manic ( film )
with the headline: reviews / film; manic film noir thriller as midnight cult film .
a new trailer has appeared online for an upcoming documentary film about manic street preachers. see the teaser ‘escape from history’ below .
manic street preachers’ upcoming summer tour dates are below. tickets are available here .
this is the manic package, it’s the package for those who want to support the musings of the film, loneliness, and alone - ness .
a grim drama about emotionally damaged teens, manic' s solid cast helps to elevate the material above cliche .
manic has quite a bit to recommend it as well, not the least of which is the lack of hollywood gloss mental patients .
an ivy - ­league bound, overachieving teen is derailed after a manic episode lands her in a school for kids with mental illness .
taken from the new album rewind the film. available now. itunes - urltoken amazon - deluxe cd: urltoken official store - exclusive signed cds and vinyl: urltoken urltoken urltoken urltoken music video by manic street preachers feat. richard hawley performing rewind the film. (c) 2013 sony music entertainment uk limited
this is exactly the kind of film the dogme 95 movement was meant to inspire .
as manic street preachers prepare to premiere their new documentary ‘escape from history’ this weekend, the band have spoken to nme about how the film sees them telling the story of classic album everything must go ‘definitively for the last time’ .
äntligen en film som slår hål på myten om att en runda spontanbasket kan lösa alla konflikter .
anyone stumbling into the cinema halfway through would think they were watching a documentary, as manic dispenses with all cinematic flourishes, instead aiming for and achieving absolute realism .
‘escape from history’ airs on sky arts at 9pm on saturday 15 april. manic street preachers also release the 10th edition of ‘send away the tigers’ on 12 may .
after completing her degree in film production in montreal at uqàm, filmmaker kalina bertin quickly realized that if she didn' t set out to understand the mental illness in her family it would destroy her. this process gave birth to her compelling documentary film manic, which explores the legacy of bipolar disorder in her family. aiming to build empathy and awareness toward such a complex condition, she currently is directing a virtual reality experience which will enable the viewer to explore the world of manic - depression from within. kalina presented this project in development at the mit open documentary lab and at the mutek and sodec atelier grand nord vr. manic and manicvr are both produced by eyesteelfilm, a two - time emmy award winning production company based in montreal .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
'' manic'' is rated r (under 17 requires accompanying parent or adult guardian). it contains a lot of trash talk and a few moments of shocking violence. dave kehr
kira is a dedicated and generous woman, set to build big things in the future for all in film and photography .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
the other characters in the film, which opens today in manhattan, are largely stereotypes, well - intended stereotypes but stereotypes nonetheless .
greg brings with him a multitude of life experiences, his cool and relaxed manner are a comfortable fit for the film and cast .
kayla is a fun, and cheery young actor. we are excited to see her develop her niche in the area of film .
i couldn' t get into the movie, even though the setting is very real. i' ve worked on a child psych ward and there is so much more dysfunction to delve into than petty schoolyard brawls. i don' t feel the film captures what it' s like to have manic depression. i like the main actor but he' s very one - dimensional in this film... truth is i never finished the movie so maybe it picks up .
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the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
in a way, the film mirrors the actual squad itself—a bunch of interesting parts that would often work better alone than together. for instance, the main character of the film is will smith’s deadshot; he’s the first person we meet and the character who gets the most backstory. it’s a strong story too, but it’s also so prevalent compared to almost every other character, at times the film feels like it should be called “deadshot plus six” instead of “suicide squad. ”
there are moments of truth and close observation in
manic ,
and a scene where the cheadle character does what we' re always waiting for a long - suffering group leader to do, and completely loses it. deschanel and gordon - levitt succeed in keeping their problems in the foreground of their romance, so those scenes don' t simply descend into courtship. but at the end of
manic
i' d seen nothing really new, and the camera style made me work hard to see it at all .
the man behind the camera and art director of the piece. he brings over 25 years experience to the film, in both artistic and creative development in design and cinematography .
