Hey! I’m Mark Olsen, and welcome to a different version of your common subject information to a world of Solely Good Films.
Bertrand Bonello’s “Nocturama” has been a flashpoint of controversy and dialog ever because it first premiered final yr. A film of unnerving precision and free-floating anxieties, the movie follows a gaggle of Parisian youth as they perform a collection of bomb assaults across the metropolis they usually disguise out in an empty division retailer.
The movie has opened for a theatrical run in New York Metropolis, however in Los Angeles for now it’s getting solely a single screening at Acropolis Cinema on Aug. 15. Enjoying together with Bonello’s 2016 brief movie “Sarah Winchester, Ghost Opera,” that is an important occasion to attend.
We hope to have info on extra upcoming screening occasions quickly. To seek out out extra and for updates on future occasions, go to occasions.latimes.com.
‘Ingrid Goes West’
A pointy satire with an sudden sense of emotional generosity towards its characters, “Ingrid Goes West” is a few troubled younger lady named Ingrid (Aubrey Plaza in an impressed efficiency) who strikes to Los Angeles to stalk one other lady (Elizabeth Olsen) she discovered on Instagram. The function debut for director Matt Spicer, the film additionally stars O’Shea Jackson Jr, Wyatt Russell, Billy Magnussen and Pom Klementieff.
Jen Yamato reviewed the film for The Occasions, noting “That is the actual ‘Emoji Film,’ a real horror story for our digital occasions,” earlier than including, “Ingrid is perhaps a sociopathic selfie-snapping reply to the gifted Mr. Ripley, however there’s extra of her in us than we’d wish to admit.”
I interviewed Plaza, who additionally produced the movie, which with the current “The Little Hours” and on TV’s “Legion,” put her at a profession crossroads.
“I noticed the film in my thoughts once I learn it,” she stated of “Ingrid.” “I used to be, like, ‘I do know what this may be and as a producer I will help it get to that place.’ As an actor, I can solely give my opinion and hope that somebody cares.”
At Vulture, Emily Yoshida wrote, “Each era will get the ‘Single White Feminine’ it deserves, and a few are sure to age higher than others.… Sufficient of Ingrid’s’ millennial photographs hit their mark to make it really feel like a cultural time capsule, on the very least.”
We’re longtime admirers of filmmakers Josh and Benny Safdie, so it was notably thrilling when their new movie “Good Time” premiered as a part of the primary competitors at Cannes this yr. The film scrounges by way of the outer edges of life in New York Metropolis, as a younger hustler named Connie (Robert Pattinson) tries to pull collectively bail cash for his brother (Benny Safdie) in a single night time.
In his evaluate for The Occasions, Justin Chang wrote that the Safdies “definitely need you to take pleasure in your self. However they’ve made the uncommon style piece that refuses to equate leisure with an escape from actuality, or to show a story of silly males right into a celebration of stupidity. The greatness of Pattinson’s efficiency makes it awfully arduous to not root for Connie Nikas, however that’s no purpose to mistake him for the hero.”
Steven Zeitchik spoke to the Safdie brothers about the best way their films teem with a energetic power, seemingly drawn from the town and the odd individuals that appear drawn to them.
“Bizarre characters are all the time simply orbiting round,” Benny stated. “We actually do not understand how they discover us.”
In a extra crucial take on the New York Occasions, A.O. Scott wrote, “The story doesn’t twist and switch a lot as squirm and bounce like an eel within the backside of a rowboat. The most important surprises affirm what an unbelievable slimeball Connie is. He’s about as arduous to root for as any film outlaw you possibly can consider.”
At BuzzFeed, Alison Willmore added, “The movie belongs to Connie, and to Pattinson, who lives and breathes the younger man’s toxic desperation. It is the type of efficiency that sticks with you, like a layer of grime that must be washed off.”
This previous week marked the third anniversary of the demise of Michael Brown and the lengthy days and nights of civil unrest in Ferguson, Mo., that adopted. Directed by Sabaah Folayan and Damon Davis, the documentary “Whose Streets?” takes a take a look at these occasions from the attitude of the individuals of Ferguson.
Reviewing the movie for The Occasions, Sheri Linden referred to as the movie an “on-the-floor, from-the-coronary heart documentary.” She added that the movie “communicates that urgency from the within out — not as information story or social concept, however as communal expertise and awakening.”
For The Occasions, Tre’vell Anderson spoke to the filmmakers and Brittany Ferrell, one of many movies topics. As Davis stated, the movie “just isn’t anyone talking for us or talking to us, it is us talking. That was the primary factor for me, how these individuals shall be represented, as a result of that is how I can be represented.”
Reviewing the movie for the New York Occasions, Glenn Kenny stated the movie “is uneven, typically unfocused, and in each respect the other of slick. Its administrators, Sabaah Folayan and Damon Davis, are novice filmmakers, true; however I additionally suspect this film’s type is deliberate, a part of its message. That is direct and often highly effective filmmaking that doesn’t a lot care about assembly my aesthetic requirements.”