Indie Movie Preview: July 2014

The meaning of what constitutes an “indie film” is hotly contested among the film community (although I think we can all agree that Transformers doesn’t qualify). I don’t claim to be an authority on the term, but as an avid moviegoer I do find myself often seeking out the smaller, lower-scale productions that haven’t spent 80% of their budgets on marketing. Amidst the commercial cash cows, yuppie romcoms, and superhero franchises that regularly hog the theaters, I urge you to consider the bounty of relatively below-the-radar films slipping onto screens in between their behemoth counterparts.  

Read on for my picks of must-see indie releases this July!

Begin Again

Release Date: July 4

Starring: Keira Knightley, Mark Ruffalo, James Cordon, Hailee Steinfeld, Catherine Keener, Adam Levine, Mos Def

What’s the story? When singer-songwriter Gretta—newly dumped by the boyfriend she moved to New York with—sparks the interest of downtrodden record label executive Dan, the two decide to merge talents in a new partnership, setting the stage for unique and life-changing experiences.

My take:  It’s not just the impressive names on its marquee—including Mark Ruffalo in that signature “pitiful screw-up” role that only he can pull off endearingly—that make this film an appealing choice at the cinema this weekend. With an addictive (in a guilty-pleasure kind of way) soundtrack on which Keira Knightley croons some of the tunes herself, plus some quintessential Manhattan backdrops that just scream “summer,” there’s an irresistible feel-good aura to Begin Again.  I’ve already purchased my ticket.

Boyhood

Release Date: July 11

Starring: Ellar Coltrane, Ethan Hawke, Patricia Arquette

What’s the story? Director Richard Linklater (of Before Sunrise/Sunset/Midnight fame) clouds the lines between fiction and reality in this story documenting moments of a young boy’s life as he goes from 5 to 18 years old over the course of the film, thus literally coming of age both on and off-screen.

My take: It may not have been on my radar for the whopping 12 years it took to make, but I’ve long anticipated Boyhood nonetheless. Linklater’s gift for organic storytelling, and extracting humor as well as wisdom from the mundane is bound to reach new heights as he follows his subject navigating the pains and pleasures of growing up. From the few clips I was shown during a live Q&A event with Linklater himself a few weeks ago, Boyhood promises to be an unprecedented portrait of childhood. I’m trying not to read the rave reviews already pouring in from those lucky pre-screeners; to say I’m looking forward to this would be such a gross understatement, it would border on dishonesty.

Life Itself

Release Date: July 11

Starring: Roger Ebert, Chaz Ebert, Gene Siskel

What’s the story? While it’s not technically an indie, my list would be incomplete without mention of this nonfiction documentary of one of the most iconic modern-day enthusiasts, authorities, and educators on film.

My take: I’ve said it before, I’ll say it again: I want to be like Roger Ebert when I grow up. Say what you will about movie critics or the inevitable bias of documentaries, there’s no denying that Ebert was, for many, the definitive voice of film journalism. As someone who grew up on and was greatly influenced by the approachable nature of his reviews, yet has little insight into his own story, it’s a particularly personal connection that draws me to this deeper look behind the man who made film criticism accessible while keeping it an art.

Wish I Was Here

Release Date: July 18

Starring: Zach Braff, Kate Hudson, Mandy Patinkin

What’s the story? When a struggling actor, flailing family man, and all-around aimless human is forced to home school his children, he finds his life thrown under a revelatory magnifying glass and learns some of his own lessons along the way.

My take: Just when I had concluded that Zach Braff peaked when he wore a garbage bag and screamed from the top of a tractor in 2004, his newest writing/directing venture, in which he’s all grown up as a 35-year old father of two, gives me a glimmer of hope not to dismiss him as a has-been just yet. The film’s lighthearted yet poignant and reflective approach to life’s crossroads shows lingering strains from Garden State, but I’m curious for Braff’s perspective now that he’s a decade older and (presumably) wiser.

A Most Wanted Man

Release Date: July 25

Starring: Philip Seymour Hoffman, Willem Dafoe, Rachel McAdams, Robin Wright

What’s the story? The film adaptation of spy novelist John Le Carre’s story about the murky identity and loyalties of a Russian/Chechen immigrant in Hamburg.

