Not everyone likes the terms “overrated” and “underrated,” and it’s easy to understand why. For some, the words aren’t so much about the films they are applied to as much as a commentary on people’s opinions, and that direct line of attack on the majority can seem a little arrogant. But on the flip side, it’s hard to find two better words that describe what it’s like to disagree with the consensus.

And here at Way Too Indie, we have a wide, diverse group of writers. Want proof? Just look at our list of the Best Films of 2014, where we have a feel-good foodie comedy, a 3+ hour Turkish drama and an animated kids’ movie all on the same list. But there are plenty of times where we don’t all agree on the same thing.

This year we decided to give all of our writers an opportunity to vent out their frustrations at some of the films that either got too much love or not enough. We assigned all of our writers with a task: pick one film you find overrated, one you find underrated, and explain your picks. Read on to see the results, and don’t forget that these picks reflect each writer’s individual thoughts, not the site as a whole. Or, to put it a different way: make sure your hate mail goes to the right person.

Way Too Indie’s Most Overrated and Underrated Films of 2014

Dustin Jansick

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Whiplash is Overrated

Damien Chazelle’s Whiplash received overwhelming praise during its festival run and now sits at a whopping 96% Fresh rating on Rotten Tomatoes, creating the perfect storm for overestimation. Especially considering the film is a glorified sports movie that substitutes drum sticks for sporting equipment. And like most sports movies, Whiplash is wholly predictable and light in the story department. Here an aspiring drummer (Miles Teller) wants to join an elite jazz ensemble so badly that he’ll letting nothing—and I mean nothing—stand in his way. He briefly courts a pretty girl only to dump her just as quick, trying to show how little he cares about anything else. Then there’s the ludicrous car wreck scene where he crawls out of the vehicle covered in blood, yet he’s only concerned with getting to the performance on time (and somehow he manages to play!) The saving grace of the film is the fully committed J.K. Simmons as a perfection-demanding band instructor that most drill sergeants would be afraid of. When someone isn’t playing at his precise speed, he stops the show, humiliates the person in front of everyone, and insists the tempo changes. When played faster, it’s too fast. Slower, and it’s too slow. This gets repeated over and over until the point is made frustratingly clear. While it’s true Whiplash is exhilarating at times, as a whole it’s a slightly above average film about pushing people past their limits.

Like Father, Like Son is Underrated

Unlike the film mentioned above, Like Father, Like Son turns an outlandish situation into an unexpectedly profound narrative. Two Japanese families learn their children were switched at birth after six years of raising them as their own. Writer and director Kore-Eda Hirokazu explores the complex debate between nature and nurture without a predetermined right answer, making a case for both sides. Does six years of parenting outweigh genetics? You be the judge. Kore-eda adds to this philosophical dilemma by introducing contrasting social class between the two families: one family has a ton of wealth but lacks affection while the other family lacks financial prosperity yet provides undivided attention to their children. Like Father, Like Son displays expert craftsmanship, delightful performances (especially the adorable six-year-old), and an emotionally stirring narrative. Like all great films, Like Father, Like Son encourages discussion and inspires you to think. For reasons I don’t understand, the buzz generated during its Cannes premiere (has it really been two years?!) quickly faded. It’s a shame because this film deserves more attention.

C.J. Prince

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Boyhood is Overrated

I didn’t particularly care for Boyhood, which left me feeling pretty cold emotionally when I saw it earlier this year. I couldn’t explain my issues with it more succinctly than Fandor’s Kevin B. Lee, who said Boyhood “feels too much like an all-purpose anthem for the coming-of-age experience” and “lacks the intimacy and specificity” of Richard Linklater’s best work. The film never delves too much into its characters’ lives, sketching out details just enough to ensure as many people can relate to it without getting too precise, perhaps out of fear of alienating viewers.

In a way, I can’t blame Linklater for doing it this way; the shooting method probably made it difficult to get too detailed or specific (it could also explain why Linklater largely eschews narrative). But by doing this, Linklater sacrifices the emotional impact of the story for me, and that broadness leads to something bland. Yes, everyone has something they can relate to in Boyhood, and that’s the problem. It’s perfectly content with doing very little, acting as a blank canvas for viewers to project all they want on to it. And a blank canvas can be pretty boring to look at.

Oculus is Underrated

While everyone and their mother believes The Babadook is the best horror film of 2014 (I came very close to making it my overrated pick), I’m going with Mike Flanagan’s Oculus. It’s a horror film with an unconventional villain: a haunted mirror with the ability to mess with people’s heads, making them see things that aren’t really there. The more time one spends around the mirror, the harder it gets to discern between reality and illusion. And what Flanagan does so brilliantly is make his own film feel like it’s under the influence of the mirror, slowly throwing viewers into a headspace where it’s impossible to understand whether or not what’s on screen is actually happening.

It starts when the mirror shows its malevolence to the film’s two protagonists. The editing starts violating expectations, heightening the awareness of elliptical cuts (in other words, you can no longer fill in the blanks between each shot). And then the film’s flashback structure collapses in on itself, suddenly merging past and present into one. By its climax, Oculus reaches a disorienting fever pitch that’s a marvel to behold. Most horror movies have a hard time creating actual characters; Oculus gets inside its characters’ heads with an effectiveness rarely seen in today’s horror films.

