possible way) is a sly Englishman who claims to be Red Rock’s new hangman. Last but not least is Bob (Demián Bichir), the suspiciously gauche steward purporting himself as an employee of Minnie, thus the caretaker of the haberdashery in her absence.

It’s easy to argue that the narrative in which characters trapped in an inescapable setting are driven to face one another has been cinematically exhausted in decades prior. But Tarantino’s perspective on popular hatreds harbored throughout American history is strangely essential and unpacked with a necessary dose of self-awareness. He illustrates the tight-knit relationship between prejudice and contempt by procuring a tonal delirium punctuated by comic terror. Underneath lines of dialogue, which are programmed to register as humorous, lie disturbing implications about who our characters are and what they represent. At first, animosity is personified only through verbal slander. When tensions begin to rise, Mobray decides to split the room in half, sending Confederate sympathizers to one corner and supporters of the Union to the other. Later on, as viewers familiar with the sensibilities of Tarantino would predict, this animosity is emulated through the graphic mutilation of flesh. The segregation, however, isn’t the first instance in which folly manifests itself physically.

A percentage of those who see The Hateful Eight will be crushed by the weight of unflinching cruelty that man is capable of. But the film, circumventing all expectations, has the audacity to end on a note of coarsely drawn optimism. We’re shown the worst sensibilities of the soul through bloodied eyes, and as the tumult begins to dissipate, it becomes clear that someone’s hatred eventually had to be compromised. In a sea of gore with no redemption in sight, a subconscious shift in mindset embodies what is perhaps the most vulgar step toward progress ever captured on film.

Quentin Tarantino‘s really got his hands full, huh?

Following the director’s recent comments regarding police brutality—“I’m on the side of the murdered,” he said at a New York City rally on Oct. 24th—police unions across the country, including the Border Patrol and the Fraternal Order of Police, have called for a boycott of all Tarantino films, including his upcoming snowy western The Hateful Eight.

Tarantino’s been defending his stance on the issue, claiming he’s “not a cop hater.” The murder of a New York police officer, Randolph Holder, just a week before his appearance at the controversial protest, didn’t help quell the fiery national debate that quickly erupted around the director’s comments.

Fighting tooth and nail for his right to speak publicly against police brutality is surely the last thing the widely beloved director was planning to do in the final weeks leading up to his eighth feature film, but a shiny nugget of good news has arrived today in the form of a new, awesome trailer for The Hateful Eight.

The movie’s had a rough road—if you remember, it almost didn’t get made at all when the script was leaked to the public by one of star Bruce Dern‘s people (that bastard!). Tarantino scrapped the project in a fit of rage, but thankfully for us he changed his tune. Perhaps most members of law enforcement won’t be coming out to watch the film in “glorious 70mm” this Christmas like the rest of us, but maybe the latest trailer will compel some of them to show up in disguise.

The Hateful Eight stars Samuel L. Jackson, Kurt Russell, Bruce Dern, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth and Michael Madsen. Here’s the official synopsis:

Set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as “The Hangman,” will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town’s new Sheriff. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie’s Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie’s, they are greeted not by the proprietor but by four unfamiliar faces: Bob (Demian Bichir), who’s taking care of Minnie’s while she’s visiting her mother, is holed up with Oswaldo Mobray (Tim Roth), the hangman of Red Rock, cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eight travelers come to learn they may not make it to Red Rock after all…

The Hateful Eight drops on Christmas Day, but only in the 70mm format. It releases wide on January 8th on all formats.

Quentin Tarantino‘s long-awaited 8th film The Hateful Eight is set for release this Christmas, but the first real glimpse at footage has just arrived in the form its new trailer. The Hateful Eight collects an impressive ensemble of actors including Taratino’s returning favorites (Samuel L. Jackson, Kurt Russell, Walton Goggins, Tim Roth, Michael Madsen, and Bruce Dern) along with a couple of new faces (Jennifer Jason Leigh, Demian Bichir, a perhaps-under-wraps cameo from a Foxcatcher star) for this tale of betrayal “six or eight or twelve years after the Civil War.” Filmed in gorgeous 70mm against the snowy mountainscapes of Colorado (in place of Wyoming, where the story is set), this trailer reveals the central cast of characters in all their fur coat, brimmed hat, twanged accent glory.

