I’m having a polarized love-hate reaction to director Thor Freudenthal and screenwriter Nick Naveda’s ambitious, if at times oddly schmaltzy and saccharine, adaptation of author Julia Walton’s best-selling young adult romance Words on Bathroom Walls.
Summerland is the type of motion picture that gives me hope things are going to turn out all right, not just for the characters living inside this tale, but in the here and now for all of us as well.
Infamous a mediocre movie that deserves to fade into oblivion as if it never existed in the first place, the fewer followers it ends up having the more likely that outcome is going to be.
The High Note is so much fun to watch any issues I have keep evaporating into the ether almost as if they never existed in the first place.
I found Valley Girl, like, totally disappointing, an unexpected turn of events that’s grody to the max, for sure.
The final cry The Whistlers makes is one of forgiveness and grace, the unspoken connective pull of human understanding impossible to resist.
“Sometimes it was overwhelming in all the best of ways. There was just so much possibility. When you’re just in the zone and in there with your camera, you have to take the opportunity to trust your eye as a filmmaker.”
– Olympic Dreams director Jeremy Teicher
The first narrative feature to be allowed to shoot inside the Olympic Athletes Village, Olympic Dreams is a strong, emotionally-pure indie drama that took my breath away.
Portrait of a Lady on Fire is more than a historical romance. It is more than a feminist drama drawing a metaphorical line from the distant past to the here and now.