For those following along with the progress of the new Butcher Brothers film “The Violent Kind” who wondered what the hell happened once we wrapped, I apologize. Basically, there’s not a whole lot of exciting news. We all took a much need seven day or so detox….err….break from the film, one another, staying up all night and neglecting our loved ones to pull our lives back together after the insanity that was the shoot. Seeing as this is technically my first “real” movie shoot, I never really knew that you didn’t shoot features in 18 days. Apparently, that’s just frigging insane. Lesson learned.
While I knew we were all burning the candle at both ends, I didn’t know until I had a second to sit and reflect that most features- especially ones with a plot, special effects and great actors- take closer to 30 days to shoot. But figuring in this funky financial climate with the impending due dates for several major film festivals and time was (and is) of the essence. So, after taking a quick week off to reintroduce ourselves to our family and daylight, we’re right back at it.
Mitch and Phil have spent the week pulling 12-14 hour days in the editing bay which is essentially their office out here in Marin County. We had some great people digitizing and logging footage throughout shooting so now comes the rough cut. I’m not sure if I mentioned it previously, but I’m shooting the behind-the-scenes footage which will hopefully become a featurette on the eventual DVD release so all this post-production stuff is fascinating to me. Hopefully you’ll find it cool as well.
So the basic plan right now is to get something together we can show our investors, producers and festival programmers. I won’t lie- we want to go theatrical with this twisted mind fuck of a film and we all feel pretty good about the films chances seeing as “The Hamiltons” made the rounds in theaters when it was completed a few years ago. However “The Violent Kind” is already shaping up to be something freaky, creepy, bloody and sure to attract attention. But first, we gotta get it looking like a movie!
“The Violent Kind” is a horror film being directed by The Butcher Brothers. Film Threat writer Don R. Lewis is co-producing the film and this blog is serving as a journal of sorts to mark progress on the film. You can also follow “The Violent Kind” on twitter
What day is it, Thursday? I seriously have no clue. I do know “The Violent Kind” wrapped on Sunday morning at around 10:00 a.m. after a literally whirlwind 18 day shooting schedule. Seeing as this is my first time producing, I didn’t realize 18 days is like, really short. It is. And as I noted previously, I wasn’t doing anywhere near as much as everyone else on set and I was still wiped out by the time we cracked beers at 11:00 Sunday morning to celebrate. I’m still all turned around and can’t seem to get enough sleep once I finally doze off.
The key positions on this film were working 12 hour days with maybe an hour or two of “official” breaks every night. Then there were unpaid PA’s and interns working the same schedule. Yet through it all no one was complaining. There was a sense of camaraderie that was like summer camp and I can honestly say, everyone got along. It was quite a sight to see and it made me feel really proud to be a part of such a great group and amazing experience. I can’t help but feel every shoot I’m on will suffer in comparison to this one.
Throughout shooting we’ve been taking the hard drives back to the dorms where we had an editor and his PA going through it and making some very, very rough assemblages. Each night after things got rolling, producer Michael Gibson and I would venture over to the dorms to feed the cave-dwelling editing trolls some food and look at the footage and each night it became very clear that “The Violent Kind” is going to be a freaky, trippy, beautiful little horror flick coupled with some amazing acting and effects. At the wrap party, there was a 3-minute reel shown and I’ll be honest, I got a little teary eyed after watching it. It just looks so damn…good. The Butcher Brothers, our DP James Laxton and all of the cast and crew really did an amazing job. Now I’m welling up again! Must be lack of sleep.
So we’re all taking a week off from the film (and let’s face it, one another) before diving headlong into editing. The film festival season is upon us and we need an edit as soon as possible in order to hit up some of the bigger fests. I am really excited to sit in on the editing process as it’s something I enjoy, but really don’t know much about. Plus, editing a feature is a much bigger undertaking than editing the little documentaries I make. Stay tuned as we’ve only just begun!
“The Violent Kind” is a horror film being directed by The Butcher Brothers. Film Threat writer Don R. Lewis is co-producing the film and this blog is serving as a journal of sorts to mark progress on the film. You can also follow “The Violent Kind” on twitter
We’re in the home stretch on shooting “The Violent Kind” and man, what a ride. Since this is my maiden voyage into producing a film, I’ve been really staying back and trying to learn as much as I can from executive producers Jeffery Allard (Executive Producer of the “Texas Chainsaw Massacre” remakes!) and K’Dee Miller. These two are in constant motion from under stacks of paperwork that keeps everyone paid and keeps us all legal. While I always figured there was bunches of finer points in a fairly big film production, I had no idea this much work goes on behind closed doors. Brutal.
