Hazel Grace Lancaster would like to believe life could be fixed by pairing a romantic gesture with a Peter Gabriel song; however, Hazel’s issues aren’t as easily remedied. Her story doesn’t have a happy ending—it tells the truth. Based on the novel by John Green, The Fault In Our Stars will make you cry, laugh, and cry again. But seriously, you will cry so much at this movie. With Hazel Grace as your protagonist, what else do you expect? She is a strong-willed, stubborn, realistic heroine who happens to have life-threatening cancer. While Hazel (played by Shailene Woodley) is a cancer “survivor,” her mother makes her go to a youth support group. This is where Hazel meets Augustus (Ansel Elgort).

Hazel and Augustus are both teenage cancer survivors, and their relationship is rocky yet strong. Despite knowing that either one of them could relapse at any moment, neither of them cares. The raw beauty of their relationship feels honest and heartbreaking. Hazel and Gus, as he prefers to be called, refuse to limit their lives to potentially numbered days and endless medications; instead, they aspire to meet their mutual favorite author, spend time with one another, and generally enjoy life. They live a story of two “star-crossed lovers”; their persistence lends a whole new layer to their relationship.

This is one of the few films that I feel more accurately depicts the pain of being a cancer patient; it shows the endless exams, the constant worry, and the monotonous lifestyle. Still, there is thankfully sufficient comic relief to help the film avoid becoming unbearably depressing. Imagine a blind teenager trying to egg a car—wait, you don’t have to, because you’ll see it in this movie! 

This film deals with very serious topics. Listening to Hazel and Gus talk about their limited time on this planet will draw tears, and if it somehow doesn’t make you tear up then other parts will. The Fault In Our Stars looks to the inevitable and tells the truth; one that will stay with you for a very long time.
 

Grade: A+

I went in to this movie with high expectations, and Amma Asante did not disappoint. Set in the late 1700s and based on a true story, Belle tells the story of Dido, a young girl of mixed race who is sent to live with the privileged family of her birth father after her “mulatto” mother dies. In a society where her linage leaves her stranded in the middle of two classes, Dido leads a confusing life. She has certain privileges due to her father’s wealth and social status, yet her skin, reflecting some of her mother’s darker tone, restricts her from being completely part of high society. This only gets more complicated when Dido’s father leaves her a considerable dowry, making her a “good match” yet still not putting her on par societally with her peers. Social rank and reputation are in flux, and race is always in the back of your mind.

This film is not only about one girl. It is a glimpse into the issue of slavery in 18th century England; the head of Dido’s family is a justice of the Head Court of England and is dealing with a crucial case regarding treatment of slaves. Not only did the result of this case shape the future of England, but it plays a major part in Dido’s relationship with her uncle.

I was blown away by Gugu Mbatha-Raw’s powerful portrayal of Dido. Her frustration and hopelessness is brilliantly shown in a haunting scene where Dido pulls and beats at her skin, wishing there was a way to change. Tom Wilkinson also gives an excellent performance as Lord Mansfield, head of Dido’s family, and Miranda Richardson plays the manipulative and ambitious Lady Ashford extremely well.

As a whole, Belle is a great film. It deals with heavy moral issues: finding your place in a world and overcoming obstacles to stay true to yourself and your beliefs. The humorous moments are well-scattered throughout the movie, making it lighter than you may expect. You’ll find yourself cheering for Dido and her sharp wit throughout the entire film.


Grade: A

Wednesday

We have not covered Beneath the Harvest Sky yet but will do so upon its Boston release 5/8. Marissa Marchese will review the film.


Thursday

Brandon Isaacson on Trap Street ***NUFEC Award Winner

Brandon Isaacson on Skeleton Twins

Brandon Isaacson on In Country

Brandon Isaacson on Wicker Kittens ***NUFEC Award Winner

Brandon Isaacson on Tough Love

Brandon Isaacson on Audience Award Winning Narrative Feature, Homemakers


Friday

Brandon Isaacson on Boyhood

Brandon Isaacson on Project Wild Thing

Carter Sigl on Project Wild Thing

Brandon Isaacson on Fat


Saturday

Brandon Isaacson on One Cut, One Life ***NUFEC Award Winner

Brandon Isaacson on Obvious Child ***NUFEC Award Winner

Brandon Isaacson on Calvary

Brandon Isaacson on Tough Love

Brandon Isaacson on A for Alex

Brandon Isaacson on Starfish Throwers



Sunday

Emily Fisler on I Believe in Unicorns ***NUFEC Award Winner

Brandon Isaacson on I Believe in Unicorns ***NUFEC Award Winner

Brandon Isaacson speaks with Leah Meyerhoff, writer-director of I Believe in Unicorns ***NUFEC Award Winner

