Yes, we’re long gone from the SXSW Film Festival personally, but we did write three reports from the 10-something films we saw.
However, As promised, our trustworthy pals Bridget Palardy (cinematographer and Nylon magazine video contributor) and Katie Walsh (former Lionsgate PR flack) were both on the ground and they sent us their thoughts on the films they also saw. Much appreciated, ladies.
“Observe and Report”
Concerning an arrogant, delusional buffoon, much like writer/director Jody Hill’s debut, “The Foot Fist Way,” Seth Rogen actually tries to do some acting in this movie, which is admittedly quite funny, though very dark. Rogen’s Ronnie is an ambitious mall security guard, though this ain’t your average “Paul Blart” (a subject Hill had a terse, “no comment” on during the Q&A). Ronnie is kind of an asshole and a bossy one at that, though when it comes down to it, he ends up getting pushed around by his druggie delinquent partner, Dennis (a hilarious Michael Pena), his obnoxious makeup artist crush Brandy (Anna Faris, doing her Anna Faris thing), and the local law enforcement he aspires to join, headed up by Ray Liotta. The supporting cast is great, with a cameo from Danny McBride, being amazing as usual, and the underused Aziz Ansari. The film is well crafted, and I laughed a lot, though that may have been all the Lone Stars consumed prior to the screening. However, it’s not a feel-good comedy, more like a feel-icky comedy, when revisited in the light of day. An A+ definitely goes to Ronnie’s Color Me Badd-esque date outfit. [B] – KW
“Best Worst Movie”
A celebration of how sometimes everything wrong can be oh so right, as a boy, director Michael Stephenson starred in one of the most bizarre and reviled films ever, the inimitable “Troll 2,” and this documentary is an exploration of its subsequent cult status and the elements that came together to make it so -a bossy Italian director, a screenplay written by the director’s wife condemning vegetarianism, and the gem of a man who plays the lead, George Hardy. A dentist from Alabama, Hardy is a born entertainer who is genuinely tickled by the renewed interest in “Troll 2,” and he is the heart of “Best Worst Movie,” which is essentially about movies and the way they can entertain us even when they are terrible. ‘T2’ fans are sincere and genuine about their fandom, and ‘BWM’ is a warm bear hug to the entertaining power of bad-but-fun cinema. [A-] – KW
“Women In Trouble”
Written and directed by Sebastien Gutierrez, and shot in 12 days with volunteer actors (who happen to be well-known celebrities) and locations, “Women in Trouble” is an extremely self-aware campy female melodrama. While the idea is fun, the execution lacks the heart and soul that makes Almodovar’s melodramas classic. An entertaining watch, the movie doesn’t sit well post screening. All I can remember is lots of boobs and talk of pussy-eating. One would think Mr. Gutierrez just wanted an excuse to stick smoking hot actresses Carla Gugino, Connie Britton, and Emmanuelle Chriqui into ridiculous lingerie ensembles and give them some hot and dirty dialogue. Oh, and then also cast his tween daughter as a precocious young witch. The standout performance belongs to Adrianne Palicki as a ditzy porn star, who manages to bring some sweetness and honesty to one of the most uncomfortable monologues ever committed to celluloid. [C+] – KW
“Beeswax”
Andrew Bujalski, director of “Funny Ha Ha” and “Mutual Appreciation,” is known for using non-actors, loose scripting, and encouraging performers to put things in their own words. (His work is frequently lumped in with Mumblecore-sters such as Joe Swanburg, reviewed earlier this week.) His most recent film, “Beeswax,” premiered at SXSW this week, and showcased a definitive knack for inducing naturalistic performances. We particularly enjoyed the performance of the wheelchaired protagonist Jeannie, played by a charismatic Tilly Hatcher (Hatcher does in fact use a wheelchair.) Bujalski deserves credit for crafting such an intimate couch-side feel and for the film’s fearless portrayal of living with a disability. However, some styling, set design and art direction could have helped place the story at front and center. Instead, Bujalski burdens the viewer with distracting “honest” details and unflattering up-the-nose close-ups. “Beeswax” is sticky and far too long, with lots of digressive crap stuck in the narrative, which unfortunately renders it about as artful as a buzzy yellow waiting room. [C] – BP