Blake Ginithan

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Guardians of the Galaxy is Overrated

Comic book movies are a dime a dozen now a days, thus one only really needs to be good to stand out. Marvel seemingly has a stranglehold on the market at the moment and is releasing anything it can to make money. Guardians of the Galaxy is neither enjoyably good nor enjoyably bad. It’s pure middle of the road boredom. I’d rather watch a gloriously bad movie that shoots for the stars than a film that plays everything by the numbers. Guardians of the Galaxy is a very bland comic book movie that isn’t interesting for a second. It contains not a single exciting character and not a single enjoyable scene. The action scenes fall pretty flat and the choice to use soul and funky pop songs as the soundtrack is a pretty dire, annoyingly distracting decision. Guardians of the Galaxy isn’t bad by any means; Chris Pratt proves that he will be a movie star in no time and director James Gunn shows he can handle a big budget. But Guardians of the Galaxy only shoots for middle ground and never once wants to rise above the crème to become something better.

Edge of Tomorrow is Underrated

I’m convinced the Tom Cruise we see outside of the movies (the one who jumps on couches) has ruined the Tom Cruise we see on the silver screen. It’s unfortunate, because Tom Cruise shows with Edge of Tomorrow that he is far and away the best movie star of all time. Here Cruise turns in one of his best performances not just of the last few years, but possibly of his entire career. It’s easy to dismiss Edge of Tomorrow as a sci-fi knock off of Groundhog Day but it’s so much more than that. The way we see Cruise’s character go from a complete pussy to an ass-kicking soldier throughout the course of this movie is sensational. And who better as his sidekick than Emily Blunt, who proves she can destroy aliens as aptly and easily as Ripley could? We can talk about the weak ending all we want, fine, but to deny everything you see before it is a sin. Edge of Tomorrow is one of the best Hollywood big budget films to be released in some time. It’s fun, grandiose, energetic, loopy, amusing, kinetic, emotional, and pulsating. Edge of Tomorrow was wrongly missed out on during its initial theatrical run.

Ananda Dillon

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It Felt Like Love is Overrated

The great part about the Internet is I don’t need to worry about all of you out there shaking your heads at my opinion on It Felt Like Love. I hear what many of you have said about the film (including quite a few WTI staff; read our review): about how it portrays the difficulties of growing up in this modern age of sexual inundation on youth; about how honest Eliza Hittman’s depiction of crossing the line from girl to woman is conveyed; about its realistic and observational style of filmmaking. I’m sorry, but no. I was a teenage girl and nothing Lila (Gina Piersanti) experiences in this film resonates with any memories I have. I get that she’s a motherless, confused young lady motivated by envy and peer pressure, but her every decision in this film is so awkward it’s painful. Not even as a teenager did I know anyone so utterly unable to pick up on social cues. First she throws herself at a boy who, even as a known player, quite obviously wants nothing to do with her. Then it ends with her throwing herself into the way of molestation. It’s not an honest coming-of-age; it’s a scary look into worst-case-scenario for an oblivious girl being taken advantage of. Adding to the uncomfortable viewing experience is a lack of plot and excruciatingly slow pacing. It seems to me it’s easy to confuse amateur, awkward filmmaking for deliberate depth, and I found this film too uncomfortable to enjoy.

The Signal is Underrated

So it only received middling reviews after its Sundance premier and then limited release this year, and even I decried its more flagrant failings in my review, but despite what you’ve heard I’m here to say The Signal is still worth watching. In part it’s worth a watch only so that later when director William Eubank is off making huge sci-fi films that have us all (finally) buzzing, we’ll be able to say “I’ve appreciated his work since The Signal.” So there are bragging rights involved. But additionally The Signal also proves that a perfect film is near impossible to find, and what Eubank gets right far outweighs what he gets wrong. In fact, it’s less that he gets much wrong; he’s just missing a few key elements… like enough plot points. But let’s be honest; if any genre is guilty of putting form over function, it’s sci-fi. So even though the film decides not to answer all our questions, ultimately what we’re left with is the memory of the film’s stunning visuals. Eubanks got his start as a cinematographer, and The Signal showcases some imagery that would leave Michael Bay drooling. The film manages to be stylistic and artistic while also bombastic and blockbuster-looking, which is no easy feat. And despite plot discrepancies, there is no denying the steady tension he incites with this mystery. The reveals are truly shocking, and so, in some ways, you could argue The Signal is TOO good. It sets itself up so well in the first two-thirds that almost no ending could really satisfy. At least that’s my generous conclusion. But trust me on this, The Signal may be a head-scratcher, but it’s not a waste of time.

Bernard Boo

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The LEGO Movie is Overrated

I must preface this by saying that The LEGO Movie was one of my favorite films of the year, which I understand may come off as a bit, well, confusing, as I’ve chosen to also label it as one of the year’s most overrated films. Phil Lord and Christopher Miller’s brand of witty, subversive humor speaks to millennials so directly that I understand (and share) all the adoration. But what bothers me about the enthusiasm behind The LEGO Movie is that it seems to come from a place that’s unreasonably dismissive of kids movies. Almost every time I read praise for The LEGO Movie, there’s some line that essentially says it’s “got heart, unlike other dumb kids movies”, which I can’t help but read as ignorant snark. All-ages movies are NOT intrinsically inferior. For every bad kids movie, there’s an equally horrendous rom-com, horror movie, or indie drama (just go to your local indie film festival for proof). Yes, The LEGO Movie is excellent, but excellent kids movies aren’t all that rare. Wreck-it Ralph, whose similarities to The LEGO Movie are innumerable, is just as good, just not edgy enough for cynical bloggers. Consider other kids movies from this year: Big Hero 6 wasn’t “dumbed-down”; The Boxtrolls was incredibly sincere and well-written; How to Train Your Dragon 2 is one of the best movie sequels of the past 5 years. The LEGO Movie was the best of the bunch, but geez…let’s all calm the eff down.

