Indie Movie Preview: November 2014

It may be because awards season is starting to peek out from around the corner, but the movies are kicking it into high gear this month. For the first time in awhile, I’ve gone through the roster of upcoming releases and not only been amazed at the sheer number of them, but have found something genuinely compelling about each one and have wanted to include everything here.

But since that would defeat the purpose of making this a curated list, I’m picking the handful that stood out most (note that while I am bouncing off the walls in anticipation for The Hunger Games: Mockingjay Part I, releasing November 21, it will not be a part of this roundup in the interest of keeping things slightly off the commercial path. It’s clearly doing well enough for itself in the promotions department anyway). It’s going to be a good November at the theaters.

Elsa & Fred

Release Date: November 7

Director: Michael Radford

Starring: Christopher Plummer, Shirley MacLaine, Marcia Gay Harden

What’s the story? The remake of a 2005 Argentinian film. Fred is a soft-spoken widower who has lost direction after the death of his wife. But when he meets the spunky Elsa, a hopeless romantic who dreams of her own Fellini-esque love story of La Dolce Vita proportions, they both learn that life—even in its twilight years—can be full of surprises.

My take: I highly doubt this film is going to come with some profound message we haven’t heard before. But who said every movie has to be a cerebral mind-twister to be considered good? And it’s Captain Von Trapp, you guys! Aside from the fact that no film he does will make me think of him as anyone other than the pitch-perfect patriarch, I have faith that he and Maclaine can at least take it back to old fashioned romance here, rather than the melodramatic teenage stuff we’ve been subject to of late.* I’m pegging it as this month’s feel-good factor.

Rosewater

Release Date: November 14

Director: Jon Stewart

Starring: Gael Garcia Bernal, Shohreh Aghdashloo, Claire Foy

What’s the story? Television host, modern muckraker, and all-around funnyman Jon Stewart turns writer/director with his debut feature, an adaptation of Iranian journalist Maziar Bahari’s book retelling his own arrest, interrogation, and 118-day imprisonment while covering the nation’s 2009 presidential elections.

My take: Stewart’s passion for both comedy and politics collide in this at-times lighthearted, at-times intense portrait of one man’s solitary confinement—and according to feedback, his unique blend of satirical reporting is both the film’s strength and it’s flaw.  While audience and critic responses have been inconsistent, Rosewater nonetheless seems like an earnest endeavor to celebrate the spirit of honest journalism, and to highlight the volatile energy of Iran’s changing social landscape. Plus, I never have to be arm-twisted into seeing anything Stewart or Bernal do. Team them up, and they’re sure to be worth a watch.

Foxcatcher

Release Date: November 14

Director: Bennet Miller

Starring: Steve Carell, Channing Tatum, Mark Ruffalo

What’s the story? The biography of Olympic wrestler Mark Schultz, whose desire to break out from under his older brother’s athletic shadow leads him to pursue training under multi-millionaire coach John Du Pont, with harrowing and irreversible consequences.

My take: I know, I know. A film that includes three A-listers can hardly be considered “off the beaten path.” But the buzz around this movie has been deafening for months, and it would be plain foolish to brush of a film that nabbed Miller the Best Director award at Cannes and was a nominee for the zenithal Palme d’Or honor simply because of its blingy starcast. Stories based on real-life sports figures are seldom unwatchable, the best of them tapping into to the corners of our psyche where competitiveness and morality converge. I’m not just intrigued to witness Steve Carell’s embodying of a downright disturbing character, but also legitimately excited to see how Tatum takes on the part of a young sportsman careening down a spiral of misplaced ambition–without a doubt, his most demanding, substantial role to date (no, a striptease to the tune of “It’s Raining Men” did not count).

A Girl Walks Home Alone at Night

Release Date: November 21

Director: Ana Lily Amirpour

Starring: Sheila Vand, Arash Marandi, Marshall Manesh

What’s the story? Director Ana Lily Amirpour’s feature debut centers on the dark and dismal ghost town of Bad City in Iran, in which residents are unknowingly being stalked by a vampire.

