Dir. Chris Terrio
A
In "Heights," the camera follows five characters over a 24-hour day in New York City. As the day begins, all is business as usual as the characters innocently prepare for their day. There is Isabel (Elizabeth Banks), a photographer, who is anxiously preparing for her wedding to her fiancÈ Jonathan (James Mardson), a lawyer. Then there is Isabel’s mother, Diana (Glenn Close), a famous Broadway performer, who is struggling with her open marriage, and who also smells something fishy with her daughters “safe” relationship. Meanwhile, Isabel meets up with her old flame Peter (John Light) a journalist, who offers her a once in a lifetime photo job, which unfortunately coincides with her wedding day. Diana then meets up with a young and budding actor, who just happens to live in Isabel’s building. As the day turns to night, their stories unravel in the most delicious way—much like an intellectual soap opera. It turns out everyone has secrets, and not everyone is who they say they are
This is a fabulous film that should not be missed. Glenn Close apparently created her own character much through improvisation, which helps give the film a staunch sense of reality.—Karla Esquivel
Dir. Gus Van Sant
C
"Last Days" is a film inspired by the life of Kurt Cobain. In a similar vein to “Elephant,” the camera impassively follows jaded rock star Blake (Michael Pitt) as he literally stumbles around his home in the woods. There’s a sense of decay everywhere, from Blake’s disheveled appearance, to his house, a mansion that seems to be slowly disintegrating. The best aspect of this film is how well writer/director Gus Van Sant captures that feeling of complete alienation from your surroundings. It’s as if Blake is moving through another dimension, truly unable to make any sort of real connection with the people he encounters. But what will make this film frustrating for some is the complete lack of detail of any of the characters “inner lives.” With no way of knowing any of their feelings or motivations, the viewer becomes as impassive as the camera. I’m not sure if I liked this film, but I would like to see it again.—Gillian G Gaar
Dir: Miranda July A |
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This film, the directorial debut of performance artist Miranda July, won a Special Jury Prize and the Camera d’Or for best first film at Cannes, but its theatrical fate is uncertain since it also managed to ruffle a few feathers at the Seattle Film Festival for being a bit too “quirky.” It begins with a man named Richard, played by John Hawkes, setting himself on fire in order to re-connect, so to speak, with his estranged wife and sons. It doesn’t quite work the ways he wants, but it does highlight the tension of his existential ennui. The film is shot with a sort of dreamy, otherworldly eye for the surreal in the mundane and mixes melancholy and pathos with generous doses of hilariously deadpan comedy. July plays an artist having a hard time getting her work shown in a local gallery and develops a crush on Richard, while his sons engage in some really outrageous online sex chats. July’s characters all inhabit a world opposite of someone like Todd Solondz who seems to share a similar taste for downtrodden, everyday people. But where Solondz offers cynicism, July gives us a human touch of compassion and sympathy
This is one of those handful of films that occasionally comes along and offers something genuine and sincere, if a little strange and “quirky.” This is the place that bus at the end of “Ghost World” was probably headed. It may not appeal to everyone, but I absolutely loved it. —Kristopher Monroe
Dir. Henry Alex Ruben & Dana Adam Shapiro
A-
This lively, surprisingly funny, and ultimately quite moving documentary revolves around the burgeoning sport of quad rugby, AKA “murderball,” wherein mobility-impaired players use customized wheelchairs and the field is a basketball court. At 86 minutes, it seems short, but co-directors Henry-Alex Rubin and Dana Adam Shapiro don’t waste any time. The US team competes in Sweden and then in Greece. Along the way, we meet Canada’s fiery coach Joe Soares (a former US player), most of the US team and even prospective player Keith. They’re likable, engaging fellows. Even if you don’t like sports, don’t miss this film.—Kathleen C. Fennessy