The Better Angels is Underrated

Most of the criticism levied against A.J. Edwards’ The Better Angels, a hypnotic period piece about a young Abraham Lincoln (played by Braydon Denney and referred to in the script as simply, “Abe”), is that it derides too blatantly and too much from the work of its producer, Terrence Malick. There’s fairness to that point, but the comparison seems to cloud the fact that, informing all of the low-angled, heavenly nature shots, there’s a beautiful story of spirituality and family that’s quite good. More importantly, these themes make the Malick-ian imagery entirely appropriate for the story Edwards is trying to tell. Terrific performances from Denney, Diane Kruger, Brit Marling, Jason Clarke, and Wes Bentley give the black and white visuals further richness. No, Edwards doesn’t do Malick better than Malick does Malick, but Malick’s given him the Malick stamp of approval, so if you love Malick like I love Malick (who doesn’t love Malick?), give this arthouse origin story a second (or first) try.

Aaron Pinkston

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Jodorowsky’s Dune is Overrated

Every year is basically a great year for documentary film and 2014 is no exception. The pitch-perfect, clear-eyed portrait of Roger Ebert in Life Itself; the cloudy and pained portrait of a pastor in The Overnighters; the experimental vibrancy of Manakamana; the political nuance of Citizenfour—these (and many other) docs gave us integral and beautiful stories from around the world. Jodorowsky’s Dune is a fine film in itself, but it comes nowhere near the best docs of the year, though it seems many would hold it there. It knocks on two of my biggest cinematic pet peeves—one is basically unavoidable given the film’s story, while the other is completely inexcusable. First, I am always wary about using interviews as a shortcut to verify art, and this film goes there a lot, with talking head after talking head exclaiming how amazing Jodorowsky’s Dune would have been without letting the art speak for itself. Alejandro Jodorowsky is a very compelling figure and his films are among the most bizarre and wonderful ever made. And for some reason Frank Pavich makes a documentary chronicling the tale of the filmmaker’s flawed attempt at bringing the un-filmable novel Dune to the cinema with all the slickness and mainstream vibe that Jodorowsky despises. Sure, watching Jodorowsky ramble on about his worldview is something to see, and the “bringing the team together” section of the film is indeed entertaining, but overall, Jodorowsky’s Dune feels like a lot of wasted potential, much like its source story. Maybe that is what they were going for…

Noah is Underrated

Darren Aronofsky made his biggest movie in 2014, an oft-told tale which manages to feel very personal. Noah has its supporters (who might even outnumber its detractors), but I can’t help but get the feeling that it has already been forgotten. It has basically zero awards buzz, despite Aronofsky’s momentum after his most successful film Black Swan. I can only hope that it bounces back through a strong, loving minority that have championed Aronofsky’s The Fountain, but it probably is slightly too mainstream-feeling for that sort of audience to even give it a chance. Noah, though, is an almost perfect blend of the Hollywood blockbuster and its creator’s vision—it remains a little weird (the stop-motion rock monsters and animated sequences and such) though is probably Aronofsky’s most approachable work. Biblical epics are very hard to bring to the screen without pandering to the religious folks who pay to see them, but Noah balances ideas of the Christian God with atheist philosophies extraordinarily well. I am not a religious person, so I greatly appreciate the filmmaker’s focus on the relevant themes of this story with a naturally questioning tone. For a non-believer, he tells this story with a lot of grace. I was left deeply pondering our impact and place on this world, which is the right effect Noah’s tale should have.

Edward Haynes

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Palo Alto is Overrated

Directed by Gia Coppola, this drifting, meandering, dull film has arguably drawn more praise than it deserves because of the legacy of the Coppola name. Adapted from James Franco’s series of short stories, Palo Alto attempts to weave the lives together of its leads into one coherent piece of storytelling, but ultimately fails. It’s also filled with unlikable characters, who are difficult to relate to and painfully irritating. This would not necessarily be an issue if Palo Alto offered any sort of meaningful insight into youth culture, but you don’t learn anything from this film that couldn’t have been picked up from MTV. One redeeming feature in the film is Emma Roberts’ performance as April, but this is ruined by weak dialogue and an uninspiring performance by James Franco acting alongside her. It’s shot beautifully; Gia’s style is reminiscent of Sofia Coppola’s. You can have all the great cinematography in the world, but it won’t save a film with a poor script.

Obvious Child is Underrated

Obvious Child is a film that takes a refreshingly personal and honest approach to abortion. This alone is reason enough for the film to be commended, but just as importantly, Obvious Child puts as much emphasis on being an entertaining, funny and enjoyable film as it does on conveying any political message. This has possibly led to the film receiving less attention come awards season than it might have gotten had it conveyed its pro-choice message more forcefully. Yet its subtlety and reluctance to judge others make it an evocative and poignant film. Obvious Child also deserves praise for creating easily some of the most likeable characters of the year in a romantic comedy. Jenny Slate is brilliant in this film, funny and intelligent, as is Jake Lacey in a role that refreshingly subverts the ‘man-child’ stereotype perpetrated by Judd Apatow films. The need for more sweet and heartfelt romantic comedies like this has never been more apparent considering the cynical phase the genre seems to be in at the moment.

Michael Nazarewycz

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Wild is Overrated

Inspired by actual events, Wild tells the story of Cheryl Strayed, a woman with a troubled past who, in an effort to find herself, embarks on a 1,000-mile hike on the Pacific Crest Trail. It’s important to note that anyone who pulls themselves out of the darkness of addiction is worthy of praise, but as backstories go, Strayed’s is not all that remarkable. There’s no lack of people who’ve partaken in self-destructive behavior after a personal tragedy, and director Jean-Marc Vallée does nothing to indicate why Strayed’s story is more deserving to be told than anyone else’s … other than that 1,000-mile hike, of course. As for that hike, Vallée may highlight Strayed’s physical challenges–water shortages, backpack weight, bad shoes, etc.–but it is only ever an exercise in list-making. The hike is presented less as a journey and more as a highlight reel of Strayed’s most memorable moments on the trail. With both past and present unremarkable, tying them together is almost impossible, and the result is a random collection of flashbacks shown during oft-unrelated moments along the linear hiking trail. Witherspoon may shine, but her commitment to character is only a distraction.