My take: On a regular basis, spy thrillers aren’t my cup of chai. But the intriguing combination of actors here, coupled with the fact that John Le Carre is known to write a pretty captivating page-turner, and most importantly, the sad truth that there are few more opportunities to watch Philip Seymour Hoffman work his magic on the big screen after this…it would simply feel wrong to pass A Most Wanted Man up. If there’s anyone who can make this genre palatable even to me, it’s Hoffman. I must pay my respects.

Magic in the Moonlight

Release Date: July 25

Starring: Emma Stone, Colin Firth

What’s the story? When a questionable clairvoyant has a family of socialites under her spell, an English magician is enlisted to investigate whether she’s bogus or bona fide.

My take: Another film that perches precariously on the periphery of the indie category, but since you can’t exactly call Woody Allen mainstream either, I’m leaving him here as the final release of the month. That also works out well because I can then say that I saved the absolute best for last. Whimsical, nostalgic, positively brimming with Cote d’Azur charm…Magic in the Moonlight has in spades all the ingredients that worked so well in favor for Allen’s other films in recent years. Whether those elements can once again create a magical story or not remains to be seen, but I’m pretty sure that with Emma Stone and Colin Firth sharing a frame, we’re already guaranteed an enchanting experience.

Bollywood Movie Preview: July 2014

When school’s out, work is slow, and everyone's dawdling under that sluggish, summer-induced lethargy, I’m seeking protection from the blistering heat with the best form of sunscreen: the cinema!

In what I hope will become a regular series on Reel Simple, I’m taking a look at movies hitting your multiplexes this month, with my takes on what to see, what to skip, and what to delegate to the DVD department.

Here’s what’s on the Bollywood slate this July….

Bobby Jasoos

Release Date: July 4

Starring: Vidya Balan, Ali Fazal, Kiran Kumar, Supriya Pathak

What’s the story? A small-town gal with lofty dreams and a penchant for espionage aspires to become Hyderabad’s leading detective, despite naysayers and skeptics who doubt her potential.

See it or skip it? The trailer of Bobby Jasoon shows Vidya bumbling her way through her investigative endeavors in various disguises, giving this highly anticipated film a lighthearted vibe of Harriet the Spy meets Sherlock Holmes. With the prospect of Vidya trying her hand at some physical comedy, plus the picturization of “Tu”—the gorgeous tune I’ve been hooked onto since the movie’s audio release—I’ll be queuing outside the theater for this one!

Lekar Hum Deewana Dil

Release Date: July 4

Starring: Armaan Jain, Deeksha Seth, Rohini Hattangadi

What’s the story? Sick of her father’s nagging to get married, a young woman decides to escape on a road trip with her best friend, who happens to be a fun-loving young man {insert predictable ending here}.

See it or skip it? I’ll be honest: this movie was nowhere near my radar until about ten minutes ago, when I did a frantic Google search to be able to write this very blurb. Turns out, it might be kind of a big deal. Sure, the cast list isn’t twinkling with A-listed starlets; however, co-produced by Saif Ali Khan, directed by Imtiaz Ali’s little bro Arif Ali, and scored by A.R Rahman, I’ll be watching Lekar Hum Deewana Dil out of involuntary curiosity—albeit probably on DVD a few months from now rather than in the cinema this weekend.

Humpty Sharma Ki Dulhaniya

Release Date: July 11

Starring: Varun Dhawan, Alia Bhatt

What’s the story? When rich girl Kavya Singh from Ambala visits Delhi to shop for her wedding and meets Punjabi munda Rakesh “Humpty” Sharma, it’s hate-at-first-sight, eventually turning into an opposites-attract scenario.

See it or skip it? The second big-ticket release this month after Bobby Jasoos, the on-screen reunion of Varun Dhawan and Alia Bhatt bears a few vague similarities to their 2012 Student of the Year debut: Alia’s cast in a similar rich-girl role, the glitzy “Saturday” dance number is set in a nightclub much like SOTY’s “Vele,” and producer Karan Johar’s influence inevitably gives the trailer a glossy, bubble-gum feel. Yet, Humpty Sharma seems to feature less frothy flouncing around, more witty banter, and significantly fewer gratuitous shots of Varun’s well-oiled abs. Plus, any film that makes DDLJ references scores points in my book. While it doesn’t promise to be a groundbreaking cinematic accomplishment, Humpty Sharma Ki Dulhaniya sure looks like a whole lot of fun—who’d say no to that?

