Short Term 12, Destin Cretton's bittersweet drama about a group of troubled adolescents and the adults who look after them at a short term housing facility, walked away with the Grand Jury Prize at the 2013 SXSW Film Awards on Tuesday night.
RELATED: SXSW: 'Short Term 12' is a Small Movie with a Big Impact
The film, which features brilliant, star-making turns from its young, talented cast (including Kaitlyn Dever, John Gallagher Jr., and a breakout performance from Brie Larson), seemed to touch a nerve with SXSW audiences. Short Term 12, which is based loosely off of Cretton's own experiences working in that sort of environment, was nothing short of a heartbreaking crowd-pleaser in Austin, where it made its world debut.
RELATED: SXSW: Anna Camp and Ashley Williams Skewer Reality TV in 'Sequin Raze'
Other big winners at the film awards included Burma, a drama about family secrets coming to the surface, won Special Jury Recognition for Ensemble Cast. Burma's impressive ensemble includes the likes of Gaby Hoffman, Dan Bittner, and Girls star Christopher Abbott.
RELATED: SXSW: Michelle Monaghan On Her Female-Driven Film 'Gus'
Check out the full list of SXSW 2013 Film Award winners here, and stay tuned to Hollywood.com throughout the week for even more movie reviews, interviews with the stars, and our own picks for the best (and worst) flicks of SXSW.
[Photo credit: SXSW]
You Might Also Like:8 Mind-Blowing Actress MakeoversStars Who Have Lost Roles For Being Too Hot (Celebuzz)
Paranormal Activity 3 – the latest chapter in the low-budget haunted-house saga begun in 2007 by D.I.Y. filmmaker Oren Peli – is presented as a prequel to 2010’s Paranormal Activity 2 which itself was a prequel of sorts to the first film. Taking the helm for the latest found-footage foray is the directing duo of Ariel Schulman and Henry Joost whose 2010 debut the Facebook documentary Catfish provided chills of a more existential variety. (It also encountered a fair share of skepticism about its authenticity which in an odd way makes the filmmakers uniquely qualified to direct a film like this.)
Schulman and Joost know better than to tinker with a proven formula – the first two films grossed over $370 million worldwide combined – and their film for the most part employs the same straightforward premise and stripped down approach as its predecessors. The only real difference is the time period: Whereas the first two films took place in the recent past Paranormal Activity 3 turns the clock all the way back to 1988 when young sisters Katie and Kristi purportedly first came into contact with otherworldly houseguests. (I say “purportedly” because nothing is ever certain in this genre.)
The girls’ troubles begin shortly after their single mother Julie (Lauren Bittner) invites her boyfriend Dennis (Christopher Nicholas Smith notable only for his resemblance to former Gonzaga point guard Dan Dickau) to move in with them. A professional wedding videographer with a host of camera and editing equipment at his disposal Dennis is conveniently equipped to chronicle the events that ensue. What follows is standard Paranormal Activity protocol. It begins with a few seemingly innocuous late-night stirrings followed by more ominous occurrences. Furniture gets rearranged. A light fixture falls from the ceiling. Soon the spirit – or whatever it is – grows more bold befriending the youngest sister Kristi who nicknames it “Toby.” And just what does Toby want exactly? If Kristi knows she isn’t telling.
The plot of Paranormal Activity 3 is pretty much rubbish so I suppose we should be thankful there’s only enough of it to provide context to the scares. The majority of them are exceedingly cheap more the product of aggressive sound design than anything else – and yet still maddeningly effective. (There are a handful of truly devious jump cuts for which the filmmakers should frankly be ashamed.) You jump from your seat and immediately curse yourself for doing so.
The found-footage genre is now established enough that we are well-trained to its devices. It’s one reason why these films are so much better when experienced with a large crowd preferable late in the evening. As we collectively scan the static frame for traces of movement the briefest glimpse of a supernatural presence it feels like a collective game of “Where’s Waldo ” the winner declared in an excited terrified gasp. Played alone it just seems stupid.
It’s been a long time since we’ve seen a decent ninja flick. When the Golden Age of Ninja Cinema (also known as the Dudikoff Era) ebbed at the close of the ‘80s the black-clad martial artists retreated to the shadows. This week director James McTeigue (V for Vendetta) aims to resurrect them with Ninja Assassin a hyperkinetic gorefest starring Korean pop star Rain.
But these ain’t your daddy’s ninjas. Though they boast the familiar wardrobe (black on black) and weapons (swords throwing stars etc.) the ninjas in this flick are thoroughly nasty buggers. Members of a super-secret international syndicate of assassins-for-hire they can dodge bullets turn invisible heal wounds and communicate telepathically. And for the low low price of 100 lbs of gold they’ll kill anyone you want no questions asked.
It’s that latter aspect that draws the scrutiny of law enforcement — specifically agents Mika Coretti (Naomi Harris) and Ryan Maslow (Ben Miles) of Europol (which appears to be a division of Interpol staffed exclusively with imbeciles). Fortunately for these hapless twits they find a potent ally in Raizo (Rain) a renegade ninja of unsurpassed ability who nurses a nasty grudge against his cruel former master Lord Ozunu (Sho Kosugi).
