YOU DON’T NOMI Directed By: Jeffrey McHale Starring: Elizabeth Berkley, Paul Verhoeven, Adam Nayman, April Kidwell Runtime: 92 mins. RLJE Films
My introduction to Paul Verhoeven’s Showgirls was definitely by accident on some random childhood afternoon on a local network because my memories are of a hazy mishmash of ‘why does Jesse-from-Saved by the Bell looked Like That?’ and laughing at the crude 90s tech that they used to ‘paint’ dodgy cgi bras over very naked chests. So in tackling McHale’s documentary You Don’t Nomi, I knew I’d have to take another look. I don’t regret it as such but I was not converted into the cult that this doc’s trailer alluded to. That doesn’t mean You Don’t Nomi isn’t worth a look for the uninitiated. On its surface, You Don’t Nomi may appear a puff piece on something so-bad-it’s-good but it puts in a surprising amount of work to show not only Showgirls’s second life as a camp crowdpleaser but also how a critically reviled film evolves over time–even in the eyes of its filmmakers.
There is no better way to describe the 1995 critical reception to Showgirls than dog pile. It was brutal in that way that it becomes a sport unto itself to find the snarkiest pull quotes. It tanked Elizabeth Berkley’s transition from sitcom actress to the big screen and took the sexual thriller momentum that Verhoeven had in the US off of 1992’s Basic Instinct and sent him back to the more marketable sci-fi with Starship Troopers (Instinct was preceded by Total Recall and Robocop). The doc delves deep into Verhoeven’s career and finds parallels and themes that connect Showgirls back into his work in Europe before he escaped to Hollywood. Unfortunately the documentary did not manage to include modern interviews with any of the creative forces on the film but again, in diving into archived footage, the documentary exposes how Verhoeven and Berkeley in particular have decided over time to try and sell that they knew all along that their film was camp. As one of the speakers in the doc says, camp is “failed seriousness,” so I don’t really buy their attempt to control that narrative but as a storyline in the documentary, it’s very amusing.
Despite the box office flopping, Showgirls found a second life in midnight screenings, drag shows and an off-broadway musical. For me, Nomi hits its stride by zeroing in on the experience that the actress who played Nomi in the musical parody had and the difference it made in her life. Watching her account, as well as those of the drag hosts of sold out midnight showings I kept thinking about that speech from Pixar’s Ratatouille where critic Anton Ego says “the average piece of junk is probably more meaningful than our criticism designating it so.” -Hey if McHale can take a campy stripper movie seriously, I can defer to the wisdom of the cartoon rat movie. Even though I couldn’t relate to their obsession, I can certainly pinpoint pop culture hills I will die on and on that level I enjoyed hearing from such a well researched niche.
You Don’t Nomi is now streaming On Demand and digital, an additional review by Mike Gencarelli was posted earlier here
Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library meant we could still offer coverage of this year’s selections. Tribeca is also participating in the We Are One global film festival, whose streams are being uploaded through June 7th.
Every year the Tribeca Film Festival showcases a wealth of short films from across the globe in all different mediums. Where animation is concerned, the fest turns to acting legend Whoopi Goldberg to curate their lineup. Due to the unprecedented postponement of the festival in New York, I screened this collection from the comfort of my home and would like to highlight my favorites of Goldberg’s picks.
Personal Favorite: Beyond Noh
Patrick Smith’s 4 minute foray into every mask you could think of is mesmerizing. The setup is a simple black space with masks from every culture and time around the world rapid-fire shuffling through to a rhythmic drum beat. It’s so simple but so deftly made. This short doesn’t stick to just the fine arts either with detours through American Halloween masks, and the quite topical medical field to boot, it covers all the faces–err, bases.
Award Winner: Friends
Florian Grolig’s deceptively simple Friends took home the prize for Best Animated Short from the Tribeca Film Festival’s jury and it was well-deserved. It’s just two characters–one very small and one so large we only see its massive hand or foot for most of the runtime– interacting despite the challenges of their massive gap in size. For me, it’s the one that most celebrates the medium of animation. With its simplistic line work morphing through a blank white void accompanied by perfectly pitched breathing from its giant, the scope is clearly conveyed.