The other producers Michael Ferris Gibson, Jeremy Platt, Malek Akkad and Andy Gould are all bringing something special to the party. Jeremy Platt is like Johnny Hustle, constantly working the phones, texts and emails to keep the buzz going on the film. Malek and Andy are holding down the fort in L.A. as they’re undoubtedly knee-deep in prepping “Halloween II” but having them on-board means a ton to the film plus they added to our buzz at Comic-Con. But the guy I’m clinging to like a bad rash is Gibson. He and I are both Bay Area guys and watching him work and maintain a sense of sanity is pretty cool. The guy knows his shit and not only does he not pull any punches, he isn’t a jerk about things. He’s calm and cool and gets shit done. Definitely someone who’s style I’d like to emulate should I decide to produce another film. While these guys and K’Dee are the brain trust, it’s truly a team effort in creating this film.
Directors Mitchell Altieri and Phill Flores (aka The Butcher Brothers) are complete pros on set. They know what they want and are capable of explaining it in a way that is direct, friendly and makes sense. It helps when your DP is James Laxton, Independent Spirit Award nominee for the phenomenal film “Medicine for Melancholy.” While I’d love to single out each crew member and PA and give them props, no one wants to read that besides them and I guarantee you they’re all too busy working or sleeping to care at this point. Plus, that would leave room for our amazing cast who I’m constantly in awe of in both their process and performances.
While I’m still not going to spill much info on what “The Violent Kind” is about, I can say a few things about our stars and what I’ve seen from them thus far on the shoot. Our lead Cory Knauf as “Cody” is a guy I (and the rest of the world) really noticed in “The Hamiltons.” While just barely out of his teens then, Knauf has always had “it.” A quiet intensity coupled with a likeability you just don’t find everyday. I had heard he’s a really hard worker on sets but that’s really an understatement. The guy is on when that camera rolls and watching him get to the on position is pretty incredible. Our other leading man is Bret Roberts who plays “Q” and he’s been damn good at matching Cory in his intensity.
Much like Knauf, Roberts is a guy whose day in the spotlight is going to happen soon. He reminds me of a moodier and more intense Josh Brolin and having him on set is just plain fun. The guy can be in full on ass-kicking mode as Q. one second and then the next, he’s cracking everyone up on set. He’s also the unofficial ring leader of “The Yard,” a fairly private little section of dorms at a nearby college campus where after work parties rage until noon. Why noon? Because everyone is getting off of work at 6:00 a.m.! Our other male cast member is newcomer Nick Tagas who plays Q. and Cody’s wingman Elroy. Again, since I can’t go too much into the plot of the film, I’ll just say Elroy is the kind of guy you simply cannot make a solid horror film without. Call it comic relief or some kind of everyday relatability, Tagas has all that stuff and then some. Plus, he’s a fellow San Francisco State alum and a great guy. Now, for the ladies…
Our leading lady is Christina Grace who plays Megan, a kind of sweet and preppy girl stuck in with a bad group of bikers. Grace has been in all sorts of TV shows but she’s been incredible to watch filming “The Violent Kind.” Let’s just say bad things happen and it must be exhausting to act and react through them all each and every night. But she does it and looks perfect in the role. Taylor Cole who plays Shade is probably the biggest name we have in the cast and to be honest, I was intimidated to meet her. She was on “Heroes” and “Summerland” and she’s a total knock-out. I’m just some film geek from Northern California so I was afraid we might have a diva in our midst but fortunately, I couldn’t have been more wrong. Cole is a total trooper as she carries on each and every night in the cold and bloody world the Butch Brothers have created. Her characterization of Shade is exactly as I pictured it when I read the script; sexy, smart and not afraid to throw blows. And then, there’s Tiffany Shepis as Michelle.
I’ve known Shepis for years and we’ve only hung out once. When I was at AFI Dallas I was stoked to see she was participating on a horror panel and that night, we partied down and I talked to her about the Michelle role in “The Violent Kind.” After we got back from Dallas, I sent her the script and before I knew it, she was in! Not only is Tiffany much hotter in person than she is in her films, she’s more fun than you’d expect. Be it harassing young PA’s all through the night, managing arm wrestlers at 7:30 a.m. in “The Yard” or just going to town as Michelle, a definite highlight in making this movie has been watching Shepis work and then partying with her afterwards. This chick is the shit.