bradfield added: “to be honest, to be brutal, i’ll never have to talk about it again. i’ll never have to make a film about it again. i wouldn’t want to do it any more. it is nice to actually put a cap on it and nice to know that you have a definitive film, it’s there, it’s done. ”
'' manic,'' which has been sitting on a shelf somewhere since its debut at the 2001 sundance film festival, belongs to a school of video filmmaking that already seems badly dated. the director, jordan melamed, approaches his story - - about a group of emotionally disturbed california teenagers locked up in a private psychiatric hospital - - with digital camera grasped none too firmly in hand, shooting every sequence as a restless, jittery search for a point of view .
uliana brings her quiet demeanour to the film and the group. she is a smart, quick, friendly presence on and off set. she is such a welcome addition to the cast .
a grim, depressing film about the hopeless nature of living with mental illness, manic is a solemn, intense look into the mind of a violent teen played with sublime efficacy by joseph gordon - levitt. shot according to dogme principles but favoring invasive close - ups, the film offers no easy answers or solutions for the questions it poses. are these teens doomed to repeat the cycle of abuse? can they be helped? who knows, but i doubt it. it' s a stark view of the lifetime of horrific effects that result from the abuse of children. don cheadle makes a terrific anchor as a troubled doctor giving his all to help, but even he too is powerless to make that much of an impact. he knows no matter how much he tries to right the wrongs committed on them, they are too angry at a world that destroyed them to ever be helped. a bleak film, but extremely effective and well worth your time .
hank is dynamic man, full of life. he has a terrific sense of humour and brings real character to the film and set. there was no one else who came to mind when casting this role .
i love everything about film. when you come out of a great film anything and everything is possible. it could be a catalyst. it could be that reflective mirror you needed so badly. it can alter your outlook on life. it could also simply fill you to the brink with awe. past the filters, the characters, the soundscapes, the cinematography, the writing, the special effects, and all that other fancy stuff – i love film because of how many people it can bring together. whether you’re behind or infront of the screen there is no greater joy than that flickering and those sounds melding into a masterpiece .
we' re making it easier than ever for you to stock up on tribeca film festival tickets. our revamped wish list will save you time and effort in singling out the festival titles you cannot wait to see .
this summer is a very exciting time as we eagerly prepare to shoot a short film that has been 2 years in the works. between now and august we wanted to share the excitement and open up the opportunity to have you become a part of it. right now we are hoping to raise funds for the piece. anyway, before you stop reading let me tell you a bit about my slice - of - life - film .
manic chronicles filmmaker kalina bertin' s struggle to make sense of the mental illness wreaking havoc over her family' s household. convinced he holds a piece to the puzzle, she sets out to find the truth about her father, a man known alternately as a cult leader, a scam artist, a prophet, and a father of 15 children around the world .
coel is the writer, screenwriter, director of this film. written in twelfth grade as a “fun’ project she has blossomed it into a vision. she is a tenacious and amazing woman, determined to bring this to life .
angela is an accomplished actor, and that’s when she isn’t on stage. she brings an amazing energy to any setting as well as set. we are so excited to see her bring the character to life in this film .
i' ve been waiting on manic since it was in production, so i' ve had a long wait. i must say it was worth it. i really have no complaints about the film; the acting was great, especially from joseph gordon - levitt - who really proves what a good actor he is, don cheadle, and zooey deschanel. the story seems very accurate, haunting, and at times heartbreaking, as it paints a very realistic picture of teens with problems. there' s no fluff here. direction was great. jordan melamed' s debut proved to be a good one - and i look forward to more by this unknown director .
you can' t escape yourself. great film! the casting was excellent as each member of the ensemble portrayed their character with depth and individual motivation, and they all interacted believably. joseph gordon - levitt plays his part just. . he' s perfect in it, so is zooey, she' s absolutely beautiful in her character. so with those two, the movies already worth watching, then you add the ward doctor, don cheadie, he' s just, amazing in this. this film describes mental illness for youths in a raw upfront manner that hollywood could never handle, yet it is to be seen. all in all, manic is a movie for those who truly care about the craft of film, care about collaborative, creative skill that can come from a work of the heart, care about humanity' s relief from suffering, and care about compassionate answers for otherwise seemingly unsolvable problems. for all these reasons, i highly recommend this film. lyle jensen is subject to sudden and violent outbursts, and he is committed to the juvenile wing of the northwood mental institution. several other youths are there with a variety of serious problems. lyle interacts with other patients and staff on a human, and sometimes not so human level. the psychological problems of the patients also forms the fabric by which we see what' s right with them, and what' s wrong with the society that affects them .
