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23.08.2015
Ever since his father was killed during a top-secret mission, young Gary “Eggsy” Unwin (Taron Egerton) has seemed destined for great things. A film like this, juggling concepts ranging from essentially superhero capabilities to global domination to merely training a new apprentice, is very much a balancing act.
Enthusiastic hooliganism, gentlemanly fashion, and gravity-defying combat turn the modern day knights into something along the lines of the Men in Black, but without the entertaining chemistry, personalities, and gadgetry. Most absurdly outrageous of all is the lengthy training scenes, which present contradictory lessons or unused skills. After collecting a lengthy shopping list for later, Mitty heads to his proofreading job at Pierce Publishing Company, a firm for visually risque but “good taste” pulp magazines (including “Racy Detective Stories, “Astounding Adventure Tales,” “Wild Confessions,” “Frontier Stories,” “Exotic Love Stories,” and “Sensational Murders”). Walter’s fiancee Gertrude Griswold (Ann Rutherford) and her mother (Florence Bates) come to visit that evening, where once again, Mrs.
Walter repeats “Yes, mother” like the defeated Norman Bates would mutter years later in “Psycho.” Fortunately, he’s a much less deranged man, though his movements are clumsy and undecided, while his actions are constantly directed by the domineering old woman. Based on the story by James Thurber, adapters Ken Englund and Everett Freeman attempt to include too much, throwing off the pacing. The film does have a few uniquely humorous notions, including Mitty wearing a dog muzzle as a getaway disguise, the repeated escape plan through Pierce’s office window, Karloff’s frighteningly persuasive turn as a fake psychiatrist, and the climactic decree “The only exercise you ever get is jumping to conclusions!” But the nearly two-hour running time becomes apparent as the conclusion draws nearer (itself overlong), placing dry content between the cleverer moments.
First time director Nicolas Pesce has provided Sundance 2016 with it's most unique feature, turning out a complete and remarkably produced vision in less than a year. Fresh from the mind of a first-time filmmaker and backed by a group of emerging auteurs, The Eyes of My Mother is the type of film Sundance programmers dream about. One could argue, however, that the project has been in the works since Pesce's freshman year at NYU, where he met the friends that would later become essential members of his creative team. It seems pretty clear that the advantage of going to film school is finding people who motivate you and share your vision, or are at least able to influence it in some way.
Big thanks to Nicolas and Jake for sitting down with us, and be sure to check back later for Part II of the interview where we go more into detail on the technical aspects of the shoot. No Film School's video and editorial coverage of the 2016 Sundance Film Festival is sponsored by Blackmagic Design. 2 Sean Baker: How to Shoot a Sundance Winning Feature Film on Your iPhone0 Film Festival Secrets – How to Crack the Festival Code with Chris Holland 0 Final Deadline November 15th!
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Mitty is given a new roll of film from O’Connell, with explicit instructions that negative #25, a quintessential image that represents his body of work, be used for the final cover. His impressive odyssey is plagued by a violent bar fight, a ravenous underwater predator, horny Chilean deckhands, and the elusive ghost cat at 18,000 feet up a mountainside. Included in the zoning out misadventures is an underdeveloped love story with Cheryl, a subplot of Mitty’s slowly dwindling bank account, a sense of unfulfilled successes to embolden his father’s pride, losing faith in himself, and the idea of a disconnected man struggling to interact effectively with humankind (not unlike this year’s “Her”). One minute, jokey quips are tossed about as casually as ragdoll bodies fly through the air – and the next, blunt cursing spews as freely and vigorously as blood splatter and severed appendages.


