Emmadirector Autumn De Wilde Brings a Vibrant Beauty to Film
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Angelenos flock to dispensaries • The Social Distancing Festival • Hrishikesh Hirway’s trifecta ® MARCH 27-APRIL 2, 2020 / VOL. 42 / NO. 19 / LAWEEKLY.COM Emma director Autumn de Wilde brings a vibrant beauty to film CHASING THE LIGHTBy Lina Lecaro 2 TELEVISION called A Talent for Joy, and suddenly, here is es, and later a newborn baby, are le by unseen hers.) Hunter continues eating random objects masters. Philip Murphy’s inventive production — a thumbtack, a Duracell battery, a safety pin. design proves to be more satisfying than the In a stellar feature debut, writer-director Carlo third act plot twists in this Black Mirror–esque Mirabella-Davis presents Hunter’s condition as thriller from Irish director Lorcan Finnegan, WEEKLY WEEKLY an illness, yes, but also, gradually, as a source but the soulful chemistry between Eisenberg point for a rebellion that’s been a lifetime in and Poots makes up for the story’s shortcom- LA MOVIE NIGHT coming. It’s a strange and thrilling journey. ings. | Human Capital Resistance , 2020 Scene by scene, line by line, this remake of For the stirring Resistance, Eisenberg honed the 2013 Italian lm, Human Capital (based his miming skills to embody the legendary AT HOME on the American novel by Stephen Amidon), Marcel Marceau, whose work helping to res- L.A. Weekly’s watch guide to help you survive the does everything right. e ace cast is a pleasure cue Jewish children as a member of the French lockdown to watch, Owen Moverman’s script is literate Resistance during World War II is explored dra- and Marc Meyers’ direction elegant, and yet, matically for the rst time. A reluctant ghter, BY CHUCK WILSON aer a strong rst half, the movie sputters, like Marcel comes to realize that his instincts as an a lit fuse with too little powder in the line. Liev artist make him the perfect person to literally take frightened children in hand and lead them | March 27 - April 2 27 - April | March to safety. Working on an epic scale, writer-di- rector Jonathan Jakubowicz sometimes bites o too much story, as in the extensive screen time spent on the domestic travails of Nazi barbarian Klaus Barbie (Matthias Schweighöfer). One longs to see more of Marcel, whose lead-with- love response to the cruelty Barbie represents should prove a lasting inspiration for movie- goers young and old. WWW.LAWEEKLY.COM Lost Transmissions “Are you counting my blinks?” asks Hannah (Juno Temple), an aspiring L.A. singer-song- writer who nds herself in the home of eo (Simon Pegg), a once-famous music producer. You’ll wonder at rst: Is eo looking for talent or quick romance? Happily, rst-time writ- er-director Katherine O’Brien brushes aside tired notes of movie romance in favor of an evocative exploration of platonic friendship, John Turturro, which nds the chronically depressed Hannah Bobby Cannavale, setting aside her own pain to help eo, who and Audrey Tautou suers from schizophrenia. A lm that feels in The Jesus Rolls meandering for a good long time — stick with it — Lost Transmissions packs a wallop in the home stretch as Pegg, in a revelatory perfor- ure, we’re all stuck at home but that eccentrics, played by scene-stealers such as Schreiber, a wonderful actor forever in search of mance, digs deep to reveal the unfathomable doesn’t mean we can’t go to the mov- Pete Davidson, Audrey Tatou, Jon Hamm, J.B. a great movie, is Drew, an upstate New York real pain of a man who can’t stop searching for the ies — we can do it from the couch. Smoove and Christopher Walken. ere’s a estate agent who puts all his assets on the line “Princess of Time.” Our screens, through cable and on- sweet sense of Turturro relishing the chance in order to invest in a hedge fund run by Quint line on-demand services, are lling to let his actor pals cut loose, but he’s saved the (Peter Sarsgaard). Drew longs for Quint’s high- Hooking Up by the day with brand new movies (including plum role for Susan Sarandon. As a newly mint- style life, one that Quint’s wife, Carrie (Marisa This low-budget comedy about a pot- Searly releases of biggies like Emma, e Hunt ed ex-con whose deep currents of sensuality Tomei), meanwhile, feels trapped within. Told ty-mouthed sex-addicted magazine writer and e Invisible Man). We took a look at the and melancholy aect Jesus and Petey’s entire from three viewpoints — Drew, Carrie and (Brittany Snow) persuading a shy artist (Sam latest. You stocked up on popcorn, right? way of being, Sarandon proves anew that for a then Drew’s daughter — this is a class warfare Richardson) to go on a road trip in order to great actor there are no small parts. melodrama with no bite. A beautifully acted reenact with her every sleazy sexual