Going in to Scott Eastwood’s new movie, “Overdrive,” I wasn’t expecting much. I had seen the trailer for the movie in front of “Atomic Blonde” while on vacation in France two months ago, and immediately dismissed it out of hand as a wannabe “Fast and Furious” type. I just tuned it out the way you tune out a commercial while watching last week’s episode of “The Good Place” on Hulu. If I had been paying attention, I might have noticed it was primarily in Marseilles, where I had been not two days earlier. So when I read about this tidbit two months later, I decided to check it out. And what I ended up getting was something that, while not a great movie, was quite a bit of fun, and better than any of the “Fast and Furious” movies they’ve been making for the past decade.
Why do we watch movies? For newer works, we go to see the newest effort from a favorite actor, writer, director or cinematographer, or we feel the story is something we can relate to, or because it comes recommended from friends or critics or has received a lot of awards buzz. Maybe we’ve not heard of the filmmaker, but a distributor who has acquired a reputation for giving chances to edgy and interesting work is releasing it. So while Screen Media isn’t quite at the level of a 1990’s Miramax, a 2000’s THINKfilm or a 2010’s A24 in terms of prestige, they have slowly been moving away from their former bread and butter of Z-level dreck like “Croczilla” and “Paranormal Whacktivity” and giving theatrical life to curious works from directors like Tobe Hooper and Paul Bettany. And while I have never heard of writer/director Ryan Eggold, he was able to nab an embarrassment of riches when it came to casting his feature debut, including Cobie Smulders, John Cho, Peter Gallagher, Ryan Hansen, Charlyne Yi, Briga Heelan, Luis Guzman, Dana Delany and Lea Thompson. Which is why I was interested in checking out “Literally, Right Before Aaron.” That’s one hell of an eclectic cast.
Since our re-launch a few months ago, we at FilmJerk have dedicated ourselves to focusing more on the smaller, less-advertised independent and foreign films. One aspect of the movie-going experience less often explored is the setting of the screening itself. So, from time to time, we will take a look at some of the places we enjoy going to see movies, or theatres new to us that we are discovering for the first time. Our first movie theatre review takes us to one of our favorite places to see a movie, the Angelika Film Center in New York City.
One of the strongest truths in telling any story is that if you can’t make your lead characters likeable, at least make them interesting. Michael Corleone? Not likeable, but highly intriguing. Walter White? Really unlikeable, but dear God, so complex and endlessly fascinating. Darth Vader? One of my favorite movie characters of all time, but I certainly don’t like him in the least. In Gillian Robespierre’s “Landline,” the follow-up to her 2014 debut “Obvious Child,” there is nary an amiable character amongst the leads of the films, which makes for a difficult movie to watch or to recommend.
“Score: A Film Music Documentary” celebrates the important but almost invisible art of scoring a motion picture. You may think, from various special features on DVDs and Blu-Rays over the years, that you might understand how the process works, but you’ve never really gotten this in depth before, and before this, you probably never knew you wanted to go this in depth before.