But seventeen years later, he leads a delinquent lifestyle of petty crime and run-ins with the law. But here, the fusion of too many ideas is a stylistic mess; it contains the comedy of a cartoon, the adventure of a 007 extravaganza, and the violence of a zombie thriller or a video game (at certain points, the camera actually assumes a first-person shooter perspective). The first test is orchestrated to teach teamwork – yet the whole point of the drills is to choose a single winner. Directly addressing that standard, “Kingsman: The Secret Service” invents a purely comedic antagonist, complete with a most unusual, unthreatening lisp.
But his wandering mind comes to the rescue when the mention of a chore – to purchase a bag of chips – results in the daydream of captaining his own ship, the Indian Queen, through a turbulent gale, with a beautiful woman in a pink dress at his side at the helm.
Whereas Norman channels the nagging into homicidal insanity, Mitty uses it to motivate the exciting endangerments of his overactive imagination. It’s a story with great potential, in need of reworking to consolidate the numerous ideas at work.
After a chance gig at editing Josh Mond's James White, first time director Nicolas Pesce embarked on an eighteen day shoot in upstate New York with a cast of only five or six friends.
In addition, The Eyes of My Mother has the honor of being the first production from Josh Mond, Antonio Campos and Sean Durkin's new executive label Borderline Presents.
I'm still in high school but personally, I feel that with the increased use and importance of social media, it's a lot easier for indie filmmakers and any creative in general to find and collaborate with others that have similar interests and aspirations. McLeod’s 1947 adaptation (from a short story by James Thurber) brandishing numerous flaws and plenty of room for improvement, it’s especially unacceptable that Stiller would be unable to best the previous incarnation – or at least match it. The problem is that he hasn’t accomplished anything noteworthy or remarkable with which to fortify his dating profile. Despite careful handling, Mitty is unable to locate #25, leading him on a harrowing journey around the world and through treacherous landscapes to hunt down the unreachable photographer, trusting that the reckless man still possesses the missing negative.
There’s also a peculiar, out-of-place spoof of “The Curious Case of Benjamin Button.” But the result is a sloppy blend of half-hearted, rushed fantasy and unrealistic, unenthusiastic action (momentarily lifted by daredevilry-infused reveries with peppy music, though muddied by plot inconsistencies and poor editing). Director Matthew Vaughn’s latest effort is unpredictable and exciting at its best, but such interludes are depressingly brief.
All that changes on the fateful day he encounters Harry Hart (Colin Firth), a member of the same elite spy group his father belonged to. As each scene passes, the focus continues to shift, the plot becomes more needlessly convoluted, and the action choreography grows more preposterous (at times, resembling something out of a music video).
The lessons in cooperation quickly devolve into bullying and discouragement as the candidates vie for superiority. While he’s sent to the basement to tend to the furnace, he imagines once again that he’s somewhere else – now a Wing Commander of the RAF Desert Patrol with a heroic record of enemy kills. Kaye is a whiz with goofy expressions and nervous ungainliness that occasionally transform into slapstick; he also incorporates musical comedy into the plot, with a memorably zany skit featuring nonsensically sung words (like high-pitched, rapid scatting) and jumbled instrument representations (called the “Symphony for Unstrung Tongue,” written by his wife, Sylvia Fine). Hugo Hollingshead (Boris Karloff), in search of a black book that contains the whereabouts of rare, hidden Dutch art pieces secreted away long ago by museum curator Peter van Hoorn (Konstantin Shayne), attacks Mitty in his office. I myself have met and worked with tons of people through use of Instagram and Facebook groups.


There’s no singing, very little slapstick, and seemingly limitless avenues of adventure to explore, but the frequent fantasy is almost always indistinguishable from the reality – which makes the fantasy not inspiring enough and the reality far too unperceivable. He’s been a negative asset manager at “Life Magazine” for sixteen years, anonymously prepping photographs for inclusion, primarily from the unpredictably wild war photographer Sean O’Connell (Sean Penn). His trek leads him from Greenland, where he dives into freezing, shark-infested water from a helicopter piloted by an overgrown drunkard during sketchy weather conditions, to skateboarding across miles of downward sloping asphalt to an erupting Icelandic volcano, to the lower Himalayas and ungoverned Afghanistan. His continually wandering mind is intended to be the focus of his alternate life, but is rapidly dwarfed by the genuine perils he faces while following flimsy clues in search of Sean. Gone is the truly oppressed, belittled, harried man from the source material, a target for mistreatment and a vicarious channel for flamboyant revenge and triumph. After being offered a chance to join “The Kingsman Knights,” Eggsy is thrust into a series of rigorous and often life-threatening training exercises that force him to compete and coordinate with fellow recruits Roxy (Sophie Cookson), Charlie (Edward Holcroft), and Digby (Nicholas Banks).
It’s an exhausting exercise in overworking a comic book novelty into something grotesquely derivative and uninspiring.
The lowly employee’s mind begins to drift again, this time envisioning a surgical scene in which Dr.
This is followed by Walter’s return home to a game of bridge that inspires yet another reverie – as a Mississippi riverboat gambler. When the declining company is acquired, the final issue of the magazine is slated for two-and-a-half weeks, with the meticulously bearded Ted Hendricks (Adam Scott) serving as the managing director (or hatchet man) of the transition to an online outlet.
Incidentally, he builds not only a more seductive dating profile, but also an inspiring resume. Meanwhile, Hart investigates a recent string of high-profile disappearances linked to eccentric philanthropist Richmond Valentine (Samuel L. And later, despite specifically stating that the Kingsman agents only take lives in order to save lives, trainees are instructed to kill a helpless animal – without even the mention of such a merciless sacrifice countering some other horrific act.
Evil from “Austin Powers,” which can’t sustain an overlong, poorly paced picture of conflicting messages and tired spy movie tropes.
Mitty performs a miraculous operation on a hopeless patient – while being admired by fellow surgeons and inspired young nurses.
Rosalind van Hoorn (Virginia Mayo) is caught up in mystery, murder, and intrigue, involving Mitty in a real life pulp adventure – or so he thinks. Jackson), to uncover a diabolical plot that will test the limits of bravery and resolve of each current Kingsman and their new proteges.
It’s a purely moral ultimatum that doesn’t even illustrate a necessity for following orders (it might have been solely appropriate in the military setting of something like “Dog Soldiers”).
Later, the “Anatole of Paris” singing sequence also drags, showcasing fashionably exotic hats (and the Goldwyn Girls) alongside another musical rendition. The themes fluctuate from Hitchcockian conspiracy theories to romantic misadventures to comedic fantasy.



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