John Wick is Underrated

To say John Wick is “underrated” is to make something of a relative statement. The film has certainly received praise, but that praise has felt somewhat faint. “John Wick is a great movie … for what it is.” But “for what it is” should be a compliment, not a caveat. In a cinematic action landscape that is overcrowded with men in tights, John Wick, starring the sharply dressed and perfectly stoic Keanu Reeves, is part homage to the action films of the ’80s and part ballet of violence, with every scene meticulously choreographed, blocked, shot, and edited. The excellence of the technical execution is what makes the film work, and all credit belongs to Chad Stahelski and David Leitch. Between them, the first-time co-directors have over 150 stunt-related film credits. This experience gives them the understanding necessary to turn John Wick from just another shoot-em-up to something stylish in design, exhausting in execution, and incredibly satisfying in total. Awards season always brings a lament that comedies don’t get their due. Maybe it’s time to include action films to that list.

Nik Grozdanovic

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We Are The Best! is Overrated

Being derisive about Lukas Moodysson’s raucously titled We Are The Best! — currently standing at 97% on Rotten Tomatoes – might peg me as a self-loathing killjoy, but let me make something clear: I don’t hate it. The moments we spend with Bobo and Klara are filled with insatiable sweetness, which obviously touched a nerve (you’d have to be literally made of stone if you walked away feeling spiteful). But it’s nowhere near as good as critics make it out to be.

By placing it entirely in a 13-year-old world, the film is akin to spending an afternoon with 2 obnoxious pre-teenage girls who are screaming terrible lyrics in your ear and desperately seeking your attention. And it’s funny, because Bobo and Klara hate attention, but Moodysson’s complete imbalance of tone and stubborn insistence to keep the film’s rhythm strumming the same note for the full hour and 40 minutes is so desperate for it, the movie becomes an utterly disjointed experience. It’s as if the girls are directing him, which is fun for the first twenty or so minutes, but then it becomes a movie that feels like it’s directed by a 13-year-old. Yeah, I get it, THESE KIDS ARE SO CUTE, but that’s not enough to keep me interested in their impulsiveness and immaturity, regardless of how much your nauseating cinéma vérité in-your-face camera wants me to. Barkhammar, Grosin, and Liv LeMoyne are the best thing in it so Moodysson clearly knows how to create a freeing atmosphere on set. Too bad his direction smothers this freedom and, by unsubtly using a music genre only most adults can relate to, creates a manipulative and glaringly twee film, which is the complete opposite of punk, creating even more discord. But, yeah, they’re so adorable!

The Rover is Underrated

Premiering at Cannes, the follow-up to David Michôd’s critically acclaimed Animal Kingdom with Guy Pearce and a post-Twilight Robert Pattinson in central roles had most everyone smacking their lips in anticipation. However, the film’s anti-narrative approach to a story set in a post-apocalyptic Australian desert world, and the opaque development of Eric (Pearce) and Rey (Pattinson), left critics feeling, well, very critical. It currently stands at 65% on Rotten Tomatoes, but I’m convinced The Rover is headed toward years of re-evaluation with a more sober hindsight on its quiet, gripping, and poetic powers.

Let’s get the obvious out of the way; Pearce and Pattinson (yes, Pattinson) are both exceedingly intense, determined, and unwaveringly subtle in embodying their characters. The kind of performances commanded by quick looks and haunting stillness; they both add layers without speaking a word. Michôd’s bold approach (he must have realized he’d alienate so many people) to have almost no exposition and just let this one simple story (which he developed with Joel Edgerton) of a man wanting his car back in a financially fossilized and Godforsaken world speak for itself. It’s a sign of respect towards the fundamental rule of this craft; showing without telling, so being shot on 35mm film becomes even more symbolic. Natasha Braier’s cinematography also stands out thanks to the format, however, and the film’s colorful supporting characters all weigh in with their own individual ways. Not a perfect film by any stretch, but absolutely more worthy of praise than scorn.

Gia Coppola’s Palo Alto wades through the malaise of modern teen life as well as any movie has in years, reminding us of how dirty and distressing high school life can truly be. Based on a book of short stories by James Franco set in the semi-cushy California city he grew up in, the film depicts everyday-looking adolescents who make bad mistakes and reckon with them. It’s a deceptively truthful approach to the subgenre that few studio productions have the cajones to touch. Coppola does her family name proud and announces herself as an exciting new voice in the cinemasphere.

Coppola takes bits and pieces from Franco’s anthology and strings them together into a cohesive narrative, and the result gels pretty well, structurally. The group of well-off white kids sauntering through their suburban wasteland are all well-drawn and have unique, interesting trajectories. Emma Roberts plays April, a virgin who may or may not have a questionable budding relationship with her soccer coach (Franco), whose son she babysits on the weekends. She also has a bit of a crush on the more appropriately-aged Teddy (Jack Kilmer), a good-natured stoner kid who’s a bit of a screw-up, mostly due to the toxic influence of his reckless, sociopath friend Fred (Nat Wolff). In a sleeper role, Zoe Levin plays Emily, a misguided girl who wants love but doesn’t know how to attract others with anything but her body.