Brandon Isaacson on 9-Man ***NUFEC Award Winner

Brandon Isaacson on Vessel ***NUFEC Award Winner

Brandon Isaacson on Freeload ***NUFEC Award Winner

Brandon Isaacson speaks with the director of Freeload ***NUFEC Award Winner

Carter Sigl speaks with the writer-directors of Fort Tilden

Carter Sigl on Fort Tilden

Brandon Isaacson on Fort Tilden

Brandon Isaacson on Starred Up

Brandon Isaacson on Web

Brandon Isaacson on Kumiko, the Treasure Hunter

Brandon Isaacson on Dear White People

Brandon Isaacson on Riot on the Dance Floor


Monday

Brandon Isaacson on Wicker Kittens ***NUFEC Award Winner

Brandon Isaacson on Dear White People

Brandon Isaacson on The Sacrament


Tuesday

Brandon Isaacson on The Double

Brandon Isaacson on The Trip to Italy


Wednesday

Brandon Isaacson on Mood Indigo


NUFEC Awards

Leah Meyerhoff’s directorial debut, I Believe in Unicorns, is an excellent film; noteworthy not only because of the female representation of both the director and protagonist, but also because of the impactful story. Meyerhoff’s story is poignant, complicated, and unfortunately relevant to many.

Davina is an imaginative teenage girl living with her disabled mother. Restless and looking for adventure, Davina catches the eye of a skater-boy, Sterling. Sterling is tough, badass, and feels Davina’s restlessness. Their budding relationship is full of laughter, excitement and new beginnings. However, warning signs flash when Sterling avoids intimate questions and starts showing physically rough tendencies in their relationship. On one occasion, when Davina asks him what he dreamt about the previous night, Sterling responds, “I don’t dream...I live my dreams.” This in itself is worrisome and shows potential issues, as Davina is at the other extreme and resorts to fantastical daydreams as a form of escapism.

The fantastical scenes played out in Davina’s imagination are spotted with stop-motion clips that help distinguish fantasy from reality. Davina envisions herself as a strong, independent, confident woman capable of taking care of herself; she desperately wants to be someone capable of standing up for herself. Throughout her struggles, I wondered if her strength would be able to save her from drowning in an abusive relationship.

I Believe in Unicorns is a powerful film dealing with intense issues from a perspective not usually explored; not many coming-of-age films tell the story of an abusive relationship from the eyes of a young girl.  I was on edge for the majority of the movie, especially during a particularly intense scene that left me wide-eyed and frightened for Davina’s future. If you read the title of this film and are expecting a quirky, light-hearted indie movie, don’t be fooled. I Believe in Unicorns is a story that will stay with you, and it’s one that I definitely recommend.
 
Grade: A

I Believe in Unicorns screens at 8:30PM on Sunday, April 27th at the Somerville Theater. More information and tickets can be found at the IFF Boston Website.

Robert Redford stars in All is Lost, a film written and directed by Oscar nominee J.C. Chandor (Margin Call) that follows one man's struggle to survive being lost in the deep sea aboard a damaged ship. The film is now available on home video and VOD. NUFEC Editor Emily Fisler and Editor-in-Chief Mary Tobin had a conversation about the film. 


Mary: I saw another film with little to no human interaction recently, Die Wand (The Wall), but the empty space is filled with voiceover conveying the woman's thoughts and mindset. Prior to seeing All Is Lost, I knew it would involve very little human interaction—I mean, Robert Redford's the only person listed on IMDB for the cast and the script was only 32 pages long—but I assumed it might follow the same pattern and involve more voiceover. Having seen the film though, thank goodness they didn't do that. It was so powerful to just watch him struggle and feel like we were in the moment with him instead of removed and looking back on the moment from the future. Did you expect a voiceover? Would you have liked more of that?

Emily: Well, the first time I saw it I really didn't know what to expect; all I knew of the premise was that Robert Redford's character was lost at sea. I'm glad there was no voiceover throughout the movie, and feel that I was fully able to understand what was going through his mind and why he was taking specific actions. He seemed to be very methodical and logical which helped with understanding his motives. It also really speaks for Redford's acting skills in that using almost no words, he allows the audience into the character and brings you along for this suspenseful ride. 

Mary: So you enjoyed Redford’s performance overall?

Emily: Oh I thought he did a fantastic job. I was also shocked to find out he was what, 72 when he filmed it? I also want to mention the cinematography because it was gorgeous. The far shots of the ocean and the storm, the underwater shots, and the moments where you were seeing through his eyes really blew me away. What's your take on the aesthetics? 

Mary: Yeah, Redford was 75 during the filming and he performed all his own stunts—incredibly impressive yet crazy. And the cinematography was absolutely beautiful. My favorite shots were the few where he was in the water. They had a really cool way of conveying the confusion of the moment while not making me sea sick with a shaky cam. What did you think of that part? That the film was mostly crisp instead of shaky?

Emily: Yeah, definitely preferable to the "found footage" style. One moment that comes to mind is when the camera is level with the waves, and alternates between above and below the waves and the sound oscillates between noisy and chaotic to serene and peaceful. I also want to talk about the very end. Can we do that? Spoilers?

Mary: Yeah, we can do that. SPOILER ALERT: STOP READING THIS NOW IF YOU DON'T WANT TO KNOW THE ENDING. Proceed, Em.