We’re set to wrap this Sunday morning around 6:00 a.m. so I hope to get some more blogging in before then. But between the shoot, my writing, my family and my day job….who knows.
“The Violent Kind” is a horror film being directed by The Butcher Brothers. Film Threat writer Don R. Lewis is co-producing the film and this blog is serving as a journal of sorts to mark progress on the film. You can also follow “The Violent Kind” on twitter
I’m totally exhausted. I’m exhausted from working on “The Violent Kind” and I’m not even working anywhere near as hard as the cast, crew and directors. We went into all-nighters on Thursday and while I’ve yet to make it all the way through an entire 6:00 pm- 6:00 am shoot, I’m still wiped and my sleeping schedule is shit.
I’ve been on small film sets before and I’ve worked on some TV shows but the crew involved with “The Violent Kind” is bigger than any I’ve seen yet they’re all clicking like a well-oiled machine. There’s at least 30 people running around on set at all times and more times than not, there’s over 50. To me, it’s like any great team effort with an all-star at every position. Each person is doing their very best at their job and when they fumble, someone is there to pick them up. There’s a true feeling of camaraderie on-set and it’s pretty neat. Not to mention the fact that the acting has been pretty amazing thus far.
Our IMDB page went live the other day and you should check it out. The film stars lots of up and comers like Cory Knauf, Bret Roberts, Nick Tagas, Joe Egender, Samuel Child and Joseph McKelheer. Add to that the trifecta of hotness that is Christina Grace, Taylor Cole and Tiffany Shepis and long nights are slightly more tolerable. We also made formal our top brass which includes Jeffrey Allard who was executive producer on the “Texas Chainsaw Massacre” remakes and Malek Akkad and Andy Gould who produced the “Halloween” reboots so as you can see, there’s some serious shit going on with “The Violent Kind.”
We have Sundays off and I think there may be a party with cast and crew going on at the dorms where most of them are staying. But since I still have my day job coupled with working on the film, I’m enjoying some peace and quiet….for now. Other than that, I’m just taking it all in and watching the process closely as I film footage for the behind the scenes DVD extra I’m making. This whole thing has been an amazing learning experience and we aren’t even halfway done with filming. Off to grab a beer and relax with a movie.
“The Violent Kind” is a horror film being directed by The Butcher Brothers. Film Threat writer Don R. Lewis is co-producing the film and this blog is serving as a journal of sorts to mark progress on the film. You can also follow “The Violent Kind” on twitter
I think I’ve been here at Film Threat for over 8 years. In that time, I’ve made a slew of friends that will last a lifetime as well as colleagues, enemies and drinking partners that come and go. While I adore film criticism and am a semester away from getting my Masters in Cinema Studies, through my time at Film Threat I’ve found that I love filmmaking as well.
I’ve directed two short documentary films that have played all over the U.S. and about three months ago, I was presented with an opportunity to produce a fairly huge project. This, is fucking scary. While I can’t go too much into detail about what it is, I can tell you the following…
The film I’m producing is the much awaited new Butcher Brothers film. I met the Butcher Brothers about five years ago at a crappy bar here in Northern California. I detailed this meeting and our subsequent friendship here. Since then, we’ve remained friends and I, like most fans of their work, couldn’t wait to see what they brewed up next. A few ideas came forth from the ether and I got on board with one of them to try and raise some money via some pals of mine that are loaded. Then, the financial crisis hit and every hedge fund, fun money and rainy day fund dried out quicker than Lindsay Lohan at a Malibu treatment center.
Never ones to back down from filming, the Butcher Brothers came up with a better, leaner, cheaper script that completely kicked ass. We were back on again and now, shooting has begun here in Northern California.
While I have no plans to step away from writing about film, the shooting of this movie is going to take me away from the site for a bit, at least in terms of writing reviews. However I’d like to invite you all to follow my virgin exploits into film producing here on Film Threat and on our twitter account. The official website is forthcoming.
So without further adieu, Ladies and Germs, welcome to my experiences producing “The Violent Kind”…..
It’s early Saturday morning as I bring you this report from the 11th annual CineVegas film festival. Wait. What’s that you say? It’s way past noon?? Well, you’ll have to excuse me as I’m on day four of the festival and anyone who’s been here knows nights melt with days, films give way to parties, parties give way to bowling and karaoke and the next thing you know you’re wolfing down a Rueben as the sun rises outside the casino. But such is life in what’s become probably the best film festival in terms of movies, networking and flat out fun, CineVegas.
This is the third year I’ve attended the festival and each year is better than the last. I’m not trying to be a suck up or oversell the fest, but there are certain things that happen here that need to happen at more film festivals. Firstly, there’s a real sense of camaraderie here that I haven’t felt at a festival since Sundance in the early 1990’s. Filmmakers are hanging out together and with journalists. Everyone is easily approachable. This is not only great for writers as we get access to filmmakers and producers whose work we admire, but it’s absolutely essential for filmmakers with undistributed films. Through all the insanity going on around us here, everyone seems to have five minutes to talk and network.
CineVegas is also the perfect spot for fellow journalists to hang out and talk. And get lap dances. But seriously, each year I find myself gathered with my fellow writers and we can have these kind of, impromptu state of the union discussions. With the industry becoming more and more surreal each day, this too is a very important aspect to the festival. It’s good to meet fellow writers in person who you may have bitched at on a blog and clear the air. You can talk to writers whose work you’ve admired and share stories of films gone good and bad. Plus, I don’t have many real-life everyday friends I can geek out with on movies, so although there’s nary a girl in sight when we all get together, it’s fun to talk movies with fellow movie lovers.
The other important aspect to CineVegas is obviously the films. They’re all rally pretty great. While there’s yet to be a breakout hit from CineVegas, it feels like the program is put together around good films rather than bullshit politics or celebrity vanity projects. Sure, not every film is a home run, but everything is kind of different on this program and that’s exciting. While other festivals have sort of designed a niche for what they bring to the table, CineVegas is all over the board in terms of programming and that’s refreshing.
Speaking of the films, I should go see some. I’m also attending a red carpet event where a couple is going to get married. Then later, some films and a screening of The Beatles “Yellow Submarine” poolside at Mandalay Bay. That is, unless this isn’t Saturday and to be honest, I can’t really remember,.
I’ve been here in Dallas since late Thursday night. I was supposed to get in around 4:30 but at the last possible minute, my flight was canceled and I had to sit around for 6 hours to catch the next one. Total bummer because I missed Rian Johnson’s “The Brothers Bloom” as well as the opening night party. Blah.
However once I landed in Dallas, the team at AFI Dallas has been simply amazing. This festival, in fact, is simply amazing. The one thing press, filmmakers and panelists combined have all commented on separately to me is how well you’re treated here. The staff goes way, way out of their way to make sure you’re taken care of which is just…nice. I’m a pretty low-maintenance person but when I’m at a festival, I need some basics to get my work done. A centrally located hotel preferably with wi-fi, an easy to follow guide to venues and screenings and someone to tell me what the hell is going on each day so I don’t sit at my computer wondering what I’m missing. AFI Dallas does all that and more. I’ve had absolutely no problem getting places I need to go, on time and it’s really nice and refreshing.
Yesterday after some much needed rest I was on a panel called “Promoting Your Movie: What Lessons Can Indie Filmmakers Learn From Indie Bands?” While I’m not sure I had any thoughtful insights, the folks I was on there with with whip smart. I had fun with it and I think people liked the panel. After that I raced over to the big ass AMC Theater complex to see “Gigantic.” A review is forthcoming but it was so-so. Some outstanding camera work but a lack of character development and heart hurts the film. After the screening, it was party time.
Being the festival rat that I am, I have a bunch of friends I see when I go to fests and last night was like the beginning summer camp. I ended up stuck with intrepid indie film producer Adam Donaghey and we headed out to a party honoring Robert Towne. The moment we arrived at the party, I knew we wouldn’t last long. Me and multimillion dollar mansions are not a good match and I felt like the gardener who snuck into the bosses soirre. After some delish lemon-drop-tini’s, we headed back to town for the regular festival parties and closed out the night at my favorite restaurant, “Hooters.”