My take: Given my previous experience with the genre, never in a million years did I think I’d ever go around actually recommending a vampire romance. But favorable reviews for it across the board have me thinking that this one may just be different; not least because of the director’s apparent focus not so much on plot as on auras and aesthetics (if that sounds too loopy for you, I don’t blame you—but give it a shot anyway). Throw in the fact that it’s set in Iran, and is (very randomly) produced by Elijah Wood, and there are just too many unlikely elements coming together here to not be curious.

The Imitation Game

Release Date: November 28

Director: Morten Tyldum

Starring: Benedict Cumberbatch, Keira Knightley

What’s the story? Another cinematic take on a biography, this time with a computer scientist rather than a wrestler at its center. The Imitation Game reflects on the life and achievements Alan Turing leading up to and throughout his critical involvement in the decrypting of Nazi Germany’s Enigma code during World War II, as well as the prosecutions that followed surrounding his homosexuality.

My take: Two words: Benedict Cumberbatch. I should think that’s explanation enough, but for those of you who aren’t quite as captivated by the inimitable specimen that he is, there are other reasons to look forward to The Imitation Game, whether its Keira Knightley marking her promising return to her comfort zone of period films, or writer Graham Moore’s exalted, four-years-in-the-making screenplay. The combination of British talent, a wartime setting, and a hero who is an intellectual genius but a social underdog tend to work with viewers (most recent case in point: The King’s Speech), an assumption further validated by the seven Audience Choice awards its swept up during its festival circuit. There’s no reason not to believe the hype.

Before I Disappear

Release Date: November 28

Director: Shawn Christensen

Starring: Emmy Rossum, Ron Perlman, Paul Wesley, Fatima Ptacek

What’s the story? Troubled 20-something Richie is minutes away from attempting suicide when his sister calls, desperate for him to look after her pre-teen daughter that evening. The babysitting job turns into a wild nighttime ride as Richie and his niece traverse from one end of Manhattan to the other, creating unexpected bonds through their unlikely shared experiences.

My take: The feature-length version of Christensen’s Oscar-winning short, “Curfew,” Before I Disappear seems to be more of what its 2012 precursor offered, and from the praise I’ve heard so far, that’s not entirely a bad thing. Admittedly, suicide isn’t the most uplifting of topics, but I’m keen to see how Christensen has developed Richie’s emotional journey, especially with an eleven-year-old girl beside him. Apparently, in between shots set in quintessential New York locations, we can expect glimpses of magical realism and even a choreographed dance sequence (and yet, it’s not Bollywood!). Sounds like something I can get on board with.

*Fully aware of how ancient that sentence makes me sound, but I’ve long since made peace with many of my medieval traits.

Indie Movie Preview: August 2014

So far so good with my promise to keep up with my monthly movie preview series! (Let’s just ignore the minor detail that that means pretty much nothing, considering that this is only the second one).  We’re heading into the prime of the “dog days of summer;” and while there aren’t a whole lot of options at the theater this August to help beat the heat, I’m looking forward to five releases that may provide some respite. Here are the indies* lighting up the marquees this month!

First time here? Check out my July 2014 preview for an introduction to this series, wherein I also clarify what I consider to be “indie.”

What If

Release Date: August 1

Starring: Daniel Radcliffe, Zoe Kazan, Adam Driver, Rafe Spall

What’s the story? The Boy Who Lived becomes the Man Who Loved as Daniel Radcliffe swoops into straight-up romcom territory in this story of a fellow who falls for his best friend, though she happens to be seeing someone else.

My take:  If the plot sounds predictable to you, I can’t disagree. But I’m looking forward to Radcliffe taking on a more “normal” post-Potter role in which he’s not blinding horses or being accused of murder. After graduating from the wizarding world of Harry Potter, he has stripped on stage in Equus, sprouted Satanic prongs in Horns, and dabbled in hipster-era debauchery in Kill Your Darlings; in short, he’s (only partly successfully) done everything in his power to render his wand-wielding days a distant memory. If you’re anything like me, you still find it challenging to see him as anyone other than Harry, even three years after the final film. But along with the character, the loyalty he inspired from me in that beloved series has also carried over since he said goodbye to Hogwarts. And so, whether I’m convinced by his performance in this film or not, I’ll be watching and rooting for it anyway.