Most Star-Studded: The Tiger Who Came to Tea
Clocking in at 24 mins, Robin Shaw’s adaptation of Judith Kerr’s story is the longest of the program and starts very slow before evolving into something much more fanciful. We watch the cute morning routine of a British family ending with sending the father (Benedict Cumberbatch) off to work for the day while mother (Tamsin Grieg) and daughter (Clara Ross) are home to receive an unusual visitor. The titular tiger voiced by David Oyelowo politely invites himself to their afternoon tea and proceeds to scarf down the whole pantry. The animation on the tiger is utterly charming.
Historic and Beautiful: Kapaemahu
Directors Hinaleimoana Wong-Kalu, Dean Hame and Joe Wilson delve deep into Hawaiian history to tell the tale of transgender healing spirits that are behind a landmark often passed by in Waikiki Beach. The use of native voices and music bolsters some gorgeous and warm animation as the tale transcends across time.
Additional program titles included “Umbrella” and “Grandad was a Romantic”, which both mine true stories for some lovely animation, and “Bathwell in Clerkentime” which is third in a series whose bouncy black and white animation couples with a soundtrack that may drive you as cuckoo as the birds it follows. (Note: “To Gerard” from Dreamworks artist Taylor Meacham was also selected however was not available to me in the press library at the time of the festival)
I’m old enough to remember watching Bruce Lee as Kato on television’s “The Green Hornet” when it originally aired on ABC. T o me he was just a cool guy who wore a mask and kicked ass. But there was a lot more to Lee, as both an actor and a person, and those remarkable qualities are revealed in the latest ESPN 30 for 30 documentary, BE WATER.
We first meet Lee as he is completing a screen test in 1964. He is quite and soft spoken but, when he is asked to demonstrate some of his martial arts skills, he is a tornado. Even in these few minutes of film, you can see the legend that lie ahead.
Born in San Francisco (his father was a popular Chinese actor and opera performer), Lee’s family returned to Hong Kong shortly after his birth. Like most children, Lee had a mischievous side and his father allowed him to begin acting in films as a child in hopes of curbing his rambunctious attitudes. Finding his idea unsuccessful, his father sends him to Seattle to attend college. It is there that he begins the journey that most fans know. But there is also a lot they don’t and that is revealed here in Lee’s own words. Using archival interviews and quoting his letters, read by his daughter, Shannon, we learn that Lee was a very philosophical man who yearned to bridge the racial prejudice felt in America. He wanted to be able to share and express his culture and was tired of seeing such actors as Mickey Rooney, Marlon Brando and John Wayne portraying Asian characters on screen, usually in ridiculous make up.
Lee’s short-lived small screen stardom begins to fade and he is hopeful for the lead in an upcoming program to be called “Kung Fu.” When he is passed over for the role in favor of David Carradine – we hear the show’s producer proclaim that he could not find an Asian actor he felt could handle the role, he takes his family to Hong Kong,, where he will soon make film history.
BE WATER gets it’s title from a philosophy that Lee often shared in interviews. Water, he notes, is the softest substance on Earth, yet it is strong enough to penetrate rock. It takes the shape of whatever vessel it finds itself in. The film is full of amazing archival footage and the story is told through conversations with not only Lee’s daughter and widow, Linda, but various friends and former students, including Kareem Abdul Jabbar.
On July 20, 1973, Bruce Lee died. 10 days later, “Enter the Dragon” was released, making him an international superstar, ironically a term Lee disliked. His impact on pop culture and racial acceptance is still being felt today. With the current situation the nation, and the world, finds itself in, we could use a man like him today.
BE WATER airs this Sunday night at 9:00 pm EST on ESPN. It will stream afterwards on ESPN+. Don’t miss it!