encounter The Jesus Rolls disappointment. she’s had in her life (a long list) looks and sounds Resplendent in purple, John Turturro stole Swallow really dumb but. it’s not bad. Snow and Rich- the show in the Coen brothers’ e Big Lebowski In whatever form it ends up being presented, Vivarium ardson make a terric team and as actors, are (1998) as Jesus, a ball-licking master bowler in movie theaters or on home screens, the lm e adventurous actor Jesse Eisenberg has too honest to let the sexual hi-jinks — which prone to a proclamation: “Nobody fucks with year is unlikely to see a performance as rich- two lms opening this week, and they couldn’t include a reworks warehouse and souvenir the Jesus.” Twenty-two years later, now writ- ly complex as the one Haley Bennett gives in be more dierent. In the visually vivid Vivari- shop sex — tip their characters into the realm of ing and directing, as well as starring, Turturro Swallow. She plays Hunter, who spends her days um, he co-stars with Imogen Poots as a couple the silly and unreal. First-time writer-director brings the Jesus back for an amiable remake of planning the perfect dinner for her handsome, enticed to tour a new suburban community Nico Raineau and co-writer Lauren Schacher Going Places, a provocative 1974 comedy star- entitled husband (Austin Stowell), who is re- where all the houses are uniform and there’s denitely get lost in the weeds of ennui when it’s ring a young Gerard Depardieu. Newly released exively attentive but doesn’t really see her. One not another human in sight. at should have time for their lead characters to confront their from prison, Jesus and his hapless friend Petey day, not long aer discovering she’s pregnant, been a clue to ee but instead, the duo nd respective truths, but the Snow/Richardson (Bobby Cannavale) hit the road and proceed Hunter eats a marble. As she swallows it down, themselves trapped. Every attempt to exit leads spark carries the day. On a dark night of quar- to charm but mostly antagonize an array of she smiles, joyously. (She’s been reading a book them back to their new home, where food box- antine despair, you could do worse. TELEVISION called A Talent for Joy, and suddenly, here is es, and later a newborn baby, are le by unseen 3 hers.) Hunter continues eating random objects masters. Philip Murphy’s inventive production — a thumbtack, a Duracell battery, a safety pin. design proves to be more satisfying than the LA In a stellar feature debut, writer-director Carlo third act plot twists in this Black Mirror–esque WEEKLY Mirabella-Davis presents Hunter’s condition as thriller from Irish director Lorcan Finnegan, an illness, yes, but also, gradually, as a source but the soulful chemistry between Eisenberg point for a rebellion that’s been a lifetime in and Poots makes up for the story’s shortcom- MOVIE NIGHT coming. It’s a strange and thrilling journey. ings. 2 27 - April | March Human Capital Resistance Scene by scene, line by line, this remake of For the stirring Resistance, Eisenberg honed the 2013 Italian lm, Human Capital (based his miming skills to embody the legendary AT HOME on the American novel by Stephen Amidon), Marcel Marceau, whose work helping to res- L.A. Weekly’s watch guide to help you survive the does everything right. e ace cast is a pleasure cue Jewish children as a member of the French lockdown to watch, Owen Moverman’s script is literate Resistance during World War II is explored dra- and Marc Meyers’ direction elegant, and yet, matically for the rst time. A reluctant ghter, BY CHUCK WILSON aer a strong rst half, the movie sputters, like Marcel comes to realize that his instincts as an , 2020 a lit fuse with too little powder in the line. Liev artist make him the perfect person to literally take frightened children in hand and lead them | to safety. Working on an epic scale, writer-di- rector Jonathan Jakubowicz sometimes bites o WWW.LAWEEKLY.COM too much story, as in the extensive screen time spent on the domestic travails of Nazi barbarian Klaus Barbie (Matthias Schweighöfer). One longs to see more of Marcel, whose lead-with- love response to the cruelty Barbie represents should prove a lasting inspiration for movie- goers young and old. Lost Transmissions “Are you counting my blinks?” asks Hannah (Juno Temple), an aspiring L.A. singer-song- writer who nds herself in the home of eo (Simon Pegg), a once-famous music producer. You’ll wonder at rst: Is eo looking for talent or quick romance? Happily, rst-time writ- er-director Katherine O’Brien brushes aside tired notes of movie romance in favor of an evocative exploration of platonic friendship, John Turturro, which nds the chronically depressed Hannah Bobby Cannavale, setting aside her own pain to help eo, who and Audrey Tautou suers from schizophrenia.