Epstein, Friedman & Bellin's LOVELACE proves a conventional biopic done well

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Our new hero(ine): Lake Bell and her singular amazement, IN A WORLD...

The title? Come on: Don't pretend that it doesn't ring a bell. That's right: Movie trailers and those special words that so often seem to begin them: "In a world where..." (you finish it). The first big surprise about IN A WORLD... -- the new movie and the first full-length film from Lake Bell (shown above and below), the actress who also wrote, produced, directed and takes the starring role -- is that something this funny, enjoyable and accessible could be made about the odd little voice-over industry that helps supply the world with movie trailers.

You'd think this would be terribly esoteric stuff (and it probably is), but Ms Bell has found a way to take us rather deep inside it to make us understand the whole thing remarkably well. How? First of all, by hitting us with a terrific opening credits sequence in which she manages to offer up this little industry, along with its history and current events, by the end of which we're ready to roll.

And roll, we do. Ms Bell has concocted a tale involving family, friends and business associates throughout the L.A. and Hollywood areas (everywhere from sound studios to steam rooms) that jumps in and out of genres from rom-coms to movies about movie-making, family films, competition thrillers & infidelity dramas. And she does this so buoyantly, jubilantly that 93 minutes roll by in the blink of an eye.

Bell trusts us to keep up with her, too; for a first-time, full-length filmmaker she's surprisingly adept at pacing her film and using the sort of movie-shorthand that speeds things up. Clues are dropped along the way, and the filmmaker assumes that we'll catch them and figure things out. We do.

Voices, tapes and talking count for a lot in this film -- which is a kind of verbal/audio feast. This also may account for why the film is no great shakes visually (it doesn't need to be, so satisfyingly aural and well-written is it). Bell's visual sense may continue to develop; this is only a first film, after all. And as the movie is so much fun, I suspect only visual purists will complain.

In the terrific cast assembled here (by Ms Bell?  Neither the IMDB nor the press materials lists any casting director), so many performers have the opportunity to stand out. Time prevents me from listing them all, but I must praise Rob Corddry (above with Ms Bell), whose work here as the boyfriend of Bell's sister is as good as anything he's done (which is saying something!), as well as Michaela Watkins, who is lovely and vulnerable as that sister.

Fred Melamed (above, left, with a funny, sexy Ken Marino), plays Bell's uber-narcissist, in-the-same-profesion dad; while Demetri Martin (below), whose wonderful energy and genuine sweetness makes the rom-com portion of the film work beautifully (this is Martin's best work since Taking Woodstock), provides the most important of Bell's romantic interests.

Look for Geena Davis, too, in a surprise role toward the finale that should makes us all realize how much we've missed her over these past few years.

TrustMovies doesn't rate films via stars, but if he did, this one would have amassed 'em all. It's the most fun I've had at the movies so far this year, and it also proves a great learning experience. Ms Bell is now my hero (or heroine, whichever she'd prefer). She's not only shown us that she can make a terrific film, she's proved to us -- and to the industry -- that there is indeed a place for the sound of a woman's voice in trailers and voice-over, while giving us one hell of a good time in the process. This is the feel-good romantic-comedy of the summer.

In a World..., from Roadside Attractions, opens this Fri., August 9, in New York City (exclusively at the Landmark Sunshine Cinema) and in L.A. (at the Arclight Hollywood and The Landmark). It'll certain-ly open soon elsewhere around the country -- everywhere, I hope.

Noel Calloway's LIFE, LOVE, SOUL: one of the most important family films of the year

It's easy to understand why LIFE, LOVE, SOUL (terrible title, but the film's quite good) was chosen to inaugurate the first annual Fatherhood Image Film Festival, which begins tomorrow -- Monday, August 5 -- up in Harlem. It's all about fatherhood: one that went missing and another that's about to begin. The movie may come off like an After School Special made full-length (its concerns are baldly stated, though they grab us nonetheless), but there is simply no denying the importance of the situation the movie creates nor the strength of the performances that bring that situation to pulsating life.

Life, Love, Soul gives us the story of a talented seventeen-year-old honor student named Roosevelt (Rose, for short), played by terrific newcomer Robbie Tate-Brickle (on poster, center, above), living an elegant lifestyle in what looks like a very solid family situation, who suddenly has all this -- and pretty much everything else -- taken from him when tragedy strikes. Raised by his mom and barely ever knowing his father, he must now move in with that man and his wife.