I remember wanting to see “Showgirls” back in 1995 but since it was rated NC-17, I couldn’t get in. I was only 13 years old at the time. But I do remember renting it at Blockbuster once it was on video and I remember falling in love. Yes, I know how bad the movie is but at the same time it is also so good. That is what this documentary, YOU DON’T NOMI, is about. It focuses on the legacy of “Showgirls” and how it has become a cult classic over the last 25 years. Yes, it’s crazy to think that it is 25 years old already.
Official Premise: In YOU DONT NOMI, a chorus of film critics and fervent devotees explore the complicated afterlife of 1995s biggest film flop, Paul Verhoeven’s SHOWGIRLS, from disastrous release to cult adoration and extraordinary redemption. The films features Adam Nayman (Vice Guide to Film), April Kidwell (I, Nomi) and Peaches Christ (Milk).
Even though the main topic of “You Don’t Nomi” is “Showgirls”, the film is also a retrospective of Verhoeven’s directing career from “RoboCop”, “Total Recall”, “Basic Instinct”, “Starship Troopers” and “Elle”, among others. It showcases the themes that unite his films. Verhoeven definitely is a unique director as well as a controversial figure all at the same time. All of Verhoeven’s films have pushed the limits with sexuality and violence.
The documentary is extremely interesting to watch whether you are a fan of “Showgirls” and Verhoeven or not. It features great interviews discusses the fandom around “Showgirls” and how people love this film so much. What is cool about this documentary is that you don’t even need to be a fan of this film to enjoy it. It talks about how people actually have hated it but it grew on them over the years. Whether you believe it or no, this film despite being called trash during it’s release is a piece of art.
“You Don’t Nomi” will be available On Demand and Digital on June 9. I highly recommend checking it out to get an in depth look at the film that was a box office bomb but has since become a huge cult classic.
MediaMikes posted an additional review for the streaming release here!
In 2008 I was driving through downtown Kansas City when I was amazed at the sight of a seven-story banner of Lance Armstrong hanging from the building where my wife worked. I called her and asked about it and she informed me that her company – an investment management firm – had partnered with Armstrong to promote his LIVESTRONG investments. Hearing this, I asked her “and what happens when it finally comes out that he was a cheater?” “Hopefully that isn’t true,” she replied.
LANCE, the latest episode in ESPN’s brilliant “30 for 30” documentary series, is a two part look at the rise and the fall of one of the most celebrated athletes in American history. Episode one begins with Armstrong telling director Marina Zenovich how he knows there are many people that, upon seeing him, just want to scream out “F**k you, Lance,” but seldom do. He also recounts how, once when a group heading into a restaurant did just that, he called the restaurant, informed the manager that he would pay for their dinner and asked the manager to inform the party that “Lance loves you.” Unfortunately, Lance also loves himself.
We are introduced to the young man that would go on to “win” seven consecutive Tour de France bicycle races, the most prestigious race in the world. He played several sports as a kid but didn’t excel in any of them. He tried swimming and developed a passion. Entering triathlons introduced him to competitive cycling, which is where he found his calling. Then, his life was dealt a blow when he was diagnosed with testicular cancer. Beating major odds, Armstrong not only survived his ordeal but returned to competitive cycling. He also returned to a dark secret he had been hiding – taking performance enhancing doses of such banned (in competitive sports) substances as EPO and Andrial. He admits this rather non-chalantly, falling back often on the old “everyone else was doing it” excuse.
However, in Episode two, which airs this Sunday night on ESPN (and will be available afterwards on ESPN+) the true Armstrong comes through. Like many athletes, Armstrong was set on winning at any cost, allegedly going so far as to inform the anti-doping agency that a rival cyclist was juicing. Like many people in denial, Armstrong was like a pit bull in his defense of his reputation. Whether using his cancer as a sympathy ploy or slandering his accusers (while testifying in an inquiry he calls one woman who filed a deposition alleging his cheating a whore) or using his status and power to destroy other riders, he comes off as a man who still feels that he’s done nothing wrong.