the lure ,
a polish musical about man - eating teenage mermaids, is genuinely weird. that' s not just a comment on the film' s unabashedly freaky subject matter, but also a half - hearted complaint about the filmmakers' off - kilter execution. narratively ,
the lure
is fairly rote: two sisters use their siren - like powers to seduce humans as cabaret singers, but one of them wants to assimilate, while the other seems to exist solely to remind her sister how stereotypically voracious teen girls, i mean mermaids can be. it' s a fairly predictable parable, though arguably because
the lure
is fundamentally a modern fairy tale. but when the music numbers kick in, you' re reminded that this movie is, tonally, an emotional rollercoaster: characters wallow in their isolation, try to get ahead through sex, song and / or murder, then repeat that same cycle of manic effusiveness. watching
the lure
is a bit like having manic depression—the thrilling high points are just as relentless as the crushing low - tide ebbs .
manic is a great movie. it' s very sad and unnerving in spots, but i would definitely recommend this movie to people who have a strong stomach. the performances by all the actors are really good. i might of changed the ending to be different for me, but the way it ends isn' t bad. i highly recommend this movie, but it would be a hard one to watch very often .
i haven' t seen
manic
before, but it feels like i have. the opening scenes place us in a familiar setting and more or less reveal what we can expect. in an institution for troubled teenagers, an encounter group is overseen by a therapist who tries his best to steer his clients toward healing. but the unruly young egos have wills of their own, and there will be crisis and tragedy before the eventual closure .
shelby is an exuberant addition to our cast. she has worked on stage and in film. her help anyway possible and do anything attitude is great. she is exploring her own playwriting and loving it. we are so happy to have her join us with this experience .
“they’re in the process of writing new songs and i’m in the process of finishing another film for them, so that’s a bit mental, ” evans told nme last year. “i’m finishing a documentary called ‘escape from history’ from sky arts which is all about how ‘everything must go’ came about. ”
sometimes a cigar is just a cigar, but is a monster ever just a monster? in lights out, a family is terrorized by a fearsome metaphor—the willowy, whispering hag of clinical depression, coming and going with the flip of a light switch. it’s not such foul play, making your fiend a symbol of manic episodes. the babadook went somewhere similar two years ago, lending undigested grief the shape of a storybook bogeyman and sacrificing few scares by being really obvious about it. but lights out is even more obvious and much less careful about its own subtext, which is so close to the surface that it’s basically text with a few handfuls of graveyard dirt thrown on top. the film is blatantly, unmistakably about mental illness, and that makes it hard to ignore or forgive what it ends up saying (hopefully by accident) on the subject .
subscribe to trailers: urltoken subscribe to coming soon: urltoken subscribe to classic trailers: urltoken like us on facebook: urltoken follow us on twitter: urltoken manic trailer - directed by jordan melamed and starring joseph gordon - levitt, don cheadle, blayne weaver, lydell m. cheshier, elden henson. lyle is filled with rage. after badly beating a classmate during a schoolyard fight, lyle is committed to a juvenile mental institution in lieu of criminal prosecution. inside the hospital, lyle encounters a group of adolescents struggling with a variety of illnesses. mgm - 2001
when asked by nme if he was currently filming the band making their next album, evans replied: “no. i worked on ‘rewind the film’, ‘futurology’ and two of their greatest records with ‘the holy bible’ and ‘everything must go’. this [ film ] doesn’t feel like an end but a little doorstop in what we do next. they’ve got to move studios and have a lot of things to be getting on with. they also don’t like being filmed, so you have to coax new ways out of them! i think i’ve strained every way of pushing the band to make ‘escape from history’ so let’s just let the mystery and magic of the songs come about. i’ve heard two new songs and they sound amazing. ”
“closure is just an american platitude, isn’t it? ” laughed frontman james dean bradfield when we met him after the first screening of the film. while there’s no cathartic end in once again summarising the period between the disappearance of guitarist richey edwards and the overwhelming success that followed, the band have found respite in this project providing more of an ‘absolute’ full stop on the story .
saint laurent continued designing until 2002 – every show remorselessly measured against his past hits, and every final bow accompanied by the suspense of waiting to see whether he' d manage the short walk to the end of the runway. lespert' s film ends with yves stumbling on to the runway, mouth slumped askew, eyes lost behind his glasses, his movement unsteady and uncertain .
he never really finds one: the camera work is so self - conscious and so intrusive that it consistently overrides our interest in the characters and their individual dramas. the film finally seems to be about an invisible, camcorder - wielding presence that has come to haunt a mental institution, as if there were an extra character in every scene that none of the other performers can see .
ironically, the most ordinary part of the film, the murder plot, is the most compelling. the more inventive twist never quite works, because laura (uma thurman) is too vaguely drawn to carry the noirish story. sid (paul dillon) barely exists, though he takes up a lot of screen time searching for musicians. but paul richards makes william perfectly enigmatic and sinister .
the new documentary has been made by the band’s long - time collaborator, the bafta - winning director kieran evans – who made all the music videos from the band’s past two albums ‘ rewind the film ‘ and ‘ futurology ‘, as well as ‘generation terrorists’ documentary ‘culture, alienation boredom and despair’ and the recent ‘ holy bible’ anniversary tour concert movie, ‘be pure, be vigilant behave ‘ .
the plot is a serviceable device to introduce characters who need have no relationship to one another, and to guarantee conflict and drama. we are all indoctrinated in the wisdom of psychobabble, and know that by the end of the film some of the characters will have learned to deal with the anger, others will have stopped playing old tapes, and with any luck at all there will even be a romance .
chad: i' d rather feel like total shit sometimes, and god the rest of the time, than just like - ok all the time, you know? fuck mediocrity .
you can' t escape yourself
manic has been a movie a really wanted to check out for sometime now and i' m happy i did. this is the type of movie that you don' t see to often. it' s pessimism will make you feel all the terrible things in your life. it' s blunt, it' s honest, and it' s not all about the happy ending with this one. i respect the movie, but i must say it won' t be for everyone. i didn' t love it, and at times it' s hard to watch. so much pessimism with no optimism will do that to the audience, but that' s not to say that this wasn' t made the right way. a story like this doesn' t need happiness. lyle is committed to a juvenile mental ward after brutally beating another kid with a baseball bat. he' s supposed to find the reason why he is there. he' s supposed to hone his anger, and be able to do productive things with it instead of using it in violent outbursts. he befriends a few of his peers and becomes enemies with one. the film is shot in a handheld, quick shifting way that is effective with this type of movie. i liked the way it was shot. the score was also very good in a subtle type of way. but the main reason why i liked the movie was the performances. everyone is phenomenal. don cheadle as the counselor, joseph gordon - levitt as lyle, and zooey deschanel as tracy. the other actors whose names i don' t know where great as well. manic is a film worth watching if you can accept the bluntness and are able to handle the pessimism. it' s not a fun movie to watch, it' s not
entertaining
, but what it is is a well - made, honest movie about a kid who may never get his anger under control. well worth a look in my opinion .
but as gold and silver' s respective experiences start to drive them apart, the film' s plot starts to become safe and predictable. i want to say that the energy of the first 30 - 40 minutes does not sustain itself over the course of the picture, but that' s not quite right since the movie' s first half has its fair share of tonal hills and troughs, too .
the lure
doesn' t always want to win you over since it is ultimately about the wild moods and relatively normal capriciousness of its two female leads. we root for them because they are leading lives that are not strictly determined by puritanical norms. they get to choose, and that means making the wrong decisions and living with uncertainty... and then singing about it (zlota' s song about loneliness is one of the best in the film) .
and then there’s the enchantress. played by cara delevingne, she’s also major presence in the film and one of the main villains. however, her storyline is criminally underwritten, which becomes a huge problem in act three, when it’s basically all about her. the movie completely ignores her most of the time; so when it suddenly pivots to bring her to the forefront, it’s too late for there to be any meaningful stakes or drama .
'' kiss daddy good night'' will be shown at midnight tonight and tomorrow at the variety theater. setting itself up as a midnight cult film seems like the right way for this work to find its audience, one that values ambition and a quirky vision over polish. the director and co - writer, peter ily huemer, creates a disorienting atmosphere that may have as much to do with a low budget as with style. the scenes are dark, often grainy, often with blue - tinged interiors. exteriors look so murky that even familiar new york streets appear alien, as if they belonged in someone else' s fantasy. (this is true even of a scene shot across the street from the new york times .) all this fakery - the sudden, blindingly bright shifts to daylight - can be turned to lively effect. but while'' kiss daddy good night'' has the ambitious strength of good independent film making, it also has the diffuseness that makes such works threaten to evaporate .
from the outset, their roles were clear. yves was the vulnerable, suffering artist and pierre the fiercely controlling protector: a man who, in lespert' s film, is painfully aware of his public image –
the pimp who' s found his all - star hooker
. and in the frail niney, the director has found an actor perhaps more like saint laurent than saint laurent himself ever was: tortured, intense, and yet endearingly childlike as he stumbles out of couture' s disciplined universe into the liberated decadence of the 60s .
lyle (joseph gordon - levitt, the wisecracking teenager of'' third rock from the sun'') is the newest resident of the high - security wing, having landed there after beating a schoolmate nearly to death. for all of his uncontrollable inner violence, lyle is attracted to the painfully shy, withdrawn tracy (the superb zooey deschanel). when the two begin a clandestine relationship, it proceeds more from movie star logic (the two most attractive people in any film are destined to become a couple) than it does from dramatic necessity .
if the two new films are likely to reveal anything it is this: the man himself remains an enigma. early in lespert' s film, he confides in bergé :
you know, i' m not that nice .
and you sense that not - niceness remains the largely untold part of the saint laurent story – the man who could cut friends and supporters out of his life without a backward glance, who averted his gaze from unpleasantness and who sheltered behind bergé' s aggressive energy just as completely as he sheltered behind his thick - lensed glasses .
the same is true here. so before it can do anything else, suicide squad has to introduce about a dozen new characters and make you care about them. the first third of the film is nothing but set - up—there’s origin stories, table setting, villain introductions, and more. surprisingly, all this, while excessive, is actually quite promising. it’s disjointed for sure, and things get a bit monotonous because the story isn’t really advancing, but there’s a certain energy to much of it. with this much set - up, you definitely want to see what’s next .
if this were a film of the 1950' s - - like vincente minnelli' s mental home melodrama,'' the cobweb'' - - the therapist would gently guide his patients to epiphanies ('' my mother didn' t really love me'') that would lead directly to cures and happy endings. mr. melamed knows that trope won' t wash anymore, but he doesn' t have anything to replace it; what passes for a climax here is the kids' realization that they might as well stop struggling, relax and take their medications. not exactly a revolutionary gesture that jack nicholson' s randle mcmurphy would recognize .
still, just because director agnieszka smoczyńska and robert bolesto present their characters in a consistently thoughtful light doesn' t mean that their characters' problems are consistently compelling. bolesto' s scenario may show uncommon sensitivity towards mietek, a character who is neither a one - note exploiteer nor a hapless pretty boy. but the fact that so much depends on him and silver' s romance is dispiriting, as is the film' s generally uninspired take on female sexuality. silver and gold are always compelling when they perform for a crowd because in these scenes, smoczyńska and bolesto make their heroines' process of self - actualizing as fun as a story about killer mermaids should be .
in that sense, the music ends up being almost the perfect microcosm of the film—the pieces are good, but together they somehow end up making something less than the sum of their parts. some of the action is fun, some of the characters are great, and it does reach some nice emotional peaks. but it never feels like a true, cohesive movie. it feels a b - movie—an action - packed one, but a b - movie nonethelesses—that just happens to be set in the dc universe. it’s as if ayer had too many balls to juggle and when they all came tumbling down he said, “well that’s still kind of cool. ” cool? maybe. that doesn’t make it any less disappointing .
unfortunately, once the assembled team begins their mission, that’s where suicide squad starts to go off the rails. the goal of the squad’s mission is incredibly ambiguous, gets even murkier as the narrative unfolds, and then falls apart once all is revealed at the end. plus, the at least partially cohesive tone of the first act of the film segues into a second act that’s radically different in tone, and more of a war movie than anything else. characters spend a good 20 - 30 minutes walking around just getting into gun fights. if suicide squad were merely an action movie, this would be exciting, but these characters are villains, some of whom have superpowers. merely seeing them shoot guns at things isn’t that exciting .
