REVIEW: DIVERGENT Is a Must-See This Weekend

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The next book-to-film adaptation to be released is Summit Entertainment’s Divergent, opening in theaters March 21st. The New York Times best seller was written by Veronica Roth (co-producer of the film, as well) before she had even graduated with her undergraduate degree in Creative Writing from Northwestern University. The story follows protagonist, Beatrice “Tris” Prior, as she learns that being ‘Divergent’ is something dangerous and life-changing.

The world of Divergent is understandably a dystopian future where society is divided into five factions: Abnegation, Dauntless, Amity, Candor, and Erudite. Each faction is based on what skill-set comes the most natural to you. Abnegation values selflessness in the service of others, Amity values peace above else, Candor values honesty, Dauntless values bravery, and Erudite values the virtue of intelligence and wisdom. At the prime age of 16, each Divergent-Score-830x830coming-of-age child must become a member of society and choose one of the five factions at a Choosing Ceremony. This decision is determined by an aptitude test that uses a “simulation” to find its results. The test results, however, are only a suggested path, the initiate has the power to choose what life they will lead.

The film starts off with showing Beatrice (Shailene Woodley) in her grey, barren Abnegation house with her father (Tony Goldwyn), mother (Ashley Judd), and brother (Ansel Elgort). Beatrice takes the aptitude test like every other initiate. Her results, however, are inconclusive, which we later find out to be the ominous ‘Divergent’. Instead of choosing Abnegation, what she knows, Beatrice chooses the fear-seeking Dauntless and embarks on a journey packed full of action, adrenaline, and suspense. The next scene you see is Shailene Woodley and Zoe Kravitz hauling ass, running beside a train, trying to jump aboard.  “Run Boy Run” by Woodkid fills the scene with this hyper-coolness — you just want to be DAUNTLESS!

My overall impression of the film is described best in the last sentence of the previous paragraph. The filmmakers do a great job at making you want to be apart of this world — ass-kicking, jaw-breaking, nose-bleeding and all. And let’s be honest, I’m definitely not the type of person that would engage in violent activity for fun, so that’s saying A LOT for me to want to be a part of it! The way the music becomes such an intrinsic part of this film reminds me of the Twilight world. (Please don’t zone out on me now; I’ve got a point, I promise.) The music allows you to feel the story and to feel Tris’ struggles and triumphs. The most notable music collaboration was Ellie Goulding’s contribution to the Divergent soundtrack; my favorite being the single, “Hanging On,” which perfectly describes Beatrice as she walks into the Choosing Ceremony about to select her fate. It’s so easy for a big franchise like this one to select popular musicians just to select them. It’s so much harder for a big franchise to be transcendent with its music selection. You will have to buy the Divergent Soundtrack (out NOW) after seeing the movie, trust me and you’re welcome.

It’s time to talk chemistry because that’s all we really want to know now-a-days. Shailene and Theo have a great on-screen chemistry. At first, you feel like Tris is just hot for teacher, but their relationship develops more and you can really start to feel it, especially towards the end. Oh, and canhr_Divergent_27 we just talk about Theo’s abs? Hey, I am not being grotesque, he talked about them here. In real life, Shailene and Theo could not be more different, which, to me, makes promo interesting. It’s not forced. I love that. Is it time yet to bring out the cliches? Opposites attract. BOOM, just.did.it.

Okay, so now you are probably thinking, How close is this movie to the book? Well, I hate to burst your bubble, but let’s face it. Every book-to-film adaptation has to have some creative cutting, splicing, adding, etc., to make it ready for all audiences. The film adaptation, Divergent, strays from the book in terms of timing. Fans of the book will be happy that all the important scenes are in the movie; however, the sequence of when that important scene might have occurred has shifted a bit. Don’t worry, you’ll still see Tris and her mom reunite; it’s just not in the way you think it will be. It’s Hollywood and you have to make a movie that everyone is going to understand. Moviegoers are not granted the luxury of reading every thought that crosses Tris’ mind, nor are they allowed the time it takes to read a 487 page novel in 2 hours. As a fan of the book, I can accept what they changed, deleted, and added because the filmmakers remained in the world. They did it justice. It still makes sense. I’ll post a spoiler-worthy write-up on the book-to-film differences after opening day.