Part two also looks at Armstrong’s effect on those close to him. His son, who played college football, is asked if he would ever use performance drugs. His reply – that he only wants to succeed through his own hard work – is heartfelt and honest. That’s what all athletes want to do. Asked if he still considers himself relevant, Armstrong declares, “I AM relevant.” He also refers to former U.S. Postal Service team mate Floyd Landis – who was the rider that finally outed Armstrong’s doping – as a “piece of s**t.” Other team members relate that Lance was fine with them as long as they kept his secret but, at the slightest hint of disloyalty they were gone.
On the positive side, the film also takes a look at the magnificent work that the Lance Armstrong Foundation and LIVESTRONG have done in support of cancer patients everywhere. Thanks to Armstrong’s popularity hundreds of millions of dollars have been raised for these organizations (I’ll admit that I bought a LIVESTRONG bracelet when they came out). And this achievement allows Armstrong to ask if the ends justify the means. Would this money have been raised if not for him?
In the end, you come away with a man who still doesn’t accept responsibility for anything (except his divorce). He also laments the hardship he endured having to date such celebrities as Cheryl Crow and Kate Hudson. Wahh!
I’m not sure if I’ll ever run into Lance Armstrong on the street so let me just say here, for the record, “Hey Lance – F**k you!”
Among the sections I most look forward to each year at the Tribeca Film Festival are the comedy shorts. This year the lineup, titled collectively under “LOL” were presented online in lieu of the postponed festival. Here are my thoughts on this year’s program:
Personal Favorite: I Can Change!
Jim Jenkins’s plays with time travel creatively and with perfect deployment of brief special effects. John Hoogenakker stars as a groom who is gifted the ability to stop time and uses it ostensibly to “better” himself for his bride-to-bride. How? Well he freezes his bride and their friends in time at their wedding chapel while he disappears to the outside world for a blink of an eye and returns a whole new man having spent the time, for example, training to be a doctor. The simplistic way the “time travel” is achieved recalls some of the clever shortcuts something like Bill & Ted used–ie just stating their time travel intent means we immediately get to the consequences, sparing us the time trip. The pacing of the escalation in Hoogenakker’s jumps until the film taps into a big sci-fi finale is really fun.
Second Fave: Query
Jay and Alex spend nine minutes mulling over sexuality–both their own and its larger place in society–as they hang out. It’s nothing Earth shattering, but the natural rapport between the two leads (Justice Smith and Graham Patrick Martin) is really charming and it’s nice to see a pair of young guys just delving into their thoughts on the matter not in some overwrought or homophobic manner, but just chilling, and with enough friendly mocking to keep things funny. And to bolster this strong duo, you also get a brief run in with Call Me By Your Name’s Armie Hammer!
Overlong: John Bronco
Walton Goggins stars as a disgraced cowboy car pitchman John Bronco in a star-studded, but overlong mockumentary. I was excited for this one, generally always glad to see Goggins get to play over the top, but the film gets to the core of what the joke is with John Bronco relatively early and hammers on it over and over instead of advancing the plot. It’s 36 minute runtime could have been halved and achieve the same beats, though I understand why the filmmakers may have been reticent to cut any of the big cameos they got. Kudos for getting the MicroMachines pitchman (John Moschitta Jr) back on screen with his rapid-fire speech patterns though!
Additional program titles included the clever meet cute of One Last Heist–a romcom wrapped in a robbery from Canada, A Piece of Cake starring “Glow’s” Rich Sommer as a desperate dad and Egg which takes viewers from a simple diner and spirals it into a grand adventure.
Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future! Check out all our TFF 2020 coverage HERE
10-Day Digital Festival, Produced and Organized by Tribeca Enterprises and YouTube, will Feature Programming from Festivals including Berlin International Film Festival, Cannes Film Festival, and Venice Film Festival
Highlights Include Online Premiere of Ricky Powell featuring Natasha Lyonne and LL Cool J, Global Premiere of Third Eye Blind’s Motorcycle Drive By, Talks Including Francis Ford Coppola with Steven Soderbergh, Song Kang-ho with Bong Joon-ho, and Jackie Chan and a DJ set by Questlove
NEW YORK, NY– May 26, 2020 – Tribeca Enterprises and YouTube announced today the programming slate for We Are One: A Global Film Festival, which will feature over 100 films co-curated by 21 prolific festivals, hailing from 35 countries, in addition to talks, VR content and musical performances. The 10-day digital event will celebrate global voices, elevate films that have the power to create change and bring audiences from around the world together to create meaningful connections. Assembling some of the world’s most talented artists, storytellers and curators around a central effort to provide entertainment and offer relief in the form of supporting organizations responding to the COVID-19 pandemic, the festival will run exclusively on YouTube May 29 – June 7 at YouTube.com/WeAreOne.
We Are One: A Global Film Festival will give audiences an opportunity to experience different cultures through an artistic lens – each official selection was handpicked for inclusion to highlight the singularities of each participating festival, while also providing a voice to filmmakers on a global stage. Many of these titles will have significant debuts at the festival, with programming consisting of over 100 films, including 13 world premieres, 31 online premieres, and five international online premieres.
A truly international festival, the programming will represent over 35 countries and will include 23 narrative and eight documentary features, 57 narrative and 15 documentary short films, 15 archived talks along with four festival exclusives and five VR programming pieces.
Notable film presentations will include Ricky Powell: The Individualist, a documentary about legendary street photographer Powell featuring interviews with Natasha Lyonne and LL Cool J; the online premiere of Eeb Allay Ooo!, a unique satire about professional “monkey repellers” and winner of the Mumbai Film Festival’s Golden Gateway Award; and the world premiere ofIron Hammer, a compelling documentary feature directed by Joan Chen about legendary Chinese Olympic volleyball star Jenny Lang Ping, a true trailblazer who forged connections across the globe. Audiences will have access to over 50 narrative and documentary shorts with exciting entries such as the world premiere of Japanese narrative short Yalta Conference Online [working title], created exclusively for the festival by Director Koji Fukada; the global premiere of the Third Eye Blind documentary shortMotorcycle Drive By, as well as the first short pieces made by Dreamworks Animation, Bilby, Marooned and Bird Karma. Episodic programming features the world premiere of Losing Alice, an Israeli female-led neo-noir psychological TV thriller andAnd She Could Be Next, a two part documentary series on the experiences of women of color running for office, including Stacey Abrams and Rashida Tlaib.
We Are One: A Global Film Festival will host a number of specially-curated talks, both archived from past festivals and brand new discussions, that will offer viewers a chance to revisit important moments in film. Talks will feature Francis Ford Coppola with Steven Soderbergh, Song Kang-ho and Bong Joon-ho, Guillermo del Toro, Jane Campion and Claire Denis. 360 VR selections will feature Emmy-nominated documentary Traveling While Black and Alteration, asci-fi narrative starring Bill Skarsgard, as well as additional titles with notable talent including John Legend, Oprah Winfrey and Lupita Nyong’o. There will also be special musical performances, including a 30 minute DJ set by Questlove.
“We are so excited to share the combined efforts of our festival partners and YouTube with the world this week,” said Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal. “Together, we were able to curate a compelling slate of programming that succinctly reflects the subtle variations in style that make each festival so special. We Are One: A Global Film Festival will offer audiences an opportunity to not only celebrate the art of film, but the unique qualities that make each story we watch so memorable.”
“One of the beautiful things about films and other visual content is the ability to tell stories and bring people together, no matter where they live or where they’re from. This is a phenomenon we’ve seen at YouTube throughout the years but especially today, as people look to connect and be entertained,” said Robert Kyncl, Chief Business Officer, YouTube. “The programming coordinated by Tribeca Enterprises for We Are One: A Global Film Festival has that magical ability to transport viewers from all around the world to a special moment in time, through the unique lens that our esteemed festival partners bring.”
The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam (IFFR), Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastian International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.
