It might not be as glamorous as Cannes or as cool as Sundance, but the Los Angeles Film Festival has just as much to offer as its larger counterparts. Between high-profile premieres of blockbuster films, international competition entries and some of the most exciting indies around all premiering at LAFF every year, there's plenty to pay attention to. But if you were unfortunate enough to let the this year's fest — which ran from June 11 to 19 — we've got you covered with a rundown of the most talked-about films to premiere at LAFF, and what the critics are saying about them. Now you can make all of your friends think you're cooler than you actually are.
They Came Together The Amy Poehler/Paul Rudd romantic comedy you’ve been waiting for is less about the relationship between the central couple, Joel (Rudd) and Molly (Poehler), and more about skewering every last trope of the genre. Written and directed by Wet Hot American Summer’s David Wain, the film lovingly parodies the traits, characters, conversations, and comically large apartments that appear in every rom com ever made, while allowing two funny, good looking people to fall in love in an entertaining way.
“The script’s on-the-nose descriptions of each character (as described by the characters themselves) actually works to frame them as self-aware people forced to play out roles we have seen before and allows the hilarious cast to play within those lines. Poehler and Rudd have a natural chemistry that makes them believable as the two leads in love, but their comedy also blends well making it clear they are having fun with each other and the characters they are playing.” – Allison Loring, Film School Rejects
"Wain leads his well-known cast through spoofs of such classics as When Harry Met Sally, Annie Hall, The Graduate and the sharp-elbowed comedies of Tracy and Hepburn. Each gag makes you wish you were watching the original, although a clench between Joel and his grandmother (Lynn Cohen) that almost leads to incestuous coupling deserves credit for sheer audacity. Most of the time, however, the actors on the screen seem to be having much more fun than the audience will." - David D'Arcy, Screen Daily
Cut Bank A small town crime drama set in Cut Bank, Montana that centers on a former high school football star (Liam Hemsworth) desperate to find a way out of his town. After he accidentally films the murder of the town mailman, he is offered a reward that would give him enough money to leave for good, but things aren't a simple as they seem, and he finds himself caught in a tangled web of deception and danger.
"...Shakman lets the scenes unfurl with a clunky pace and little verve, simply exaggerating the irony and naivety in the town as his main go-to points. It only makes sense that [John] Malkovich’s sheriff has never fired his gun and carries an aversion to violence; likewise with Palmer, who itches non-stop after a Miss Cut Bank pageant title even while she wants nothing more than to skip town. Thankfully humor seeps in through the edges of the film and its characters, sometimes on purpose and other times not." - Charlie Schmidlin, The Playlist
Dear White People A satire of college movies that tackles race relations and privilege in society, Dear White People follows four students as an Ivy League university — golden boy Troy (Brandon P. Bell), activist radio host Samantha (Tessa Thompson), Colendra "Coco" Conners (Teyona Parris), who has dreams of being a reality TV star, and shy misfit Lionel Higgins (Tyler James Williams) — after a planned "African American"-themed party thrown by a group of white students starts a riot on campus.
"If it ultimately feels modestly edgy rather than shocking or dangerous, 'Dear White People' nonetheless provokes admiration for having bothered to ask some of the hard questions without pretending to know any of the answers. It also works as a fine showcase for its actors: Fleshing out characters that could have been little more than one-note mouthpieces, Williams, Thompson, Parris and Bell all make strong, distinctive impressions, with Thompson perhaps the standout as the film’s sharpest and most enigmatic figure." - Justin Chang, Variety
The Last Time You Had Fun With a cast full of comedians and sitcom alums, The Last Time You Had Fun puts a grown-up twist on the standard "wild night out" comedy. After Ida (Eliza Coupe) forces her sister Alison (Mary Elizabeth Ellis) to blow off some steam with her, they find themselves bickering and partying with Clark (Kyle Bornheimer) and the sweatpants-clad Will (Demetri Martin), as the four of them attempt to have the most fun that four older, dysfunctional adults could possibly have.
"Granted, the excesses of Bridesmaids or The Hangover are not essential to sparkling relationship comedy, but Fun lacks an edge, or even much of an attitude. Blandly risqué situations, featherweight banter and a hint of implied sexual impropriety have all the heft of an extended cable sitcom episode. Or maybe it’s the casting, which draws extensively on the TV comedy background of the four leads, who all acquit themselves adequately but can’t achieve sufficient character differentiation within the ensemble. Undistinguished locations, flat lighting and primarily static setups perpetuate the small-screen aesthetic, which at least bodes well for the film’s transition to home entertainment formats." - Justin Lowe, The Hollywood Reporter
Echo Park The debut film from photographer Amanda Marsalis, Echo Park is a story about two people who come together "across cultural, economic and racial boundaries." Sophie (Mamie Gummer) is an unhappy housewife who moves from her Beverly Hills home to the up-and-coming neighborhood of Echo Park in order to shake up her predictable boring life, who finds herself drawn to Alex (Tony Okungbowa) after she buys his couch. But their burgeoning relationship might have to be put on hold, since he's about to leave for London...
"It’s Marsalis’ direction, and the fine performances from Gummer and Okungbowa that elevate the film above what it might have been, given the issues with the script and story that hover around the edges of cliché and stereotype (the worst offender: Sophie’s mother). While the dialogue, especially the scenes between Sophie and Alex, works well, the story beats are oddly laid out, rushing through some important character and relationship establishing moments, and dwelling too long in moments where the characters are making frustrating, selfish choices. Still, the end of the film avoids falling into the traditional romantic film trap, leading to a message that’s a bit more complicated and nuanced than expected." - Katie Walsh, IndieWire
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.