This film (and basically whole story) is BADASS. (I wrote that a lot in my notes while screening the film). The combat, romance, and thrill allow for both sexes to find Divergent entertaining. I expect this film to open big, so why wait to hear from your friends about it? GO OUT AND WATCH IT OPENING WEEKEND!

Check out the photos we took of Shailene Woodley, Theo James, Miles Teller, Ansel Elgort, Tony Goldwyn and cast from the Divergent press junket here. Watch our red carpet interview with Theo James, Shailene Woodley, Ansel Elgort, and Veronica Roth at the Los Angeles World Premiere.

DIVERGENT opens nationwide in theaters March 21st (this Friday)!

REVIEW: Zoey Deutch Brings the Laughs in VAMPIRE ACADEMY

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Last night, I attended the Los Angeles premiere of Vampire Academy. Ashley Charles, Cameron Monaghan, Dominic Sherwood, Sarah Hyland, Danila Kozlovsky, Daniel Waters, Dominique Tipper, Lucy Fry, Mark Waters, Olga Kurylenko, and Zoey Deutch were in attendance at the Regal L.A. Live Cinema. Noticeably absent was the author/creator of Vampire Academy, Richelle Mead.

I’m not going to lie, I had major doubts about this film because every time I saw a trailer, poster or clip from this film, I was left frowning my eyebrows and asking the person next to me if they understood anything from what we just watched. The first teaser trailer, released in time with the debut of The Hunger Games: Catching Fire, is what did me in, made me a cynic. Well, I can go on the record now for saying that I was completely wrong about my assumptions before. Vampire Academy was worth it! Most notably, Zoey Deutch’s performance, hitting all the comedic notes and kicking ass better than the males (besides Danila Kozlovsky, of course), was spot on! Perhaps now I should also admit that I haven’t read the books … which could be the main source to my confusion with the story. Throughout the film, I kept making comments to myself about how great the literature must’ve been, so if you have an opportunity to read the first book, at least, then I’d highly recommend it; you won’t need as much clarification after the film (like me) from your VA expert friends.

Anyways, with that being said, I think I will help those of you that were like me out by giving a brief overview of Vampire Academy, so you can be more prepared than I was in seeing the film (if you are already familiar with the books, skip down to the next paragraph). The introduction to the VA world is fast-paced. If you look down for a second to grab a handful of popcorn, you’ll have missed a ton of vital information in regards to this world. OK, moving on … There are three (well, technically four) types of characters: Dhampirs, Moroi, Strigoi and, well, Humans. Dhampirs are guardians of the Moroi. Moroi are living vampires; they are mortal and born. Moroi only feed on humans; they never kill them. Dhampirs must protect the Moroi from Strigoi. Strigoi are Moroi that have killed a human or Moroi; they are undead, immortal, and are made as opposed to born. It only takes killing a human once for Moroi to become a Strigoi. Humans and Dhampirs can become a Strigoi from being bitten by a Strigoi and fed blood from a human, Moroi, or Dhampir. Rose Hathaway (Zoey Deutch) is a Dhampir; Lissa Dragomir (Lucy Fry) is the Moroi that Rose protects. Now that you can distinguish between the groups, I think it’ll be easier to understand what’s going on.

In terms of the filmmaking, Vampire Academy opens with a sense of urgency. Unfortunately for those members in the audience (like me) who have absolutely no idea as to what this world is about, we must suffer with confusion. The pacing is too fast initially for the audience to establish who’s who, what’s what, and why are they doing that. After 20 minutes or so, you start to understand the gist of Vampire Academy. Flavored with bursts of comedic bliss, the writing is fresh and smart. This isn’t your typical vampire story … maybe a mixture of Harry Potter meets Vampire Diaries? Zoey Deutch kills it (well, not literally, but figuratively) with her quick wit and badass martial arts skills. She plays a strong female character that flirts with danger and isn’t afraid of a challenge. I must also mention her love interest, Dimitri Belikov (played by Danila Kozlovsky). He is one hottie with big muscles and long, silky brown hair, and he can fight a Strigoi like a boss. Is this the new version of Fabio .. but way better and hotter? The sexual tension between him and Zoey is intense. There’s actually a scene, no joke, where he burns the dress right off of her! So sexy!