“Cinema is not only a collective work, but also a shared experience. In these times of social distancing, the spirit of cooperation and a sense of community are needed more than ever before. Therefore, we are happy to participate in the We Are One initiative. We wish all those wonderful artists that their audiences will be able to see their work on the big screen again soon,” said the Berlinale Director Duo Mariette Rissenbeek and Carlo Chatrian.
“We are honored and happy to join We Are One, as a sign of friendship and solidarity for our friends of Tribeca, at the same time offering to the worldwide audience a taste of what we do in Venice in order to support new filmmakers concretely,” added Venice Film Festival Director Alberto Barbera.
True to its mission, We Are One: A Global Film Festival will seek to bring artists, creators and curators together around an international event that celebrates the exquisite art of storytelling. In doing so, it will aim to provide not only solace and entertainment for audiences during a time when it’s needed most, but also opportunities for these individuals to give back through donations to the World Health Organization (WHO), UNICEF, UNHCR, Save the Children, Doctors Without Borders, Leket Israel, GO Foundation and Give2Asia, among others. Audiences will be able to donate to COVID-19 relief efforts through a donate button or link on every film page.
About Tribeca Enterprises Tribeca Enterprises is a multi-platform storytelling company, established in 2003 by Robert De Niro and Jane Rosenthal. Tribeca provides artists with unique platforms to expand the audience for their work and broadens consumer access to experience storytelling, independent film, and media. The company operates a network of entertainment businesses including the Tribeca Film Festival; the Tribeca TV Festival; and its branded entertainment production arm, Tribeca Studios.
About YouTube Launched in May 2005, YouTube allows billions of people to discover, watch, and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube is a Google company.
About We Are One The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam, Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastián International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.
All programming will be screened globally on YouTube at no cost. Audiences will be able to follow along via scheduling listed on official We Are One channels with a full festival schedule at www.weareoneglobalfestival.com.
THE TRIP TO GREECE Directed By: Michael Winterbottom Starring: Rob Brydon, Steve Coogan Runtime: 103 mins. IFC Films
Through no fault of its own, The Trip to Greece is arriving on VOD today with some extra baggage. Seeing as this release comes at a time when the world doesn’t know how and when we might resume the kind of care free international tourism that stars Steve Coogan and Rob Brydon enjoy, it’s hard to judge how this film might hit you. Is armchair tourism at this juncture escapism or masochism? At this point in the series, given this is the fourth time around with this specific formula, that might be the only factor in your decision making. As with their first three trips–starting in England the duo then hit Italy and Spain–the vistas are gorgeous, the food looks delicious and the impressions are plentiful. What sets this one apart, fittingly for ancient Greece, is the injection of some tragedy within the film’s “plot” separate from the context of its release. The result of this turn is a film that is more an admirable finale than the hilarious joyrides that its predecessors were.
The setup is slim, as always, with the comedians ostensibly working on some article while retracing the trail covered in The Odyssey from modern day Turkey to Ithaca. Ten years of Odyssey condensed into six days of jet setting. The structure sets their agenda but then Brydon and Coogan’s conversations go off the rails as needed. This time around, Coogan has recently received dramatic accolades for his portrayal of Stan Laurel in Stan & Ollie and a lot of their comedic tension comes from Coogan trying to emphasize his newly minted dramatic chops while Brydon firmly still categorizes his buddy as a comedian. If there were an Olympics for negging, these two would surely medal. The guys are hilarious at oneupmanship whether it’s picking up on a Mick Jagger impression and doing their own take or attempting to turn the the mundanity of a restaurant check into a game show round. In these sequences this series always hits its stride and credit must go to director Michael Winterbottom and his editor Marc Ricardson for often wringing another laugh out of a moment by just cutting on the right beat.