The Hateful Eight centers on a stagecoach lead by bounty hunter John “The Hangman” Ruth (Russell) as he drives toward the town of Red Rock, where his passenger Daisy Domergue (Leigh) is set to hang. On the road, the two come across Major Marquis Warren (Jackson), a former union soldier who has taken up bounty hunting himself, as well as Chris Mannix (Goggins), a Southern renegade that claims to be the town’s new Sheriff. Attempting to escape an intensifying blizzard, the four duck into Minnie’s Haberdashery to discover four unfamiliar faces in Bob (Bichir), Oswaldo Mobray (Roth), Joe Gage (Madsen), and Confederate General Sanford Smithers (Dern). The travelers attempt to outlast the storm as well as each other, and make it to Red Rock alive.

Let us know in the comments what you think of the latest trailer for The HateFul Eight

Director Matt Shakman has worked a lot in television, most recently on FX’s television adaptation of the Coen brothers’ film Fargo, which is no surprise when watching his first foray into filmmaking, Cut Bank. Walking the line between thriller and dark comedy, the film boasts an all-star cast who can’t completely make-up for some misdirection and whose side characters completely outshine the film’s star, Liam Hemsworth.

Literally using the words “if I have to stay another day in this town,” discontented Dwayne (Hemsworth) dreams of a life outside Cut Bank, Montana (the “coldest spot in the nation”) with his girlfriend Cassandra (Teresa Palmer). One evening, when filming an amateur tourist video with Cassandra in a field outside of town, Dwayne accidentally captures the murder of a postal worker, Georgie Wits (Bruce Dern), on camera. Immediately taking the video to Cassandra’s father, and Dwayne’s boss, Mr. Steeley (Billy Bob Thornton) calmly calls in Sheriff Vogel (John Malkovich) to determine what to do next. The weak-stomached Sheriff starts his investigation as Dwayne looks into the huge reward he is apparently eligible for now that he’s provided information on the untimely death of a U.S. postal worker. Twists abound and are revealed in turn as we discover that not all participants in this crime are as innocent, or dead, as they first appeared. Turns out that providing the mailman’s dead body to a U.S. postal investigator (Oliver Platt) is the least of these small-time crooks’ worries as they unforeseeably piss off local recluse Derby Milton (Michael Stuhlbarg), who was expecting a package from the mailman that he’s bound and determined to track down.

Cut Bank clearly strives for the same dark comedic energy that Fargo has in abundance, but its inability to balance its dark situations with its humorous characters makes it hard to comfortably enjoy. The plot is fantastic, its actors equally so, but they are too reined in, with not enough vitality to engage. John Malkovich is especially unbelievable, his timid Sheriff played with too much subtlety. In fact, the only actors allowed to effectively shine are Oliver Platt’s fast-talking suit-wearing Inspector Barrett, Dern’s sassy “dead” man, and Stuhlbarg’s stuttering and intriguingly-motivated murderous outsider. Hemsworth just isn’t able to build sympathy, and Palmer is incredibly abused as the only character who is actually as shallow as she appears.

A sharply written script by Robert Patino, featured on 2009’s Black List, where all the elements exist but just aren’t quite fully realized. Seeing James Newton Howard’s name in the end’s musical credits was surprising as the muted music of the film did nothing to heighten tension or encourage the edge it’s sorely lacking in. While Fargo takes advantage of its snowy location, allowing it to serve as an instrumental element of the film’s themes and mood, the bleakness of Cut Bank is never explored, nor the wide expanses or back woods of Montana. Cut Bank is a mimicry of better films, which begs the question that if put into the hands of a more capable filmmaker, could it have lived up to the script’s potential?

A version of this review was first published in our 2014 Los Angeles Film Festival coverage. Cut Bank is out in limited release Friday, April 3.

