Reviews: Tribeca 2016: Three documentaries: Midsummer in Newtown, The Last Laugh, and My Scientology Movie

Each one worthwhile in their own way: My reviews here.

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Review: Tribeca 2016: The Tenth Man (2016)

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I also really enjoyed Daniel Burman’s The Tenth Man (co-starring Julieta Zylberberg, whom I met last year at Ebertfest: wonderful actress). It’s playing at the Tribeca Film Festival this week.

You can read my review of The Tenth Man here.

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Ebertfest Day 2: Angela Allen

Incredible day on Thursday, culminating in a screening of The Third Man (which I had never seen on the big screen, the way it is supposed to be seen). Best of all: Angela Allen attended as a guest: she was the script supervisor on The Third Man when she was 19 years old. She has got to be 90 now, 91? And she was spry, sharp as a tack, funny. And seriously: IMDB her to see her list of credits. She told stories about working on The African Queen: She “doubled for Katie” in a couple of scenes (Katie!!) and she also said at one point, “Katie and Bogie” and Mitchell and I just looked at each other.

She is our living history. She has worked in cinema for, what, 65 years? It was an honor to listen to her talk. We need to celebrate these people while they are still with us.

Mitchell took a picture of her at the opening night reception.

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You can read Brian’s full report of Day 2.

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My Easter Outfit

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Check out my cool hat and purse. Plus my wrinkly knees. My mother made that coat.

Comment from my Uncle Tom:

I also see my father’s ‘State car’ that had a 3 on the column and several of my friends learned how to clutch and shift in it.

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Review: Sing Street (2016)

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I LOVE this movie.

My review of Sing Street is now up at Rogerebert.com.

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Review: Tribeca Film Festival 2016: Mother

A really fun film from Estonia, helmed by three women (director and two screenwriters); Not sure if this one will get distribution but I really enjoyed it and hope it has legs:

Here is my review of Mother.

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Ebertfest 2016 Day 1: QA with Guillermo del Toro

Guillermo del Toro was so much fun: we ended up flying down to Champaign together from Chicago and talked the entire way. The QA was just a continuation of that conversation. I also got the chance to say the word Supernatural from the stage during the conversation about Jim Beaver. You know I had to go there. And, happy to say, there was a smattering of cheers and intense applause.

Check out Brian Tallerico’s dispatch on Day 1.

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Ebertfest Update: QA with Guillermo del Toro

Ebertfest 2016 starts this Wednesday, and the opening film is Guillermo del Toro’s Crimson Peak. I gave Crimson Peak 4 stars in my review, and I saw it in a relatively small press screening room, so the thought of seeing it in that gigantic movie palace with 1500 seats – all of them full – is already thrilling. That’s how it should be seen.

I am extremely honored to have been asked to moderate the post-film QA with Del Toro, who will be attending as an honorary guest. I very much look forward to peppering him with questions about his extraordinary imagination, his influences, and working with that amazing cast of actors.

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“The first time I saw Sidney [Poitier] was in A Warm December, the movie I affectionately refer to as ‘Put Your Damn Shirt Back On, Sidney!'”

If you’re not aware of the ongoing series “Black Man Talk,” between two of my pals, Odie Henderson and Steven Boone, then consider yourself informed. And run, don’t walk, to read the archive. These two powerhouse-intellects and writers don’t pair up that often because life is busy and everyone has shit to do. But it’s one of those rare series that I look forward to, keep my eyes peeled for, carve out the time to carefully read and re-read the whole thing. I met both Odie and Steven in my early days circulating in the film critic world of New York (a super-small world, you can basically fit all of us in one room), and we were involved once in a group-discussion at a party that we all still mention, on occasion, to one another as one of those moments in a chaotic world when people come together and connect, really connect. We all wrote about it too, on our own sites.