The film opens with Teddy and Fred sitting in a car in an empty parking lot at night, rambling about hypothetical, fantastical teenage boy nonsense because they have nothing else better to do. They accidentally ram the car into the wall in front of them, and with that Coppola has set the tone of the film perfectly. These lost souls are in limbo, too old to stay home all night, and too young to partake in the adult nightlife, so their only option is to shuffle around, drink, smoke, have parties, and break stuff, including themselves.

There isn’t a lot going on plot-wise, which is a good thing, as the film’s identity is more defined as a moving portrait of the modern, suburban teenager. Teddy and Fred are friends not because they’re good for each other (the opposite is true), but mostly because cutting down a tree with a chainsaw tickles them both in the same way. It’s better to be bored together than bored alone, at the very least. When Teddy gets a DUI while driving home from a party, he talks shit to the police officer, establishing again that he isn’t your typical teen movie protagonist, but a confused kid who makes mistakes often.

With a background in photography, Coppola keeps her composure visually, not working too hard to wow us with compositions or colors. As a result the film (which is, in fact, pretty) is tasteful in its imagistic flourishes, flirting with the surreal only at timely, pivotal moments in the characters’ misadventures. For example, when April has her first sexual experience, time seems to stop, and we’re transported to the deepest recesses of her mind as Coppola focuses on her face and heavy breathing, muting out the rest of the world. All of the melodrama that spoils modern teen movies is hushed to almost non-existence here; the film is as moody, dark, and accurately evokes the intensity of teenage bewilderment.

Kilmer and Roberts (both fantastic) are the central characters, but Wolff and Levin have an engaging storyline to navigate as well. The rude, in-your-face Fred finds the promiscuous Emily the perfect play thing for him to exploit and dominate, and their increasingly abusive meetings culminate in a stirring poolside moment that changes them both forever.

What’s significant about Palo Alto is that, even with Coppola’s expressionistic delivery, it’s as accurate a portrayal of today’s teenager you’ll find in movies. It’s an excellent time capsule for future generations. These kids are in limbo, not consumed by future plans like college or careers, but by the most present of issues, big and small. They look and feel real; Teddy plucks on his guitar in his messy room (which is Kilmer’s in real life), April shuts the door and bounces around to music when she gets home from school, and Fred dicks around at the local skatepark. It’s these small, quiet moments in life that Coppola captures so well, moments that seem insignificant at the time but later develop into our most vivid, cherished memories. A shining debut feature.

Originally published on 5/16/2014

Palo Alto trailer

Gia Coppola’s debut feature Palo Alto captures the struggles of modern teens better than any movie in memory. The film is based on a book of short stories by James Franco, who c0-stars in the film alongside young breakouts Jack Kilmer, Emma Roberts, Nat Wolff, and Zoe Levin. A series of interweaving tales of teens partying, getting into late-night trouble, and crushing on all the wrong people encapsulate serious themes of lust, confusion, ego, and young vulnerability.  Atmospheric, honest, and cinematic, the film marks an impressive inaugural artistic statement for the young filmmaker.

During the 57th annual San Francisco International Film Festival, Coppola spoke with us about the pressures of making her first film, representing teens authentically, begging Jack Kilmer to act for her, James Franco’s strengths as a mentor, bridging the generation gap, and more.

Now that you’re on the other side of making your first film, do you find you enjoy the process of promoting it, introducing it to the world?
Gia: Yes and no. It’s a very important part of the process to talk about your film and try to get it out there, especially because the industry right now is rapidly changing. It’s a very important element in making movies. I didn’t realize that that was a whole other side to it.

So that was a surprise!
Gia: Yeah! (laughs) Having to talk about the film is difficult for me because I feel like I’m so close to it. To think about it generally and try to articulate everything I’ve gone through is hard for me. I’m not good with words; I use pictures to articulate things. It’s fun when the cast is around because I can let them take over. (laughs)

A surprise for me in the film was how authentic the characters’ bedrooms looked. Teenage bedrooms that look fake always bug me in movies for some reason…
Gia: For Teddy’s bedroom we used Jack Kilmer’s real bedroom, and Emma’s bedroom was my old bedroom at my mom’s house when I was in high school. [Zoe Levin’s] bedroom, with all the stuffed animals, we dressed because it was an interesting dynamic to have this young woman who maybe a year ago was playing with stuffed animals, now has a boy in her room. It’s a weird juxtaposition.

I think your film is important in that it accurately represents what the modern teen is like for future generations. If they looked at most other high school movies they’d probably get a terribly wrong impression.
Gia: I feel like the emotions and dynamics surrounding teens haven’t changed over the years. I remember showing the movie to older relatives, and they said, “This is exactly what we went through.” I wanted to show something in an authentic way. Teens in movies today just don’t look real. They don’t smoke cigarettes, they don’t curse, everything’s perfect, the actors are older…using real teenagers was kind of a no-no.

I think you also capture that state of limbo teenagers find themselves in. They’re too old to stay home every night, but they’re too young to really do anything once they get out there, so all they can do is drink at house parties and sit in their cars in parking lots.
Gia: What I remember growing up is just sitting in parking lots, trying to figure out what to do. Those moments seemed so boring and lame at the time, but when you look back on it, those were the best moments.

Did your skills as a photographer translate well to directing film?
Gia: In a sense. I felt very comfortable in the cinematography aspect of things. Filmmaking is an extension of photography, but there’s so much more to incorporate. I was really nervous about working with actors. I’m shy, so that was hard. It’s a collaborative experience, and it was a first feature for all of us, so we were very enthusiastic. We became like a family, and it was really sad when it was over.

Your cast is very normal-looking, in the best way possible. They look like actual, awkward teenagers.
Gia: When I look at teenagers in the real world, they’re so interesting and they have great style. I was trying to reflect that. Because Jack and Nat [Wolff] were 17 at the time, we used their clothes and let them style themselves. It was so much more interesting that way.