Watch the new trailer for the Liam Hemsworth-helmed film Cut Bank, directed by TV director Matt Shakman. The film involves a cast of characters in the tiny rural town of Cut Bank, Montana, known for its cold winters, the central lead being Hemsworth’s Dwayne, a young man sick of his surroundings and desperate for escape. His lucky break comes in the form of the murder of local postman Georgie (Bruce Dern), which Dwayne happens to catch on his handheld camera. The reward for information around the death of a postal worker? $100,000 dollars.

But Dwayne’s big break may have nothing to do with luck. In the meantime the sheriff, played with uncharacteristic meekness by John Malkovich, is on the hunt for a murderer and a motive, while a local recluse enacts his own violent search for a parcel carried by the “murdered” postal worker.

With Oliver Platt, Billy Bob Thornton, Teresa Palmer and Michael Stuhlbarg rounding out the rest of the star-filled cast, the first trailer reveals a very Coen-like noir feel. The trailer plays up the dramatic over the quirky that we recall when we caught the film at the LA Film Festival, but definitely manages to pique just the right amount of interest.

Read our Los Angeles Film Festival coverage of Cut Bank and look for it on DirecTV on February 26 and in theaters April 3.

What started out as one of the most competitive categories of the Oscar race is looking to be the easiest one to predict. The Oscar statue is now Matthew McConaughey’s to lose, but is his performance as Ron Woodroof truly the best performance of the year? I’d say no, as I can name at least 2 other actors in the category who deserve to win over him. Of course, McConaughey is good in Dallas Buyers Club and, as we all know, he lost around 50 pounds to play Woodroof. My problem is that the film works for McConaughey rather than with him. It’s an incredibly transparent actor’s showcase, and considering the material it’s based on it’s a tasteless move to push a true story like this to the background (Ask yourself: Have people even talked about the actual subject matter of this movie, or has it all been dedicated to gabbing about the performances?).

At first the category seemed lined up for Chiwetel Ejiofor to win. He’s brilliant as Solomon Northup in 12 Years A Slave, at times carrying the film on his shoulders. The arc that director Steve McQueen and screenwriter John Ridley portray, as Solomon goes from a free man to accepting his role as a slave, wouldn’t have worked nearly as well if it wasn’t for Ejiofor’s performance. The other truly great performance in the category belongs to Bruce Dern in Nebraska. Dern’s character, Woody, is a man who keeps to himself and never really says much throughout the film. The film starts out looking like Dern would play a one-note character, but as more details about Woody’s life are revealed the layers of Dern’s performance become clearer. Woody is not meant to be likable, but Dern communicates so much through his understated performance that it’s impossible to not sympathize with his character.

For me, my choice for who deserves to win comes down to Ejiofor and Dern. As tough as it is to choose, I’d give Dern a slight edge over Ejiofor as Dern completely elevated Nebraska into a better film than it actually was. Leonardo DiCaprio is also great as Jordan Belfort in The Wolf of Wall Street. It’s a manic, over the top turn for him that might be his best work yet, but it won’t appeal to Academy voters. I’m sure one year DiCaprio will finally win an Oscar, but it won’t be this year. As for Christian Bale in American Hustle, well, does anyone even remember that movie by now? It had a brief moment in the spotlight, but it feels like it was only there to shake up a pretty cut and dry awards campaign. Then again, I’ll probably be completely wrong here. American Hustle had as much staying power as a gust of wind for me, but a lot of other people love it dearly. Either way, Bale doesn’t have a chance of winning this year.

When it comes to who should have been nominated, well that can be tough. Let’s go through some of the great performances from lead actors this year: Joaquin Phoenix in Her, Ethan Hawke in Before Midnight, Oscar Isaac in Inside Llewyn Davis, Tom Hanks in Captain Phillips, Isaiah Washington in Blue Caprice, Michael B. Jordan in Fruitvale Station, Toni Servillo in The Great Beauty,  Mads Mikkelsen in The Hunt, Miles Teller in The Spectacular Now, Paul Eenhoorn in This is Martin Bonner and Simon Pegg in The World`s End. It’s a huge list (and I haven’t even mentioned additional great performances), but my pick goes to Robert Redford in All is Lost. There’s something truly impressive about the way Redford simultaneously makes himself a blank slate for the audience while giving enough screen presence to still make his character feel distinct. Redford is just the kind of actor who can carry an entire film on his shoulders and make it look like a breeze.

