mccarthyedits Reviews

Fruitvale Station (2013)

A human film is a great film

[8/10 · 27 July 2014]

These are the rare films whose characters are so raw that they could easily be mistaken for the guy standing next to you at the grocery store or on the subway, or perhaps even a family member living in your own home. They live and breathe on the screen and you believe every breath they take. This connection becomes particularly poignant in Fruitvale Station, the real life story of police brutality and shooting victim Oscar Grant. It's a day in the life story, where we're removed from the politicizing of the shooting, and instead given a seat next to Oscar as he navigates through his daily struggle as a young father. The script, the acting, and the Bay Area backdrops all feed off the incredible energy of 26 year-old writer/director Ryan Coogler, an Oakland native, who turned his anger from the 2009 shooting into a beautiful work of art.

Prince Avalanche (2013)

A bare production doesn't equate to a bare narrative

[8/10 · 20 July 2014]

I watched Prince Avalanche last night and thought – A bare production doesn't equate to a bare narrative. We open in a Texas State Park where many of its trees are missing due to a recent wildfire. Long takes with a hand-held and sometimes stationary camera follow two road workers. Alvin (Paul Rudd) and Lance (Emile Hirsch) traverse the barren landscape not only trying to repair the park's roads, but also trying desperately to make an emotional connection with the outside world and each other. The bareness in production aspects; hand-held cameras, long takes, low- key score, one set location, and especially the small cast only accentuate Alvin and Lance's struggle. In such a bare and intimate mis-en-scene, the complexities of their insecurities are exposed and deeply felt. Director and Writer David Gordon Green captures a variegated palette that spans the ranges of human feeling. In Prince Avalanche scenes of human frailty and desperation harmonize with moments of ridiculous comedy that then transcend to moments of philosophical wonder.

In a World... (2013)

Indie Comedies might be making a comeback

[8/10 · 13 July 2014]

After watching a plethora of the dark and serious fare, I came away feeling refreshed and excited about the world of comedy today. There is a trend to include more comedies at festivals, in particular Sundance where In a World… won Best Screenplay. The jokes weren't rapid fire and didn't originate or end in the toilet. Instead they were smartly nuanced around the life of Carol Solomon (Lake Bell), a professional voice-over artist and coach. Bell also has tremendous talent as the director, writer, producer, and lead actress in this one. The humor came from poking fun at the industry. Some of the funniest moments touch on the overinflated ego of industry artists and the banality of the modern blockbuster. Carol is the underdog in this one fighting against the aspects of the biz it pokes fun at. In a broader sense, this indie film is also the underdog for the same reasons. But this is also what makes it such a refreshing and funny film to see.

The Missing Picture (2013)

Clay figures can't compensate for missing pictures

[5/10 · 8 July 2014]

I watched The Missing Picture (2013, dir. Rithy Panh) last night and thought how clay figures can't compensate for missing pictures. I thought I was going to enjoy the film when it opened with poetic narration and a mesmerizing piece of archival film depicting a Cambodian dancer and the years prior to the Pol Pot takeover. However, as the film started relying more on static clay figures and less on archival footage I began to lose interest. Panh's story is remarkable and beautifully told, but the clay figures, although quite expressive in their design and arrangement, reminded more of an award winning high school diorama than the visuals for an award winning documentary film.

Prisoners (2013)

How film has the ability to grab hold and not let go

[7/10 · 29 June 2014]

I watched Prisoners (2013. dir. Denis Villeneuve) last night and thought how film has the ability to grab hold and not let go. This is a thrilling, suspenseful mystery where sometimes I needed to remind myself to breathe. The camera, the acting of Jake Gyllanhal, and the mystery are the stars in this one. The mood is somber amidst a tragic abduction of two girls in a small Pennsylvania town. I immediately felt connected and invested in the story and eager to see how far the characters would go to solve the mystery. Sometimes, the "thriller" moments in the film felt exaggerated and may have had a better effect if left slightly more understated.

Omar (2013)

Sociopolitics Translated to Story

[8/10 · 22 June 2014]

I watched Omar (2013, directed by Hany Abu-Assad) last night and thought how well Abu-Assad translated a twisting, conniving, chaotic, and disruptive sociopolitical situation to the mis-en-scene and plot points of his film. The story hooked me the moment it began and didn't let go until the end, or perhaps even after it ended. My only complaint came from initially thinking that the plot points seemed forced and overly-contrived. However, once I had time to think and discuss the film with my wife Hannah, I began to see how the story followed the situation in the West Bank. The character's lives are surrounded by conceit and violence. They maneuver through their neighborhoods over walls and through back alleys. This mindset is encapsulated in the story.The acting and cinematography furthers its cause. We are left scratching our heads, but that's what the citizens of the West Bank do year-after-year and the I believe that's the greater point Abu-Assad is trying to make.

Dirty Wars (2013)

We know its a dirty war, so what's the point of the film?

[5/10 · 15 June 2014]

I watched Dirty Wars (2013, directed by Richard Rowley and Jeremy Scahill) last night and thought, "We know its a dirty war, so what's the point of the film?" This might sound flippant in the context of errant killings carried out by our own government, but that's not the context that I'm referring to. I'm referring to the context of the film's narrative which looks at the gray lines of a global war on terror. Unfortunately these areas are no longer gray by the time the film is released. Thanks to brave journalists such as the film's director Jeremy Scahill, these issues have come to the attention of the public. The only gray area that remains is how an ambiguous global war on terror will evolve, or perhaps collapse. This is an interesting question, and perhaps one that deserves more attention in the film. Another question that deserves more attention is, "Who is Jeremy Scahill?" He traveled in the most dangerous red zones of Afghanistan to seek the truth on "dirty" night raids and drone strikes carried out by NATO and U.S. led forces. I wanted to delve deeper into Scahill's state of mind. This happens at times throughout the film, but not enough. In this one, I appreciate the work Scahill has done as an investigative journalist. The film read fine as a news story, but as a documentary film Dirty Wars lacks purpose and emotional connection.

The Hunt (2012)

The Hunt is on

[8/10 · 9 June 2014]

The serene nature of a Danish village are juxtaposed to feelings of agony and turmoil when a teacher is falsely accused of sexual abuse by a minor. It's easy to think of all the pedophiles who deserve harsh punishment, but this film exposes the other side of the story; those who are falsely accused. When innocent children are involved, fair trials take a back seat to the natural human response of suspicion and rage. Through vivid and emotional performances from the actors a gripping story unfolds amidst the beautiful Fall and Winter seasons of Denmark. This is an understated yet beautiful film that made me ponder the fragility of our social standings at work, in our neighborhoods, and in our homes.

Before Midnight (2013)

Eavesdropping on a Middle Aged Couple

[8/10 · 1 June 2014]

Last night, we watched "Before Midnight" (2013, dir. Richard Linklater), the third part of a trilogy written and directed by Richard Linklater who also wrote and directed "Dazed and Confused" (1993). I never saw the first two films of this trilogy and I don't think I needed to. The film stood on its own as a relevant coming of middle age film. This is a dialog film and the dialog spoke to me. Smart lines commented on marriage (or lack thereof), parenthood, divorce, careers, and aging amidst the pressures of modernity. Nothing seemed forced in this film. The actors brilliantly portrayed their characters in extended scenes and shots of conversation. This is difficult to achieve because the editor can't fix a missed line or camera mistake with a cut to something else. Ethan Hawke, Julie Delpy, and director Linklater pulled off this technique with resounding skill which resulted in beautiful natural expression. All this juxtaposed to the beautiful sights and sounds of Greece. Next chance I have, I'm going! Did the Greek National Tourism Department have a hand in this production?