This week’s show is brimming with special guests as Bernard welcomes Lily Tomlin and Paul Weitz to talk about their outstanding new film, Grandma. Plus, filmmaker Hubert Sauper joins the show to discuss his documentary We Come As Friends, an outsider’s look at the violent conflict in the Sudan. Ananda jumps in to help review ‘Grandma,’ and on top of all that, Bernard rants about crappy video game movies and shares his Indie Pick of the Week. Whew! Click that play button and listen away!

Topics

• Indie Pick of the Week (0:55)
• ‘We Come As Friends’ Interview (10:17)
• ‘Grandma’ Review (43:25)
• Lily Tomlin and Paul Weitz (1:05:14)

WTI Articles Referenced in the Podcast

7 Chinese Brothers Review
We Come As Friends Review
Grandma Review

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Jason Schwartzman has perfected the alchemy of the self-centered but likable asshole, a petty narcissist out looking for love and acceptance in all the wrong places who, despite his hardened outer shell, really does have his heart in the right place. We’ve seen it before, born and arguably perfected during his work with his pal Wes Anderson, the character might have reached its peak in last year’s acerbic Listen Up, Philip. And the truth is, there are few other actors working today who could have made Listen Up, Philip watchable, let alone made audiences root for such a vain prick. But Schwartzman did all that and more. And now, with Bob Byington’s (Somebody Up There Likes Me) 7 Chinese Brothers, Schwartzman is working his magic again, while managing to salvage some of the film around him.

The beats of 7 Chinese Brothers are rather simple. Schwartzman plays Larry, a hard-drinking, hardly working schlub, who spends his days motor mouthing through one-sided conversations with his so-ugly-he’s-cute bulldog, Arrow. Larry’s life is going nowhere, and he seems happy with that. But things take a turn when he’s fired from his serving job for stealing booze and drinking on the job. Judging from Larry’s response, it’s easy to see he’s been here before. In fact, not much in his life changes at first. That same night Larry hits the clubs with his buddy Major Norwood (Tunde Adebimpe of TV On The Radio), pops some pills, and wakes up on his couch the next day. The one thing Larry does right in his life is visit his foul-mouthed grandma (Olympia Dukakis) in her assisted living home. Even as she continues to rebuff his pleas for money, he keeps visiting.

It seems only by chance that Larry winds up working at Quick Lube, vacuuming cars and stealing change. Soon, though, Larry realizes that he likes both this new job and his new boss (Eleanore Pienta) — a feeling that’s complicated by Norwood’s mysterious skills with women.

What’s clear from start to finish is that Larry doesn’t have much of a filter. Time and again he speaks out of line, uttering every humorous and asinine thing that pops into his head. Not only that, but he doesn’t seem to care what anyone thinks either. It’s this unfiltered Schwartzman that keeps 7 Chinese Brothers up and running for as long as it does (and the film is brisk, clocking in at 76 minutes).

The narrative, on paper, makes sense and offers Larry some room to grow, but the film seems uninterested in any sort of progression, meandering often. Granted there are films and filmmakers who make this work, building their films to embody the marooned and stagnant characters they have set out to study. But here the story beats that Byington does choose to hit and follow, often do little to help us understand Larry or help him understand himself (with one particular subplot about his boss’ ex-husband and his petty theft being the worst of all).

Films like 7 Chinese Brothers are inherently challenging to make. Most movies are built upon one of two things: the movement of plot or the growth of character. Which is not to say that films about directionless people aren’t valuable or enjoyable (many of Schwartzman’s characters are in fact rather directionless or otherwise inhibited). But rather that the challenge is particularly great to find a way to invest an audience in someone going nowhere and wanting nothing (Larry claims to want a lot but does very little to get any of it). And, arguably, the only reason we invest in Larry at all is Arrow, Schwartzman’s real-life pet and reaction shot master. Not only does Arrow feel like the emotional core of the film, but he also steals damn near every scene he’s in.

On the technical end, the score by Vampire Weekend’s Chris Baio is energetic and subdued all at once, bringing a nice forward push that might have otherwise been absent from the proceedings. At times, though, the music seems to take on a life of it’s own, diverging from the scene to become an independent and less resonant song.

Finally, while the film is clearly flawed, the most obvious misstep seems to have been born in the editing room. Pieced together by Robert Greene and Leah Marino, 7 Chinese Brothers doesn’t ever feel clunky or haphazard, but it does feel lost rather often, like chunks of time have been excised or forgotten. While not quite fatal, it is hard not to feel muddled or confounded when you can’t even figure out where the scene is taking place or what sort of odd architecture a building has.

For all the mess that is the film’s final third, 7 Chinese Brothers remains a light-on-its-feet comedy shouldered along by a solid performance from Schwartzman, by turns hilarious, caustic, and ultimately mournful. And while many might find themselves wondering what the point is, it’s hard to flaw a film that, unlike so many, refuses to judge its characters, and refuses to tell them how they ought to be living.

Jason Schwartzman has always been a bit manic onscreen, his characters often charmingly smarmy. He’s quite possibly the perfect example of “flawed but likable”—which, by the way, is a deep compliment. So, while last year’s Listen Up Philip mixed up the formula a bit, Schwartzman seems to be back in his comfort zone with the first trailer for 7 Chinese Brothers.

The flick follows Larry (Schwartzman) as he’s booted from one job and forced to hunt down another—a large feat for the oft-inebriated slacker. Soon, though, Larry gets a bite at a tire and lube shop and meets Lupe, who just might help him get his life in order.