the second biggest role goes to harley quinn, played by margot robbie, who’s actually the exception that proves the rule. thanks in part to robbie’s memorable performance, she’s flighty, she’s unpredictable and when she’s having fun, so is the audience. she adds to every scene she’s in, and when she’s on screen, suicide squad is at its best. but she also brings the joker with her, and he brings his own problem. he’s such an iconic, important villain, and yet he’s an afterthought in the film. there’s no big, meaty, iconic joker scene for us to marvel at. his occasional appearances detract from the smaller characters the movie is actually about, to the point you almost wish he wasn’t in the movie at all .
it' s not hard to understand the fascination with the ysl story, a saga that blends wild public success with private suffering. outwardly saint laurent led a charmed life. by the age of 18, he had won an international design competition (beating future rival karl lagerfeld) and been hired by fashion' s reigning sun king, christian dior. lespert' s film begins shortly after, with yves enthroned as dior' s crown prince. as played by pierre niney, he is at once violently demanding and intensely shy, pampered and secure – as he had been in algeria – in a world of adoring women. but that sheltered, happy existence was soon to be shattered, with dior' s premature death in 1957 pushing his seemingly reluctant successor into the spotlight .
billed as'' a film noir in living color,'''' kiss daddy good night'' offers the expected seamy, noirish life that inevitably leads to murder. but its unexpected heroine is a more threatening version of susan seidelman' s harmlessly crooked downtown women. laura' s life of petty crime owes something to'' smithereens'' and'' desperately seeking susan,'' though she has an unusually intriguing modus operandi. she assumes an elaborate new identity, goes to clubs or art galleries, and puts the moves on the richest - looking man in the room. back at his place, she slips something soothing into his drink, and while he' s knocked out, she walks off with a few valuables - a 17th - century italian dagger, a painting cut out of its frame, the cat .
'' kiss daddy good night'' is frustratingly uneven, but it might give relief to anyone sated with hollywood gloss. deadly masquerade kiss daddy good night, directed by peter ily huemer; screenplay by mr. huemer and michael gabrieli; director of photography, bobby bukowski; edited by ila v. hasperg and ron goldfinger; music by don king and arto lindsay; production designer, randy benjamin; produced by maureen o' brien and william ripka; released by a beast of eden productions. at variety theater, 110 third avenue, between 13th and 14th streets. running time: 87 minutes. this film has no rating. laura... uma thurman sid... paul dillon william b. tilden... paul richards johnny... steve buscemi lara tilden... jennifer lee mitchell sue... annabelle gurwitch
hi, i can hardly believe you' ve made it this far through the website! umm welcome! this is me i guess. i was born and raised in british columbia, canada and have a passion for sorta everything. at the moment i am attending university in halifax nova scotia at dalhousie for my bachelors of science. though i am majoring in biology i have a minor in business and journalism. i love baking - like seriously love it - film, obviously, and stories. some people read books to live others life experiences, i write. i know, i' m kinda all over the map but in my eclecticness i' ve still managed to focus on this project for now an astounding 2 years. i never thought it would ever make this far but now i' m here i cannot wait to continue forward. this is me. welcome: )
disappearing when the lights are flipped on and lurching forward with a herky - jerky j - horror stagger when they’re off, “diana” is a reasonably spooky creation, even if her metaphoric function is baldly clear from the onset. the film goes overboard explaining her origins, unpacking boxes of pertinent backstory and at one point literally scrawling some expository information on the wall. but making mom the one with the “imaginary” friend is a clever reversal of a very hoary horror trope, and director david f. sandberg otherwise finds inventive ways to exploit his gimmick. the cold open, for example, makes cruelly nerve - wracking use of an overhead light on a motion - detection timer, while a later scene creates strategic blackouts from the rhythmic, blood - red pulse of the tattoo parlor’s neon sign. burning through every source of illumination imaginable, the movie almost plays like the horror - flick version of kanye’s “all of the lights”: streetlights! headlights! black lights! wind - up flashlights !