All in all, whoever takes home a statue on Oscar night is among very good company.

Category Predictions

Best Actor Nominees

Christian Bale – American Hustle (review)

Bruce Dern – Nebraska (review)

Leonardo DiCaprio – The Wolf of Wall Street (review)

Chiwetel Ejiofor – 12 Years a Slave (review)

Matthew McConaughey – Dallas Buyers Club (review)

Previous Category Analysis

Best Shorts
Best Supporting Actress
Best Supporting Actor
Best Original Screenplay
Best Adapted Screenplay
Best Foreign Film
Best Documentary
Best Actress

In some disappointing news, Quentin Tarantino has sidelined his recently announced supposed next project (and 9th feature film), an ensemble western called The Hateful Eight, when the script was leaked. Though he hasn’t ruled out making the film in the future, it certainly won’t be his next film. Instead, Tarantino plans to publish the screenplay as a book, entering the arena of prose storytelling like he’s been hinting at doing for some time now. The influencial auteur expressed that he feels “very, very depressed” in an exclusive interview with Deadline.

“I finished a script, a first draft, and I didn’t mean to shoot it until next winter, a year from now. I gave it to six people, and apparently it’s gotten out today,” Tarantino said in the interview. Despite the leak, he says the fact that it’s reached his fans isn’t the reason he’s so upset: it’s that he feels betrayed. “I like the fact that people like my shit, that they go out of their way to find it and read it. But I gave it to six mutherfucking people!”

Those six include actors Michael Madsen, Tim Roth, and Nebraska star Bruce Dern, who Tarantino had been courting for a lead role in the picture. Tarantino suspects one of their agents leaked the script, specifically naming CAA, which reps Dern.

Though the news may come as a huge bummer for Tarantino fans (including myself), the director insists that this was the right choice to make, and that he’s got a bevy of other ideas floating around in his head, ready to come to the forefront and take the scrapped Hateful Eight‘s place. “I give it out to six people, and if I can’t trust them to that degree, then I have no desire to make it. I’ll publish it. I’m done. I’ll move on to the next thing. I’ve got 10 more where that came from.”

Nestled in the green, redwood-populated hills of Mill Valley, the 36th Mill Valley Film Festival kicked off with a duo of gorgeous dramas: Alexander Payne’s Nebraska and Brian Percival’s The Book Thief. The arrival of several special guests from the films heightened the already high level of excitement. Nebraska stars Will Forte and Bruce Dern and The Book Thief stars Sophie Nelisse and Goffrey Rush, along with Percival, were on hand to discuss the films and pose for the cameras with the gorgeous Mill Valley scenery surrounding them at the festival pre-party.

Book Thieves, Young and Old

After the photo-op parade, everybody shuffled over to the press conference room. When asked if she’d read the book on which The Book Thief is based, Nelisse–a blonde Canadian teenager with a charming adolescent verbosity–explained why reading the source material was a quite difficult undertaking. “I started to read the first 20 pages of the book when we started to shoot, but I thought it would be a bit confusing if I read the script, shot the movie, and read the book at the same time.” She did finally read the book about a month ago, but reading it now posed a new challenge. “I see every scene when I read the book. I wish I had read it before I shot the movie, so I could [use] my own imagination.”

The film follows a little girl (Nelisse) who learns about the value of books and stories in the turbulent environment of WWII Germany. Percival, whose most recent acclaim has come from directing episodes of the hugely popular television series Downton Abbey, had nothing but praise for Nelisse. “Sophie was ideal,” he gushed. “There wasn’t anybody else to come close.”

Rush got cheeky when asked why he–a proven picky role-chooser–decided to join the project. “I was looking at joining an Australian pole vaulting team, then Brian called me” Rush joked, to waves of laughter. “I didn’t know about the book,” he continued, now speaking honestly. “It felt like for the first time somebody had bravely given me a fairly ordinary character. It wasn’t too eccentric or too off-the-planet like most of the other things I do. I wanted the challenge of, how mundane could I be in a film, but [still] interesting?”

