Press

Films Not To Be Missed
By WIFT Corporate Member Rob McKinnon

Since all good filmmakers, writers, actors, etc. should always enhance their knowledge of the great films of others, WIFT Houston has asked WIFT Corporate Member, Rob McKinnon, a filmmaker and an ardent cineaste to provide us with current reviews of his favorite releases. Some will be short "in briefs" and others full reviews. Many will be new releases, and others favored classics or hidden treasurers befitting his "Not To Be Missed" category.

Posted September 15, 2011

PUNCTURE, a review by Rob McKinnon

Don't get me wrong, these movies have a large audience, the video game and comic book crowd.  God love 'em, they're keeping the major studios in the big bucks.  But there is a considerable audience for more thoughtful material as well.  An audience which seems to be all but forgotten by the MBA's who are running (or is that ruining?) the American Entertainment industry by only continuing to go after the "youth" market.  I know, I'm obviously not a member of the youth  market.  But, our population is growing, like it or not, older, and while it may come as a surprise to those making the entertainment product decisions, we more mature folks have always loved movies.  The reason you don't see us at the theaters as much these days is because the current offerings don't appeal.  Some of us (actually a lot of us) remember when even "B" movies were based on literature, you know,

What's even better, this is solidly based on a real story about a safe needle that cannot stick the health care worker and cannot be reused.

Does the film have well-developed and interesting characters?  Yes.  Not necessarily likeable - the central character is a lawyer. No, it's worse, a lawyer who is a drug addict, heavily tattooed who spends way too much time engaging in getting high and having sex with body-pierced and highly tattooed young women, basic revolting behavior which makes him late for important meetings regarding the extremely important case with which he and his more traditional law partner are engaged.  That case being a suit by the inventor of the safe syringe versus the medical supply monopolies.  

The film isn't perfect, too much time, in my opinion, is spent on the one lawyer's drug taking and sexual escapades, but all of the performances are quite good and they story is solidly presented.  The film places the story in Houston and makes good use of the city itself as a setting.  

The true hero of the story is the engineer who developed the safe syringe after a health care friend of his, a nurse, was accidentally stuck by a contaminated needle and eventually died from AIDS.

Independent film making is a grueling endeavor as well as a risky one.  I salute the makers not only for telling an important true story and using their budget effectively, but for making the story entertaining in the doing, AND SHOOTING IT IN HOUSTON, but also, for doing the work and taking the risk.  See it!

AN EDUCATION

Review by Rob McKinnon (10/29/09)

Opening Date: 10/30/09 Running Time: 95 min Rated: PG-13 Directed by: Lone Scherfig Screenplay by Nick Hornby Adapted from a memoir by Lynn Barber As I started to write this review, I found myself about to write that I'm not usually a fan of "coming of age" films. It suddenly occurred to me that I too often begin a review with the idea: "I'm not usually a fan of...." This is really not quite correct. What I'm not a fan of are ill-conceived, badly done films no matter the genre or subject matter. So for this review let me begin by saying there are and have been way too many really dumb or derivative coming-of-age movies made. This film, AN EDUCATION, is, however a brilliant exception to that assessment for a vast number of reasons.

Firstly, it has a fully realized story that is much more than about the onset of teenage sexual awareness. AN EDUCATION is the story of a teenage girl's coming-of-age, i.e., not another visiting of the horny teenage boy coming-of-age formula film. It is set in 1961 London. (Though I don't like to admit it, this probably makes it a period film to the younger audience. Geez, this is my period, it really doesn't seem that long ago.) Anyway, London was at that time a city passing through the change from the drab-gray, postwar 1950's to the glamorous and liberated decade ahead. The setting and atmosphere are wonderfully and authentically captured by the film. The young girl whose story is told, "Jenny," is played with absolute believability and conviction by Carey Mulligan. Sixteen-year-old Jenny is a truly brilliant, extremely witty, and winningly attractive private school girl. Her father, played by the always interesting Alfred Molina, is absolutely focused on her being accepted to Oxford University. Both of her parents are extremely conservative, a condition with which Jenny seems comfortable or, at least, accepting. The only boy in her life is a bicycle-riding, immature, and somewhat "geeky" kid she's known forever. Her life, however, is about to change as she receives a very different and very real life education.