In “Black Man Talk,” Odie and Steven’s topics range far and wide. They pick one topic to focus on, and they go deep with each topic. That’s the joy of these conversations. There is no surface-level thing happening. They pick it apart. And two better film writers and thinkers you are not going to find. (I have mentioned before Steven’s review of Abbas Kiarostami’s great film Like Someone in Love as an example of the best that film criticism has to offer right now. A review should not be a book report, a plot synopsis, or an arm of the movie’s PR-machine. A review should help you to SEE. A review should be a portrait of the film critic, his tastes, inclinations, HOW he analyzes things. A review should tell us HOW the movie does what it does, way more than it should tell you WHAT a movie is. If Steven’s review doesn’t make you want to see the film, as well as help you perceive beneath the surface of the film once you’ve watched it, then there’s no hope for you.)

Their latest “Black Man Talk” is now up and the topic is Sidney Poitier. Don’t miss it.

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Swann’s Way: The Best Love Letter I Ever Got

I found a note today in an old folder. It’s a scrap of note-paper torn out of a notebook. It was passed to me in class. Not grade school or high school or college. But grad school. Passing notes in class. In regards to the note: The spelling is 1. not the point at all so if you get distracted by it you’re missing the point and 2. what makes it so great. I didn’t even know I kept it, and it’s been … 15 years since I looked at it or something bizarre like that – but I know it by heart.

It is perfection. It’s profound and insightful and generous. I feel lucky to have gotten such a love letter, especially as an ADULT. And we weren’t even in love, but this shit is intimate, man. I forget sometimes … that openness like this is possible.

I was in grad school. It was a 3-year program and it was extremely intense. It was an acting program, so you get to know people extremely quickly and on a deeper more personal level than you do with other people. You know, you see people cry, you see them get angry, you see them work on their shit, and you all do it together, and you all do it in front of each other. It’s like living in a lunatic asylum. And I speak from experience!

I met Wade on the very first day of classes. I had moved to New York a week before from Chicago. We all were in a state of disorientation. We all had come from all over the place. My first class was a dance class at the Alvin Ailey Dance Studio uptown (those studios are incredible.) I barely knew the subway system, but I had a class downtown later that afternoon, and so Wade and I – whom I didn’t even know – took the subway back together. Wade came from Texas and he was wearing a Stetson hat. Just so you get the picture. Plus big chunky silver-turquoise rings like Dean Stockwell in Tracks. He was gorgeous. Or I thought he was. Like a young Jack Nicholson. Or a young Christian Slater. By the time we dis-embarked at 18th Street, we were friends. He said, “Hey, there’s this cool movie poster place on 18th Street, wanna go check it out?” I said sure, so we went and sat at the counter and asked to see movie posters for John Garfield movies and James Dean movies and they would bring them out to us. It was this weird random adventure and I think I remember it so well just because everything was new that day. I had left this very social life back in Chicago, with friends and boyfriends and jobs and acting gigs and I knew no one in New York, but here I was, looking at Godfather posters with this person I didn’t know the day before. It felt like a good omen.

I made other friends on that first week (friends who are still friends today) but Wade was my first. We were fast friends throughout the entire intense 3-year program. And like I said, you get to know people really well and really intensely in an acting program. Better than you know your own family. So you’d be like, “Oh, yeah, so-and-so has real rage issues” or “So-and-so has a block with her anger” or “He canNOT deal with sexuality…” It’s BRUTAL. But people are revealed in acting classes. That’s the gig. I was used to it, I had been an actress for most of my life at that point.

Wade was so talented (the most talented guy in our class, in my opinion: fearless), and as a person he was honest, deep, and full of surprises. He could say a thing and it would knock you flat. And if he LIKED you, like he liked me, his insights were always welcome. I remember getting upset once and saying, “I feel like something’s wrong with me,” and he said, “Oh, no, Sheila don’t do that, that’s way too easy.” Never ever forgotten that OR his perspective that self-loathing was “easy”. He was right. (If he disliked you, he could be brutal. He hated phonies. He hated super-serious people who didn’t have senses of humor.) He saw EVERYTHING. You’d say, “Hey, Wade, what’s up” and he’d say “What’s wrong.” It got to be annoying, but that was who he was. Intense and honest all the time.)

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Wade, Polaroid by yours truly

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Me camping it up on the subway at 2 in the morning, photo by Wade

Wade and I hooked up on occasion (duh) but it never messed up our friendship. It was SCHOOL, remember, so people were having romances all around us, and then breaking up HORRIBLY and publicly – because we all were with each other all the time – but then they couldn’t get away from each other because they were still in classes together. It was high school all over again. But we didn’t get caught up in that. We were friends. Platonic intimate male-female friendship. Rare. He came and stayed with me and my roommate for a couple of months when he was between apartments, and we would curl up in bed together and just go to sleep. Silently. We were ADULTS and it was like we were having an innocent pajama party. I don’t know how we managed this but we did, and I’ve always been grateful for it because Wade kept me sane during that totally insane program.

Onto the note which brought forth this flood of memories:

One day, in between classes, we were out in the yard at The New School, and he was making me laugh. (Hands down, one of the funniest people I’ve ever met.) But then he said, in his Texas accent, “Why do you cover your mouth when you laugh?” He would do that. He would jujitsu a conversation like that. Sometimes I’d be like, “Oh for God’s SAKE.” And this time, I was in a “For God’s SAKE” mood because he jujitsu-ed me and I resented it. I was mid-laugh and you make an OBSERVATION to me about the WAY I laugh??

I said, “Do I?”
“You do. Every time I make you laugh, up goes the hand to cover your mouth.”
“I really don’t think there’s any deep dark secret there, Wade.”
“I’m not SAYING there’s a deep dark secret, I’m just ASKING why you might do that?”
“Does everything have to have a reason? So I cover my mouth, big whup.”
“Did someone make fun of your mouth or something?”
“NO.”
“Then what?”
“WHAT what?”
“Just watch next time you start laughing, and notice how you put your hand over your mouth.”
“Why are you making such a big deal about this?” (I mean, it went on like this.)

Then he said something that made me laugh again, and boom, up went my hand, and I realized it, and got FURIOUS and self-conscious and he practically fell off the bench laughing. I hated him desperately!! A side product of all of this is that this one conversation (and the note) stopped me – for all time – from covering up my mouth when I laughed. He wasn’t saying it was a bad thing, he was just asking WHY. And I didn’t have an answer.

As we walked back into class after that exchange, I found myself thinking: Why DO you cover your mouth, Sheila? (You see? Wade was GOOD, he got into your HEAD.) I said to Wade, suddenly, as we walked to the elevator, “Maybe it’s because I had braces for three years when I was a kid? Some kids have braces for a year and a half, I had them for three. I got them off when I was 16. I hated those braces so much, I thought it would never end.” Wade, Stetson hat shading his face, didn’t say anything. We got in the elevator and rode up to class, not speaking.

We sat down in our Theatre History class. Class started. Wade still didn’t speak. He was bent over his notebook writing something. I wasn’t even paying attention to him. I was listening to the professor. Then Wade passed me this note.

It was his delayed response to my braces comment. Start at the bottom and work your way up.

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That explains a whole whole lot.
You have beautiful teeth. It’s muscle memory.
You may have been an ugly duckling
Your now a swann
Swann’s are beautiful and mean.

I think it’s the “Swann’s are beautiful and mean” that is the best part of it. “Mean”?? That’s pure Wade. That’s his unique twist and outlook. I could analyze why this was so profound to me – and why “mean” is the best part – but that would wreck it. The second I read the note, I remember feeling this flush go over me like; “This is PERFECT. This is the best note I have ever gotten in my whole life.”

It wasn’t the compliment although the compliment made me feel good. It was that he saw me and took the time to let me know, in no uncertain terms, I see you. And dammit, he was RIGHT that there was a reason I compulsively covered my mouth when I was laughing. And he wanted me to be free of that, and just laugh, with no worries, nothing between me and my own joy.

I read that note again today, and remembered feeling seen. Feeling beautiful.

Feeling mean.

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