Today I did some work and then hit up the panel “Scary Symbols: How Do Horror Films Show Us What’s really Scary?” The panel was moderated by AFI Dallas badass John Wildman and featured “Grace” director Paul Solet, fellow journo James Rocchi, filmmaker Chad Johnson and every horror fanboy’s wet dream, Tiffany Shepis. The panel was really fun and insightful. Afterwards, I finally got to meet Solet and Shepis, both of whom I’ve talked to on the internet for a while. In fact, Tiffany and I have known each other for like, 10 years and have never met in person. Crazy! Tonight, I’m not sure what’s happening. I definitely want to see “Grace” but I also definitely want to hit some parties. I also simply must make the 12:30 p.m. screening of David Lowery’s “St. Nick” so maybe I’ll lay low. But for those of you who know me, you know that probably won’t happen.
Tomorrow morning bright and early I head to Dallas, Texas for the AFI Film Festival. As a big fan of big Texas, I couldn’t be more excited to go although I know (I know, I know, I know) Dallas bears little resemblance to my beloved Austin, I’m still thrilled to be heading to what looks to be an awesome festival.
My interest in AFI Dallas was piqued last year when the intrepid Mark Bell attended via Film Threat and had what seemed to be an amazing time. Mark and I were always festival rats in that we’d see pretty much everything (films, panels, luncheons), hit every party (official or in someone’s room who had a rock band set) and still manage to throw out more festival coverage than any other site. I admit, without Mark around, I’m like that one-legged dog Springsteen sings about in his Oscar snubbed song “The Wrestler.” But I will still do my best to bring AFI Dallas to life for all you Film Threat readers.
Friday, March 27 I’m on a panel, which is terrifying. I’ve done a few before but never anywhere good so yeah, a tad nervous. My panel is “Promoting Your Movie: What Lessons Can Indie Filmmakers Learn From Indie Bands?” That actually sounds pretty great as I’ve had two films in the festival circuit, I manage an ass-kicking band and I’m inundated daily with requests from filmmakers for reviews and quotes. Plus, the other folks on the panel seem awesome and include Aaron Marshall and Justin Johnsonwho made the kick-ass doc “Zombie Girl.” I should be o.k. I hope. Come watch me fail at 5:30 Friday afternoon at the Victory Park Festival Lounge. In fact, show up at my panel, say you saw this and I’ll give you a free copy of five a.m.’s new album, “Raise the Sun” and I’ll let you buy me a beer! Sound like a deal?
As for films, I’m super excited to finally catch Rian Johnson’s “Brick” follow up “The Brothers Bloom” as well as the Patton Oswalt sports-fan-stalker pic “Big Fan.” Also blinking heavily on my radar is David Lowery’s “St. Nick” and Paul Solet’s horror flick “Grace” both of which I really, really wanted to see at SXSW but missed due to a mood pocket.
So, if you’re looking for me this weekend, I’ll be in Dallas alongside some amazing films, panels and friends. Come up and say Hi! I promise, I won’t fall over on you as I sway from too much film, beer and BBQ.
I may have mentioned it a few times here and there, but in addition to my work here at Film Threat, I also make films of my own. That way, no one can call me a critic who got into that line of work because he’s a frustrated artist. Bite me haters! But seriously, I love almost every aspect of film and that includes making my own and then going through the sheer terror of presenting my films to audiences. And trust me, it’s scary.
My first film (with partner in crime, boozing and poor judgment, John Beck) “Stringers” made the rounds at a few film festivals and even took home the audience award at the Austin Film Festival. Then it took close to three years for us to get our asses in gear and find a new subject we could agree on. What we chose was this insane demolition derby spin-off called “The Fiberglass-500” in Lakeport, CA.
In short, locals in this little resort town take boats that have been designated for destruction, paint them all up and then attach them to the backs of their race, demolition or personal vehicles. After a regular night of auto racing at the Lakeport Speedway, the main event takes place. When the checkered flag drops, about 25 cars dragging boats start off around the racetrack seeking to destroy each other’s boats. Last man or woman standing wins. It’s totally ridiculous. It’s also fun and for a short subject doc, it turned out pretty damn well if I do say so myself.
So after we shot the thing (with 4 camera people and 4 cameras duct taped in various cars) we hired an editor, got some music and began making the soul crushing attempts to get the film into festivals. We finally caught a break last June when the deadCENTER film festival in Oklahoma City, OK programmed us. Sweeeet. Demolition derby with boats in Oklahoma? Damn straight they dug it! From there we managed to get into Reel Shorts in Chicago, Sidewalk Film Festival in Birmingham, AL, the Austin Film Festival in Austin, TX and the Big Easy Shorts Fest in New Orleans, LA. We even won the programming award in New Orleans!