Her life teacher is the utterly unsuitable, urbane, and witty 30-something, "David," played to perfection by Peter Sarsgaard. David, with the skill of a practiced con man, charms her parents and introduces Jenny to a glittering new world of classical concerts and late-night suppers with his attractive friend and business partner "Danny" (Dominic Cooper) and Danny's girlfriend, a vacuous but beautiful "Helen" (Rosamund Pike). Ms. Pike plays clueless and empty-headedness as only a truly intelligent actress can. There is much going on with all of them which I will leave for you to discover when you see this exceptional film for yourself. Will Jenny realize the value of her previous life and goals or will she be seduced away by the temporal and shallow pleasures offered by her new friends? Will David turn out to be her true and lasting love? What about her current school life? Her attaining entrance into Oxford? See for yourself, and please don't miss this absolutely delightful film.

It opens Friday, October 30, in Houston, at Landmark's River Oaks Theater.

Posted August 31, 2009

COOK COUNTY

Review by Rob McKinnon (8/31/09)

As a writer/director myself I watch many, many movies, and will often review some of the best films that I see, and I’m happy to be able to advise here that COOK COUNTY is one of the best “low budget” indie films I’ve seen in a very long time. Adroitly written and directed by David Pomes, COOK COUNTY is an unflinching look at the Great American Tragedy of meth addiction; but it is unlike any of the drug culture films you may have seen. This film is not the usual urban story. COOK COUNTY delivers showing us a predominantly white, rural America, that is being consumed and destroyed by the scourge of crystal meth addiction. Here you’ll see a story that though fiction is completely grounded in an ugly reality. It is currently perhaps the biggest problem with which American law enforcement is confronted.

This film is set around a country family made up of a father Sonny (Xander Burkeley), returning home from prison and having been off meth, who wishes to reconnect with his teen-aged son (Ryan Donowho), who is just beginning to experiment with drugs but is devotedly protective of his little niece, who with her father (Anson Mount) , the boy’s uncle, and his grandfather all share a small house in the East Texas countryside. The home is constantly visited by a variety of disreputable meth addicts. The uncle, Bump, (Anson Mount) is not only an irredeemable addict who cares about nothing more than meth, but has a meth “lab” in the house where he cooks it to use and to sell, unmindful of the danger to his young daughter.

The suspense, conflict, drama, tension, and violence which Pomes’ intelligent script and spot-on directing creates, makes for a film which is compelling, insightful, real and thoroughly entertaining. And yes, I said “film.” In the days where low budget is generally digitally shot, this one was shot on film, and because of it, it’s all the more powerfully engaging. We do what we have to do when shooting low budget, but don’t ever forget the power of the film image to thoroughly engage the audience in the story, particularly in drama, terror, and horror.

This is strong stuff, but definitely a “must see” film. The major players are all outstanding in terms of the credibility, power, and skill of their respective performances. Anson Mount is phenomenal and brings such incredible depth to his portrayal of Uncle Bump.

The audience (a full house) with which we viewed this movie, was mesmerized and clearly, completely drawn into the story.

This film has not yet been picked up for theatrical distribution (though I’m sure it will be). You can help in the process. You have an advance opportunity to see it, and tell others…everybody. It will be screening in Houston again at Studio Movie Grill CityCentre from September 4th through 10th. David will be taking his film to Lousiana, Arkansas, Tennessee, North Carolina, Georgia, Alabama, and Florida to give people a chance to see it on the big screen before it goes to DVD. Locally for tickets, go to www.studiomoviegrill.com/cookcounty.html.