You’ve known Jack for a long time.
Gia: I’ve known him since he was 4 years old.

Growing up, did he ever want to act?
Gia: No. I had to chase him down a little bit because, like me, I don’t think he wanted the pressure of what comes along with his background. All of that attention, you know? Now, he really appreciates having that bonding experience and being collaborative and creative with everyone, which I don’t think he was really getting with his friends as much. But no, he didn’t want to take it on at first…but I begged him and he was willing to do it for me. (laughs)

I feel like adults sometimes put too much pressure on their kids because they forget just how intense those teenage years can be. Do you think your film may help teens and parents understand each other a bit better?
Gia: I hope it bridges the gap and both demographics can understand each other a little bit. There’s that point in your life when you understand that parents are human beings, too, and you see them for how they’re just as flawed as you, trying to figure out their own lives. With movies today, teens are made fools of. They just want to get drunk, and there’s not much meaning behind why they do the things they do. It’s such an interesting time for a person. It’s a physical thing; our bodies are changing and you can’t help but feel awkward. James says that teenagers are good subjects for talking about emotions because everything’s on the surface and magnified, so it’s easier to talk about those emotions.

You’ve said that you wanted to stake your own claim as a filmmaker without much help from your family name. Instead, you adopted James as a mentor. What did he teach you?
Gia: He’s totally fearless, and that’s something to admire. His character is really challenging, and it was nice to have him there to teach me how to direct an actor of that caliber. He’s a director, so whenever I’d get stuck he’d help me with the blocking or whatever needed to be done. He has so many talents that he could help with anything I needed.

When James entrusted you with putting his stories to screen, what was your attitude? Were you ready to rise to the challenge, or were you nervous?
Gia: It was a little bit of both. I’d never considered making a feature length film; I was doing photography and had made one little short film. I really loved James’ book, and I was excited at the chance of working with him. He really set the tone, so I didn’t have to feel nervous about anything. I could just enjoy being collaborative with my peers. All of the pressure dropped off and I was just having a good time. We struggled with getting financing, and that was heartbreaking. When we finally started filming, I was in the state of mind of, “I’ll believe it when I see it.” I was so heartbroken that I didn’t want to string myself along anymore. On the first day of shooting I thought, “Oh my god…I’m not ready for this!” But there’s no way to really be ready for your first film. I think that was sort of to my advantage to not have a lot of time and not know what to expect.

It’s crazy to be here [in San Francisco] with the film because I thought it wasn’t going to be in theaters. I really didn’t know what was going to come of this small indie film.

Gia Coppola’s debut film Palo Alto, adapted from James Franco’s collection of short stories, opened last weekend in Los Angeles in New York. The film scored the second highest per screen average of the weekend (only behind the limited release of Jon Favreau’s Chef) and has been a hit with the critics.

Two new clips from the film have been released and can be seen below. Both clips involve the film’s star, Emma Roberts, interacting with two adult men in her life. Also, keep an eye out for our interview with Gia Copploa later today.

“I Think You Should Play Striker” Clip

In the first clip, April’s soccer coach Mr. B (James Franco) offers her a babysitting job. Though a brief and fairly innocuous scene, it is loaded with the subtext of their flirtatious relationship that follows through in the film. Roberts is fantastic here, playing up her shy and cute qualities, leading to the scene’s end moment where she holds a pretty complex expression that reads a million different ways.

“I Corrected Your Paper” Clip

The second clip shows April with a teacher (Val Kilmer). Though there isn’t exactly a lot going on in this clip, it does showcase Kilmer, whose character has an authoritative stoner vibe that could prove quite funny in the film.

SFFS Awards Night

On May 1st, right in the middle of the 57th annual San Francisco International Film Festival (SFIFF57), the San Francisco Film Society (SFFS) held and awards night gala, honoring some of the industry’s most vital filmmakers and contributors. It was a star-studded event, with Richard Linklater, John Lasseter, Jeremy Irons, screenwriter Stephen Gaghan, and more receiving awards presented by young stars including Zooey Deschanel, Josh Gad, and Parker Posey. Check out pics from the red carpet below:

The Skeleton Twins

On the same night, a few blocks away in Japantown, Bill Hader and Kristen Wiig were in attendance to introduce their dramedy (heavy on the drama) collaboration with director Craig Johnson, The Skeleton Twins. Hader, ever the entertainer, had fun with the press on the red carpet, pretending to cough to screw with photographers (I still managed to snap a couple good ones), and even conducting almost an entire interview in an Australian accent. Check out the hilarity below:

Palo Alto

Adding to the illustrious Coppola family legacy at SFIFF57 was Gia Coppola, niece of Sofia and granddaughter of Francis, with her gritty slice of teen life Palo Alto. Based on a book of short stories written by James Franco (who also acts in the film), it’s the best representation of modern day teens I’ve ever seen, an impressive outing for a first time filmmaker. Coppola and star Emma Roberts made an appearance on the red carpet at the Kabuki, both looking gorgeous as usual. (Photo credit: Adam Clay)

Last Weekend

Taking over the red carpet this past weekend were the directors and stars of Lake Tahoe-set family drama Last Weekend, which made its world premiere at the festival. Many of the ensemble cast were in attendance, including Patricia Clarkson, Joseph Cross, Chris Mulkey, Alexia Rasmussen, Devon Graye, and Fran Kranz. First time co-directors Tom Dolby and Tom Williams (lovingly referred to by the cast members as “Tom-Tom”) celebrated the film’s successful launch on the red carpet with their stars, as well as on a second carpet at the film’s after party. (Photo credit: Adam Clay)

A 3rd generation filmmaker of one of cinema’s most lauded families, Gia Coppola impresses in her debut feature, Palo Alto, an adaptation of a book by James Franco (who’s also in the movie) that captures the listless, limbo-like haze of high school through interweaving stories of several troubled teens. While the film technically falls into the “teen drama” column, its authentic, unapologetically filthy depiction of adolescence sets it apart.