The film's writer, director, producer and music supervisor, Noel Calloway (at left), may not yet fully understand how to meld his story and theme into something seamless, rhythmic and interestingly paced. Right now, he's all about just getting it up there on the screen. And he's done that -- while giving his actors some prime situations to negotiate, along with some very good dialog to help them do it. No surprise: They all rise to the occasion like the pros they are.

The mother of Rose and his younger brother is played by the gorgeous and energizing Tami Roman (above, of Basketball Wives), and though her screen time is short, she's commands it completely. Chad Coleman essays the difficult role of Rose's estranged father, who seems made of equal parts guilt, anger and buried love. Mr Coleman (below, of The Walking Dead and The Wire) is, by turns, scary, moving, immediate and real.

A new school provides a couple of other helpful people in our boy's life: a girl in his class going through a somewhat similar situation (the sweet, smart Mia Michelle, shown below with Mr. Tate-Brickle), and a teacher/counselor who takes a strong interest in his new star student (Jamie Hector, from The Wire).

Special mention should also be made of the sole white member of the cast, Tamara Faye, shown below, with Mr. Coleman, who plays Rose's stepmother, Jennifer, with great affection, patience and caring. It is her character who helps negotiate for both her husband and his son that tricky road toward detente.

While watching this film, it struck me that, although it is mostly a story about blacks, whose history makes clear the importance of a father figure in the lives of its young, the tale could just as easily be told about white families, or Latinos or people from many different cultures. According to U.S. Census Bureau statistics noted in the press release sent out about the film, 24 million American children — one in three — live in a home without the presence of their biological father.

While fatherhood is a subject vital to Life, Love Soul, so are some other themes and ideas: the importance of education to our young, the meaning of good parenting, and the question/choice of abortion. That last one could have been addressed more strongly here. While we all want to see life as the choice, this works best when there are supportive parents already in place. Otherwise you can end up with something closer to the Precious scenario.

Still, there are enough excellent things to recommend about this movie that I hope New Yorkers will take a trip up to the MIST Harlem Theater, located at 46 W. 116th Street, New York City, where Life, Love, Soul has been tapped as the opener for the first annual Fatherhood Image Film Festival, tomorrow evening, Monday, August 8, at 8 p.m. From the RBC Film Group, the movie is also set for DVD release later this month, on August 27, at major retailers, and will also be available on iN Demand and all other digital outlets, including iTunes.

On DVD, digital and showing tonight only in Fort Lauderdale: Zachary Weil's TASTE IT!

A first full-length film that came to TrustMovies' attention via Zachary Weil, the filmmaker himself (shown just below), TASTE IT: A Comedy About the Recession is having a one-performance showing at 10pm tonight at the Cinema Paradiso in Fort Lauderdale, having made its DVD and digital platform debut last month. Produced for only $30,000, the movie looks pretty damn professional, considering, and features several good performances.

Taste It begins on a high note, with a cute, original and funny/sweet scene of early morning lovemaking, with both situation and dialog quite up to snuff. The next few scenes are equally well done, and it looks as if we're in for some good fun regarding our country's -- hell, most of the world's -- current economic situation. If only. The movie never completely disintegrates, but as it moves along, it seems to give in far too easily to its most crass and over-the-top leanings.

But let's start with the good stuff: Weil has cast his film, with one exception, quite well. His two leads are played by very attractive performers who can also act: John McGlothlin (shown above and at center in the photo at bottom) as our put-upon hero and -- making her screen debut -- former Playboy playmate from August 2010, Francesco Frigo. Ms Frigo, below, is required to do little but smile and speak and finally kiss and neck, but she does it all quite nicely and looks very good doing it. (Although the question must be asked: are there no young women in the Miami/Fort Lauderdale area with bodies remaining at all natural, particularly in the boobs department? The ladies in this film are so oversized and stuffed that they look like they all came from the same implant facility. Maybe they did.)

The one major mis-casting coup is having the film's co-screenwriter, Adam Chefitz, play -- with little comedy charisma and way too broadly -- the hero's best friend, Wally. Chefitz's performance is so loud, crass and over-the-top that you'll occasionally want to grab a brick to put him out of his (and your) misery. The worst offense is having him sing, below and barely professionally, an entire rock song -- which I believe he co-wrote and will remind you perhaps a little too much of a better song, Jump! -- which literally stops the movie in its tracks.

