#StrictlyIndie Film Views: "Boyhood"

Everyone can agree that Linklater’s latest film, Boyhood, is a grand achievement in filmmaking, but why doesn’t the film quite stick with you the way it probably should? There are directorial decisions and character qualities that shape this film into a really beautiful epic, but there are also avenues that could have been explored and more open in allowing the audience to feel what this fantastic cast could have provided.

Filmed over a twelve year period, it’s really interesting to see Mason (Ellar Coltrane) come of age within the slice of life snippets leading into his young adulthood. The thing is, once we get there, it feels as if Mason is rather unaffected at times, and can come off more pretentious than sincere. Linklater seems to make a conscious effort to not have this film solely driven by emotions, which is an interesting choice, but doesn’t allow us to see certain emotional responses to incidents that are prevalent in this character’s life. The only time we see Mason act out is when his mother’s second husband points out that he has no respect for their household and his curfew. Mason comes back with a cliched, “You’re not my father” line, and that’s the extent to which we see him react to anything.This also makes it very noticeable that the first half of the film is much more powerful than the second.

What stands out in the first half of Boyhood is that it’s not just about boyhood. The family dynamic is great, giving Patricia Arquette and Ethan Hawke the room needed to give some of the best performances we’ve seen from the two. Linklater also does a great job in developing the mother’s first husband in a short period of time, his downfall brilliantly alluded to in small doses. If you’re a child of divorce, like many of us are, this depiction of a dysfunctional family will hit home in a very real and unsettling way.

Overall, Boyhood is an extremely unique and riveting piece that takes a lot of nerve and gusto to make. Unanimous nods and awards are rightfully deserved. Richard Linklater has come a long way since writing and directing films like Slacker and Dazed and Confused, and has shown his innate ability to adapt to the times. Boyhood is a sign that he’s only getting better and better as his career progresses, and I believe we still haven’t seen his best.

#StrictlyIndie Film Views: "Grand Budapest Hotel"

The Grand Budapest Hotel is a fresh breath of indie air into mainstream cinema. I have always been most fond of Wes Anderson’s Rushmore, as it was the first of his film’s I had ever seen, but I can easily say this is his masterpiece. The fact that he can take such a niche genre and never have a dull moment is a testament to Anderson as one of the most creative and impressive minds to hit the screen.

Budapest follows the adventures of M. Gustave (Ralph Fiennes) and his devoted lobby boy (Tony Revolori). It is powered by its rapid-fire dialogue, eye-glueing shot construction and fantastic performances. Speaking of performances, Ralph Fiennes gives one of his best yet as an eccentric and strict but extremely empathetic concierge. If you’ve seen The Chumscrubber, you would have gotten a taste of Fiennes’ more comedic side; but this showcased that to the nth degree. I think we’ll be seeing more off-color comedy from him in the future (or at least I hope so).

From a story standpoint, the film really starts to take off after one of Gustave’s wealthy widowed lovers dies. I say one because he has many at The Grand Budapest. This particular widow is played by Tilda Swinton in great fashion, with hair looking like something pulled from ‘The Bride Of Frankenstein’. At her funeral service, Gustave has ‘Boy with Apple’, a rare painting, bestowed upon him. That’s when incredulous events unfold such as Gustave being accused of murder, thrown into prison, pursued by the widow’s estranged son (Adrien Brody) and chased by a villainous hitman (Willem Dafoe). Anderson does a great job of building up the relationship between the lobby boy and Gustave and uses consistent little threads of comedy that not only develop the two’s characterization, but are simple moments of laughter, like Gustave’s cherished cologne, L’Air de Panache.

All in all, The Grand Budapest Hotel is simply not to be missed. It’s a grand achievement and spectacle to be ogled at. If you’re a fan of Wes Anderson, you should see it in theaters before its run is over. If you don’t know who Anderson is, you should see it in theaters before its run is over and then get yourself familiar with the rest of his body of work. You won’t be disappointed.

Review by Ryan Kramer

#StrictlyIndie Film Views: "Her"

Eccentric lonely guys beware, Her may crush your world for the few days after viewing this film. Theodore Twombly (Joaquin Phoenix) plays the sensitive and usually misunderstood guy who is having a hard time getting over a serious relationship with his ex-wife, Catherine (Rooney Mara). After some searching and harsh disappointment, Theodore finally finds love in a new operating system called the OS¹(Scarlett Johansson). The artificial intelligence of the OS grows through its talks and experiences with Theodore and they fall hard for each other; going through the usual trials and tribulations of a normal relationship with some obvious added obstacles.

           Spike Jonze retains his usual sense of wistfulness and wondrous melancholy; but it is boosted times a thousand due to Phoenix's sheer and innate performance. Some of Her's most poignant moments are also its most immobile ones, in contrast to its ever-so-fast moving world around the characters. Its deliberate tonal shifts and pacing keep your stomach turning throughout the films entirety. You'll laugh. You'll cry. And if you identify at all with Theodore, you'll heavily contemplate what it is you're doing with your life.

          Despite its weirdly vague last minutes, Her is one of the best explorations of technology and modern relationships to ever hit the screen and Joaquin Phoenix gives one of the best, if not, the best performance of the year. Jonze continues to smack us over the head with his unnerving and touching approach at trying to explain the human condition and the idea of love that we all so constantly yearn for. And maybe that is why its ending is weirdly vague. Because love is weirdly vague.

Review by Ryan Kramer

Come Here Often?

An off-beat short comedy film about a young man’s endearing attempts to gain the attention of a beautiful girl in the most awkward of settings, an STD clinic. His struggle to start up a conversation is geared by his quirky yet pathetic awkwardness and his unrelenting verbal diarrhea.

In January 2013, ‘Come Here Often’ will be screened in Brooklyn at ‘Cinema Night’, a bi-monthly showcase of upcoming NYC filmmakers by Frances Lozada. Last month, Frances Lozada attended the Katra screening (where the film won Viewer’s Choice) and requested that it be screened at the showcase.

If you missed the opportunity to join, we hope you’ll be in town to join us for the screening at Brooklyn’s Tiki Bar in January.

Ryan's Film, "The Contained," Screened in Campus Movie Fest

My short film, ‘The Contained’ won best cinematography at the Hunter College finals in nationwide student film contest Campus Movie Fest! 

Big thank you to Htat Lin Htut. Also a big thanks to everyone at CongestedCat including Christina Raia, the AD, Matt Gershowitz, the sound editor/colorist, and Chris Carroll, who helped with post effects.

watch the film here -  The Contained

If you want to know how Chris did the pool of blood effect, just ask!

-Ryan