Fueled by childhood memories of the abuse he suffered while at Lord Ozunu’s ninja sleepaway camp Raizo will stop at nothing to bring the entire operation down. Which is good because his former chums are a persistent lot arriving in ever greater numbers to snuff out the powerful apostate.
McTeigue’s dizzying shaky-cam combined with the identical appearance of most of the ninja combatants makes the action difficult to follow at times in Ninja Assassin. It’s probably why he felt compelled to accentuate every fight scene with exaggerated bursts of CGI blood. Still as disembodied heads limbs and torsos fly across the screen in quantities not seen since Kill Bill it’s nigh impossible to determine who they belong(ed) to. Much easier to pinpoint are the glistening six-pack abs of Raizo a fighter so badass he can ward off his pursuers while wearing little more than a thin layer of baby oil.
It’s a pity Raizo couldn’t have applied his blade to the Ninja Assassin script which encumbers the first half of the movie with endless flashbacks gratuitous training sequences and pointless political squabbling. Or perhaps he could have imparted some of his skills at deception to McTeigue who exhibits all of the subtlety and unpredictability of a kamikaze pilot.
This is one ninja flick that should have remained in the shadows.
Charles Bronson may have passed away but the spirit of his Death Wish films lives on -- albeit in an absurdly twisted fashion -- in F. Gary Gray’s (The Italian Job Be Cool) gleefully over-the-top revenge thriller Law Abiding Citizen.
Taking a welcome break from his recent run of lame chick flicks Gerard Butler (300 RocknRolla) stars as Clyde Shelton a loving husband and father whose placid suburban existence is upended when a couple of mangy meth monsters burst into his home. Not content to merely burglarize the place they proceed to butcher Clyde’s wife and daughter as he lies in a heap on the floor periodically losing consciousness after being stabbed several times.
The killers are soon apprehended and a grieving Clyde who somehow managed to survive the whole ordeal eagerly awaits swift retribution from the justice system. Hoping for the grim solace that only the death penalty can provide he places his faith in Nick Rice (Oscar winner Jamie Foxx) the hotshot district attorney charged with prosecuting the case to do the right thing and see to it that the two killers fry.
Nick however has other plans. Seeing the case as anything but open-and-shut and fearful that a not-guilty verdict in such a high-profile trial could derail his ambitious career plans (he sees himself as a Giuliani in the making) he opts to strike a plea deal: One man gets a death sentence while the other gets a mere 10 years in return for testifying against his cohort.
Chastened by the unseemly bargain Clyde takes matters into his own hands delivering his own uniquely painful brand of vigilante justice to the sinister men who destroyed his family. But he doesn’t stop there not by a longshot. His grudge extends much much further -- to the very heart of the justice system itself -- and he intends to bring the entire corrupt apparatus down even if he has to do it while locked up inside a jail cell. Which is where he ends up after police nab him for personally imposing the death penalty on the convicted killers.
Indeed Clyde proves to be something of a savant when it comes to killing people in creative cinematic ways employing exploding cell phones remote-control machine guns and other methods to take out the various judges attorneys and politicians on his hit list. Most amazingly he orchestrates all of this mayhem from behind bars. Seriously this guy’s flair for novelty violence makes the Joker’s antics in The Dark Knight seem amateurish by comparison.
The task of putting an end to all of Clyde’s mayhem naturally falls on Nick. And this is where Law Abiding Citizen’s fatal flaw emerges. Whereas Gray Butler and virtually everyone else seem to enthusiastically embrace the utter ridiculousness of it all Foxx plays it determinedly straight as if he’s the only one in the movie who isn’t in on the joke. Watching his performance it’s almost as if he’s making a different film than everyone else.
The right way for Law Abiding Citizen to end is for Foxx to administer an appropriately ironic death to Butler’s character utter something like “I rest my case ” and wink at the camera as he makes his exit. (Click here to read our exclusive interview with Foxx.)
I won’t give any spoilers away but suffice it to say this is NOT how the movie ends.
WHAT IT’S ABOUT?
Set waaaaaay back in 1987 Adventureland revolves around the still virginal James Brennan a smart college grad whose dashed European vacation plans and career desperation lead him to take a summer job running games and handing out crummy stuffed animals at a Z-grade amusement park. It’s there that he falls hard for his colleague Em a pretty but emotionally confused girl who is having a secret affair with older-married-guy Mike Connell an aspiring musician and the park’s resident handyman. Over the course of the summer the employees of this pathetic Disneyland party hard smoke weed and most importantly learn about love and relationships while being forced to hear “Rock Me Amadeus” played continuously on the park’s piped-in music system.
WHO’S IN IT?
The whole cast is superb led by Jesse Eisenberg (The Squid and the Whale The Education of Charlie Banks) who is simply terrific in a breakthrough performance that proves Michael Cera is not the ONLY one who can play nerdy-but-thoughtful young guys trying to navigate their life’s path down the winding road of uncertainty. Eisenberg as James deftly manages writer/director Greg Mottola’s (Superbad) droll dialogue with effortless timing and delivery. Kristen Stewart as Em shot this role before Twilight and is sensational — her best screen work yet. As his slacker best friend Joel Martin Starr underplays it nicely creating a three-dimensional character in just a few scenes. Hot newcomer Margarita Levieva is hysterical as Lisa P the park’s resident tease and gossip while SNL stalwarts Bill Hader and Kristen Wiig do their usual flawless comedic thing as the Adventureland owners. Ryan Reynolds is the perfect jerk as the joint’s self-appointed married skirt-chaser.