A Nebraskan Love Fest

Forte looked physically overwhelmed with gratitude and humility as uber-experienced co-star and screen legend Dern gave him possibly the highest praise an SNL veteran has ever received. “I’ll give him a tie for 1st place with Jack Nicholson [for best acting teammate,]” referring to his turn with Nicholson in The King of Marvin Gardens. Dern poured the love on some more as Forte looked dumbfounded by the weight of the kind words. “[Will] was scared when we started shooting,” due, according to Dern, to the fact that the beginning of the film isn’t comedic. Dern admired Forte’s strength in the face of the challenge. “There were 80 people in the room who were waiting for him to be funny, because that’s how they know him. The fact that he overcame that…it’s tough to do.”

Anti-Bullying Passion Project to Premiere this Sunday

The stars of the two opening night films weren’t the only people at the pre-party with films at the festival. I ran into director Anthony Joseph Guinta and rising-star actress Katherine McNamara, whose anti-bullying high school drama, Contest, premieres on the Cartoon Network this Sunday, October 6th at 6pm. The film, which explores the evils and many different types of bullying from several angles, was an important project for both director and star. “I was bullied quite a bit growing up,” the strawberry blonde admitted. “I even had my face smashed into a water fountain once because somebody didn’t like me, for some reason.” Giunta believes that bullying is an entirely different beast from when he was a kid. “I could go home and close the door and not have to deal with it until I got to school the next day. Kids today live a 24/7 nightmare.” With hope, Contest will lend a helping hand to bullied kids and–more importantly–de-bully some bullies.

VIP’s and Conga Lines

After the films screened to hundreds of elated (but hungry) festival-goers, the lucky souls found mounds of yummy treats and artisan eats at the opening night after party, set in an “s”-shaped, blocked-off section of Town Center Corte Madera (an outdoor mall). As I weaved through the mobs of gleefully chomping cinephiles, I was led to a tent full of even more food and, excitingly, a terrific samba band that made the crowd move so hard they had no choice but to form an epic conga line.

In the closed-off VIP section of the party, legends of sight and sound were tucked away, having a blast meeting with their fellow-filmmaker brethren. Along with Rush and Dern, who were having a chatty good time, master craftsmen Andrew Stanton (Wall-E) and Phillip Kaufman (The Right Stuff) were mixing it up with the rest of the exclusive bunch. After the fanciful, delightful insanity of opening night, I shudder with joy at the thought of what the rest of the festival has in store. Stay tuned to find out!

Check back tomorrow for our Day 2 coverage!

Starting tonight, October 3rd and going through October 13th, the 36th Mill Valley Film Festival will be rolling out the red carpet for local Bay Area filmmakers, movie stars, and acclaimed directors from around the world in the gorgeous surroundings of Marin County. From a costume-friendly screening of Return of the Jedi, to live music performances, to screenings of some of the most buzz-worthy films in the cinemasphere, the festival has got a little something for everybody.

Way Too Indie will be there to give you updates on the myriad events and screenings going down at the festival, with photos galore, reviews, interviews, and more.

Here are some of the guests, screenings and events you can expect to see at the festival:

Alexander Payne’s highly-anticipated new film, Nebraska, will be opening up the festival, with stars Will Forte and Bruce Dern in attendance. A father-son Midwestern odyssey from Montana to Nebraska, the movie earned Dern a best actor award at Cannes.

Splitting opening night honors with Payne is Brian Percival, with his beautiful Nazi Germany-set drama, The Book Thief, starring Geoffrey Rush, Emily Watson, and newcomer Sophie Nelisse, playing a young girl who discovers the power of storytelling.

At Middleton, a middle-aged romance between parents of college hopefuls set entirely during a campus tour, is director Adam Rodger’s feature debut and stars two seasoned, excellent actors in Andy Garcia and Vera Farmiga. The film is making its premiere at the festival, and Rodgers and Garcia will be in attendance.Also making its premiere is Beside Still Waters, but writer-director Chris Lowell, who will be on hand to introduce the film.

One of the most highly-anticipated films of the year (especially for us) is Steve McQueen’s 12 Years a Slave, starring Chiwetel Ejiofor. The film, following a free black man in 1841 who is stripped of everything when he’s sold as a slave, is undoubtedly one of the major highlights of the festival.