Written and directed by Bob Byington (Somebody Up There Likes Me), the cast is rounded out by Stephen Root, Olympia Dukakis, and TV on the Radio frontman Tunde Adebimpe. The film premiered at SXSW earlier this year to some positive nods, and the trailer promises laughs. But honestly, we’d line up for Schwartzman alone.

7 Chinese Brothers opens August 28th. Check out the first trailer below.

It can become harder to develop friendships as you grow older. For Emily and Alex, who recently moved from Seattle to Los Angeles with their young son R.J., they’re worried about their ability to make those new connections in an unfamiliar neighborhood. But when R.J. starts to play with another boy at the park, Emily and Alex are introduced to the boy’s enigmatic father, Kurt (Jason Schwartzman). The sleekly dressed, seemingly clichéd Angeleno opens with a joke about his son’s vegan diet before kindly offering recommendations of the best local shops and restaurants.

Kurt can’t resist himself though, there’s so much more to share, so he invites the newly relocated couple over for dinner that night with him and his wife. Emily (Orange Is The New Black’s Taylor Schilling) argues worst-case scenario is they’ll go home after a boring night and Alex (Adam Scott) worries the bottle of Two Buck Chuck they brought with them isn’t fancy enough; however, neither expects their overnight family playdate will test the couple’s openness, and the strength of Emily and Alex’s marital bond.

At the onset of The Overnight, Emily and Alex guide each other through their morning sex. They accommodate one another and exchange helpful instructions, but seem to have made “self-completion” a ritualistic finish. They’re a cooperative couple, even if they’re not perfectly compatible. Their collective anxiety is largely embodied by Adam Scott’s performance as Alex. Shades of Scott’s Parks and Recreation persona manifesting itself in Alex’s neurosis, particularly the character’s habit of impulsively lying in response to questions in order to respond “the right way.” Yes of course he paints with acrylics, who wouldn’t?

Alex is constantly on the back foot in Kurt’s house. Kurt comes on very strong, and from almost the moment that Emily and Alex arrive at Kurt’s house they’re deluged by his conversation. The Spanish lessons Kurt gives his kindergarten-aged son, the water filtration business he’s installing in third world countries, his pompous pronunciation of, “the South of France,” (as if France is pronounced with an ‘aw’). It’s a flood of superfluous character building that takes too long to work through, even with a helping of chuckle-worthy line readings.

For most of The Overnight (which only runs 80 minutes long) we’re waiting for the movie to get to its point. The dynamics of the “family playdate” become increasingly bizarre, but when the alcohol begins to work as a conversational lubricant (as it’s wont to do) the couples’ conversation starts to explore ideas of openness and honesty. Most of the talk steers sexual and you wonder when someone will finally say the word, “swinger,” but there exists a frank and humorous honesty in the characters’ words. When a vulnerable Alex admits to his size-related body issues, it’s uncomfortably funny but oddly touching, seeing new friends bond through understanding.

Taylor Schilling’s Emily appears to be the more self-assured half of the primary pairing. She’s the primary breadwinner for the family and retains more self-control once the adults have worked their way through a couple bottles of red wine. She’s not the butt of nearly as many jokes as her fictional husband, but Taylor Schilling gives Emily a cool, loving energy that makes her performance fun to watch while maintaining a complexity to her character. The Overnight makes it clear that Emily and Alex are very understanding to each other, and refreshingly, they take the time to consult one another throughout the film. The dilemmas here don’t emerge from clichéd bickering, they stem from the complications of a strong couple that are open to each other’s desires.

The instigator for most of the film’s hijinks is Schwartzman’s Kurt, and the potential to enjoy the comedy relies largely on his performance (as well as a tolerance for penis humor). The talkative character Kurt proceeds through the night brazenly dictating the couples’ agenda. It can be hilarious, as he is when confidently strutting naked around the pool, but other times it registers as awkward and unmotivated, like when he shows Emily and Alex a mildly pornographic movie of his wife Charlotte (Judith Godrèche). Schwartzman has an ability to remain charming even as an irritating character, and for the most part, Kurt is mysterious enough to stay intriguing.

The wild night created by The Overnight’s writer/director Patrick Brice (director of SXSW film Creep, also produced by the Duplass Brothers) does uniquely capture the contagious nature of a fun night around people you love. Even as his film plays dumb with its premise a little too much, it’s forgivable within the context of the intoxicating night Emily and Alex share with Charlotte and Kurt. They’re having too much fun exploring their boundaries honestly, and it’s usually entertaining enough to keep watching them.

The Overnight could easily be faulted for its couple of questionable turns, the directness with which the ending lays all the cards out on the table, or the film’s liberal use of prosthetic penises (which might have been the centerpiece in an Apatow or McKay comedy, so kudos to The Overnight). The movie mostly makes up for it by developing a compelling situation, and facilitating charismatic performances from Scott, Schilling and Schwartzman. The Overnight is a sexually adventurous, occasionally uncomfortable comedy with an outrageous ending, but one that feels like the proper result of its story.

A version of this review first appeared as part of our Tribeca 2015 coverage. 

Love & Mercy

Brian Wilson wrote some of the most beautifully complex pieces of music in history throughout his decades-long career with the Beach Boys and beyond. But as a person, he’s more beautifully complex than anything anyone could ever write. Bill Pohlad’s Love & Mercy explores Wilson’s psyche from two angles, focusing on the biggest artistic and personal turning points in his life. Paul Dano plays a Wilson as a young man in the Beach Boys’ heyday, in the midst of writing what would become one of the greatest albums of all time, Pet Sounds. Making up the other half of the movie is a more recent, frightening period in Wilson’s life (he’s played here by John Cusack), when he was under the (highly medicated) spell of unethical therapist Dr. Eugene Landy (Paul Giamatti), his only protection from whom being his beach blonde soul mate, Melinda Ledbetter (Elizabeth Banks).