Pizza 3D

Release Date: July 18

Starring: Akshay Oberoi, Parvathy Omanakuttan, Dipannita Sharma

What’s the story? A pizza boy’s day goes from humdrum to hair-raising when he makes a delivery to a house that’s haunted, and becomes ensnared in the secrets and supernatural threats that loom inside.

See it or skip it? If director Akshay Akkineni thought he could spook up a title and a premise as lame as this one (I’ve made student films in middle school with more sophisticated plotlines) by tacking on the 3D element, I’m convinced he’s grossly mistaken. The only thing scary about looking at melted mozzarella in enhanced depth is that it’ll probably tempt me into calling in for a personal stuffed-crust pie. No need for those goofy stereoscopic glasses to see a clear verdict here: save your waistlines—and your brain cells; skip this one. 

Hate Story 2

Release Date: July 18

Starring: Surveen Chawla, Sushant Singh, Jay Bhanushali

What’s the story? I don’t know, guys. It’s an erotic thriller. Do those have stories?

See it or skip it? I’m scratching my head as to why, after the hot mess that was the original Hate Story back in 2012, producer Vikram Bhatt thought that a part 2 would be a good idea. Hate Story 2 then shoots itself further in the foot even before its release by claiming to be inspired by Quentin Tarantino’s Kill Bill series—way to set your bar unattainably high, Vikram. Even trying to keep an open mind with the whole “erotic thriller” thing, I’m at a loss for reasons to watch this. If you come up with any, I’m all ears.

Kick

Release Date: July 25

Starring: Salman Khan, Jaqueline Fernandez, Randeep Hooda, Nawazuddin Siddiqui

What’s the story? Salman Khan stars as a he-man with a mysterious profession that involves a lot of helicopters and death-defying feats, and an inexplicable obsession with what gives life its “kick.”

See it or skip it? Given that Salman Khan has the most loyal fans in all the world, I’ll probably face serious backlash after saying this but, like most of his films, Kick looks to be just another rendition of his tried-and-tested formula: a confused but oddly effective mix of highly risky, highly improbable action sequences; melodramatic yet meaningless dialogue; and a romantic subplot featuring Sallu’s latest inappropriately young flame haphazardly thrown in. Worth the price of popcorn and soda? I’m still on the fence. 

Chef

One of Chef's most memorable scenes is Jon Favreau making a sandwich for his son. Generous layers of cheddar are nestled between two buttered rectangles of sourdough, carefully placed on a griddle until their sizzle signals their doneness. There’s a satisfying crunch as his knife cuts through the bronzed slices, cheese seeping like molten from their sides.

Here’s the thing: I barely consume dairy.

                                                                                           

That, in a nutshell, is why you shouldn’t watch Chef hungry. If it could make my make my practically-vegan palate salivate, imagine what it would do for the meat-loving moviegoer. From close ups of juicy, falling-off-the-bone brisket and succulent slabs of bacon to steaming golden coils of spaghetti and airy nuggets of sugar-dusted beignets, Chef is an undeniable feast for the eyes, if not an entirely satisfying meal for the viewer with a bolder appetite. 

Here, Favreau returns to his indie roots in his first endeavor as writer/director since 2001’s Made. Starring as Carl Casper, he plays an ambitious yet stifled head chef at an upscale L.A restaurant who, despite his desperate desire to cook outside the box, is forced by his boss (Dustin Hoffman) to dish out the same menu night after night.

When the redundant offerings (not to mention Casper’s “dramatic weight gain”) are verbally chewed out by veteran food blogger Ramsey Michel (Oliver Platt), Casper starts a Twitter account to state his beef with Michel’s review. But his angrily defensive tweet—intended as a private message—is posted publicly; a social media feud is ignited and explodes in an in-person outburst, captured in a video that (obviously) goes viral and costs Casper his job.

What looks like a dead end turns into a glimmer of opportunity: at the urging of his restaurant-hostess friend (Scarlett Johannson) ex-wife (Sofia Vergara) and her ex-husband (Robert Downey Jr.),** Casper starts a food truck and takes to the road. Thus begins a journey that allows him to not only indulge his culinary whims but also bond with his son Percy (Emjay Anthony), who joins in as sous-chef along with Casper’s former coworker Martin (John Leguizamo).