And that’s just scratching the surface. There will be screenings of Palme d’Or winner Blue is the Warmest Color, John Wells’ August: Osage County, the Matthew McConaughey breakthrough piece Dallas Buyers Club, Jan Troell’s The Last Sentence, the heartfelt Matt Shepard documentary Matt Shepard is a Friend of Mine, Asghar Farhadi’s The Past, a children’s film program, and much, much more.

There will also be a closing night tribute Ben Stiller, who’s bringing with him his new film, The Secret Life of Walter Mitty. Also receiving festival spotlights are actors Jared Leto (Dallas Buyer’s Club) and Dakota Fanning (Effie Gray), and legendary auteur Costa Garvas (Capital, Z, State of Siege).

Stay tuned to Way Too Indie for updates on all the action going down in Mill Valley! For more info, visit mvff.com

Being that Steven Spielberg was the president of the Jury for the 66th Cannes Film Festival everyone who I talked to seemed to think that the Palme d’Or would be given to an American film, with Inside Llewyn Davis having the best chances to win. There was certainly a solid American presence at this year’s festival, but I anticipated Spielberg to pick elsewhere (at the very least to prove he is not biased just towards American films). The Palme d’Or ended up going to a French film called Blue is the Warmest Color, which earned fantastic marks from most critics. Sadly, it was a film that I missed while I was there but obviously plan to watch at my earliest opportunity.

See the full list of nominations.

The entire list of 2013 Cannes Film Festival Award Winners:

Blue Is the Warmest Color, (director Abdellatif Kechiche)

Inside Llewyn Davis, (directors Ethan Coen & Joel Coen)

Amat Escalante, Heli

Jia Zhangke, A Touch Of Sin

Ilo Ilo, (director Anthony Chen)

Like Father, Like Son, (director Hirokazu Koreeda)

Berenice Bejo, The Past

Bruce Dern, Nebraska

The Missing Picture, (director Rithy Panh)

Omar, (director Hany Abu-Assad)

Alain Guiraudie, Stranger By The Lake

The Ensemble cast of La Jaula De Oro

Fruitvale Station, (director Ryan Coogler)

Blue Is The Warmest Color, (director Abdellatif Kechiche)

Manuscripts Don’t Burn, (director Mohammad Rasoulof)

Blue Ruin, (director Hirokazu Koreeda)

The Past, (director Asghar Farhadi)

Like Father, Like Son, (director Mohammad Rasoulof)
Miele, (director Valeria Golino)

Alexander Payne’s Nebraska is a light and warmhearted film about a son who wants to bond with his father, no matter how obtuse his thoughts are or off-putting his attitude is. Being both determined and naive is a dangerous combination, but that perfectly describes David’s (Will Forte) father Woody (Bruce Dern) in a nutshell. One of Woody’s biggest faults was that he has always believed what people have told him. So when Woody receives a sweepstakes certificate in the mail saying that he has won a million dollars he actually believes it, despite everyone around him telling him it is a scam.

Woody is determined to leave his home town of Billings, Montana and beeline it to Lincoln, Nebraska to claim his winnings. Even if that means walking the 750 miles to get there. David has recently split with his girlfriend of two years and is looking for an excuse to get out of town for a few days. He knows that his father is delusional about the money, but he agrees to drive his father to Lincoln anyways. At least he knows his father will be safe in his hands.

On their way to Lincoln, they stop to visit the a small hometown of Hawthorne, Nebraska where his father grew up. This is where the film really flourishes. Because I am familiar with the locations of where the film takes place, I can assure that much of what is depicted is genuine, only adding just a touch of exaggeration to keep things interesting. Many of the residences of this small Midwest town have few words to say about themselves and are generally more interested at what is on the television than talking. Word tends to spread quickly in small towns, so it is not long before the entire town knows about the windfall Woody is supposedly going to receive. Of course, the news also attracts the attention of decade-old “friends” who are for money they claim he owes them.

What makes the film such a delight to watch are the individuality of its characters. Each one is fun to watch in their own right; the father’s relentless determination, the mother’s hilarious outbursts, and the son’s sympathy and desire to bond with his father. On this journey he finds out a lot about his father. By the end it is revealed why he is so strong-minded to get the money. Prepare for the “awwws”.