Expectations might be: It's just another gross-out teen comedy. But the real surprise is the sweet nature of the script and strongly-etched characters. Working in the world’s worst job is a good starting place for Mottola’s musings on love and relationships — and it's just as pertinent now as in the time the film is set. For those who still have a jonesin' for all things '80s the nifty soundtrack full of choice items from the era is retro-cool (except for that “Rock Me Amadeus” tune).
It’s a key plot point but it’s hard to see why Stewart’s character would get so attached to such a slimy married guy like the one Reynolds plays.
A restaurant scene where James pours his heart out to Em and reveals his virginity for the first time is very funny and painfully honest.
BEST DOWNER LINE:
In giving Em a custom-made gift the morose James says: “I made you a tape. These are my favorite bummer songs — pit of despair stuff.”
Liv (Kate Hudson) and Emma (Anne Hathaway) are lifelong best friends obsessed with getting married -- and more importantly having the perfect wedding at New York’s Plaza Hotel. Except there’s a glitch: Their June weddings get scheduled for the same Saturday and no other date is available for three years! When neither agrees to move to a different venue the battle is on. And the pranks: There’s Emma’s disastrous trip to a tanning salon where her skin becomes solid orange and Liv’s appointment at a beauty salon where her blonde locks are turned mysteriously blue.
Adding this to her recent list of dumb comedies like My Best Friend's Girl and Fool's Gold Hudson is in need of a serious career intervention. Her character here a supposedly smart lawyer who will sink to ANY depths to get married and have a dream wedding just doesn’t mesh. It’s SO 50 years ago that feminists watching these two engage in a knock-down drag-out fight over a hotel ballroom will recoil in horror. And after all that acclaim for Rachel Getting Married Hathaway should just find a place to hide – though to be fair in one or two scenes she does manage to find a shred of believability. Too bad it’s not nearly enough. Although it starts out with a bit of promise director Gary Winick clearly just sat back as the proceedings spun out of control with one ridiculous scene after another. Of course he isn’t given much help by Greg DePaul CaseyWilson and June Diane Raphael’s waaaaaaay over-the-top screenplay which reduces these two apparent friends into babbling morons. Those interested in witnessing two women demean themselves for 90 minutes should have a lot of fun.
The big-screen live-action adaptation mostly captures the look and feel of the ‘60s cartoon many of us grew up watching. It could have used a few more occurrences of our favorite line “Look out Speed! AH!” but oh well. As it goes Speed (Emile Hirsch) has grown up with motor oil pumping through his veins helping his Pops (John Goodman) make racecars and idolizing his older brother Rex (Scott Porter) a top-notch driver. Then tragedy strikes when Rex is seemingly killed in an accident. Heartbroken Speed is determined to take his place showing some serious skills on the track. His girlfriend Trixie (Christina Ricci) thinks he’s the bomb as do his mom (Susan Sarandon) younger brother Spritle (Paulie Litt) and pet chimpanzee Chim-Chim. But Speed is soon in for a rude awakening when he is introduced to the corrupt world of auto racing forcing him to team up with the mysterious Racer X (Matthew Fox) to make it right again. Go Speed go! The usually somber Hirsch--who is best known for his indie work in films such as Alpha Dog and Into the Wild--seems at first an odd choice to play Speed. But his seriousness works well against the campiness surrounding him especially in the more emotional moments. Same goes for Fox as the stoic Racer X. Still one can’t help but think of him as his Lost alter ego in a dark glasses and a mask. The rest of the cast just has way too much fun including Ricci as the cute-as-a-button-but-full-of-moxie Trixie Goodman as the blowhard Pops and especially young Litt as Spritle. Out of all Speed’s animated characters re-envisioned Litt does the best job capturing Spritle’s cartoon mischievousness. The monkey ain’t bad either. Chim-Chim AH! Oh those Wachowski brothers (Andy and Larry). They sure do like to come up with as many inventive ways to visually stimulate you as they can don’t they? Their Matrix series set CGI on fire--and now Speed Racer which quite literally takes you inside a video game the Wii or Xbox could only dream of ever creating. The film is virtual eye candy from start to finish--a mixture of Tim Burton-esque colorful sets wild adrenaline-filled special effects and constant camera movements. They may actually need to post a warning for those who suffer from motion sickness. However Speed’s main problem which is the same problem the Matrix franchise suffered from is its tendency to overanalyze the plot. The Wachowskis love to preach turning a scene about the racing world’s corrupt beginning into a 15-minute diatribe. They try to combine the campiness of the animated TV series with serious undertones but it only weighs the film down. You can feel the kids in the audience tapping their feet waiting for more action. So let’s just give the kids what they want: fast-paced excitement wrapped up in a colorful package.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.