The acting, besides the two I mentioned above, is so-so. Don’t expect to be captivated by anyone’s performances. It’s a young adult film, so keep that in mind. The music selection played throughout the film was hip and modern. Other than a couple of songs, the music complemented what was happening on screen and didn’t distract. In fact, I think I might purchase a copy of the soundtrack. It’s good! I’m not sure if I’m going to see Vampire Academy again, but I’d definitely say it’s worth seeing in the theaters this weekend. It’s funny, self-referential, and above all, entertaining.

VAMPIRE ACADEMY opens in theaters nationwide Feb 7th!

REVIEW: THAT AWKWARD MOMENT Falls Short

imageAs one of the most disappointing films I’ve screened this year (which it’s only January, so take that comment with a grain of salt), THAT AWKWARD MOMENT does little to entertain its audience. How can a 90-minute film seem long? Well, it’s one looooooong AWKWARD MOMENT that can accomplish just that! Zac Efron, Michael B. Jordan, and Miles Teller star in this comedic, male-perspective love story loosely based off the Shakespearean play, Love’s Labour’s Lost. The film centers around these three mid-early twenty-somethings as they discover love in a handful of painstakingly embarrassing moments. The female counterparts fall just as flat, if not flatter, with the exception of the Hollywood rising star, Mackenzie Davis. She, most notably, brings life, comedy, and realism to her character. Her delivery is superb, and I must admit, her chemistry with Miles Teller is absolutely adorable (and believable!); the only saving grace to THAT AWKWARD MOMENT.

I went into THAT AWKWARD MOMENT thinking that I would come out of the theater, light-hearted and sore from laughing so hard. Unfortunately, the film made me more sour than sore. The funniest scenes are revealed in the film’s trailer, so if you can laugh as hard as you did when you watched the red band trailer, than you are golden. If you are like me and find it hard to laugh at something that ridiculous twice, then, I hate to say this, don’t waste your money on a $15 movie ticket. Okay, maybe I’m exaggerating, not all the funny (and memorable) scenes are in the trailers. There are a few scenes that are new and definitely worth watching. With that being said, the most upsetting part of THAT AWKWARD MOMENT is the way the film ends. If you hate reading spoilers, jump to the next paragraph now! What bothers me the most is how Ellie (Imogen Poots) takes back Jason (Zac Efron), forgiving him for not attending her father’s funeral. Now, let’s put this into reality. If your significant other didn’t show up to your parent’s funeral, would you really be able to forgive them and take them back? Oh, HELL NO! I’d maybe forgive them, but would I take them back? No! This, to me, reveals the male ignorance of the screenwriting, completely unsympathetic.

The music, played throughout the movie, is a bit cheesy. Not sure if the music supervisor was trying to be hip by supplying the film with 80’s synth pop. It seemed completely out of place and unnecessary. I would have rather liked to hear something more current and playful, given the theme of the film in the first place.

Upon my second viewing of the film, the audience laughed way more than during my first viewing. I have hope that this film will serve its purpose. My word of advice: Don’t watch any of the clips or trailers. Keep it a mystery and don’t expect any Oscar-winning performances. It’s a dirty, grimy boy’s movie, marketed to the female population; it’s our glimpse into an unknown species — men.

THAT AWKWARD MOMENT hits theaters nationwide TODAY!

Sundance Review: SONG ONE Starring Anne Hathaway & Johnny Flynn

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A romantic drama with a soundtrack that will melt your heart, SONG ONE is Kate Barker-Froyland first film that you won’t want to miss. Franny (Anne Hathaway), an anthropologist living in Morocco, receives a phone call from her mother (Mary Steenburgen) that changes her life. Her younger brother, Henry, who had been living in Brooklyn trying to make it as a musician, was hit by a cab on his walk home. Now in a coma, doctors aren’t sure he’ll ever wake up.