Alternating between the two Brians is a welcome break from the typical biopic schematic. Dano’s resemblance is scary uncanny, and while Cusack’s isn’t so spot-on (I didn’t see it, to be honest), their commitment as actors is about level. Beach Boys fans will suffer uncontrollable geek-outs during the Pet Sounds studio session reenactments, but the real value of the film lies in the respectfully unkempt and fraught depiction of Wilson’s legacy as both a musician and a man.

Experimenter

Slipping between several planes of reality with the nimbleness of a jazz ensemble, Michael Almereyda‘s Experimenter, starring Peter Sarsgaard as late social psychologist Stanley Milgram, is more of a delectable treat than the dark subject matter might lead you to believe. It centers on Milgram’s famed contributions to the world of social experimentation, most notably his controversial experiment on obedience conducted in the ’60s. We see the Holocaust-inspired experiment—involving test subjects led to believe they’re remotely causing harm to a man in an adjacent room (played by Jim Gaffigan)—reenacted by a litany of strong players, including Anton Yelchin, John Leguizamo, Anthony Edwards, and others.

The film sees Sarsgaard’s Milgram periodically address us, the audience, in cleverly worded monologues that highlight the actor’s natural wit and intellect. It’s fun to see Sarsgaard given so much breathing room; he has a lot of fun with the role, and so we do as well. Almereyda lets loose too, with neat touches like utilizing rear-projection backdrops and employing a real-life elephant to stalk behind Sarsgaard down a hall as a fun metaphor. Winona Ryder stars as Milgram’s wife, Sasha, and gives the film an emotional oomph whose importance is clearest by film’s end.

7 Chinese Brothers

Jason Schwartzman is ridiculously funny in Bob Byington‘s 7 Chinese Brothers, a film created in the Wild West indie landscape that panders to no one (mainstream audiences will likely balk at the quaint, offbeat humor), but will please crackpot-comedy weirdos (like yours truly) to no end. Larry (Schwartzman) is a small-town schlub who drinks his way into and out of menial jobs he can’t stand. He’s got his romantically savvy friend, Major Norwood (TVOTR’s Tunde Adebimpe), his silvery grandmother (Olympia Dukakis), and his impossibly drowsy dog (Schwartzman’s real dog, Arrow) to keep him company most days. When he finds himself gravitated to his new boss, Lupe (Eleanore Pienta), he’s shocked to discover that, for once, he actually looks forward to going to work.

A lot of the funniest stuff in 7 Chinese Brothers involves Schwartzman almost having a contest with himself, trying to come up with the most bizarre behaviors he can think of and making them as out-there as possible. It’s the little, absurdist stuff that makes you laugh, like Schwartzman throwing garbage into a garbage can, and then throwing said garbage can into a dumpster. Byington’s written a great script, too, each line of dialogue going in a different direction than you expected. Keep this one in mind.

Bernard goes it alone in this week’s edition of the Way Too Indiecast, but have no fear: he’s bringing an extra dose of podcast love to the table (and a handful of Glade Plug-Ins, just in case it’s a stinker). Being that he’s Way Too Indie’s resident interviewer, Bernard shares two interview horror stories, one of which involves none other than the illustrious Jason Schwartzman. Plus, he shares his Indie Pick of the Week and asks the question: Is Joss Whedon indie?

So grab a seat at the campfire and join Bernard for some good ol’ indie story time (not because he needs the company; he’s been known to start forest fires and needs supervision)!

Topics

• Indie Pick of the Week (3:50)
• Is Joss Whedon Indie? (7:41)
• Interview Horror Stories (20:36)

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Photo With Jason Schwartzman

FoxSearchlight has shared a video of Wes Anderson and other cast members of The Grand Budapest Hotel discussing the singular inspirations Anderson culled from when forming his latest film. Nominated for 9 Academy Awards, Anderson discusses especially being inspired by Ernst Lubitsch’s (Shop Around the Corner) hilarious, fast-talking, European comedies.

While The Grand Budapest Hotel’s nominations fall mainly within technical categories along with prestigious Best Picture and Best Director nominations, his cast is strangely not nominated for their work. The way they discuss Anderson throughout the video proves however that as wonderful as the performances of the cast are, their inspired and exceptional leader really is the force behind this fantastic film.

In the midst of Movember, there are a number of men doing their best to spread awareness of men’s health issues with their burgeoning bristles. We at Way Too Indie fully support this “mo”vement — especially if it means that we all get to bask in the glory of millions of moustaches walking around us every day for a whole month. Whether you’ve already got an illustrious comb or you’re just straining to sprout something from a few of your follicles, if you are among the bros striving to grow your own facial man stamp, here’s a list of some of the best moustaches in movie history to keep you in the mood to “mo.”