The cast list reads like Favreau’s personal phone book, with buddies from previous projects over his almost twenty years in showbiz making token appearances and then disappearing.  At moments, it’s easy to get distracted from the plot as you wonder which A-lister is going to show up next. But that’s not to say that the actors don’t deliver. From his notable knife skills and heavily inked arms to his impressive girth we can easily be convinced was part of “preparing for the role,” Favreau clearly relishes being Casper. He essays the chef/father duality so fluently that you can’t help assuming that Casper’s struggle to maintain a balance between career and family is Favreau’s written confession of his own challenges as a working actor with three children. His chemistry with his on-screen son is effortless and gives the film its most solid plotline, Anthony himself being a rare young find who wins you over with his completely unaffected talent.  Together with Leguizamo, the three forge a lovable bromance as they drive cross-country. As Percy's Latina mom, Sofia Vergara doesn’t quite step out of her Modern Family zone, but it’s refreshing to see her display some restraint here. Robert Downey Jr. has his classic over-the-top moments, but performs them with characteristic charm. Scarlett Johansson remains firmly mediocre but she’s on screen for a total of maybe 7 minutes, so her overall impact is negligible.

It’s the movie’s predictable narrative beats that do compromise its effect, at times falling short in believability or plain oomph. With its emphasis on humble beginnings as well as second chances, Chef is an ideal feel-good film and, judging by the tender reverence with which Casper extracts a perfectly roasted pork from an oven, a welcome reminder to do what you love even if it goes against the grain.*** But a bit more rawness and a slightly grittier depiction of Casper’s struggles during his period at rock bottom would have lent the plot a greater air of realism. Once he is dramatically removed from his job, all it takes is a brief spell of moping, a pep talk from his curvaceous coworker, and an especially delectable Cuban sandwich to rekindle his confidence and ambition. From the funding to the cooking to the marketing of his new venture, the upturn is suspiciously obstacle-free. I’m no expert, but I doubt one needs to be Roy Choi to realize that running a food truck is no joke. It’s difficult to swallow that two men and a 10 year old can pull it all off without considerably more nervous breakdowns. Sure, it’s “just a movie,” but even still, Chef makes it all look way too breezy.

What it (thankfully) doesn’t do so easily, is blast critics. Favreau could have easily used the film as a vindictive rebuttal against reviewers he’s been stung by in the past.  Yet, Chef nobly suggests that there is as much a space for critics as there is for the people they write about.** Sure, there are the obnoxious few who use their profession and their subjects as punching bags for their snark. But reviews aren’t always gratuitously belittling diatribes; as Chef implies, honest evaluations are not only often spot-on, but can be much-needed wake-up calls for a career boost, attitude adjustment, or leap of faith.

More than just food porn, the film delivers both the hearty and healthy message of following one’s dreams. Yet, some areas are a little overcooked for my liking.  Well-intentioned and comforting, Chef is occasionally too much sugar and not enough spice. But, given my insatiable sweet tooth, I devoured it without much fuss.

*Don’t worry, we’re still talking about Chef. Not Iron Man 3. Chef.

**I particularly appreciate this, y’know, seeing as how I’m aiming to do this for a living.

***Sorry. Food puns are my weakness.

12 Years a Slave

I dropped the ball on reviews for awhile there. It’s not for a drought in movie-going. But after feeling somewhat uninspired by what I’ve seen lately,* I needed a film especially remarkable; so provoking that it would be impossible—wrong even—to watch it without some written reflection.

12 Years a Slave is undoubtedly that film.

I realize that’s no earth-shattering statement. It’s hardly a surprise that Slave is a picture with profound impact. From director Steve McQueen’s surreal encounter with its published origins to the whopping 134 awards (including a Best Picture Oscar) it has nabbed since its release, the page-to-screen trajectory of ex-slave Solomon Northup’s memoir is exceptional in itself. But it’s the presentation of the material within his account that makes the movie truly unforgettable.  