Franny, we come to find, is harboring a lot of guilt from the last time she spoke to her brother. Six months prior, a fight had broken out between them, over his decision to drop out of college and pursue his musical passion full time. On returning home, a discovery is made which throws the film into motion: her brother Henry’s journal tucked into his guitar case. As she starts to read the pages, Franny finds herself opening up pieces of his life she hadn’t known about previously.Along with his journal, Franny uncovers tickets to see her brother’s favorite musician, James Forester (Johnny Flynn). She makes the decision to go to the show, since he cannot.

In meeting with James after his show, Franny passes along a CD of her brother singing for James to listen to. She leaves with a heavy heart, but hopes he’ll take a listen anyways. When he stops by the hospital where her brother is being held not long after their meeting, to see how he is doing and to see about playing a song for him, you can see the walls that Franny has put up start to fall away. Where you might feel hesitant to this scene, as the cliche of it begins to nag at the back of your mind, it flows so effortlessly that you are able to forget this hesitance within moments. Anne’s sensitive nature and ability to express her character’s pure sorrow effortlessly coats each scene with an authentic ambiance.

At one time, Franny had fought with her brother over his decision to make music his full time career; now, she’s clawing to get a taste of the musical experience any way that she can.  She attends concerts with James, and even some alone. She sings silly songs to James, trying to inspire him during his writing lull. She’s obsessively listening to her brother’s recorded songs and searching out instruments he always wanted. She has gone from one extreme to another, as she explores this new world that her brother loves so dearly, and has begun to blossom into a softer side of herself as a result.

The relationship between James and Franny grows deeper, emotionally and sexually, as the two of them begin to spend more time together. From going to different concerts, recording sounds for her to play for Henry, opening his fan mail, to sitting and enjoying the city skyline, the two of them forge a bond.

Desperately trying to hold herself together, and to rebuild what she fears may have been lost, she visits her brother every day, playing the sounds she has recorded for him, hoping that the familiarity will help him recover. It is during these desperate times of extreme hope that she shares with her brother that the weakness of Franny’s relationship with her mother is unearthed. When she left to pursue her dreams around the world she left everything behind and didn’t look back. Where this may have been therapeutic for her, you can see the pain it has caused her mother.

Johnny Flynn plays the elusive singer/songwriter, James Forester. Mostly an unknown actor, especially when pitted against the likes of Anne Hathaway and Mary Steenburgen, Flynn will leave you lovestruck, with him and his messy hair. While many may watch and wonder why he consistently stays in that shy, awkward place, I found it massively endearing and realistic for his character. There have always been those in the spotlight that aren’t the most extroverted, gregarious people. It’s refreshing to see someone not attempt to portray a successful musician character fully “Hollywood-ized”, the stereotypical confident and full-of-smooth responses leading man, especially when that’s not always the case. Flynn’s nervous nature, which to me appeared whole-heartedly real, even added a few laughs in places where Franny and her mother were in arguments or overtly dramatic moments.

Musically, Flynn nails it. When he takes the stage, singing and playing, it seemed the audience, including myself, was completely memorized. I found myself praying that we’d get to hear the entire song each time he took the stage, and not be left craving more like you are in films that only want to give you a taste of the music. Luckily we get to hear him sing and play a few times, which makes me think that the director and his team were aware that the music should take the front seat in this film from the very start. I’m not ashamed to say when I got out of the screening I went right to download his music. (Also, I must say it doesn’t hurt that he’s British. That accent? Killer.)

Though the story line is addicting, like so many romantic dramas that have come before it, it’s the soundtrack and score of SONG ONE that will win your heart here. From the musical masterminds, Jenny Lewis and Johnathan Rice, comes a score that makes you feel that music is whats meant to be at this films’ core. Without it, this film would fall flat and seem as commonplace as other romantic dramas.

One thing I wished we could have seen more of in this film was the character Henry (Ben Rosenfield). His first and only true scene at the start of the film, where he’s singing in the subway station, had the entire theater locked on him. Sitting amongst all those people, I could feel a collective breath when he finished singing, as if we were so enthralled with him we hadn’t thought it possible that he could stop.  A talent worth noting, Rosenfeld’s part, in my eyes, could have certainly been expanded in a way that would have only benefited the film.
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5 Reasons CAMP X-RAY Is A Great Film For Kristen Stewart

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Sort of spoilers ahead. Tread carefully if you’re looking to avoid. I was lucky enough to be able to see CAMP X-RAY at the Sundance Film Festival this past week. Being a fan of Kristen I was eager to watch this film and after wandering around Park City and hearing others reactions, positive and negative, this is what I’ve concluded:

  1. The plot is unlike anything she’s ever done. Playing a soldier stationed at Guantanamo Bay? Nothing is sparkling in this film so you can forget about that before you walk into the theater.
  2. She’s not playing someone looking for love, romance or any of that. There’s no swooning.  She’s independent and fierce, wanting to prove that you can’t tell her what she can and can’t do. She might be a small girl but she’s not going to sit back and let the men around her make her feel inferior. It’s a great girl power role.
  3. No candy coated scenes here. She’s elbowed in the face, spit on and covered in feces.  There’s dark circles under her eyes and a look of absolute exhaustion on her face with guilt just below the surface.
  4. She makes Amy easy to relate to. I went through the emotions with her, the stress, the anxiety, the anger, the guilt. (My leg was shaking like crazy for most of the film) Her character is full of sympathy for the way the men are treated. For the way her new found ‘friend’ of sorts, Ali, is treated, especially after she hears his reasons for his behavior.
  5. That last scene she has with Ali, the detainee she talks to throughout the film, will bring tears to your eyes and make your heart heavy as you leave the theater.  The emotions pouring out of her, the way she shakes and cries and is desperately trying to hold herself together. The way he looks like he’s falling apart, clinging to the words she says, it’s terrifyingly heartbreaking and makes you think hard about how you judge people.

 

Sundance Review: HAPPY CHRISTMAS Starring Anna Kendrick

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Directed, written and starring Joe Swanberg, HAPPY CHRISTMAS was pre-festival bought by Paramount with home entertainment and international rights. With positive buzz around Sundance and an Anna Kendrick fan base scouring the internet for more details on this film it’s likely to make it’s mark once it’s in theaters.  

The movie follows Jeff (Swanberg) who is married to Kelly (Melanie Lynskey) and their two year old son, Jude (Jude Swanberg). Jeff works in film production while Kelly is a stay at home mom, who also is an incredibly talented writer that hasn’t had much time or inspiration after her first book. Their relationship is cute, humble and simplistic. You can see how worn out Kelly is getting because of her lack of time to write and how those moments when Jeff takes Jude are cherished.

An emotional wreck after a bad break up, unable to get her life together, Jeff’s younger sister, Jenny, heads to Chicago to stay with them. Thinking she’ll contribute around the home, help take care of Jude or whatever other miscellaneous tasks are needed, she seems very easy going about the entire arrangement. The first night she’s there you are introduced to Jenny’s local friend, Carson, played by Lena Dunham of HBO Girls fame. As the hilarious best friend, her one liners add the perfect amount of silly obscurity to the film.  That night it’s discovered that Jenny binge drinks to the point of passing out, not caring how it affects others.  She gets thoroughly wasted at Carson’s friends house, falls asleep in someones bed and Jeff ends up coming to get her, carrying her out of the apartment and bringing her home.

Due to her lack of responsibility and immature attitude, Jeff decides that she should stay as long as needed, asking her to help take care of Jude so that Kelly can do errands and take care of personal things during the day. Kelly isn’t sure that this is the right thing to do, pointing out that she can barely take care of herself, not trusting her with their child. Jeff convinces her otherwise, wanting to give his sister another chance. 

Jenny and Kelly’s relationship starts to blossom after she babysits Jude one day. When Kelly gets home she sits down for a few drinks with Jenny and Carson, discussing her life and how much she loves Jude but how much she wants time to write. This is where their bond develops a new layer, Jenny convinces Kelly to start a new book. Not just any book though, one of those erotic “mom novels” because that’s where you can make tons of quick money. Throwing out so many Fifty Shades of Grey references I couldn’t help but giggle,  Jenny and Kelly start to write this erotic novel. Their discussions about verbage and plot will make you laugh and wonder if it was scripted or not.

All the while, Jenny has befriended Jude’s babysitter, Kevin (Mark Webber), frequently buys weed from him, makes out with him and leads an odd relationship with him. Her dominating dependency with him is reflected in the way that she spirals downwards every time he won’t do what she wants. Whether this stems from her personality or after shocks of her break up, we don’t know.

With nothing overly flashy about the camera angels or locations you don’t feel intrusive as you watch. It feels as if you’re sitting in the chair across from them or walking down the hall as they talk. You are much more focused on the characters, their troubles and their relationships together and separate, than anything else in the shot. Swanberg’s script is very character focused, the conversations are realistic and genuine, sometimes even feeling ad-libbed.  

Kendrick effortlessly plays the messed up, younger sister bulldozing her way through his family while searching for a place to belong. Lynskey has the innocence and knowledgeable nature to make you believe her shy moments and root for her in her protective mothering ones. Swanberg charming relationship on screen with his son adds the extra layer of happiness needed after some rough scenes.  I’d definitely recommend you catch HAPPY CHRISTMAS, with a run time of only 78 minutes, when it comes to your area.

Check back for updates on it’s release!

Sundance Review: THE SKELETON TWINS Starring Bill Hader & Kristen Wiig

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It’s all been done before, broken families, suicide, depression, finding yourself when you feel so lost. They are all overused themes that can fall flat if not accompanied by the right script, cast or director. THE SKELETON TWINS stars Bill Hader and Kristen Wiig as estranged twins, Milo and Maggie, who haven’t spoken in 10 years.  Both have their own demons floating just under the surface.  Milo hasn’t accomplished the things he wanted to in life, aiding his self destructive behavior. When he tries to commit suicide he ends up in the hospital and it’s his sister, Maggie, who comes to his rescue. Maggie decides to brings him back to her home to live with her and her husband, Lance (Luke Wilson).

Though you know from flashbacks that they were very close as children, you can see the void their 10 years of no talking has left. As they work to rebuild their relationship, sharing secrets that they’ve been keeping, you can see their bond grow strong once again. Maggie has been taking birth control to avoid getting pregnant, even though she’s telling Lance she’s ready for kids, all while cheating on him with her scuba instructor. Milo finds his way back to Rich (Ty Burrell), his teacher from high school with whom he had a sexual relationship at the age of 15.

Kristen’s strong performance showed her range of vulnerability in a way we haven’t really seen from her until now. From the first moment we see her, looking haggard and defeated and deeply considering overdosing, to when she’s out for drinks with her instructor and hooking up with him in the bathroom, she’s putting it all out there. With her most famous role being in the comedy BRIDESMAIDS, it’s refreshing to see her break out of that and into this darker place. 

Without a doubt though, Bill stole the show. His character is so deeply broken and traumatized by the past that he has a tough time functioning, even through daily life. I felt like instead of making the character seem extreme and untouchable, he brought a sense of normalcy to Milo. He made it seem like every little neurosis and quirk or moment of pure emotional abandon was justified, even his suicide attempts.

Wiig and Hader’s background on SNL together is definitely the key factor in why this film has such a massive sense of realism. The two of them play off each other flawlessly, whether it be when they are screaming in a fight, sharing their darkest secrets, making jokes while high off sleepy gas or lip syncing to “Nothing’s Gonna Stop Us Now”.  Milo and Maggie make you cry with heartbreak and cry with laughter.  With an addicting script written by the director, Craig Johnson, and BLACK SWAN writer, Mark Heyman, you will go through a full range of emotions during the 88 minute run time. THE SKELETON TWINS is the epitome of what indie film is. It breaks you, makes you rethink what you know, and leaves you with a new outlook on life.