Besides Studio Movie Grill CityCentre, from 9/4 through 9/10, COOK COUNTY will screen Tuesday, Sept. 1 in New Orleans, 7:30 PM at Canal Place Cinema; Thursday, Sept. 3 in Baton Rouge, 8PM at Magnolia Performing Arts Pavilion; Thursday, Sept. 10 in Fayetteville, AR, 8PM at University of Arkansas Global Campus Theater; and Friday, Sept. 11 it will have a one-week run in Little Rock. Spread the word about this movie!

Posted July 27, 2009

Orphan

Rated: R
Running Time: 123 min
Directed by: Jaume Collet-Serra

Review by Rob McKinnon (7/24/09)

The poster for the new terror film, ORPHAN, reads, "There's something wrong with Esther." You bet there is! But, there's nothing wrong with this movie. From beginning to end ORPHAN grabs the audience by the throat and never lets go. You'll note that I call this a terror film, and not a horror film. The reason is my own definitions for genre films: a horror film, in my opinion, must contain some supernatural component, ghosts, demons, and the like. While a terror film on the other hand may be wildly horrific, but concerns situations which though extreme, might actually occur in our "reality" such as serial killers, psychopaths attacking with axes, swords, machetes, and various knives, etc. Both are certainly scary and make timid folks squirm. Both may or may not be bloody and/or gory, but the supernatural element makes the differnce for me.

This is why I refer to ORPHAN as a terror film. But don't think it won't keep you in a constant state of anticipatory tension and fear. It is horrific, and all the more so because it could happen...perhaps to you!

The screenplay, from the story by Alex Mace and written by David Leslie Johnson, is tight, intelligent, and believable. Jaume Collet-Serra's direction holds us in a constant state of suspense and tension with only a few moments of humorous relief in which to catch our collective breaths. This film makes the classic The Bad Seed seem like a Walt Disney family movie.

If you enjoy experiencing unrelenting terror, adroitly served up by talented filmmakers who clearly wanted to tell this story well and effectively, scaring the hell out of you, while solidly entertaining you, don't miss ORPHAN! Esther is looking forward to meeting you. I highly recommend it. - Rob McKinnon

Posted July 3, 2009

WHATEVER WORKS

(7/3/09) Rated: PG-13
Running Time: 92 min
Writer/Director: Woody Allen
Opens: July 3, at Landmark’s River Oaks

A Review by Rob McKinnon

One of my reel pleasures is the yearly release of a new film by Woody Allen. This time, after creating films in England and Spain, Woody has returned to his laughing place, New York City, with his latest offering, “Whatever Works.”Allen is a master of filmmaking, and has, among his many gifts, a truly phenomenal eye for casting.

In “Whatever Works,” the lead is a crotchety, arrogantly-brilliant, misanthrope named Boris Yellnikoff. The part was originally written for the late, genius actor, Zero Mostel. When he passed away, Woody Allen set the script aside. But, though he had felt that no one would be able to fill the hugely-talented shoes of Mr. Mostel, it occurred to him that now there was indeed someone who would be perfect for the role and make it fun to shoot, and marvelous fun to watch. That person is Larry David. If you’re as much of a fan of “Curb Your Enthusiasm” as I am, you’ll see the perfection of this casting choice immediately upon viewing this movie. No playing against type here.

There are few if any actors who wouldn’t sell their souls for a chance to play a leading role in a Woody Allen film. But true to his personality, Larry reacted: “I thought Woody had become unhinged,” he says. “I wondered who put this crackpot idea in his head. And, of course, as with anything I’ve ever been offered, I didn’t feel up to the task. Feeling up to the task is not my thing.” Woody says, “Larry kept complaining to me what a mistake I was making by hiring him, telling me what a tiny range he has, how terrible he is, and all that.