A musician in mid 19^thcentury upstate New York who is duped into captivity and sold into servitude, Solomon goes in a single night from a free family man to the shackled property of plantation owners. After a brief stint chopping timber for the relatively kind Ford (Benedict Cumberbatch), he is then transferred to the cotton farms of Edward Epps (Michael Fassbender), a famously merciless master with a blazing temper, a whip-wielding hand, and a sadistic obsession with Solomon’s fellow slave Patsey (Lupita N’yongo).

Adapted to script by writer John Ridley, it’s rare to see a film premised on slavery—a topic itself rarely acknowledged in cinema—handled with such unflinching honesty that even now, days later, it’s impossible to leave behind.

Wince in shared embarrassment in a scene where Epps’ slaves, drained but jolted awake in the middle of the night by their drunken master, dutifully dance for his entertainment. In another, Solomon is forced to listen as the particularly vile farmhand Tibeats (Paul Dano), eyes squinted and mouth curled, sings his rendition of “Run N*gger Run.” His taunting refrain bleeds as voiceover into the following scenes, over and over, contemptuous and unrelenting, leaving us squirming for it to end. Later, as Patsey lies bleeding and broken, her back lashed to a gruesome pulp by a maniacally furious Epps, the stinging cut of his whip can almost be felt through our own skin.

There’s nothing overtly sympathetic or sensational about the film, yet its unembellished depictions are more than enough to elicit reactions so visceral. Thanks to Solomon’s real-life reference points, Slave avoids glorifying its subjects and their ordeals, telling them (seemingly) just as they were. His recollections are gut-wrenching as an individual’s experience, and harrowing as a visual reminder that his is but one of countless other similar but unwritten stories.

Breathing even further poignancy into Solomon’s memories are those who recreate them. "Heartbreaking performance" is a phrase thrown around so easily, it may now have lost its luster. And yet, there is no other way to describe what the actors have given here. Ruthless to the brink of inhuman, Fassbender’s portrayal of Epps is as courageous as it is cold-blooded. Equally brave is N’yongo; in her debut feature role as Patsey, she is a revelation well-deserving of the accolades she has received since. But Slave is, unequivocally, Ejiofor’s film. From the droop of his shoulders and the grief in his eyes to his silent but indestructible will to maintain hope, Ejiofor’s Solomon exhibits a quietly magnificent strength. Representing a human endurance that invokes a level of compassion unachieved by anyone on screen in a long time, he leaves an impression that lingers well beyond the film's ending.

The soul of 12 Years a Slave lies in Solomon's determination not just to “survive,” but to live. It is his unwavering faith that he might one day return home that fuels his ability to withstand constant degradation by his master, and to preserve a sense of dignity despite it. As viewers, we struggle to do the same. But McQueen doesn’t make it easy on us.  From the inner workings of the trade—captives are stripped bare in front of potential buyers and a little boy is made to perform high-knee jumps in a scene reminiscent of circus animals on display—to the physical and emotional scars borne by the victims as a result of their dehumanization, the director is unafraid to shed light on slavery as an industry and it’s often unbearable to watch.

Still more difficult is the realization that this was once the reality of so many. Set in the plantation countries of Louisiana where much of Solomon’s story actually occurred, the juxtaposition of the breathtaking New Orleans landscape against the barbarous brutality that took place there further cements the story as an unavoidable and humiliating snapshot of history.  And for all our sympathy, we will never truly fathom or relieve the anguish of those who lived it all, helpless to the abuse and hopeless for escape. Sitting here, bearing witness centuries later, we are just as defenseless as the slaves themselves to what transpired so many years ago.

What we can do is appreciate McQueen’s undaunted approach as he confronts, head-on, the atrocities of an era that has to date been unceremoniously ignored by a platform as prominent as mainstream Hollywood. It may be somewhat telling that neither the director nor the male lead is American. Then again, the film doesn’t endeavor to be a statement on race relations. A spotlight on the deplorability of a system that may be relatively suppressed today but is by no means nonexistent, 12 Years a Slave is a reminder of our capability as a society to inflict indescribable cruelty on each other, and shines as a story of human tragedy. In rediscovering Solomon’s book and translating it onto screen, McQueen has not only unearthed his odyssey, but has also compelled us to acknowledge the truths, extents, and motivations of our inhumanity. 

*which includes more mindless Bollywood than I care to admit.