However the only thing more expensive than making a film and submitting it to festivals is traveling to the festivals. It will break your bank. While I’m so glad I attended at Sidewalk, Austin and New Orleans, I’d be lying if I said I was flowing with cash and my wife was beaming with pride at my extended absences. So, we’ve decided to put “Drag King” to bed next week.
Saturday, February 28 “Drag King” will make it’s west coast premiere at the Beverly Hills Shorts Festival in the 90210. Nothing like rednecks dragging boats behind trashed cars at a screening in Beverly Hills! Should be lively and I will be there. Then, Sunday we will make our hometown/Bay Area debut at the Cinequest Film Festival in San Jose, CA. The film will play March 1 at 11:45 a.m. then Tuesday, March 3 at 9:30 p.m. and closing out our festival run will be a screening at 2:15 p.m. on Wednesday, March 4. I will be at the first two screenings but not the last.
I really hope to see some people at these. Not just for my sake, but because these are really great little film festivals that survive mainly on public support. Plus, I know many of you reading this may have had a film reviewed by me and this is your chance to attack me if I gave you a bad review! You can totally heckle me for shattering your dreams and aspirations! Bring it on! Or, if I gave you a good review that helped you, come out, see my film, and let’s have a beer. But seriously, come on out and see what happens when you give a critic a video camera, some editing software and a venue.
A few months back I had the pleasure of attending the A.F.I. Los Angeles Film Festival. I love L.A. and A.F.I. had put together a fine slate of films so I jumped at the chance to attend. I’m no festival rookie and I know how exhausting seeing 2-3 films a day plus writing reviews and blogs can be so, I plan accordingly. I get sleep, eat food and try to do my job. Still, it can be a grind and that’s the reason I feel like I owe Kelly Reichardt’s film “Wendy and Lucy” a full star.
When I saw the film, I was under whelmed and as a result, I think my review has an air of me blowing the film off. And thinking back on it, that’s exactly how I felt. However the thing is today, nearly a full three months after seeing “Wendy and Lucy,” I can’t quit thinking about the film and for that reason (amongst others that I will get to momentarily) I feel I owe “Wendy and Lucy” as well as director Kelly Reichardt an apology and a full star as I had originally given it only three and 1/2 and it’s worthy of 4 and 1/2.
My re-thinking of the film started a few days after seeing it but really hit me hard when we had the financial crash and that subsequent sense of desperation swept the nation. As I tried in my mind to match a face that I could relate to this overwhelming sense of danger and loss, all that kept coming to me was Michelle Williams’ character Wendy. As I saw news reports of layoffs and people bailing on their homes either for cheaper places or due to bank foreclosures, my mind again went to Williams’ Wendy. I knew this wasn’t a real person or even based on anyone specific, but it’s Wendy’s plight and courage to carry on that made me relate to her in this scary time.
While it’s true these things I’m mentioning don’t actually happen in “Wendy and Lucy,” I couldn’t, and still can’t, escape the idea that what Reichardt was speaking to in her film was a sense of reaching for something better in your life when all the doors to the world seem to be slamming in your face and the houses they lead to are crumbling. In the film just when you think young Wendy will catch a break, someone who could feasibly help her if they wanted to does not. Just when you think the sun will shine again, the skies go dark and clouds gather. Just when you think there can’t be much more of a sinking feeling that all is lost for this girl, something else happens. But she perseveres the best she can and as a result, I now feel “Wendy and Lucy” is an amazing accomplishment and a true companion piece to John Ford’s “The Grapes of Wrath.”
Others have been doing some thinking about this minor masterpiece as well. Cinetic Media’s Matt Dentler also found himself thinking about the film and found it to be a kind of anti-Noir Film Noir. Greencine Daily has been compiling thoughts and reviews on the film and both A.O. Scott of the New York Times and Phil Nugent of Screengrab seem to have come to deeper feelings on the film after letting it percolate for a few days.
Of course I could be way, way off in my interpretation and my mental tie-in to the current state of our union, but my point is, “Wendy and Lucy” has stuck with me unlike many other films have. And I also know that star ratings are silly, arbitrary and kind of weird, but since we use ‘em around here, I feel the need to come clean. Thus I will add a star to my review of the film and admit I may have been a wee bit grumpy when I saw it and thus, had my judgment clouded. Any film that still echoes in your mind months after seeing it is clearly something special and I hope my original, lackadaisical response didn’t turn folks away.