Groucho Marx, Duck Soup

Among the most famous of moustaches, no ‘Best Of’ list would be complete without Groucho Marx’s trademark broomstache. Shaded by two equally substantial eyebrows, Groucho’s (obviously fake) facial hair was the rimshot to his every fast-flowing joke. Indeed, all one has to do is pick up a pair of those trademark fake nose glasses with attached moustache and anyone can be just as funny as he was. Sort of. [Ananda]

Charlie Chaplin, Modern Times

So Hitler’s toothbrush moustache is a shining example of how one person can ruin a fashion trend (and for the record, even the people of his time hated his look calling it rotzbremse or “snot brake”), but anyone who’s anyone knows Charlie Chaplin had it first, and he made it adorable. Swishing his ‘stache like a broom, he swept up audience’s hearts. And never one to pass up on a comedic opportunity, he went on to parody Hitler in The Great Dictator shortly after. [Ananda]

Frederick Loren, House on Haunted Hill

Because it’s the classiest of classic moves to have at the heart of a haunted house flick a mustachioed and sinister host. Vincent Price combines his wonderful lip crown with a pair of incredibly expressive eyebrows to deliver this most delightful performance. It almost makes you giddy. Yes, even you. [Scarlet]

Rhett Butler, Gone With the Wind

You might have thought it was his sparkling eyes or his darling dimple. But, no, it was most obviously that clever little moustache that kept Scarlett hanging on. Maybe Clark Gable didn’t give a damn, but you wouldn’t think so with how much time and devotion he would need to have taken every morning to keep that well groomed look of his so, well, groomed. [Scarlet]

Sentenza, The Good, The Bad, and The Ugly

Ah, Angel Eyes. Nothing like a good twirly, villainous mustache to bring them out, too. Lee Van Cleef was proud of those beady eyes, his main moneymaker. But what better accessory to pair them with than this wonderful example of a mighty moustache? [Scarlet]

Don Vito Corleone, The Godfather 

Marlon Brando is proof positive that there is no need for a dude to be able to nurture a full fledged Yosemite Sam ‘stache in order to illicit the fear of god into those he may need to intimidate. For a good cause of course. Or, at least, family. [Scarlet]

Bandit, Smokey and the Bandit

There are few faces in this world that look downright wrong without their trademark manhandle, and Burt Reynolds is among those people. The Bandit’s smile wouldn’t seem so pearlescent without the accent of a big dark ‘stache. What happens when Burt tries to shave? Deliverance. Enough said. [Ananda]

Peter Mitchell, Three Men and A Baby

Yeah, they were all pretty manly, but there’s a reason Tom Selleck was the Alpha Male of this trio. That facial badge of his just gives him straight up authority among men and they all knew it. Even the baby. [Scarlet]

Hook, Hook

It’s hard to say which is more impressive about Dustin Hoffman’s thin and well-waxed moustache in Hook, the precise way it contrasts under his huge nose or the amazing ability Hoffman had to make it move like its own limb. Never in a movie has a close up on a ticking moustache been so sinister. We’re still getting chills. Good form, old man, good form. [Ananda]

Wyatt and Virgil Earp, Tombstone

Virgil’s moustache is definitely the huskier of the two, but it’s Kurt Russell’s clear blue eyes that would make anyone swoon. And making them pop with that glorious face trophy? It doesn’t help that it’s a perfect replica of something that actually existed in history. #heartbreaker [Scarlet]

The Stranger, The Big Lebowski

As the seminal narrator of The Big Lebowski, Sam Elliott gets very little actual screen time in the film as The Stranger. Which is why it’s even more impressive he made our list. His wisdom for The Dude is added very real depth by the measure of the walrus whiskers accenting his words. The grayness of it has the Gandalf effect of adding poise, even as he mutters such things as “the Dude abides” and “got any more of that good sarsaparilla?” [Ananda]

Bill “The Butcher” Cutting, Gangs of New York

There are villains, and then there are villains with truly impressive facial hair. Daniel Day-Lewis as Bill the Butcher was intimidating enough with his butcher knife and plaid pants, but he took it entirely next level by achieving that most rare of moustaches, what I call the full-bodied rounded point. Like a handlebar, but this version holds on to you. [Ananda]

Borat, Borat

While I would never really suggest anyone sitting through this movie, even for awareness’ sake, there is definitely something to be said for Sacha Baron Cohen’s heavy hitter of man-glory. This was a crowning achievement. How many words can I come up with for moustache? [Scarlet]

Jack, The Darjeeling Unlimited 

When it comes to hitting the facial follicle gene jackpot, Jason Schwartzman had all the right numbers. Jewish Italian pretty much guarantees him the ability to grow whatever kind of facial cover-up he desires. He may play the shortest and youngest of the three brothers, but his distinctive lip luggage gave him all the gravitas he needed.  [Ananda]

Walt Disney, Saving Mr. Banks

When it comes to thinner moustaches it’s (literally) a fine line between your John Waters pencil mark moustache, a pubescent boy’s first attempts at peach fuzz, and the charming subtlety of Walt Disney’s well-spaced bristle. But Tom Hanks definitely pulls it off (I mean, it’s Tom Hanks, he could probably pull off the toothbrush Hitler-look with his overabundance of radiating goodness). Maybe his magic came from the ‘stache? [Ananda]

Theodore, Her

We’re willing to give Joaquin Phoenix some credit and say that his piercing but sad eyes are what made his character so sympathizable in Her, but that common dude brostache added even more of a touch of the everyman. It’s only a shame the virtual Samantha never got to appreciate the comfort some solid lipholstery can bring.  [Ananda]

Charles Mortdecai, Mortdecai

And, coming in 2015, we will finally see Johnny Depp sporting the moustache he deserves.  As a redhead (can I say ginger?) no less.  But that’s your motivation for next year.  Stay strong, my friends. [Scarlet]

Want to contribute to the cause, or grow a ‘stache to support men’s health? Get involved and find details at the Movember website.