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Photos Courtesy Adam Clay

Much of Palo Alto‘s authenticity stems from its cast, all appropriately aged (this is important) and all quite…normal looking. It’s a good thing, as most teen movies’ stars are too prettied up to be relatable. Jack Kilmer, son of Val (who makes a brief, comical appearance), and Emma Roberts lead the brilliant cast, who all convince as conflicted, bored, lustful youths partying, getting in trouble, and goofing around in parking lots. Coppola, a photographer whose work impressed Franco enough to entrust the stories of his hometown to her, has a natural eye for composition and color, capturing the intensity and urgency of teen life with her luscious, moody imagery. Each character is chaotically emotional and has a unique set of inner conflicts to reckon with. This is the best representation of modern teens in memory.

SFIFF57 offered up another debut feature, this time from co-directors Tom Dolby and Tom Williams with the world premier of the Lake Tahoe-set Last Weekend. A family drama about an affluent couple (Patricia Clarkson and Chris Mulkey) hosting their spoiled adult children and their significant others for a weekend in their home on the sparkling lake, the film has its moments but is hampered by a script that needs more sharpening. Watching entitled rich folk complain about everything while feasting in paradise is a joke that gets old quick.

Click to view slideshow.
Photos Courtesy Adam Clay

The film, which has almost zero plot to speak of (not a knock), is completely fueled by the contentious family dynamics. The savvy young cast, which includes Zachary Booth, Alexia Rasmussen (Proxy), Joseph Cross (Milk), Devon Graye (Dexter), and Jayma Mays (Glee), all approaching their prime, embody their bratty roles tastefully, never going overboard or outshining each other. Clarkson and Mulkey guide them along, and the fresh faces keep up without a stutter. Cross and Clarkson share some particularly venomous scenes together, epic mother-son spats that steal the show. Fran Kranz (Cabin in the Woods) and Rutina Wesley (True Blood) play nothing roles that amount to a well-acted waste of time.

Tsai Ming-Liang made a Miyazaki-like announcement at the premiere of his new film Stray Dogs in Venice that the stunning film about an impoverished family would be his last, to the sadness of many arthouse aficionados. The lauded auteur is leaving the cinema world on a high note, however, as Stray Dogs is as gorgeous, boundary-pushing, and incomparable as his previous work (What Time is it There?, The Hole).

As has become his signature style, Tsai presents his tale in a series of fixed, ultra-long shots whose uncompromisingly elongated form reveals intricacies and shifting emotion unseeable by way of conventional quick cuts or even shots like Scorsese’s Copacabana classic. Spectacle is not the objective here, with the shot lengths surpassing the ten minute mark in some cases. Tsai paints a dark, stark portrait of a family living in squalor on the streets of Taipei. We see the children bathe in a dingy public restroom, the father hold up advertising signs at a busy intersection in the pouring rain. It’s a haunting, gut-wrenching film, and one whose beauty lies not just in Tsai’s immaculately composed shots, but in the 4th dimension of time itself. And you don’t even have to shell out an extra ten bucks for 4-D glasses!

Perhaps the biggest surprise of the festival so far has been Craig Johnson’s The Skeleton Twins, which from movie stills ostensibly appears to be a star vehicle for SNL all-stars Bill Hader and Kristen Wiig, but actually turns out to be an unexpectedly affecting sibling drama peppered with funny moments for the comedians to please loyalists. Hader and Wiig play the titular troubled siblings Milo and Maggie, each with self-destructive tendencies.

Click to view slideshow.
After ten years of not speaking, Maggie invites her brother to stay with her after a suicide attempt. She’s in denial about her dissatisfaction with her marriage to the cheerful Lance (Luke Wilson) while Milo, an emotional wreck more aware of his fatal flaws, struggles to tie up loose ends in his past life while trying desperately to keep Maggie afloat in her failing marriage. It would be fair to categorize The Skeleton Twins as a dramedy, though the dramatic element is more intensified here than your average Apatow effort. It’s a dark movie, and Hader and Wiig’s comedic chops translate well to the emotional spectrum of acting (Wiig’s already proven this, but this is Hader’s first dramatic leading role). In fact, the laughs sometimes outstay their welcome, as the comedic scenes are egregiously tailored to the actors’ signature personas and distract from their better, dramatic character moments. This one’s definitely worth keeping on your radar.

Tomorrow night, the 57th annual San Francisco International Film Festival (April 24-May 8) kicks off its program of 168 films representing 56 countries. Seeing every film in that span of time is a veritable impossibility (though San Francisco is full of sun-depraved cine-maniacs ready to jump at the challenge), so we’re going to take a look at some of the highlights in the festival’s catalog for anyone planning on hopping over to the Bay Area and joining in on the fun.

Opening up the festival tomorrow night at the Castro Theater is Hossein Amini’s The Two Faces of January, a Greece-set suspense thriller starring Kirsten Dunst and Viggo Mortensen, an American couple on holiday who find themselves inextricably linked to a shifty tour guide (Oscar Isaac) after a fatal accident in a hotel room forces them to frantically find a way out of the country. Evoking Hitchcock’s touristic action-romance romps, the film should send the festival on its way nicely.