The film does do that shift for the dramatic though by adding in ominous black and white dream sequences rooted in Greek myth for Coogan and introducing a family health crisis as well. I haven’t been able to suss out if that part was based on something in Coogan’s actual life or entirely fabricated for the film but if the latter, it seems an odd choice. At one point they also take a detour to a refugee camp after coming across a former colleague of Coogan’s who’s based there. While it is, as I said above, admirable that this series of extreme-first-world tourism actually takes a moment to observe the realities of a host country, it comes off more as momentary lip service rather than genuine reflection. Eventually the back home problem for Coogan split the comedic duo apart for the remainder of the film much to its detriment. Where the pair end up does have the air of finality, which this installment supposedly is, so I understand the choice. Overall I enjoyed Brydon and Coogan’s competitive company as I always have, just wish that this finale could have focused more on the series’ strengths as it headed off into the sunset.
Note: The Trip To Greece was due to make its North American premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
Note: Inheritance was due to make its world premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festivalwas officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
INHERITANCE Starring: Lily Collins, Simon Pegg, Chace Crawford, Connie Nielson, Patrick Warburton Directed by: Vaughn Stein Runtime: 111 mins. Vertical Entertainment Not Rated
Early on in Inheritance, the will of deceased banker Archer Monroe (Patrick Warburton) is read out to his district attorney daughter Lauren (Lily Collins) and her congressman brother William (Chace Crawford). While the campaigning son takes a massive twenty million dollars, his sister “only” gets one million. If you think that’s the main source of strife in this family then oh boy, strap in because that difference barely scratches the surface of Lauren’s problems. Director Vaughn Stein’s new thriller releasing on VOD this week after having been a 2020 Tribeca Film Festival selection, takes a hard turn into its potential-horror setup but doesn’t fully embrace it with leads who can’t sell it.
The monetary discrepancy between Lauren and her brother quickly gives way to Lauren receiving her actual inheritance in the form of a mysterious key and a video from her late father urging her to keep the truth buried. Not to be too cynical but it’s pretty expected that a wealthy family like these Monroes–populated with bankers, lawyers and politicians–is going to have its share of skeletons in its closet. Stein’s film does this cliché one better by Archer leaving his daughter a full grown man chained up in a bunker. Thanks, dad. The bunker man is named Morgan (Simon Pegg) and seems to know everything about Lauren who desperately wants to know the whys and hows of Morgan’s disgusting situation. More than that, Lauren must face a crisis of conscious whether to heed her father’s will, especially in the middle of her brother’s re-election or release the bedraggled, pitiable Morgan with his trove of family secrets.
Simon Pegg has long been one of my favorite actors, whether in leading the “Cornetto trilogy” or popping up in larger fare like Star Trek or even better the Mission: Impossible series, but saddled in this film with the heavy wig and grime of Morgan’s imprisonment and, worse, a ropey American accent, and he is utterly wasted. The main tension in Inheritance should come from whether Lauren can muster enough pity for Morgan to release him or Pegg can be sufficiently menacing in his blackmail of the Monroes to achieve his ends. But in their contained scenes, the dynamic never coalesces into real tension. Where you’re expecting someone to actually strike, they just keep talking in circles. And I can’t underscore enough how badly Pegg’s US accent hobbles how threatening his character could have been. There are later parts in the film where I imagine Pegg was really having fun with it, but too much of the runtime for his character is leaden stuff. Collins, 31, for her part as a DA in Manhattan is much too young to hold such a role and comes off as someone playing dress up. It was hard to take either of them seriously in these parts.
For a movie where the crux of the problem is a man chained up in a basement, Inheritance is just overall way too bland. Outside of Pegg and Collins, the Monroe family and their posse come off as stock soap opera characters. Chace Crawford, so good on “The Boys,” is as ridiculous as a hot-shot congressman as Collins is as the DA. Ultimately their rich people problems–and secrets–aren’t as shocking as the film wants them to be.
Inheritance is available on DirectTV and releases on VOD on May 22nd
Giant Pictures has acquired the U.S. rights to the sci-fi/thriller VOLITION. The film will be released in theaters, on Apple TV, Prime Video and other Digital Platforms on July 10, 2020.