Listen Up Philip, an unpleasant film I enjoyed almost masochistically, is most interesting when viewed as a cinematic vote of confidence from its writer/director, Alex Ross Perry, to his lead actor, the incomparable Jason Schwartzman. The indie filmmaker casts Schwartzman as one of the most irritating archetypes that exists in modern America: the narcissistic, cynical, East Coast intellectual who loves wearing tight-fitting plaid button-ups and sweaters and treats everyone around him like garbage. (I could have distilled that description down to that more familiar H-word, but pointed self-loathing, especially after this movie, is too irresistible to pass up–I’m admittedly a sucker for tight-fitting plaid button-ups and sweaters.) The point is, Schwartzman is tasked with carrying the film as author Philip Lewis Friedman, a character so objectionable and infuriating that the risk of audience walk-outs is very, very real. But Perry had faith in him, a faith that was rewarded–somehow, some way, they’ve fashioned the misadventures of an insufferable misanthrope into one of the most idiosyncratic, intriguing films of the year.

The film operates in a mode unmistakable to Woody Allen and Noah Baumbach devotees: Through a skittish handheld camera we see Philip angrily marching into an NYC sandwich shop to meet with an ex-girlfriend he hasn’t seen in a while. She’s late, which angers him thoroughly (a tendency of his we learn by way of narration by Eric Bogosian, who guides us through the film by revealing the characters’ inner thoughts and referring to past and future events). He was planning on giving her an advance copy of his second book, but her transgression causes him to rescind the gift, tear her apart with laser-precise verbiage, and storm off in a fit.

We’d feel sorrier for the poor girl if she didn’t look so accustomed to Philip’s toxic behavior, but as the story unfolds we bear witness to Philip’s decimation of several more relationships, the victims of which don’t get off so easily. His supportive, sweet girlfriend, Ashley (Elizabeth Moss, aptly cast), has informs him that one of his idols, Ike Zimmerman (a terrific Jonathan Pryce), a similarly arrogant but far more accomplished author of several classics (the hilarious, retro book covers and titles are wonderful), has invited Philip to stay at his country home, away from the distracting hustle of the city. He obliges without hesitation, abandoning Ashley, to her despair. He leaves her with a sweet farewell: “I hope this’ll be good for us…but especially for me.”

Philip is the ultimate version of the despicable 21st Century know-it-all, taking devilish pleasure in tearing people down with his intellect. He meets with an old college buddy specifically to tear him down, piece by piece, over a drink. When his publishers insist that he do publicity for his book, he refuses to do any interviews or appearances, a pretentious move even a more respected writer, like Zimmerman, would be an asshole to pull.

Unlike characters Schwartzman’s played in the past who are similarly smarmy and arrogant, there’s nothing endearing or likable about Philip in the slightest. It’s a tough role to pull off, but Schwartzman approaches it with,ironically, no ego. He doesn’t want to be cute and he doesn’t want to be liked; it’d be unfair to call Philip an anti-hero, because he’s unquestionably villainous. He’s the kind of guy no one wants to be around, and yet Perry subjects us to his presence and asks us to indulge in his horrible behavior. That’s where Moss’ Ashley comes in handy. For a good chunk of the film, Philip leaves the picture and we come up for air as we follow Ashley’s road to recovery in the wake of Phillip’s exodus. She’s incredibly sympathetic and lovely, and her portion of the film is an absolutely essential respite from Philip’s downer-parade.

Zimmerman is the key to unlocking the true essence of the story. The ornery, aging author is a mirror image of Philip, like a ghost of from the future announcing the pathetic existence Philip’s doomed to inhabit once he’s lost his youth and friends. Zimmerman, like his protégé, has a kinder female counterpart, his emotionally estranged daughter, Melanie (Krysten Ritter). He neglects her and considers her nothing more than a nuisance, which breaks her heart on the daily. Ritter, like Moss, maximizes her onscreen minutes, expressing her resentment and love for her father through tearful eyes and a strong stance. We spend the whole movie watching Philip reject and ridicule the few good influences in his life (the girls) as he sinks into the same quicksand of despair his mentor has fallen into. We want him to listen up, but he’s too far gone.

Void of sentimentality, Listen Up Philip is one of those movies you have to be in the exact right mood for to derive any sort of enjoyment. If you’re feeling particularly spiteful or bitter, I could see the film being pretty cathartic, actually–the barbs and put-downs Schwartzman delivers are sharply written and very funny, and while sometimes Philip’s pure evilness will make you grimace, most of the time it’ll make you laugh with recognition, albeit reluctantly. Three films deep, Perry’s career looks to be looking bright as he hones his craft and comes into his own. While his stylistic inspirations are completely transparent (Wes Anderson with the bohemian milieu and book covers, Woody Allen with the jazz horn soundtrack and 16mm grit), he pays tribute to his predecessors in the best way possible, by taking their tools and building something new with them.

Listen Up Philip trailer

In Alex Ross Perry’s follow up to The Color Wheel, the writer/director introduces us to author Philip Lewis Friedman as he angrily awaits the release of his 2nd book. Only steps behind Perry’s chaotic handheld camera movements, Jason Schwartzman as Philip stomps down New York City sidewalks, first meeting an ex-girlfriend to rub his newfound success in her face, then storming into his publisher’s office to declare he no longer intends to do any media promotion for the book. The repercussions are minimal for this malignant narcissist, the subject of the upcoming comedy Listen Up Philip; however, over time the film shows how Philip’s egotism causes his relationships to sour.

