THE HOT
SPOT Experience film noir like never before when a lowlife drifter (Don Johnson, Django Unchained), who sells used cars in a Texas burg, robs the local bank and gets involved with two sultry women: one bad, one innocent.
Not exact matches
The
film veers from being peppy to long dull
spots, which show up Ms. Lloyd's lack of filmmaking
experience.
Approaching a movie fresh is a hugely different
experience than seeing one that's strategically unveiled three trailers and a barrage of TV
spots, and because so much about them is unknown, I find myself watching festival
films with a different level of anticipation.
Every scene, moment and shot of «Mud» is
spot - on, necessary, and adds to the whole, making for a satisfying
film experience that will please many a varied
film - goer's taste.
Brilliantly shot and staged by director - cinematographer Jeremy Saulnier (who also wrote the script), the
film locates the sweet
spot between poised art cinema and exploitation - flick pandering and hits it over and over again; what keeps Blue Ruin from simply being a bludgeoning
experience is Saulnier's cleverness in knowing precisely how and when to throw his haymakers.
It was actually quite encouraging to
experience the
film with hundreds of people and watch just how well it worked the room, drawing laughs at all the right
spots.
A different form of improvisation is felt in «Touchy Feely,» the fifth feature from Lynn Shelton; instead of the loose outlines and dialogue of the director's recent
films («Your Sister's Sister,» «Humpday»), it's the
film's subjective and technical
experience that feels crafted on the
spot and cemented in the editing room.