The Trip to Italy

Release Date: August 15

Starring: Steve Coogan, Rob Brydon, Rosie Fellner

What’s the story? Four years ago, Steve invited Rob to join him on a journey through northern England to review the country’s finest dining establishments. This time, they’re taking their volatile bromance on the road again, driving and dining their way from Liguria to Tuscany in an exploration of Italy’s culinary and cultural treasures. 

My take: I haven’t yet seen The Trip, the much-loved 2010 precursor to this movie—though I’ve had it on my Netflix queue for the last two years, so my intentions are good! Yet, from the looks of it, that isn’t a prerequisite for enjoying the leading duo’s second excursion. Films focused on travel, food and friendship never really fail that miserably to begin with, and anything involving Steven Coogan (last seen in the extremely likeable Philomena) is probably worth watching. Couple that with his natural chemistry with Brydon, their shared gift for comedic timing, and the promise of many close-up shots of pasta, and I’m guessing The Trip to Italy will be one to remember.  

Frank

Release Date: August 22

Starring: Michael Fassbender, Maggie Gyllenhaal, Domhnall Gleeson

What’s the story? Aspiring musician Jon thinks he’s on his way to stardom when he joins a pop band. When he realizes that the group’s lead singer is a man who insists on permanently wearing an oversized, paper mache head, he begins having second thoughts. But at that point, he may be way too in over his own head to back out.

My take: The last time I saw Michael Fassbender on screen, he was ruthlessly whipping slaves into bloody submission as plantation owner Edwin Epps in 12 Years a Slave. I think it’s safe to say that Frank, with its kooky plot and deadpan humor, is a bit of a departure from that. Most intriguing is how, with that giant mask obstructing his facial expressions—which I would think are essential to effective acting— Fassbender might use other tools to deliver a convincing performance. If he can pull this off, it’ll be yet more proof of his limitless talent.  And from the film’s positive reception at this year’s Sundance and SXSW festivals, it looks like he can rest his case on that point. I’ve got to see this.

Love is Strange
Release Date: August 22

Starring: John Lithgow, Alfred Molina, Marisa Tomei

What’s the story? After over 40 years together, Ben and George finally get married. But their plans for happily ever are quickly botched after George loses his job; the couple is forced to sell their apartment and live separately until they can find a new home, all the while struggling with the adjustments of their host families and the woes of being apart.

My take:  Be it the ever-so-relatable “unforgiving New York real estate” angle, the unique handling of concepts like long-distance love and intergenerational family dynamics, or the rare focus on an elderly gay couple, there are plenty of reasons to be taken by the looks of this film. Known for stories that are less plot-driven than they are character sketches, director Ira Sachs has ably handled subjects like the hardships of marriage and homosexuality in previous films such as Married Life and Keep the Lights On. He therefore seems firmly in his comfort zone here, while seasoned actors like Lithgow, Molina and Tomei look poised to do those characters justice. From where I stand, this looks like a sensitive, reflective, and gently humorous look at love story gone slightly askew.

The Congress

Release Date: August 29

Starring: Robin Wright, Paul Giamatti, Harvey Keitel, Jon Hamm

What’s the story? A has-been actress, on the verge of becoming completely obsolete agrees to do one last job, but things become way more complicated than she anticipated when the project presents life-altering repercussions.

My take: My desire to see The Congress comes, more than anything, from the fact that I am utterly baffled by it. The trailer comprises a bewildering amalgamation of nostalgic references, futuristic effects, post-apocalyptic worlds, a dash of inexplicable animation, and some very blurred lines between fantasy and real-life. I wish I had a more cohesive explanation for it all. Considering that this movie is made by Ari Folman, the same man who gave us 2008’s Oscar-nominated documentary Waltz With Bashir, I’ll just trust that there’s surely a greater meaning behind all the enigmatic madness. The curiosity to discover it is enough reason to watch the film—well, that, and the fact that Jon Hamm is supposed to be lurking around somewhere in there.

Begin Again

“Music can turn banalities into beautiful, effervescent pearls,” Mark Ruffalo’s character tells Keira Knightley’s as they perch on a park bench midway through Begin Again. An emotional choice of words, perhaps, but an accurate representation of the sentiment that permeates every scene in the film, given that its original title was Can a Song Change Your Life? I wouldn’t say Begin Again’s tunes are quite that powerful (I’m actually having trouble recalling their melodies now); however they do have a transporting effect within the story’s context, making it a lot easier to like the film while watching it than when you’re thinking about it later.  