Accusations and quick-witted comebacks are dolled out swiftly in refreshingly intelligent repartee. The wit in Perry’s script allows for some revealing conversations to take place between close family and lovers. His commentary on how selfishness fares in relationships is made more intriguing by a collection of humorous performances. Supporting players Elisabeth Moss, Jonathan Pryce, Joséphine de La Baume and Krysten Ritter are able to take characters are loosely characterized and make them feel specific. The shining performance comes from Schwartzman, whose most searing lines are delivered with an unsettling but hilarious casualness.

Listen Up Philip meanders a bit for the middle section of the film, but it’s largely hysterical and insightful. It plays the New York Film Festival this week before a limited release on October 17th.

Writer/Director Alex Ross Perry‘s follow-up to his micro-budget feature The Color Wheel, Listen Up Philip now has released a new trailer ahead of its upcoming appearances on the fall film festival circuit. Strong reviews of the film and Perry’s previous work helped make Listen Up Philip one of Way Too Indie’s choices for our Essential Fall Films list. Starring Jason Schwartzman as the titular Philip, the movie tracks the narcissistic author as he awaits the publication of his second novel.

The trailer features little of the Rushmore star, instead focusing on the people in Philip’s life and their predominantly antagonistic words for him. Elisabeth Moss co-stars as Philip’s photographer girlfriend Ashley, stating in the teaser, “honestly sometimes you’re impossible to live with.” The cast also includes Krysten Ritter, Jess Weixler, Joséphine de La Baume and Jonathan Pryce.

After premiering at this year’s Sundance Film Festival, Listen Up Philip makes its Brazilian, Canadian, and British debuts at the Rio de Janiero International Film Festival, Vancouver International Film Festival, and London Film Festival, respectively. It will also play the New York Film Festival before its upcoming limited release, scheduled for October 17th. The movie will also be available through iTunes on October 21st.

First trailer for Listen Up Philip

Wes Anderson’s highest-grossing film to date, The Grand Budapest Hotel, has been officially announced for a Blu-ray & DVD street date of June 17th. The film not only pleased moviegoers, but critics were also enamored with Anderson’s film ever since its premiere in Berlin. And rightfully so. The Grand Budapest Hotel dazzles with plenty of Anderson’s usual visual flair, but the film doesn’t compromise substance for style. As always, each character has their own quirky personality and the cast is full of Anderson regulars including; Bill Murray, Jason Schwartzman, Tilda Swinton, Jude Law, Owen Wilson, and Adrien Brody.

The Grand Budapest Hotel releases on Blu-ray and DVD on June 17th

The Grand Budapest Hotel Special Features

• Bill Murray Tours The Town
• Kunstmuseum Zubrowka Lecture
• The Society of the Crossed Keys
• The Making of the Grand Budapest Hotel
• Mendl’s Secret Recipe
• Promotional Featurettes – “Cast” and “Wes Anderson”
• Stills Gallery
• Theatrical Trailer

The Grand Budapest Hotel Blu-ray + Digital HD

• Street Date: June 17, 2014
• Screen Format: 1.85:1
• Subtitles: English/French/Spanish
• U.S. Rating: R
• Total Run Time: 100 minutes

Trailer

The Grand Budapest Hotel Blu-ray cover

Partway through The Grand Budapest Hotel, there’s an argument between Dmitri (Adrien Brody, looking brilliantly evil) and his deceased mother’s lawyer (Jeff Goldblum). The lawyer refuses to hand the dead woman’s fortune over to her son as the details of her murder haven’t been cleared up. Dmitri angrily leaves, and his henchman (Willem Dafoe) casually tosses the lawyer’s cat out of a window on his way out. It’s a cruel act, and a funny visual gag, until the lawyer peers out his window and the camera cuts to his cat’s splattered body below.

Writer/director Wes Anderson uses these shock moments of sudden violence more than once throughout the film. The dead woman (Tilda Swinton, unrecognizable with pounds of old age makeup) is Madame D., an old rich countess who frequented the titular hotel. Located in the mountains of the Republic of Zubrowka, a made up European nation, the hotel is a gorgeous and highly popular establishment. Gustave H. (Ralph Fiennes) is the hotel’s concierge, a charming man who was also taking Madame D. to bed during her visits (one of Gustave’s many duties as concierge included sexually satisfying the rich old ladies who visited). When it’s revealed that she put Gustave in her will as the recipient of a priceless painting, Madame D.’s family frames him for her murder.

Gustave receives help from Zero Moustafa (Tony Revolori), a young lobby boy that Gustave has taken a shine to. The story, taking place in 1932 during some unnamed war ravaging the country, is narrated to us by an older Moustafa (F. Murray Abraham) in the 1960s. He’s telling his tale to a young author (Jude Law) over dinner at the hotel, now well past its glory days. Law narrates the 1960s segments, which are actually from a novel being read to viewers in the 1980s by (presumably) a now much-older author (Tom Wilkinson). The nesting-doll structure may seem frivolous, but Wes Anderson’s films thrive on frivolity.

The multi-layered narrative also establishes Anderson’s attempts to comment on memory and nostalgia. Moustafa’s story in the 1930s, shot gorgeously in 1.33:1, is stylistically Anderson’s best work to date. The set design, meticulous framing, whip pans, quick zooms, and use of animation and miniatures, among Anderson’s other visual trademarks, operate at a level that more than matches his story’s large scale. Anderson and cinematographer Robert D. Yeoman are clearly having a field day, and it shows. The charming style also shows Moustafa’s nostalgia for this period of his life, as if these “good ol’ days” represent something that’s never to return.