Speaking of being on holiday, Michael Winterbottom’s The Trip to Italy (pictured above) looks to walk on the lighter side of vacationing. A sequel to 2011’s The Trip, the film stars English funnymen Steve Coogan and Rob Brydon playing inflated versions of themselves as they, like in the first film, take a culinary tour of expensive restaurants, making each other chuckle along the way with improvised chatter and–of course–spot-on Michael Caine impressions.

On the darker side of traveling lies Kumiko, the Treasure Hunter, about a sociopath Japanese office assistant who flies to Fargo, North Dakota in search of a buried treasure she glimpsed in the famous Coen Brothers movie. For some reason, she believes a suitcase full of money buried in the snow by Steve Buscemi in a fictional movie exists in real life…and that totally piques my interest for some reason…

The film that’s got me frothing in anticipation more than any other is Night Moves (pictured above), by ridiculously talented writer/director Kelly Reichardt (Meek’s Cutoff, Wendy and Lucy). It’s a safe bet that, like her previous films, we’ll be treated to a smorgasbord of deliciously cinematic imagery to support a wholly unique script (set, as in all her previous efforts, in Oregon). The political thriller stars Jesse Eisenberg and Dakota Fanning as environmentalist lovebirds who, with marine veteran Peter Sarsgaard, hatch a plan to blow up a dam. This one looks to be a less contemplative and more narrative-driven movie than we’re used to seeing from Reichardt, which excites me to no end.

The fest’s centerpiece presentation is the Bay Area-set teenage drama Palo Alto, directed by Gia Coppola and starring Emma Roberts, James Franco, and Jack Kilmer. Based on a book of short stories written by Franco about his experience growing up in the titular Bay Area community, the film aims to be a more authentic take on teenage life than your typical high school drama, casting appropriately-aged actors in all roles and eschewing tropes like stereotypical clique dynamics.

Richard Linklater is set to receive the Founder’s Directing Award at SFIFF, and he’s bringing Boyhood, his much buzzed-about coming-of-age movie, along with him. We’ve all heard by now that the film is pretty good and that it took  an unprecedented 12 years to make, which is reason enough to check out the film at the festival, but sweetening the deal is that a career highlight reel of the indie pioneer will also be shown, and Linklater will participate in an on-stage interview. Doesn’t get much cooler than that!

There are two films with the word “Summer” in the title playing at the festival, but seriously, they couldn’t be any more different. Stanley Nelson (Freedom Riders) chronicles the rise of the Civil Rights movement in his powerful documentary Freedom Summer, focusing on the significant, eruptive events in Mississippi in the summer of 1964. Director Michael Tully’s nostalgia comedy Ping Pong Summer (pictured above), set in a 1985 Maryland beach town, follows 13-year-old Rad Miracle (Marcello Conte) as a simple family vacation turns into one of the most memorable summers of his life.

Closing out the festival is actor-turned-director Chris Messina’s Alex of Venice, starring Mary Elizabeth Winstead as the titular workaholic attorney, whose negligence of her family drives her husband (Messina) to walk out of their lives. As Alex’s strictly organized life begins to spiral out of control, she scrambles to restore some semblance of order, in the process discovering what’s truly important to her. The film also stars Don Johnson as Winstead’s father in a standout role.

For more information and ticketing info, visit sffs.org

Today, the San Francisco Film Society (and its new executive director Noah Cowan) announced the full lineup for the 57th annual San Francisco International Film Festival, running from April 24-May 8. Consisting of 169 films from 56 countries, the festival looks to present a broad selection of both domestic and world cinema features. 200 filmmakers and special guests are expected to attend.

Opening up the festival will be Hossein Amini’s The Two Faces of January, a Greece-set suspense-thriller starring Viggo Mortensen, Kirsten Dunst, and Oscar Isaac. Gia Coppola’s Palo Alto will serve as the fest’s Centerpiece Film, while actor Chris Messina’s directorial debut Alex of Venice, starring Mary Elizabeth Winstead and Don Johnson, will wrap up the festival’s 15-day run.

Receiving awards at this year’s festival will be Pixar’s John Lasseter (2014 George Gund Craft III of Cinema Award), Richard Linklater (Founders Directing Award), screenwriter Stephen Gaghan (Kanbar Award), and film historian David Thomson (Mel Novikoff Award), with more to be announced.

Some standouts: Kelly Reichardt’s (Meek’s Cutoff) environmental activist drama Night Moves starring Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard, looks to be another excellent entry into the acclaimed indie filmmaker’s oeuvre;  The Skeleton Twins, a sibling drama starring SNL favorites Kristen Wiig and Bill Hader, who will be in attendance at the fest; Young & Beautiful, a drama from Francois Ozon (Swimming Pool) billed as “a portrait in four seasons and four songs”; and Boyhood, Linklater’s unprecedented coming-of-age story filmed over 12 years.

For the full schedule, check out sffs.org

There are films that, purely based on a pitch, pique my interest. An adaptation of a James Franco novel about suburban trouble-making teens handled by a first time director is not one. The trailer for Gia Coppola’s Palo Alto delivers as much of a pleasant surprise as a trailer can, though. The often (over)told tale of impressionable girl meets delinquent boy seems to at least be visually interesting in this turn. Emma Roberts stars as said girl opposite Jack Kilmer, son of co-star Val. Franco plays a “touchy, feely” soccer coach in the screen version of his Palo Alto Stories which rang a tad obnoxious, but he has proven a capable, if sometimes annoying, actor over the years, so I will give him a probationary pass here.

It will be interesting to see how yet another director from the Coppola family handles her first project when this makes its debut in Telluride and TIFF. Chances are she’s no Francis Ford or even a Sofia, but here’s hoping she is nothing like Nicolas.

Watch the trailer for Palo Alto: