Tom Hanks To Join Live-Action Pinocchio as Geppetto, In Perfect Casting News
America’s favourite cool uncle Tom Hanks looks set to continue his relationship with the House of Mouse. The voice of Woody the cowboy is reportedly joining the cast of Disney’s forthcoming live-action remake of their animated classic Pinocchio. Sources close to the production say that Hanks will play Geppetto, Pinocchio’s ‘father’, whose wish for a […]
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A Blue Beetle Movie Is In The Works, And You’ll Never See It
Warner Bros. has announced that a Blue Beetle movie – starring the young, latino version of the character, Jaime Reyes – is presently in the works for the DCEU. And if past instances are anything to go by, it’s likely this article will be as far as the story goes. This flick is of course separate […]
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Latest Poster for M. Knight Shyamalan’s ‘Glass’
With the third part of the trilogy just a few months away, the latest poster for Director M. Knight Shyamalan’s Glass has been revealed. Starring Samuel L. Jackson, Bruce Willis and James McAvoy, the film is a continuation of Unbreakable and last year’s Split
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MOVIE REVIEW: Rendezvous in Chicago
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RENDEZVOUS IN CHICAGO— 4 STARS
Making its hometown debut as part of the fifth annual Oakton Pop-Up Film Festival, Rendezvous in Chicago showcases the expansive craft and creativity brimming from Chicago filmmaker Michael Glover Smith. His third feature film channels Éric Rohmer to present three collisions of love occurring in the writer-director’s own beloved Rogers Park neighborhood of Chicago. Smith’s canny talent to pen and juggle a triptych is not what impresses the most. Rather, what is greater, quite simply, is his sense of feel as a storyteller and filmmaker.
That personal palpation starts with the setting of Rendezvous in Chicago. Anywhere you turn in any given community, one can find an array of vibrant humanity. Smith is no visitor. To borrow a popular political idiom, Michael Glover Smith has his finger on the pulse of this community. Each of the three story chapters glow with the many tints of diversity and affluence in Rogers Park. The vibes of every talk and every walk feel genuine and absorbing.
The romantic encounters begin like many good yarns do: in a bar. Bespectacled University of Chicago doctoral student Delaney (Clare Cooney) is trying to put the finishing touches on some Dostoevsky research over a glass of wine in the dining room of an empty local pub on a Sunday night. In walks the loquacious and overconfident writer Paul (Kevin Wehby). Striding over with his pretentious prosecco, Paul shoots his pick-up artist game only to find himself mentally outmatched by the coy brunette in a unique and titillating game of strip trivia.
LESSON #1: THE POINT IS TO LOOK — With this hot line dropped by Clare Cooney, the evening escapade becomes a tournament of perception. Paul’s gaze is superficial and Delaney’s is analytical. She sees through him and he falls for looking to lightly. The result is more exposure than just skin. Kevin Wehby dangles like a fish on Clare Cooney’s hook through all their snappy banter paced by the ambient electronica music of Anaphalyxsis (Jason Coffman).
Midnight trades for morning as a beautiful summer day transitions to open on the dog-loving Rob (Matthew Scherbach). The genteel man’s heart is a flutter at the prospect of spending some quality time with his boyfriend Andy (Rashaad Hall). After all, Rob has a very important question he would like to ask his beau. The two stroll with whimsy comparing life notes and sidewalk dog encounters before the big moment.
LESSON #2: WHEN YOU KNOW, YOU KNOW — Some prevailing wisdom will say that any assured man or woman looking to propose marriage doesn’t or shouldn’t get down on one knee if they don’t already know a positive answer will come from that gesture. It’s not about readiness because you’re never really ready. It’s about knowing what you, want where no fear can change your mind or slow your commitment. Scherbach and Hall touching portray that dedication beautifully.
Lastly, Rendezvous in Chicago goes from a joyous union of superlatives to an anger-inducing gut punch of sudden discord. Hard-working nurse Julie (Nina Ganet) comes home to catch her boyfriend Wyatt (Shane Simmons) cheating in their own bed. Teasing perception and knowledge again, no amount of “it’s not what it looks like” pleading from Wyatt can keep Julie from throwing him to the curb and his belongings out the window. Unexpectedly, her rants of profanity give way to a vintage vinyl record that leads her to dance through her decompression.
LESSON #3: BREAKUPS CAN IMPROVE PEOPLE — A furious fight turns into a flirtatious flight of fancy. Director of photography Alex Halstaad’s long takes all film long culminate to fixating on Nina Ganet like an agile and invisible dance partner. Nina’s Julie sways and saunters over a bit of the fourth wall to narrate her mood swing. We gleefully watch her springboard out of sadness to a place that shows this lesson will come true for this woman.
Each stylish portion of Rendezvous in Chicago carries its own inviting flavor for romance and light comedy. That strength is also a minor drawback. Though the Rogers Park setting counts as one common ingredient, the three arcs are short and disconnected beyond their Rohmer homage themes. You are bound, as this writer was, to wish one (my pick is Cooney and Wehby) or even all of the chapters could continue a few beats longer or intersect with an extra tangent of depth. That’s a compliment to the engagement of this film’s created characters and the performances of the respective actors that make you want more.
Therein lies the greatest level of Michael Glover Smith’s excellent cinematic sense and aforementioned feel. Following his downright stellar Mercury in Retrograde from last year, Smith continues to create characters that look, act, and fit their narratives to a heightened degree. Their individual shadings are approachable and relatable. The fun part is the sheen on top of the shade. As enlivened as Smith’s characters constantly feel, they seem to always carry an equal measure of alluring ambiguity. That unpredictability can turn any seemingly mundane narrative on its ear. There’s a hell of a lot of enjoyment to be found in those traits.
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EDITORIAL: Clarifying "subjective" versus "objective" in film criticism
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Originally published as “What We Learned This Week: Thanksgiving Soapbox Special” on November 23, 2018 for the Feelin’ Film Podcast
For quite some time, I’ve noticed something off to me scanning through hot takes, sifting through click bait, and participating in many film discussion threads across social media, including right in the Feelin’ Film Facebook Discussion Group. It’s a lack of clear contrast between a pair of opposite hot button terms which manifest themselves as figurative hills people seem to go to die on. No, it’s not “masterpiece” this time.
I’m talking about “subjective” and “objective” when it comes to film criticism or evaluation. Too often lately, I hear or read people, both professional and amateur in background mind you, put the -ly ending on either of those two terms to create what they think is an adverb of defense to strengthen some silly descriptive point of “good” or “bad” they are trying to make about a movie. When I see it happen, I first think about that great Inigo Montoya quote-turned-meme from The Princess Bride of “You keep using that word, I do not think it means what you think it means.” I second think about, because I can’t help myself as a schoolteacher that grades things, circling where the communicated flaws of logic or sense are with my invisible internet red pen.
The duel between objective and subjective is a gray area of thinking that doesn’t have a black-and-white answer of right or wrong. It is more of a sliding scale between prudent and careless presentation of facts and opinions. I think this young podcaster and YouTuber named Houston Coley of Blockbusted really talked the surface of this debate out well. Take a look:
I think the kid is spot on about a few things. I agree with him that factual elements, particularly technical qualities, can be cited in film criticism, quality can be factual in nature, and, most of all, that a critic should define their terms. Let’s do that. I love pulling from the dictionary to highlight a term in my film reviews, so let’s go there first as if I’m Inigo Montoya’s next step of offering correction.
SUBJECTIVE— Dependent on or taking place in a person’s mind rather than the external world, based on a given person’s experience, understanding, and feelings; personal or individual (source)
OBJECTIVE— Existing independent of or external to the mind; actual or real, based on observable phenomena; empirical, uninfluenced by emotions or personal prejudices (source)
I lay all of that out for this soapbox because, maybe more definitively than Houston’s talk, I am one critic that wholeheartedly thinks there is room for both terms in film criticism. With discretion, one can judge separately with one’s head as well as with one’s heart. It is a discipline I seek and I wish more people attempted to better clarify their thoughts.
Those of you frequent Feelin’ Film Discussion Group participants know I’m the “favorite” versus “best” guy. That’s subjective (favorite) versus objective (best) at its simplest and I strive to delineate that often wherever I represent my work. For example, I adore Anaconda knowing full well it’s a ridiculously cheesy movie. At the same time, I can respect the hell out of Schindler’s List without ever wanting to watch it again as if it’s some cherished holiday tale. One is a favorite. One is among the respected best of the art form. Rare movies for me are ever both and when that happens it’s beautiful, welcome, and earned.