VOLITION is the feature directorial debut for Tony Dean Smith (Rakka), who co-wrote the script with his brother and producing partner Ryan W. Smith (Next Gen). The film stars Adrian Glynn McMorran (The Revenant), Magda Apanowicz (You), John Cassini (The Possession), Frank Cassini (Watchmen), Aleks Paunovic (War for the Planet of the Apes), and Bill Marchant (Godzilla). It was produced in association with Paly Productions and Smith Brothers Film Company.
“A great debut for the Smith Brothers, VOLITION is sure to deliver thrills and a mind-bending experience to sci-fans everywhere,” said Courtney Cox, Manager of Content Acquisitions & Marketing at Giant Pictures. “We are thrilled to be bringing it to digital platforms.”
VOLITION is a time-bending cerebral science-fiction thriller where a man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder. Awarded as best feature at the Philip K. Dick Film Festival, among a slew of other awards and critical acclaim, VOLITION is a tightly-wound puzzle of a ride.
The deal was negotiated by Courtney Cox, Manager of Content Acquisitions & Marketing from Giant Pictures, and Smith Brothers Film Company and Paly Productions on behalf of the filmmakers.
ABOUT GIANT PICTURES:
Giant Pictures is a boutique digital distributor based in NYC and Los Angeles, which is dedicated to elevating the digital experience. We work directly with filmmakers and rights owners to distribute movies and TV shows to VOD & OTT platforms in North America and worldwide. Giant is a division of Giant Interactive, an award-winning digital media and technology services company. Giant is an iTunes Preferred aggregator and encoding house. Recent movie and documentary releases include: ‘Love, Antosha’ (Dir. Garret Price, Sundance 2019), ‘Matangi/Maya/M.I.A.’ (Dir. Steve Loveridge, Sundance 2018), ‘In Reality’ (Dir. Ann Lupo, LAFF 2018, Austin FF 2018). Visit us at: www.giant.pictures
ABOUT PALY PRODUCTIONS:
Paly Productions, Inc. is a U.S.-based investment fund, focused on high-quality artistic projects for the world market.
ABOUT SMITH BROTHERS FILM COMPANY
Smith Brothers Film Company is the creative partnership of brothers Tony Dean Smith & Ryan W. Smith. As an independent film company, it produces high-quality, character- and story-driven film and television content for the global market.
Available in Theaters and On Digital Platforms on July 10, 2020
Who knew that we needed a remake of the 1983 Nicolas Cage starred cult classic “Valley Girl”, let alone a musical remake of it…but very glad we did. This long delayed film which was originally scheduled to be released in 2018 finally gets a release date available in select Drive-Ins and on Digital on May 8, 2020. Packed with 80’s nostalgia, great songs and a solid cast, this film definitely did not disappoint.
Official Premise: Julie (Jessica Rothe) is the ultimate ’80s Valley Girl. A creative free spirit; Julie’s time is spent with her best friends shopping at the Galleria mall and making plans for senior prom. That is, until she falls hard for Randy (Joshua Whitehouse), a Sunset Strip punk rocker, who challenges everything the Valley and Julie stand for. Despite push-back from friends and family, Julie must break out of the safety of her world to follow her heart and discover what it really means to be a Valley Girl.
Jessica Rothe, known best for the “Happy Death Day” horror franchise, stars in this musical remake. She does have musical experience after co-starring in “La La Land” and definitely can sing. Also co-starring singer/actress Chloe Bennett (“Marvel’s Agent of S.H.I.E.L.D.”) and even Alicia Silverstone (“Clueless”) makes an appearance in a “Princess Bride” story-telling role. Wrapping up the cast, Judy Greer (“Jurassic World”) and Rob Huebel (“Children’s Hospital”) play Julie’s parents.
The songs in the film include Queen “Under Pressure”, a-ha “Take on Me”, The Go-Go’s “We Got The Beat” and Cyndi Lauper “Girls Just Want to Have Fun” just to name a few. They are backed by fun all-out dance sequences with choreography by none other than Mandy Moore (“This is Us”, “Tangled”). The music is so fun, fresh and gets you re-living the 80’s.