And then right out of the box, first take all the time, he was just wonderful, a natural actor. And what surprised me was how fine he was in the scenes that didn’t require him to be funny, but required genuine acting. But being funny is sort of built into Larry, he just has it. He doesn’t have to push it, he just has to show up and perform the scenes credibly, without trying to be funny, just trying to be real. When Larry’s real, he’s funny—because he’s funny in life.”

The rest of the cast, as well, is perfect, delightful, funny, and real, and features: Ed Begley, Jr., Pataricia Clarkson, Conleth Hill, Michael McKean, and Evan Rachel Wood. The supporting cast is also perfection. As for the story, I don’t wish to spoil the fun and surprise by revealing anything to you. It’s an hilarious, brilliant, intelligent, engaging, sex-and-laughter-filled romantic comedy as only Woody Allen could create. Great characters, insightfully-funny dialogue, and non-stop pacing. Don’t miss “Whatever Works,” written and directed by Woody Allen and opening in Houston at Landmark’s River Oaks, Friday, July 3rd. It is a pure pleasure and I highly, enthusiastically recommend it.

Posted June 12, 2009

THE TAKING OF PELHAM 1 2 3

A Review by Rob McKinnon

Ordinarily I am less than enthusiastic regarding the release of yet another remake. For the most part, unless one is talking about a remake of a film from the 1950s or before, I usually find the remake simply isn’t needed and is usually (almost always) less good than the original. A film such as “The Day The Earth Stood Still” had a story line and a point of view to express. (Yes, I know it was made in the 50s and I know, sin of sins, it is in black and white, but many of my favorite films are in black and white and for films in the cinema noir genre, black and white adds to their visual effectiveness…but I digress.) The recent remake was just more of a CGI video game kind of film sans the subtleness of character, story arc, and point of view of the original.

Occasionally, however, a remake is made that maintains the story integrity of the original and provides an updated environment in which to present the story making it seem less “historical,” i.e., less “old timey” to the younger audience. If this is done without losing character development and the fullness of the story, the viewing experience can be every bit as enjoyable as the original. Just think of John Carpenter’s outstanding remake of “The Thing,” for example.

THE TAKING OF PELHAM 1 2 3 is another excellent remake. Though containing a number of changes from the original, it is just as engaging, exciting and as true to the book upon which it is based as the original which is a favorite of mine.

Denzel Washington delivers a thoroughly convincing and real portrayal of Walter Garber, the story’s protagonist. Unlike in the original where Walter Matthau’s Garber was a Transit Police Chief Lieutenant, Washington’s Garber is a Transit bureaucrat in equipment purchasing. This change allows us to relate to Garber’s feeling of being overwhelmed when thrust into the middle of a subway train hijacking and hostage taking. We expect an experienced police officer to be able to deal with such a situation, but a guy like us, untrained in hostage negotiations, is really being put through it.

As always, I don’t want to give away any plot points or surprises. Let me just say that if you are new to this story, you’ll have a really exciting ride and feel more than satisfied by the experience. If you are familiar with the original version, you’ll notice some story specifics and characterizations that are changed in this take on the story, but you are most likely to find the changes positive, allowing you to have a new experience with this story. My recommendation is watch them both and just hang-on for a tense and terrific ride. The original, now on DVD, is in my library and the remake, when it comes out on DVD, will be also.

My only criticism of the new version is a little too much shaky camera technique in the action scenes, but this is a matter of personal preference and I think the studios believe this is necessary to hold the younger audience. THE TAKING OF PELHAM 1 2 3 is, however, a great evening’s entertainment and I highly recommend it. – Rob McKinnon

Posted May 2009

"The Third Side" A theatrical performance at DiverseWorks Art Space Written and Directed by Tom Vaughan While I usually confine my comments and observations to the motion picture screen and DVD offerings, I feel compelled to share with you an outstanding live theatre opportunity which Jolene and I were fortunate to experience, this past Thursday evening at Houston's DiverseWorks theatre.