Once I ever share this mentality or stir this debate in a discussion, I get the same pushbacks. Even the mere introduction of the idea of “objective” criticism and its possibilities bring out the stalwart “all art (everything) is subjective” ranters. They are often the kind of people that don’t listen to, care, or respect any opinion but their own. They lack an open mind of compromise or a listening ear or empathy. Their frustration point, where they show the inability to explain their stance or the existence of opposing stances, normally rears its ugly head when a combative line like “don’t tell me what I can and cannot like” comes out. If you hear or read that, they’re done trying, if they ever really attempted in the first place.
If you live and die on that subjective hill, so be it. “To each their own,” as us pragmatic people say against your pushy dos and don’ts. If you have made it this far in the editorial and are open and willing to listen, all I’m saying is step back and try some objectivity on for size, or at least the candor of it with your communication in discussions and debates. Be balanced. Be even-handed. Be fair. Separate personal from impersonal. Step back for a second to see the other sides of things. Find common understanding and that goes back to defining terms.
What does the objective end look like when talking about a film? Well, the easiest way to say it is: Look for the purpose. Circle back to the cited definition of “objective.” One of its biggest distinctions is the clause about “based on observable phenomena.” Do some homework to learn the qualities of a great film. If you’re a beginner there, start with this easy piece from Penny Flores of MS Films that highlights five basic elements. Another nice and approachable take comes from the Now You See It channel on YouTube:
Here’s a quick sidebar of “buyer beware.” Even that term “great” is a loaded landmine in its own right, a word that is thrown around too flippantly and too easily in weak hyperbole. Everything or too many things just have to be “great” for some reason. Have more nuance. Show more descriptive degrees. Get a thesaurus and use a more interesting and less ambiguous word. I digress yet still plead for better while we’re here.
My teacher brain translates “based on observable phenomena” as having specific criteria in mind. To me, that’s the quantifiable separator between “subjective” and “objective.” That’s also the thing most people who carelessly snipe the “objectively great” or “objectively bad” labels can’t present to backup their supposed take. Those that can back up their words are the ones that walk the walk after talking the talk. I don’t see much of that and it’s a shame folks aren’t willing to put the minor amount of work in.
Criteria sounds like a grading scale to me, and a good teacher never uses the same grading scale for all assignments. They specialize those rubrics for each assignment. I know I would grade a task in P.E. different than an essay in Language Arts. We film lovers and armchair critics can bring those tailored approaches to different genres and disciplines in the very same way. Start with the technical side. Use some of those elements Flores article or the qualifiers from the Now You See It video as the list of what to grade. Lay that out and cite those measures when you critique a film. That becomes your intelligent and discerning spine which allows for purpose to be examined and craft to be respected.
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After that, balance that with the subjective. Shout from your stump all the feels, emotions, likes, and dislikes you encountered. Those are the personal tingles and will always be the lasting good stuff. No one can take those away from you and they have their sprawling place. But I’ll say it again. There’s room for both. Applying a little objectivity doesn’t take away from subjectivity, not in the least. If anything, their intelligent and mindful combination make for a more well-rounded overall opinion complete with a greater appreciation of multiple perspectives and, in the end, the film itself. Try it sometime. Welcome a little head into your heart.
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EDITORIAL: Top 5 underrated movies which teach us how to love
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People sometimes have questions about their personal lives. They are confused and shy to ask advice from their mothers, psychologists, or loved ones or just don’t want. We offer an alternative: try to turn for help to the world cinema! A famous international dating site made a selection of films that teach us to love.
1. THE WAY WE WERE
Young radical Katie dreams of becoming a writer. But she is concerned about the injustice of this world day and night. Katie gives all the time to rallies and demonstrations, which causes the warm support of some of her friends and the constant ridicule from others. But quite unexpectedly, Katie realizes that she is in love with the first handsome guy of the school, Hubble. However, she is not popular and feels unhappy. But after years, in 1945, they meet and love flashes between them. People can’t imagine how they can be together; a breakup is inevitable. But while they are together, their happiness is endless.
2. BREAKFAST AT TIFFANY’S
A charming girl whose name is Holly lives in a small apartment with a nameless cat, dreams of marrying a millionaire, and carefully follows the lists of America’s richest men. She meets her new neighbor - writer Paul Varjak. A friendship arises between them and is smoothly turning into love. But as soon as Holly realizes that she is not indifferent to Paul, she tries to stop dating him. The main character is afraid to love someone, become vulnerable, and not to belong to herself. She sincerely believes that marriage with a millionaire she doesn’t love will bring her happiness and peace of mind. At the end of the film, Holly still finds spiritual strength in herself and returns to Paul at the last moment.