Will Forte is typically known for his comedic roles (Saturday Night Live) but goes a different direction here with a much more reserved role. Bruce Dern’s performance stands out the most, making a boozed and beat up pessimistic father somehow sympathetic. Bob Odenkirk (of Breaking Bad) is also good here though he has much more of a supporting role, which is good because he dominates the scenes with his energy.

In order for Payne to receive funding from the studio to make a black and white film, he had to settle for a smaller budget. Payne is a Nebraska native who felt strongly that the film needed to be colorless to capture the mood of the old American heartland. Personally, I think it was a wise decision as it enhances the portrait of its characters and locations. Perhaps he should always consider making smaller budget films.

There is not a whole lot that goes on in Nebraska, similar to the small towns that are featured in it, but this is a road trip/family bonding film that is extremely entertaining. Nebraska is not perfect, but it may just end up being the year’s best road trip film. Payne keeps the camera rolling a bit too long in the final scenes, resulting in an ending that should have been shortened by about five minutes or so. Nonetheless, Nebraska is finally a Payne film that I can confidently stand behind.

Francis Ford Coppola, who has been on an experimental kick with films like Tetro and Youth Without Youth, returns to the horror genre with Twixt. Directed, written, produced and financed by Coppola himself, Twixt is clearly a personal project right down to its shooting locations on Coppola’s own estate. While seeing Coppola make a return to form after his apparent banishment from Hollywood would have been ideal, Twixt is baffling throughout.

The film starts with a narrator (Tom Waits) introducing the small town setting and storyline. The town has several distinct features, including a broken clock tower with seven faces and a mass murder that no one likes to talk about. Hall Baltimore (Val Kilmer), a writer who is described as “third-rate” and a “bargain basement Stephen King,” arrives to sell copies of his newest book. Baltimore is trying to think of a new idea that’ll put him back on top but keeps coming up short until the town’s sheriff (Bruce Dern) shows him the corpse of a girl who was staked in the heart. The same night Baltimore has a dream involving a young girl named V (Elle Fanning) and Edgar Allen Poe (Ben Chaplin) that convinces him to stay and try to write a new novel.

Anyone going into Twixt expecting an easy time is setting themselves up for disappointment. There are at least three storylines going on in the film involving the mystery behind whoever staked the girl, the dreams that explain the town’s history and the novel being written by Baltimore in the film. Twixt switches back and forth between all three of these, with the only distinction coming in the form of the black and white imagery of Baltimore’s dreams. Distinguishing reality from fiction seems easy at first, but by the final act everything blurs together so much Twixt becomes a tangled mess of a film.

The confusing nature of the plot isn’t even the worst thing about Twixt either. Coppola, shooting the film on what appears to be consumer grade cameras, makes everything look cheap and inept. The use of colour in the black and white dream sequences (mostly reserved for reds) looks hokey, and a subplot involving a boy who might be a vampire (Alden Ehrenreich) is downright laughable. Some of the worst examples are when Edgar Allen Poe’s face is superimposed on to the moon and when Ehrenreich rides a motorcycle with a CG background that would look impressive over 20 years ago.

Val Kilmer luckily has enough talent to pull off a good performance as Baltimore, but the same can’t be said for others in the cast. Elle Fanning mostly looks lost at sea, but it’s understandable why she’d have a hard time considering how bizarrely awful the rest of the film is. Alden Ehrenreich doesn’t say much outside of one scene but he does manage to show off some seriously stilted delivery before driving off on a motorcycle. Ben Chaplin and Bruce Dern manage to walk away mostly unscathed, with Dern’s hammy performance heightening some of the film’s similarities with David Lynch’s work.

The incompetent way that Twixt is shot might have been done intentionally by Coppola to match the pulpy B-movie storyline, but the result is laughable. It’s unsurprising that Coppola shot the majority of Twixt on his own estate because, for the most part, it feels like someone messing around in their backyard. A few interesting moments here and there don’t salvage the messy, amateurish quality that runs throughout the film. If this is Coppola experimenting, then the result is a complete failure.