Also enjoying the performance were WIFT Board members Yankie Grant and Melody Moss, and member Melody Gray.

Writer/Director Tom Vaughan presented, with the able support of the Mildred's Umbrella Company, his new play, THE THIRD SIDE. Vaughan, in case you are a new member to WIFT, and might be unfamiliar with this brilliant and talented Houstonian, originally studied at the University of Houston with Broadway legend Jose Quintero and three-time Pulitzer Prize winner, Edward Albee. Tom began his professional career as the Artistic Director of the critically acclaimed West-Mon Repertory Theatre in Houston - the quality of his work there as a playwright and director quickly recognized by Hollywood.

Some of his credits include BLACKOUT with Jane Seymour for CBS, and CRITICAL ASSEMBLY with Katherine Heigl for NBC. He served as Writer as well as Co-Producer for two of TBS Television's best Made-For-TV films namely, ATOMIC TWISTER with Sharon Lawrence and DEAD IN A HEARTBEAT with Penelope Anne Miller and Judge Reinhold. Tom's feature film debut was UNSTOPPABLE, starring Wesley Snipes. As a side note, his script, BRONWYN & CLYDE, which he co-wrote with Kristy Dobkin will be filmed later this year with Barry Sonnenfeld (Get Shorty, Men In Black) directing.

THE THIRD SIDE is both a highly entertaining and importantly timely play which deals deftly with the ongoing conflict between religion and science; specifically biblical creationism versus the scientific theory of evoluation.

Vaughan's adroit handling of this potentially heavy material creates a brilliant two-level focus: One, the fierce conflict between the devotees of the respective positions, and two, the very human difficulties of a dedicated scientist who is somewhat flawed, particularly in his relationships with former wife, daughter, and new love interest. In his professional life, he is a true biology scientist, a self-proclaimed atheist, who makes no claim of having all of the answers but simply wants to rise above both extremes in the debate and apply honest scientific study and analysis to all views, particularly those related to natural selection which his research has found insufficient.

As a result of his moving not toward the creationist's view, but away from the almost "religious" zeal of the scientific community in which he works, he finds his tenure, career, possibility of receiving research grants, or of having his work published, seriously at risk. "Why can't we just admit what we don't know and continue an unbiased search for verifiable knowledge?," he asks. Meanwhile he must muddle through his humanly comedic conflicts with friends and family and self. The whole package is expertly mixed into a truly enjoyable evening of theatre which is at once substantive, intelligent, and totally entertaining.

Don't miss it! Celebrate the 150th Anniversary of Darwin's "On The Origin Of Species." Performances of THE THIRD SIDE are at 8PM and began on May 14. Remaining performances are on May 18, 22, 23, 25, 29, and 30th. For additional information and reservations go to www.mildredsumbrella.com.

And now to the movies!

I highly recommend two very different films currently showing at local theaters:

First: ANGELS AND DEMONS, which like the second of Dan Brown's fascinating novels, is even better than the outstanding first, THE DA VINCI CODE. This new film by Ron Howard and again starring Tom Hanks is even more gripping and exciting than his faithful rendition of THE DA VINCI CODE. If you liked THE DA VINCI CODE you will love ANGELS AND DEMONS.My other recommendation is a much smaller film that is, in a very different way, as compelling and entertaining as ANGELS AND DEMONS.

IS ANYBODY THERE?, which stars Michael Caine, is a story about a married couple who run a residence for the elderly in England. They have a young son who is fascinated by the concept of death and who seeks to find out about the soul and ghosts by recording the sounds made by those departing elderly residents who pass-away at the home. His life is informed and enriched by the arrival of a retired magician, played by Caine who, reluctantly at first, befriends the boy and teaches him about the art of magic and the magic of life. It is an experience that will move you with its humanity, amuse you with its comedy, and affect you according to what feelings, emotions, and attitudes you bring with you. For sure, it is a very engaging and enjoyable film. It's not to be missed.

Until next time,
Rob