3. BEFORE SUNRISE
A young American Jesse meets a beautiful Frenchwoman Celine in a train. They immediately find a lot of common topics for conversation, and Jesse persuades Celine to go with him to Vienna to spend the evening and night together since he should fly home to the States in the morning. A miracle happens this night – love that is born between a man and woman is so strong that everything else ceases to matter. However, the inexorable countdown continues – there is not much time left, and the lovers use every precious moment to get to know each other better, to have time to share all their memories, dreams, and tenderness... before sunrise.
4. LOST IN TRANSLATION
Tokyo night, the fashionable bar of the expensive hotel... There are two Americans: television actor Bob Harris and pretty, young Charlotte. Having become acquainted, they embark on a journey through the Japanese capital together. During many hours of walking, Bob and Charlotte get into funny stories and unexpected twists and turns, getting to know the locals. The life of the Eastern world is revealed to Americans by bright and unfamiliar faces. And casual meetings become very necessary and important for the comprehension of life.
5. BRIDGET JONES’S DIARY
The heroine of this film, Bridget Jones, finally decided to start a new life! And it’s time! She is already over thirty, but she limply indulges her bad habits and doesn’t dare to get rid of those extra pounds. But, most importantly, Bridget is still single. Her parents are trying to marry her to the neighbors’ son – the modest man, but Bridget herself is crazy about her irresistible boss Daniel! From the first day of her new life, Miss Jones decides to keep a diary in which she will write down her future achievements and victories. But it turned out that it was much more difficult to fulfill dreams and find true love than it seemed to our lovely heroine at first.
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Michelle Yeoh, Henry Golding To Reteam For Paul Feig’s Last Christmas
Crazy Rich Asians co-stars Michelle Yeoh and Henry Golding are set to reunite in Bridesmaids director Paul Feig’s upcoming holiday-themed romantic comedy Last Christmas. The film has been described as a yuletide romance set in London, and will follow Kate (Game of Thrones‘ Emilia Clarke), who’s notorious amongst her friends for routinely making bad decisions […]
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Russo Bros.’ Hemsworth-Fronted Netflix Film Dhaka Wraps In India
Captain America: The Winter Soldier and Avengers: Infinity War directors Joe and Anthony Russo’s next project, Netflix’s forthcoming feature film Dhaka, has just completed filming in India. The flick, which will be directed by Sam Hargrave and star Thor: Ragnarok frontman Chris Hemsworth in the lead role, follows a young boy caught in a war between […]
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Bradley Cooper Named Director Of The Year By Palm Springs Festival
The Palm Springs International Film Festival has named Bradley Cooper as the recipient of their ‘Director of the Year’ award, for his debut directorial feature; the critical and commercial success story A Star is Born. “Bradley Cooper makes a stunning directorial debut with A Star Is Born,” Harold Matzner, the festival chairman, said in a statement “Cooper […]
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Black Panther Screenwriter Joe Robert Cole Hired To Pen Call of Duty Sequel
If you just had a “Wait, what?” moment, don’t worry, you’re not losing your mind. Though a Call of Duty movie is still very much in pre-production, Activision/Blizzard Studios want a script for a sequel ready to go – and have hired Black Panther screenwriter Joe Robert Cole to get the job done. Cole has […]
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Sony Announces Into the Spider-Verse Sequel, All-Female Spinoff
With only a handful of weeks between now and the release of Sony’s highly-anticipated animated superhero feature Spider-Man: Into the Spider-Verse, the studio has announced that a sequel and spinoff are already in the works. Director Joaquim Dos Santos, known for his incredible work on beloved animated series Avatar: The Last Airbender and Netflix’s phenomenally-popular […]
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Best Actor: Bradley Cooper And Christian Bale Top Contenders
Rumours are presently swirling ahead of the rapidly-approaching January 14th announcement of Oscar nominations, and many insiders are predicting thespians Bradley Cooper and Christian Bale are leading the shortlist for the Best Actor gong. Cooper is a given, following the commercial and critical success of his passion project A Star is Born, which also stars […]
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