Anderson is aware of how dangerous this way of looking at the past with rose-coloured glasses is, which is why he throws in scenes like the one with Goldblum’s cat. He is purposely breaking the spell his film casts, reminding viewers that the time period was still a tumultuous one. The hotel is not so much a shining example of long-lost civility and politeness as it is an escape from the harsh realities of wartime and poverty. These two worlds of fantasy and reality eventually come together, but through Anderson’s lens the stylistic flourishes still remain. The final scene of the ‘30s timeline, also the bleakest part of Moustafa’s story, switches to black and white, showing how Anderson still finds a way to fill his heavier moments with aesthetic quirks.

While Anderson’s toying with memory and nostalgia is interesting, it fails to make any impact to the film overall. The handling of violence makes for an awkward juxtaposition, one that’s more admirable in its intent than execution (I never thought I’d say this, but Anderson should take some tips from Quentin Tarantino in this area). The war going on in the film’s background is wiped of any details, save for some vague allusions to the SS. The obscuring of these elements only muddy the water, and the dense plotting of Anderson’s screenplay make his thematic points get swallowed up by the film’s aesthetics.

Not that the aesthetics are a bad thing; The Grand Budapest Hotel is still a treat to watch. Fiennes is perfect as Gustave, and Anderson’s script is filled with plenty of hilarious moments. The massive ensemble, where seemingly every role is filled with a well-known actor (supporting cast includes Edward Norton, Harvey Keitel, Saorise Ronan, Jason Schwartzman and Owen Wilson just to name a few), work together perfectly. While The Grand Budapest Hotel works well, it only does up to a certain point. What the film amounts to is nothing more than a well-done and admirable piece of fluff.

The Grand Budapest Hotel trailer

Wes Anderson is certainly keeping himself busy these days (lucky us!) A short film written and directed by Anderson himself and produced for Prada, Castello Cavalcanti follows Jed Cavalcanti (Anderson favorite Jason Schwartzman) as he ends up stranded in 1955 Italy during a car race. It retains all the whimsy, vibrant colors, and rigid compositions the director is so beloved for, which makes this fun 8-minute nugget fit quite snugly in between his last film, Moonrise Kingdom, and his upcoming The Grand Budapest Hotel, which we at Way Too Indie can’t hardly wait for. For now, we have Mr. Cavalcanti and his mustachioed machismo to tide us over. Check it out below.

We have got two Blu-ray copies of Wes Anderson’s quirky indie hit Moonrise Kingdom to give away to a couple of our Facebook and Twitter followers. As a bonus, one of those winners will receive a special “Survival Package” to go along with the Blu-ray.

We are giving away one (1) Moonrise Kingdom on Blu-ray and one (1) Moonrise Kingdom Survival Package” which includes:

How do you enter the giveaway?

Step 1: LIKE Way Too Indie on Facebook

Step 2: Leave a comment on this page telling us who your favorite Wes Anderson character is.

* Additional chance to win: Follow @WayTooIndie on Twitter. Then tweet: @WayTooIndie (your favorite Wes Anderson character) http://tooin.de/moonrise, to enter.

Details on the giveaway
Winners will be selected at random. One (1) winner will win a Blu-ray and one (1) winner will a “Survival Package” (which includes a Blu-ray and more). If you are chosen, you will be notified by email. Winners must respond within three days of being contacted. If you do not respond within that period, another winner will be chosen. Must be in the United States to win. Entries can be submitted until October 11th, 2012 at 11:59PM CT. This Sweepstakes is in no way sponsored, endorsed or administered by, or associated with, Facebook or Twitter. Good luck!

AVAILABLE OCTOBER 16, 2012 ON BLU-RAY COMBO PACK WITH ULTRAVIOLET, ON DVD AND ON DEMAND FROM UNIVERSAL STUDIOS HOME ENTERTAINMENT

Set on an island off the coast of New England in the summer of 1965, two twelve-year-olds fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing offshore — and the peaceful island community is turned upside down in more ways than anyone can handle.

Moonrise Kingdom director Wes Anderson is a master at poignantly depicting those who are a bit different from most of the other characters in the world around them. Regardless of gender, era, and even species, Anderson manages to perfectly represent characters that we can all relate to in one way or another. Here, we’ve highlighted our top 5 most beloved “outsider” characters created by this Academy Award nominated director.

Rushmore – Max Fischer

1998’s Rushmore focuses on the life of Max Fischer (Jason Schwartzman), a 15 year old with high ambitions and a low grade point average. He is ridiculed and rejected by most of his fellow classmates of Rushmore Academy and his closest confidante is Dirk, a much younger attendee of the school. Desperation for companionship, Max attempts to befriend both a young teacher (Olivia Williams), as well as the father of his classmates (Bill Murray). The two adults soon become involved in a love affair, leaving Max upset and jealous; however, he soon finds himself bonding with someone more his age – the equally ambitious Margaret Yang – and is able to find a place for himself at school.

The Royal Tenenbaums – Margot Tenenbaum

It’s true that every member in the Tenenbaum family could be marked as an outsider:
Overprotective parent Chas (Ben Stiller), Riche (Luke Wilson), the anxiety-ridden tennis prodigy, insensitive patriarch Royal (Gene Hackman). But arguably the character who dons the biggest outsider status is none other than Margot, the notoriously secretive adopted daughter who mysteriously lost half of a finger during a two-week period when she ran away from home as a child. Utterly depressed and unsatisfied with her life, Margot ends up being the object of not one, but two men’s affection – both her brother Richie, and his best friend – self declared “honorary Tenenbaum”, Eli Cash.