SUNDANCE REVIEW: Kristen Stewart Shines in CAMP X-RAY

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This year’s Sundance Film Festival is all about the CAMP X-RAY buzz. The most obvious reason is that the former Twilight star and Indie-extraordinaire, Kristen Stewart, takes the spotlight as the female lead in this Guantanamo Bay drama.

The film opens with a scene from 9/11, just before the World Trade Center collapses. The camera pans out and we are introduced to our male lead, Payman Moaadi. He’s depicted as living an ordinary life as a modern Arab in the Middle East, but is soon kidnapped and taken to what we learn to be Guantanamo Bay, a United States Military Prison established to detain extraordinarily dangerous prisoners. The film, although lengthy at times, follows a female prison guard, Amy Cole, as she discovers humanity in its most organic form.

Kristen, at first, shows a very familiar acting style — it’s her comfort zone. She draws from her own developed nuances to give life to every character she portrays. This is how she brings the element of realism to her characters. As the film progresses and you learn who her character is, you start to see this actress blossom, coming out of her shell. Kristen’s most brilliant work rears itself in the scenes where she’s working opposite Payman. Their chemistry is perfect; it builds into something so heartfelt. The last third of the film, you finally get to see a side of Kristen that you’ve never seen before. Perhaps the most powerful, is the final 30-minute uncut scene between Cole and Ali (Payman).

The handling of the heavy subject material was respectful and poses an important question we as Americans should be aware of — a new form of discrimination based on assumptions, not facts. Smartly, the story shifts from sympathizing with Ali and with Cole, a very balanced way of storytelling. We feel for Ali based on the circumstances he is in. We feel for Cole in that the more she discovers the real person behind Detainee 471, the more she treats him as the human being he naturally is.

In terms of direction, Peter Sattler does a great job as a newbie feature film director. The pacing is a little off — some parts seemed to drag on while others seemed right. The original score is paired beautifully with the motion picture. It did what it’s supposed to do — it made you feel.

At it’s world premiere in Sundance to an audience of 1200, CAMP X-RAY received a standing ovation. Peter Sattler, Kristen Stewart, and cast were all in attendance and stayed afterwards for the Q&A. Kristen, known to be shy when it comes to press, was in great spirits, embodying a new, confident self.

REVIEW: Joaquin Phoenix & Scarlett Johansson Are Captivating in Spike Jonze’s HER

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HER, another Spike Jonze masterpiece, features an all-star cast consisting of Joaquin Phoenix, Scarlett Johansson, Amy Adams, Olivia Wilde, Rooney Mara, and Chris Pratt to name a few. It’s character complexity provides these stars with material to showcase their acting ability. The synopsis of HER is simple. The film follows the story of Theodore (Joaquin Phoenix) at a turning point in his life. In a future that isn’t too far from ours, Theodore buys an operating system that can satiates more than just his intellect (if ya know what I mean).

The most striking and transcendent idea behind the story of HER is the impending reality of the situations it presents. The future, often depicted as hover crafts and a technology-saturated society, is presented in a way that is dominated by the machine, or rather the OS (Operating System). People are shown wearing a single earpiece that is reminiscent of the ear buds Apple made famous. Instead of typing commands on a keyboard or via a touch screen, these OSs respond to voice commands. In this ‘future,’ it has become socially acceptable to literally talk to yourself (well to an OS, but let’s be serious, you are talking to yourself). The premise of the film suggests that these OSs can develop relationships with its owners and can essentially feel using the vibrancy of words and inflection.