Turns out the film has its own villain (played super-sneeringly by Blake Logan, below) who is rich and entitled and keeps popping up to do damage. The best acting job by far is delivered by a fellow named Andrew Roth -- he's loose, relaxed and utterly believable moment-to-moment -- who plays the manager of the club/bar/
restaurant where our group hangs out. The plot's twists and turns, all taking our hero toward not just doing the right thing but doing what he really wants, are standard stuff, in which everything good happens far too easily, and, for that matter, everything bad, too.

There is the de regueur scene of a misunderstanding arising from overhearing a situation without actually seeing it, too -- after which the girls imagine that the guys are gay. Well, at least the film gets credit for being inclusive: blacks and gays get their day in the sun, as another of our hero's pals discovers his true calling as he's being screwed at the hands of a would-be girlfriend by a very odd and super-sized dildo. (The movie is R-rated, of course.)

In other, more talented hands, all this might have been more fun, instead of merely serviceable. On the other hand, this is Mr. Weil's first full-length film, and by that standard, the guy has achieved something that looks professional, adheres to the feel-good agenda, and should please undiscriminating tastes. We'll see what the filmmaker comes up with next time. Meanwhile, if you're not in the Fort Lauderdale area tonight for the 10pm show, you can find out how to order the DVD or a streaming screening via Chill and/or Amazon by clicking here.

All about Baha'i: Mohsen Makhmalbaf's odd father & son documentary, THE GARDENER

If a new film called THE GARDENER isn't one of the weirder hybrid documentaries in quite awhile, I'll be surprised. Paid for, I'd guess, by the Committee to Make the Baha'i Religion a Household Word, this nearly (and oddly) humor-free mockumen-tary supposedly tracks the adventures of an Iranian father/
son team as it visits Israel and the huge and beautiful garden taken care of by a disciple of the Baha'i religion, who is happy -- as are all the other acolytes rounded up by the filmmakers -- to give us a grounding in this unusual religion, which appears determined to keep itself abreast of modernity in a changing world. Amen to that, as too many religions seem content to continue mimicking the dark ages.

One of the special enjoyments that go along with a blog (and a no-paying job) like this one is the fact that you can move from covering a sleaze-fest such as The Canyons one day to a film about religion and the betterment of the world the next. Where else could your interest move from A to Z so quickly? Unfortunately in this case, neither film is very good. The writer/director of The Gardener is Mohsen Makhmalbaf, shown at left, who earlier gave us Kandahar and The Silence. Here he is trying something quite different: style-wise, you might call it a kind of hybrid documentary in which father and son explore a religion new to them, as it is banned in their home country of Iran.

So, then, we have what the press materials refer to as "a poetic exploration of religion, in particular the Baha’i faith, in today's world, told from two distinct perspectives: that of the director, and of the cinematographer, his son Maysam, as they travel to make a documentary as Iranians in Israel."

This could be quite something -- if we got much of a sense of what the religion actually comprises. But its adherents we meet here are content to give us generalities and breathless praise. It is to be commended that this religion understands how the world, and it, must change: Baha'i is in favor of the emancipation of women, but do we really to see and hear a schlocky "tree" metaphor being taught to children by one of these adherents?  (Later we are told that "Flowers don't fight." Well, no: they're flowers.) Clearly this religion is less power-hungry than most -- which is great, but also probably accounts for its being such a marginal player.

What's worse, that gardener (above) that the film supposedly "follows" is little more than a cipher about whom we learn the basics and that's it (he's a tenth-generation Baha'i from Papua New Guinea). Actually, there are two gardeners shown here, the other a young man of mixed race who also tends the lovely grounds.

Stylistically, it's all pretty much hand-held with occasional use of a stationery camera. But there are two oddities along the way. One is a back-and-forth movement from color to black-and-white, which at first I thought indicated a kind of dream sequence. But as it is used so often, I think not. Why is it used at all? I have no idea.

A better and more unusual surprise comes toward the finale, when someone, that gardener or the director, makes reference, maybe re religion, to images and/or mirrors. Suddenly mirrors are being used all over the place, from garden (above) to seashore (below), and how they make a frame within the frame is quite interesting. The quality of the color even seems to change slightly in the mirror.

Nearly an hour into this 82-minute movie, son (below) grows annoyed with dad, whom he insists is making a movie to promote religion. So off he goes to the local bazaar and then explores the famous church, mosque and wall that serve as major symbols for, respectively, Christians, Muslims and Jews. He wonders aloud why god would have planted these places of worship so close together. "Wasn't there enough space in the world? Didn't he (Editor's note: yup, it's the male gender) know that his believers would not make good neighbors?"