Emily: Well basically I want to know your take on it. What do you think happens? Why do you think that?

Mary: Well as you know I reacted pretty strongly to the ending. The fact that he'd resigned himself to death enough to float so far downward without instinctively fighting to stay alive in the water yet suddenly had enough energy to swim upward when he saw the boat, combined with the hand and the flash of white… I definitely think he passed away.  This wasn’t meant to be a film about a man being miraculously saved from dying at sea. The story felt more real, more tangible throughout the film so there's no indication the filmmakers would deviate so strongly at the end. What do you think? 

Emily: The way it's shown, with Redford trying and failing to attract attention and get help from two passing barges, is extremely frustrating and disheartening, to say the least. Then he sees a light in the distance and lights his raft on fire and consequently, ends up drifting downwards to his death. You see a hand reaching down to grab him, then a quick flash of red followed by a burst of white light. So yes, I agree that he didn't survive. 

To me, the whole movie was about fight for survival. He does everything he can to stay alive, and there are times when it seems as though he's going to succeed. Yet despite his efforts, his attempts were futile and he dies in the end. The reality of this transfers to all humans; no matter what we do, or how hard we try to fight it, we will all die in the end.

The Girl On Fire is back in the second installment of the Hunger Games Trilogy, and she’s ready to start a revolution. The movie starts with Katniss Everdeen (Jennifer Lawrence) in her hometown of District 12, part of the nation Panem. After winning the Hunger Games, she and Peeta Mellark (Josh Hutcherson) are expected to live a life of relative safety. However, when it’s announced that the tributes for the 75th Hunger Games will be picked from past winners of the Games, Katniss and Peeta are forced back into the arena.

The first half of the movie is slow paced but keeps the audience emotionally involved with Katniss’s interactions with Peeta, Gale (Liam Hemsworth), and her sister Prim (Willow Shields). While you see deeper into the relationship between Katniss and Prim, I was taken out of the story because there wasn’t much chemistry between the two. However, Lawrence blew me away; Katniss is initially presented as a victim of PTSD and is haunted by the previous Hunger Games. In spite of that, she finds the strength to protect her family rather than take flight and run from Panem altogether. She shows the empathy and determinism that allow her to “remember who the real enemy is” and fight not only for her life, but also for the citizens of Panem.

While the plot is very similar to the first installment in the trilogy, it is refreshed with a new arena, new tributes, and a new Gamemaker (played by Philip Seymour Hoffman). Some old favorites return as well, such as Effie (Elizabeth Banks), mentor Haymitch (Woody Harrelson), and fashion designer Cinna (Lenny Kravitz). And what would a dystopian society be without a manipulative leader? President Snow (Donald Sutherland) returns and makes a convincing tyrant.  I was impressed by the elements of foreshadowing in the first half of the movie as well as the attention to detail throughout its entirety.

As the subtle hints of rebellion from the first movie turn into a full-on revolution, the Girl on Fire becomes a symbol of hope for the citizens of Panem. While not a perfect movie, Catching Fire ends on a tense cliffhanger that leaves you wanting more.

Grade: A

The fact that Joss Whedon’s Much Ado About Nothing even exists is remarkable. Whedon’s adaption of Shakespeare’s Much Ado About Nothing, shot in twelve days at his own home in California, is the result of an impulsive decision to make a movie rather than take a vacation. It is set in modern times yet keeps with the language used in the original play – with some slight changes. The film is entirely in black and white; while this is a result of time constraints and limited sets, it adds a feeling of timelessness and sets the stage for some breathtaking cinematography.

The story begins with the arrival of Don Pedro (Reed Diamond), Claudio (Fran Kranz), the malevolent Don John (Sean Maher), and Benedick (Alexis Denisoff) at the house of Leonato (Clark Gregg). Upon their arrival, Claudio tells Don Pedro that he has fallen for Leonato’s daughter Hero (Jillian Morgese). Thus begins a week of meddling, drinking, and general mischief making.

Amy Acker and Alexis Denisof are endlessly amusing as Beatrice and Benedick; a particular eavesdropping scene is one of the most comical pieces of cinema I’ve ever seen. Watching their battle of wits kept my brain active as well as entertained throughout the entire film. Although Hero and Claudio are technically the leads of this story, I’d say without a doubt that Beatrice and Benedick are the more memorable roles.

Between Beatrice and Benedick’s verbal sparring and constable Dogberry’s antics (played by Nathan Fillion), Much Ado About Nothing will have you laughing out loud. Yet the plot turns to a more serious place when Don John initiates a plot to sabotage Claudio and Hero’s engagement. Although all the actors showed their versatility, Acker really blew me away; she shows the many sides of Beatrice and her deliverance of the "Were I A Man" speech is powerful and deeply moving.

As a fan of both Whedon and Shakespeare’s Much Ado About Nothing, I thoroughly enjoyed this film and would definitely recommend it.

Grade: A

Much Ado About Nothing is now available on VOD, Blu-ray and DVD.