Authors — Brandon Harris
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Scared Straight: Trevor White on Jamesy Boy
Ostensibly based on a true story, Trevor White’s Jamesy Boy recounts the ascension, demise and redemption of James Burns, a cavalier gang member whose story is an all too American one — he fell into a life of crime on the streets of Baltimore as a 14 year old, did some hard time, and was, somewhat astoundingly given the unrepentantly punitive nature of our disenfranchisement factories known as prisons, the better for it. He’s played by a promising newcomer, Spencer LoFranco, who is joined by an accomplished cast including Ving Rhames, Mary-Louise Parker and James Woods, in a somewhat surprising turn, […]
by Brandon Harris on Jan 31, 2014 -
Rough Riders: Lotfy Nathan on 12 O’Clock Boys
Having started life as a graduate film school project that was mostly financed on Kickstarter, Lotfy Nathan’s multiple Cinema Eye Honors-nominated documentary 12 O’Clock Boys, about a young boy named Pug who is immersed in inner-city dirt-biking culture, is an immediate and searing look at a particularly American coming of age on some of the country’s roughest streets. Pug’s mom, an ex-stripper named Coco, tries to steer him on a path of study and professionalism, urging him to consider training to be a veterinarian, but in this combative, crime-ridden stretch of West Baltimore, becoming an animal doctor is a remote dream. […]
by Brandon Harris on Jan 30, 2014 -
Park City Critic’s Notes #5: Short Shrift
There were movies. Some, like New York Times film critic (and my fellow SUNY Purchase Film alum) Manohla Dargis, said there were too many — even before she saw any of them. Sales, at least during the festival, weren’t robust; perhaps some of the weary execs, including a couple she overheard dishing on their inability to sit through American Hustle while in line for a theater, are taking her advice and sitting on their pocketbooks. Perhaps we’ll find some of these movies on VUDU or Seed&Spark or NoBudge. Maybe someone will tap an unexpected and unforeseen audience outside of the […]
by Brandon Harris on Jan 26, 2014 -
Damien Chazelle’s Whiplash Wins Two Top Prizes at the 30th Sundance Film Festival
Damien Chazelle’s Whiplash soared to victory in the major awards categories in the U.S. Dramatic Competition at the 30th Sundance Film Festival Saturday night. The picture, which was picked up for distribution by Sony Pictures Classics during the festival, took home both the U.S. Dramatic Competition Grand Jury Prize and Audience Award. Starring Miles Teller and J.K. Simmons, Chazelle’s second feature tells the story of an ambitious young jazz drummer and his unrelenting instructor in a no-holds-barred conservatory environment. The 28-year-old Chazelle first gained attention in 2009 when his feature directorial debut Guy and Madeleine on a Park Bench surfaced at […]
by Brandon Harris on Jan 25, 2014 -
Park City Critic’s Notes #4: European Road Trips, Higher Learning, Black Iconoclasts and More
It thins out, Park City, usually starting on Monday, but dramatically so by Tuesday. The big premiere parties have come and gone. The agents and sales reps and industry professionals are mostly headed to whatever coast they call home. So too is the sponsored corporate food; if you’re looking for a free Morning Star veggie burger at what is usually a quaint restaurant called The Eating Establishment, you’re out of luck by Day 7 of the Sundance Film Festival. As the sales continue to trickle down, terms almost never disclosed anymore, all that continues is the movies, of course, the […]
by Brandon Harris on Jan 23, 2014 -
Park City Critic’s Notes #3: On Happiness, Web Junkie, Love Child and the Peril of Electronic Screens
A couple nights before the Sundance Film Festival commenced this year, I came home one evening hoping to squeeze in at least a couple of pre-fest screeners before I went to bed, knowing I had a full day of hack journalist duties awaiting me the next morning. While taking the train back from the Filmmaker offices and walking through a dreary Bedford-Stuyvesant evening, I dreaded what I thought I would discover upon returning home: a subletter — a young aspirant sportswriter whose presence in our home had only been announced by one of my more regular roommates the day before […]
by Brandon Harris on Jan 19, 2014 -
Park City Critic’s Notes #2: How Should a Family Be?
Everybody has dreams at Sundance. Some dream of distribution deals, others of the respect and recognition that may come with them. The most exuberant dreamers conjure the high seven-figure sales of yesteryear, but the ranks of such folks are dying away, the reality of the new normal having long set in. Some just want to get laid or go skiing and dream accordingly. Lucky them. Still others can’t navigate Sundance without complaining about this or that. A lot of folks are upset by the shuttles this year, claiming they aren’t as efficient as years past. More pressing, some observers have […]
by Brandon Harris on Jan 19, 2014 -
Park City Critic’s Notes #1: Jungle Violence and Prairie Reckonings
Generally speaking, the documentary competitions sections of major market film festivals are not places to go and find uplift. Wanna feel good in, say, the James Brown sense of the phrase? The Premieres or Spotlight sections at a festival such as Sundance are usually better bets, programs that tend to provide, with some notable exceptions, a bevy of of biopics, inspiring tales and quirky comedies packaged to appeal to vain movie stars and whatever audience still remains for mid-to-lowbrow, adult-centered specialty films. Any world where the people are all as attractive as, say, Keira Knightley, Chloë Grace Moretz and Mark […]
by Brandon Harris on Jan 17, 2014 -
Act Break: Director Denis Villeneuve Talks His “Jaw-Droppingly Weird” Enemy
In his newest film Enemy, French-Canadian director Denis Villeneuve immediately springs on us an omnipotent sense of dread. The chiaroscuro-tinged opening — a dynamo dream sequence in a film that feels like one long, unending hallucination — takes us inside an invitation-only sex club, populated by hard-looking, well-dressed men, one of whom is Jake Gyllenhaal. What are they watching? Scantily clad women doing seemingly erotic things that involve tarantulas. Bear with me. Soon we meet a pregnant blonde (Sarah Gadon) who’s waiting at home for her husband. Is it Gyllenhaal whom she’s waiting for? The next time he’s glimpsed, he […]
by Brandon Harris on Jan 17, 2014 -
Blood Money: Tze Chun on Cold Comes the Night
The sophomore effort from Tze Chun (Children of Invention), thriller Cold Comes the Night, uses invigorated noir conventions to evoke the betrayed modern social compact in a dreary, post-industrial strip of upstate New York. Chloe (Alice Eve), a poor widow and single mother, manages a fleabag motel, the type that charges prostitutes and johns by the hour. Social Services is on Chloe’s case for providing such a rotten environment for her eight-year-old daughter Sophia (Ursula Parker), giving her two weeks to straighten out their circumstances before they intervene. Then things get worse — a Slavic drug runner named Topo (Breaking Bad‘s Bryan […]
by Brandon Harris on Jan 11, 2014