Scarlett Johansson and Joaquin Phoenix are our focus in this sci-fi love story about human-OS love. Although we do not see Scarlett in HER, her voice is not only recognizable but mesmerizing and prevalent in nearly every scene. She brings life to Samantha, the OS that has captured the heart of Theodore. Joaquin, the male counterpart to this unordinary love story, embodies the multidimensional character of Theodore by revealing the truths to why we love and the intangibility of it. Their performances are truthful and gut wrenching. You feel what they feel. You become submersed into what could be our near future; a modern, unconventional story built on the truths and trajectory of where we seem to be headed.

Filmed in both Los Angeles and Tokyo, HER unveils a future that is strikingly familiar with inconsistencies only a true Angeleno would be able to point out. Switching from cityscape to cityscape is distracting and incongruent – one minute you see retail signs in the background of the shot with Japanese writing juxtaposed with a fast cut to the Los Angeles skyline.

Another strikingly uncomfortable scene which I feel I must warn you about is the sex scene between Samantha and Theodore .. if that’s what you want to call it. Luckily Spike Jonze does not blatantly reveal the reality of the masturbation; he remains sensitive and focuses on the innocence of Samantha and their expression of love. With that being said, however, the audience is treated to a bit of phone sex, if you will, paired with the visual of Theodore demonstrating the receiving end of the eroticism.

Would I recommend seeing this movie when it hits theaters early next year? Yes. I believe we all have something to learn from this film, especially as we become more and more digitized. Spike Jonze teaches us that nothing can replace the feeling we get from human-to-human interaction, and that the moment we do start replacing it, our feelings of loneliness will only haunt us and cloud our decision-making.

Mark your calendars! HER hits theaters nationwide on January 10, 2014!

REVIEW: AFI New Auteurs Audience Award Recipient THE SELFISH GIANT

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As one of the most anticipated Indie films to screen at AFI Fest, THE SELFISH GIANT delivers on all levels of emotion, cinematography, and direction. Clio Barnard, writer and director, captures a photo-realist story about two young boys who resort to illegal scrapping activities after getting excluded from school in the socioeconomic realities of modern-day Britain.

Arbor, a kid battling an undiagnosed anger management problem, is lost in his own mind. He acts out in class which consequently excludes him from school. Swifty, Arbor’s only friend, relieves the story with his earnestness and normalcy; however, Arbor’s peer pressure involves him in the same troubles. Swifty, thus, becomes the voice of reason, grounded by his love for horses. Their unlikely friendship is put to the test when Arbor threatens the life of a foal to see whether a cable hanging from a transformer is live. Newcomers Connor Chapman (Arbor) and Shaun Thomas (Swifty) give brilliant performances in this otherwise adult-dominated cast.

The overarching theme of the Oscar Wilde adaptation is the notion of projecting love and sympathy onto others, an act of selflessness. After getting expelled from school, Arbor discovers that he can make money for his unstable mother by turning in scrap metal to the local junk yard, run by a man named Kitten (Sean Gilder). Arbor becomes obsessed with making more and more money. Swifty supports his friend until he realizes that Arbor has become greedy and will destroy anything in his path to achieve his end goal. The climax of the story is just as surprising as it is gut-wrenching. Expect tears … and lots of them! It isn’t until everything has been taken away from him for Arbor to realize that life is fragile; life is finite; life is about sharing it with others.

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Barnard juxtaposes the dramatic storyline with beautiful moving images of the desolated Northern England countryside, unifying the story by depicting the “selfish giants” grazing in herds. The panoramic views provide the audience with a sense of realism and emptiness. The most notable and moving performances come from the two young stars of the film — they are truthful and responsive. You forget at times that these two boys are actors. This film, if not critically awarded for its beauty of filmmaking and storytelling, showcases a mastermind’s expertise in directing actors of all ages. Clio Barnard is beyond talented. As her first scripted piece, THE SELFISH GIANT will undoubtedly continue winning awards at any and every film festival it screens.

THE SELFISH GIANT had its West Coast premiere at AFI Fest on November 9, 2013. It received the New Auteurs Audience Award and the New Auteur Special Award for Direction. “Drawing stunning performances from her two young leads, Barnard brings the specificity of a Bradford housing estate to a devastating and universally relatable fable.” announces the AFI Jury.