I’ll admit up-front that I haven’t seen director John Carney’s debut film Once*, which apparently deals with similar subject matter. The comparisons ricocheting around critics’ circles lamenting Begin Again’s less innocent, more manufactured nature are therefore lost on me; for better or worse, I watched this one with eyes un-tinted by the rosy shadow of its predecessor.

Begin Again opens with Dan (a pitch-perfect Ruffalo), a once-flourishing audio label executive turned borderline alcoholic, deadbeat dad kicked out of the house by his wife (Catherine Keener), and general sad case. Sick of sifting through starry-eyed pop princesses and lame rock wannabes—“monosyllabic teenagers” as he refers to them—he hasn’t signed anyone new in seven years, leading to his ousting from the very indie record company he helped found.

Half a drink away from a total meltdown and slumped at a local bar, he's suddenly roused from his bourbon-induced haze by the acoustic strums of a guitar and a voice with the heart he's been searching for.

It’s the voice of Gretta (Knightley), a British singer-songwriter who’s in her own doldrums after Dave (a surprisingly sensitive Adam Levine), the boyfriend she followed to New York when he got a record deal, not only cheats on her, but—maybe an even greater offense—mangles the wistful ballad she wrote into a pop-ified remix for his own album.

As Dan and Gretta bond over their downtrodden states and their shared chagrin at the decline of originality in music, Dan convinces Gretta to take him up as her producer in what evolves into a platonic-with-room-for-interpretation relationship. When they can’t book a venue to record a demo, they take matters into their own hands, using the five boroughs as their studio in an ode to New York City as well as an unequivocal refusal to serve as another cog in the industry machine.

Thus, Begin Again embarks on a journey to celebrate the cathartic capabilities of songs unprocessed by commercial interests. From the local artists and neighborhood kids recruited as accompanists to the subway platform soundstages and the iPhone duct-taped to a tripod as a makeshift microphone, it's the music version of the organic movement. Doing all of her own singing, Knightley’s voice has an unexpectedly unique timbre that’s sweet and simple; honest even as the lyrics she’s singing try a bit too hard to hit that indie eccentricity.

At times during its resolute mission to adhere to the authenticity theme, Begin Again ironically gets in its own way. Dan bemoans the wittingly constructed persona of Bob Dylan while Gretta's sitting next to him in her own prototypical “starving artist” getup of grubby-chic cropped pants, an oversized linen sweater and a scruffy ponytail. Despite their reputations as indie scene darlings, names as prominent as Ruffalo and Keener somewhat deflate the film’s touting of an art-house spirit. And what more apt—or overwrought—setting for a movie about indie musicians than New York, one of the world's capitals when it comes to street performers and bar crooners with nothing but pockets full of dreams intertwined in their guitar strings? It’s an all-too familiar tune.

And yet, you can’t help but want to hum along to this tribute to the city, whether it’s Gretta singing her own material on a skyscraper's rooftop, Sinatra belting out “Luck Be a Lady” as Gretta and Dan traipse through Times Square, or Dooley Wilson’s rendition of "As Time Goes By” played against that glittering, inimitable Manhattan skyline.** Corny as the scene is, it’s easy to get swept up in the songs that frame it, lending truth to Dan’s notion that the right music can indeed brighten, transform, and imbue meaning into mundane moments. 

 Begin Again’s intentions are earnest: a call to put meaning back into music that seems to recently have strayed into superficial stadium pop, and a reminder of how songs that avoid that fate can make us feel. It’s a noble undertaking, not without a few beats that fall flat here and there. But set aside your jaded filters for less than two hours; you’ll see that the film does, more often than not, hit the sweet spot between naive mawkishness and cynical realism to achieve a lightly fairy-dusted, uplifting narrative. Begin Again may not serenade you into submission, but it’s an easy listen nonetheless.

*I know, I know. I'll get to it.

**which really isn't helpful for someone like me, for whom getting New York out of her system is a daily struggle.