Fantastic Mr. Fox – Ash

Awkward little Ash Fox has a lot to live up to, as his father, the “Fantastic” Mr. Fox, is quick, cunning, and essentially, everything their species should be. And to make matters worse, his soft-spoken and athletically gifted cousin, Kristofferson, comes to live with him in his family’s tree while his father recovers from double pneumonia. The two boys are barely on speaking terms, but begin to start their friendship anew once Kristofferson comes to Ash’s rescue when he is being bullied at school. Later on as the cousins aid Mr. Fox’ in his plan to rob three infamously nasty farmers, Ash must brave many obstacles to rescue his cousin from captivity. The young fox quickly matures and realizes that he has strengths of his own – his quirkiness being one of them!>

Moonrise Kingdom– Sam Shakusky

Khaki Troop 55’s most eccentric member is without a doubt 12-year-old Sam Shakusky, played by newcomer Jared Gillman. Although Sam is extremely smart and resourceful in his outdoor survival skills, this misunderstood character just doesn’t quite fit in with his fellow scouts was abandoned by both his real parents and his foster family. Luckily, Sam finds a refuge in Suzy, his one true love, and the two are able to help each other feel like less of outsiders, and more like a part of their own little community.

Moonrise Kingdom is unmistakably a Wes Anderson film. It features presumptuous children who seem to be more intelligent and mature than the adults and a simple but whimsical storyline that is completely overshadowed by its presentation. Everything is exaggerated and deadpan humor is in abundance. That is what often makes his films so fascinating to watch and Moonrise Kingdom is no exception. It is a fun adventurous fantasy that only he is able to create.

In the opening sequence, the camera paces through the house of the Bishop’s, introducing us to the three young boys listening to their precious record player and their older sister Suzy (Kara Hayward) who always has a pair of binoculars around her neck. Their mother Laura (Frances McDormand) is always yelling into a megaphone to call after the children and sometimes even her husband Walt (Bill Murray).

Also located on the fictitious island of New Penzance is a camp belonging to Khaki Scout Group Number 55. On what seems to be a routine morning, Scout Master Ward (Edward Norton) emerges from his tent then proceeds to do his daily check-ins to make sure his troop members are doing their duties. Finally he notices at the dinner table that one of its members is absent. He rushes to 12 year old Sam Shakusky’s (Jared Gilman) tent to find out that he has “flown the coop”.

Through a flashback a year earlier we see how Sam and Suzy met. During a play of Noah’s Ark Sam wonders around the building and stumbles into a dressing room full of girls dressed as birds. One of the birds catches his eye, the raven, which was played by Suzy. Soon after that run in, they exchanged many love letters back and forth over the course of a year. In their last letters, which brings us to the present time, they agree to run away together.

It is not long before the island’s local policeman Captain Share (Bruce Willis) receives a call from Suzy’s parents that puts the entire island on a manhunt to find the two. Due to Sam’s survival skills learned from being a Khaki Scout, the two young lovers are prepared and seem to not be in any harm. Suzy did bring several reading materials and a battery operated record player after all.

Our narrator (Bob Balaban) informs us that this is set in September of 1965. He also lets us know that in three days time there will be a massive rainstorm that will result in a flood unlike one the island has seen in hundreds of years. This information adds to the urgency of finding Suzy and Sam.

Each scene is meticulously designed with props and a matching color scheme which is a very common feature for a Wes Anderson film. I noticed it early on in Moonrise Kingdom when we see a primary yellow toned kitchen, in the very back of the shot there is a fan that even its blades we’re yellow to match. The little things like those that are often overlooked in other films that are done to perfection.

In addition to the amazing visual style, the other key element in Moonrise Kingdom is the fantastic cast. First you have Bill Murray, who seems to be born to play Wes Anderson films with his deadpan tone (he has been in five of his last six films). Another Anderson veteran is Jason Schwartzman whose sarcasm fits perfectly with his role as one of the Scout Leaders.

Then you have Anderson newcomers such as Bruce Willis, who I was concerned may stick out like a sore thumb in this role but was proven wrong. Edward Norton as the always serious and enthusiastic leader did not miss a beat either. Last but not least, the two young lovers played by Kara Hayward and Jared Gilman were outstanding together.

It is hard to walk away from a Wes Anderson film with a firm opinion, you must first let it soak in for a bit. It does not help that there is not as much substance in his films. But what Moonrise Kingdom lacks in substance it more than makes up for with plenty of style and quirky but lovable characters.

Moonrise Kingdom, for better or for worse, totally has Wes Anderson written all over it. If you were a fan of his films before, you will love Moonrise Kingdom. On the flip side, if you were not a fan of his work before, I do not think this will change your mind on the matter. Over the years I have come to accept the fact that the plot in his films does not seem to matter as much as the picturesque scenery and development of his quirky characters. It is hard to deny that he is one of the most original American filmmakers in the field today.

Wes Anderson’s latest film Moonrise Kingdom will open the 65th Cannes Film Festival on May 16 2012. Some of the cast members in the film should come as no surprise such as Billy Murray, Jason Schwartzman, and Bruce Willis who have all appeared in Wes Anderson film’s previously. Joining them are other big names; Tilda Swinton, Edward Norton, and Frances McDormand.

Synopsis from the official site:

“Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore — and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.”

UPDATE: Check out our review of Moonrise Kingdom

Check out the official trailer for “Moonrise Kingdom” below: