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Harriet Lauler is not a nice women. Taught to be pushy and proud in her days leading an advertising agency in a small California town that still has a daily paper, like much of the town — which also includes a hip indie radio station — she is a dying breed. Beat by beat, though, Lauler (played by the stellar Shirley MacLaine) “evolves” in Mark Pellington’s predictable dramedy The Last Word. Cinematic comfort food comes to mind, and rest assured, mom and grandma will probably have a nice time.
The story features a bit of darkness as Lauler, an intentional women whose gardener and stylist aren’t doing things to her liking (she’s proud enough to rip the clippers out of both of their hands), decides to control her death. No such luck as she overdoses, only to find the obituary of an old nemesis covered in red wine. This »
- John Fink
Some documentaries set out to heal the world, while others succeed in making it a better place by the mere fact of their existence. A clear example of the latter, Bill and Turner Ross’ “Contemporary Color” is a gift to audiences everywhere, a spectacular kinetic pinwheel of a movie that whisks us away from big issues to celebrate an exceptional creative collaboration between Talking Heads frontman/founder David Byrne and 10 East Coast color guard squads, resulting in a one-of-a-kind concert movie through which this peculiar American art form — a meticulously choreographed mix of flag spinning, weapon tossing, and dance — gets a splendid, soul-recharging big-screen treatment.
So-called “winter guard” is a curious discipline to begin with, obscure to some, downright sacred to others, that evolved out of the ancient military tradition by which a regiment presents and protects its flag (or “colors”). Today, it is practiced at the high school and »
- Peter Debruge
David Byrne leaned back in his chair and stared up at the ceiling of his charmingly cluttered Soho office: “I like to keep trying new things — it keeps me on my toes.”
Um, yeah. In the last decade alone, the 64-year-old art-rock legend has authored two books, released a pair of collaborative albums (one with Brian Eno, the other with Annie Clark), written a musical about Joan of Arc, turned a building into an instrument, scored a Shia Labeouf movie, and teamed up with Fatboy Slim to create a disco opera about the life and times of Imelda Marcos, the former First Lady of the Philippines.
For Byrne, a restless iconoclast who founded Talking Heads with some Risd chums in 1975 and has been expanding his horizons ever since, such unbridled creativity is just par for the course. He’s completely at the mercy of his muse — no matter where it »
- David Ehrlich
You'd normally be hard-pressed to find a link between color guards – those tween-to-teen troupes who do military-style dance routines involving waving flags and spinning rifles – hipster rock/Edm bands and micro-indie regional documentarians; a microscope used to be required to view the Venn diagram overlap. Enter David Byrne, an artist who's never found a bunch of disparate elements he couldn't turn into a creative goulash, and who became a fan of the Middle-America past time after a group asked to use his music for a routine. The former Talking Head »
Better start warming up those vocal cords, Oncers!
Production of the highly anticipated musical episode of Once Upon a Time is well underway and executive producers Adam Horowitz and Eddy Kitsis are spilling exclusive new details to Et about what fans can expect when our favorite characters step into the spotlight.
Read on for inside scoop on how this episode will be a "huge part" of Once Upon a Time's mythology, the many romantic "surprises" in store for fans, and if Colin O'Donoghue will be singing!
Exclusive: 'Once Upon a Time' Bosses Spill on Captain Swan's Domestic Bliss
"We actually started [planning] this around September," Kitsis explained to Et over the phone last Friday. "There are these two composers that we met, Alan Zachary and Michael Weiner, who are big fans of the show, and ABC put us together with them because a musical is the one thing and the one request that fans have been asking for for »
Golden Exits. © Sean Price Williams“No soul or locale is too humble,” John Updike wrote, “to be the site of entertaining and instructive fiction.” Which is a good thing for Nick, the nominal hero of Alex Ross Perry’s new film Golden Exits. The mild, meek, nearly-fifty archivist, played with greying dignity by former Beastie Boy Adam Horovitz, lives a pinched and incapacious existence, toiling ten hours a day hunched behind the desk of a basement office only a few blocks away from his Brooklyn apartment. It’s a spartan, closed-loop life, and Nick thinks it’s “thrilling”—which it becomes for a time, when a 25-year-old assistant arrives from Australia and threatens to disrupt it. Golden Exits is about that threat. Or more precisely, it is a film about what happens when order and routine are besieged by the promise of change—when the life one has accepted is beleaguered by temptation, »
Author: Stefan Pape
Indie auteur Alex Ross Perry returns to the silver screen with Golden Exits, which begins opens with Emily Browning’s Naomi, sat on her doorstep, singing New York Groove by Kiss, and instantly the viewer is beguiled – an essential introduction to the character, for it’s her very arrival in the Big Apple which causes such disruption, as we becomes as absorbed by her, in much of the same way the myriad of male character that orbit around her also feel.
Hailing from Australia, Naomi has landed a job that will ensure she can remain on American soil for a few months, working as an assistant to Nick (Adam Horovitz) as he archives materials concerning his dead father-in-law. Spending every day together, in a modest sized office, this ignites the jealousy in Nick’s wife Alyssa (Chloe Sevigny) and the scepticism in her sister Gwendolyn (Mary-Louise Parker). For good reason too, »
- Stefan Pape
Golden Exits review
Golden Exits starts very much like The Dinner, another film premiering at this year’s Berlinale, where a couple are preparing for a dinner party. Luckily that’s where the similarities between Perry’s sweet indie and Oren Moverman’s Richard Gere starrer end. This couple in question is Nick (Adam Horovitz) and his wife Aly (Chloe Sevigny), who are hosting Aly’s sister Gwen (Mary-Louise Parker) for the evening in heir own home. The big talking point at this dinner though is the extra guest Naomi (Emily Browning), a young twenty-something who is visiting New York to gain life experience abroad. Nick has hired »
- Paul Heath
As a musician, visual artist, filmmaker, and author, David Byrne has sung about buildings, made buildings sing, and given beauty and meaning to the average American shopping mall. In 2015, this fixation with overlooked or undervalued cultural fixtures led to Contemporary Color, a multi-venue performance celebrating color guard, the flag-twirling, rifle-tossing, saber-thrusting accompaniment to countless halftime shows and marching bands across the United States. At the Barclay’s Center in Brooklyn and the Air Canada Centre in Toronto, 10 color guards collaborated with a roster of musical artists including St. Vincent, Ad-Rock, Blood Orange’s Devonté Hynes, and Byrne himself. The performances and preparations were documented by directors Bill Ross and Ross, for a film that premiered at the 2016 Tribeca Film Festival and begins a theatrical run on March 3. Watch the official trailer for its bright pops of color, acrobatic derring do, and footage of Byrne’s amusingly ...
- Erik Adams
"What is it about color guard? Well, tonight you're going to find out." In the summer of 2015, legendary musician David Byrne staged an event at Brooklyn's Barclays Center to celebrate the creativity of Color Guard: synchronized dance routines involving flags, rifles, and sabers, colloquially known as "the sport of the arts." Contemporary Color is a performance documentary capturing the exhilarating experience of enjoying this once-in-a-lifetime show. Performers at the event included St. Vincent, Nelly Furtado, Devonté Hynes, Zola Jesus, Ad-Rock, tUnE-yArDs, and Ira Glass, collaborating with 10 color guard teams from across the Us and Canada. This looks like a very vibrant and energetic show captured exquisitely on camera. Here's the official trailer for Bill Ross IV & Turner Ross' doc Contemporary Color, from YouTube: In the summer of 2015, legendary musician David Byrne staged an event at Brooklyn's Barclays Center to celebrate the art of Color Guard: synchronized dance routines involving flags, »
- Alex Billington
In the summer of 2015, former Talking Heads mastermind David Byrne recruited a crew of forward-thinking musicians – including St. Vincent, Devonté Hynes, Tune-Yards, Zola Jesus and Money Mark/Ad-Rock – to write original music for "Contemporary Color," a series of elaborately choreographed color guard events.
Oscilloscope Laboratories released a new trailer for the bizarre project, showcasing the 10 color guards and 10 composers (also including Nelly Furtado, How to Dress Well, Lucius and Nico Muhly/Ira Glass). "Everybody kinda gets one shot at this, and this is it," a giddy Byrne tells the camera crew. »
Heads up: one of this year’s most exciting films, Contemporary Color, begins rolling out very soon. A concert movie that looks and moves like nearly no other — a spectacle often more along the lines of Metropolis or Koyaanisqatsi than Stop Making Sense — it nevertheless brings to mind the Jonathan Demme classic for, if no other reason, the involvement of David Byrne, who launched a nationwide performance series that mingles high-school color-guard teams with best-selling recording artists (St. Vincent, tUnE-yArDs, Nelly Furtado, and Byrne himself). Brothers Bill Ross IV and Turner Ross‘ documentary captures the efforts of both, resulting in a deeply sympathetic story of creative expression.
So I said in my review from last year’s Tribeca Film Festival, where I added, “[They’ve] created an experience that captures (and may even supersede) the fertile ground upon which it’s been built. In its formal inventiveness and compassion, Contemporary Color »
- Nick Newman
Welcome to the first, hopefully annual, Weekend Warrior Sundance Awards, where I go through the couple dozen movies I had a chance to see over the course of the past week and pick some of my favorite things.
I ended up seeing roughly thirty movies in total, only walking out of a couple (that won’t be mentioned), and overall, it was a generally decent Sundance, although only a few movies really stood out and will be remembered later in the year when we start talking about next year’s Oscars.
Oddly, I missed many of the movies that won actual awards at Sundance, so I’ve decided to give a few of my own.
Most Literal Use of a Movie Title
1. Beatriz at Dinner (starring Salma Hayek as a Mexican healer named Beatriz who is invited to stay for dinner at »
- Edward Douglas
There are no screaming matches or overt arguments, nor is there any sort of frenetic camera work, yet Golden Exits is unmistakably the work of Alex Ross Perry. The insecurities that bubbled up and exploded through his characters in Listen Up Philip and the even-more-heightened Queen of Earth stay grounded with his relatively small-scale latest film, these anxieties rather becoming the subtext for nearly every conversation. It’s a work of small decisions and jabs, glances and non-action. Should I stay at this bar where temptation exists? Should I continue staring at a woman that will only bring upon personal suffering?
It’s these seemingly trivial valleys where the interconnected characters of Golden Exits lie. The axis point is Naomi (Emily Browning), an Australian student who is hired by Nick (Adam Horovitz) to assist in archiving a life’s worth of history left by his recently deceased father-in-law. Nick’s wife, »
- Jordan Raup
Alex Ross Perry doesn’t usually go for “nice” characters — from the disaffected siblings at the heart of “The Color Wheel” to Jason Schwartzman’s gleefully abrasive title character in “Listen Up Philip” to the deeply destructive ladies of “Queen of Earth,” the filmmaker has never shown much interest in stories about people who treat each other well. With his intimacy drama “Golden Exits,” Perry strays from his typical fare of people behaving badly to, well, people behaving not quite as badly and certainly with more believable motivation.
Australian student Naomi (Emily Browning) is spending the spring in New York City — Brooklyn, specifically, as much of “Golden Exits” takes place within the confines of Perry’s own Cobble Hill neighborhood — working for Nick (Adam Horowitz, who is mostly out of his depth in the role), an archivist who takes a new assistant every semester to help him with his work. »
- Kate Erbland
Alex Ross Perry is an independent-film conundrum. The 32-year-old writer-director received very strong reviews for his 2015 dramatic thriller “Queen of Earth” and 2014 Sundance Film Festival entry “Listen Up Philip,” but both films were box office flops, taking in around $90,000 and $200,000, respectively.
Perry’s latest film, “Golden Exits,” premiered Sunday in U.S. Dramatic Competition at Sundance. The film follows two families in Brooklyn whose social bubble is disrupted by a visiting girl from Australia, played by Emily Browning. The ensemble cast is comprised of Jason Schwartzman, Chloë Sevigny, Mary-Louise Parker, Lily Rabe and former Beastie Boy Adam Horovitz.
The prospect of three commercial duds in a row could give any filmmaker a panic attack, but Perry has a sense of humor about his lack of box office prowess.
“It would be »
- Graham Winfrey
Following its world premiere at the Sundance Film Festival, a teaser has arrived online for Alex Ross Perry’s (Listen Up Philip, Queen of Earth) new drama Golden Exits which sees Emily Browning sing ‘New York Groove’; take a look below…
“The arrival of a young foreign girl disrupts the lives and emotional balances of two Brooklyn families.”
- Amie Cranswick
Prolificacy can catch up to even the most dogged of artists. For writer/director Alex Ross Perry, one of the most distinct and sharp voices of his generation, Golden Exits is the moment his speed (this is his third feature in a three-year span) has caught up. The whole movie revolves about exhaustion – the exhaustion of carrying on youthful enthusiasms into middle age, of maintaining relationships that have lost their spark, of answering the same questions about your life for fifteen straight years. So, too, can one nearly feel the exhaustion in making it. The gradual plodding of the keyboard and lack of interest in revision permeate a 94-minute film that manages to be both well-structured and underwritten. I looked at his 2014 breakout film, Listen Up Philip, and saw a man who wanted to reach the heights of Woody Allen at his most creatively feverish and emotionally unsteady. Three years later, »
- Scott Nye
“People never make films about ordinary people who don’t really do anything,” a young woman complains near the beginning of Alex Ross Perry’s “Golden Exits,” a dense, defiantly prickly film about ordinary people who don’t really do anything. Sure to raise a laugh from audiences who know what they’re in for, it’s both the most self-reflexive and self-congratulatory moment in a film that challenges viewers to connect the subtextual dots between its variously dissatisfied quinoa-class Brooklynites — one man’s “ordinary” is another man’s alien, after all — whose conflicts and yearnings don’t build to a tidy thematic destination. Many will accuse Perry of navel-gazing here, but that’s partly the point: “Golden Exits” means to frustrate, even to abrade, in its coolly articulate portrait of cosseted people who want for nothing and vaguely desire everything. An intriguingly motley ensemble, ranging from the Beastie Boys »
- Guy Lodge
There’s a moment in Alex Ross Perry’s “Golden Exits” where star Emily Browning says she’s surprised that the high-brow job she just landed even exists. Some members of the audience at Sundance’s Library Theater, where the film had its world premiere on Sunday evening, might have wondered the same about the film. Browning plays 25-year-old Australian Naomi, in New York on a work visa as the assistant to archivist Nick (Adam Horovitz), who organizes and stores the minutia in the lives of important people. (They’re more common than you think, plus Beyonce has one.) Also »
- Matt Donnelly
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