It seems to me that here was an opportunity to really explore religion and belief, or maybe just to explore that amazing garden -- wait till you see the gorgeous pansies on view! -- and find out more about either or both. Instead we get mostly rudimentary babble, and a few generation-gap moments (son wants speed and maybe casting Brad Pitt as the gardener; dad opts for moment-to-moment reality). We do learn a bit about a religion that's probably worth knowing. Otherwise, the film offers what we would have called, back in the day, diddly-squat.

The exclusive Los Angeles engagement of The Gardener begins today Friday, August 2nd at Laemmle's Music Hall 3 in Beverly Hills and on Friday, August 9, in New York City at the Quad Cinema. Any further screenings (you can request one by clicking here), I imagine, will be listed on the film's web site. Eventually, I'd guess, we'll be able to see the movie on DVD, VOD and digital outlets.

Schrader & Ellis' THE CANYONS: Finally, a movie to make you feel good about yourself

Yes, I know advance word about THE CANYONS might not lead you to believe that this film will make you feel grateful that you're you. Trust me: It will. Unless of course you are one of those Hollywood "types" pictured in the movie: underlings surviving as best they can on the largess of the monied and powerful, or overlings wielding that power for greater access to sex and... uh, sex. Come on, surely these people have something more on their tiny little minds? Nope and nope again.

Well, one of them is interested in his career, such as it is (not much). Another teaches, I think, yoga, though we never see her doing any such thing -- just gossiping and fucking and then -- wait: we shall allow no spoilers here. Another, played by the infamous Lindsay Lohan (reclining above), just wants to be loved. Is that so wrong? (Christ -- I'm quoting Harvey Fierstein; this movie has weakened my mental muscles.)

There are supposedly intelligent people out there claiming that The Canyons is about something. Because it is directed by Paul Schrader (shown at left), a writer and filmmaker I have long admired even through some pretty foggy movies, I gave it the benefit of the doubt, and for as long as possible. But because the screenplay is by Bret Easton Ellis, whom I generally think of as a talentless poseur, there is a battle going on, and I am afraid that Ellis wins it hands down.

The movie begins with a series of fascinating, unsettling shots of dead movie theaters, a comment no doubt on where we are and where we're headed, among maybe some other ideas, too. Then we're at dinner and/or drinks with a quartet of lovelies including Christian (James Deen, above, left), a nasty Trust-Fund baby who invests in the occasional movie and is also into videoing his girlfriend having sex with others; that gf, Tara (played by Ms Lohan, above, right; Ryan (Nolan Funk), a young actor who has managed to land a role in Christian's latest slasher film; and his girlfriend, Gina (Amanda Brooks), who is also working on said film.

The conversation in this scene is serviceable and sets the plot, such as it is, in motion, but it hardly sparkles. Yet, writing-wise, it's the best the movie has to offer, as we learn who these people are and a bit about what they may want. After that, it's mostly all sex-related power trips. Trust is brought up early on as a driving force -- as though anyone here had the smallest notion of what that word might mean. Which is, I guess, the point. Think of it as Les Liaisons Dangereuses with only a single (male) conniver and without a lick of class (except, perhaps, in the clothes).

As the overlord, Mr Deen, who evidently came to fame as a porn star, looks good, with a body that is noticeably and rather nicely un-buffed. He's relatively thin and wiry -- rather like John Holmes in his heyday, less long-haired hippy, but with equally impressive sexual equipment, of which we get one nice view. He can act, at least well enough not to embarrass himself or the film, but I thought I detected a slight lisp in his voice now and then, though that may have been a faulty soundtrack.

Ms Lohan looks and acts initially stern and then changes to vulnerable and sad throughout. She's pretty good at this, but as the screenplay gives her so little character to work with, so what? Mr. Funk remains in one, as both character and actor, and Ms Brooks is sweetly put-upon as the movie's "good girl." In the supporting cast, the choicest  turn comes from Gus Van Sant as Christian's therapist, who clearly understands who is buttering his, and his client's, bread.

Technical credits are fine, especially for a low-budget endeavor, though L.A. does seem, as in the recent mini-budget Maniac, woefully under-populated. As a director Schrader (shown above, right) is working well, giving us his usual brush with moral choice. Toward the finale, it looks as if he might give us a little De Palma, too, but no, he turns away from getting too graphic.

The Canyons, I suppose, is something to see so you can say you saw it. Otherwise, there's little to be gained here. The film, from IFC and running around 95 minutes, opens tomorrow is New York City at the IFC Center, and is simultaneously making its VOD and digital platform debut.