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lyle jensen is subject to sudden and violent outbursts, and he is committed to the juvenile wing of the northwood mental institution. several other youths are there with a variety of... see full summary »
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lyle jensen is subject to sudden and violent outbursts, and he is committed to the juvenile wing of the northwood mental institution. several other youths are there with a variety of serious problems. lyle interacts with other patients and staff on a human, and sometimes not so human level. the psychological problems of the patients also forms the fabric by which we see what' s right with them, and what' s wrong with the society that affects them .
most of the extras in the movie were teenagers that had actually been in hospitals to treat depression .
: you know calabasas is full of fucking j. a. p. s and daddy' s girls. i didn' t exactly have the debutante thing goin' on. one day i saw her at mcdonalds with the nose job crew. that was before i knew my place, so i sat down. my friend rolls her eyes and she says:' what, you actually think you' re good looking?' cause you walk around like you' re all hot and you' re really not.' then the whole table started to laugh. and i cried for about three days and then i fuckin' resurrect, you know? i just ...
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
its modesty of aspiration and its naturalism of style are its two most salient values .
melamed' s slavish devotion to frenetically moving hand - held camera shots is perplexing at first, looking like an obvious attempt at obtaining dogme 95 credibility .
the acting is solid and strong from early gorden - levitt and deschanel. along with the cinematography being in cheap digital font, the feel is gritty and realistic. the story isn' t deep but it' ll have you hooked for the hour and a half .
uh, i' m not gonna give you some bullshit hokey speech and tell you that if you come to some epiphany about your dad you' re gonna make a break through and everything' s gonna be pizza and blowjobs .
i' d rather feel like total shit sometimes, and god the rest of the time, than just like - ok all the time, you know? fuck mediocrity .
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after aurora carter, an ivy league - bound, ap exam enthusiast finds that her over - achieving obsessiveness lands her in a boarding school for kids with mental illnesses. now she has a singular goal: prove she doesn’t belong with the rest of the freaks. determined to fight the system, aurora makes alliances with the other girls one by one and inspires them to take control of their lives. with: shanice williams, dot - marie jones, russell andrews, nicki micheaux, vyvy nguyen. drama, female director (s), ny director (s), female screenwriter (s )
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the script, by michael bacall and blayne weaver, doesn' t break new ground dramatically: this is essentially the'' one flew over the cuckoo' s nest'' format applied to sensitive adolescents, à la'' girl, interrupted.''
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the kids are under the supervision of a therapist (don cheadle), who gathers them daily into a circle and asks them questions meant to develop their self - esteem and reduce their reliance on violence as a means of problem solving. (maybe he should turn off the television. )
mr. melamed' s real talent emerges in his handling of actors. what could easily have been an excuse for the worst sort of method excess is played here with relative naturalism and restraint. ms. deschanel, in a role filmed before her glowing work in'' the good girl'' and'' all the real girls,'' is particularly spontaneous, unaffected and emotionally direct .
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after badly beating a classmate, lyle is committed to an institution where he learns there is a thin line between' sane' and' insane.' don cheadle stars as the mental hospital' s teen counselor .
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very visceral movie about a group of problematic teenagers brought together. some scenes reminded me of one flew over the cuckoo' s nest. filmed on a low quality camera, this was gordon levitt / deschanel collaboration, and it could not be further apart from (500) days of summer. there are parts that will make you want to look away or stop watching, and some others will make you feel like you were actually part of the group. worth a watch .
kind of not really a good movie although the characters could have made it so. instead not realistic using real issues with teenagers as entertainment .
i love this movie because it shows some people i could relate to having real issues and working on them. most of the characters are amazing, but i sort of watched it for don cheadle, joseph gordon - levitt, and zooey deschanel. watch this movie because it is very important. this movie is highly recommended .
5 - star sleeper. a lower budget movie can be excellent, if cast of actors perform with the passion of this movies cast did .
it was gritty and raw, you can almost feel yourself inside the group home with them .
an epic movie with young joseph gordon levitt doing what he does best which is acting to his full potential. everyone is amazing and the story is intriguing .
so amazing, so real. this was acting at its finest... . having been in similar situations, i felt a powerful connection to this movie .
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director kalina bertin will be available for q and a after the screening on june 9th .
“well, it’s told definitively for the last time – that’s why we did it, ” bradfield told nme. “i’ve never gone into that thing of wanting to enjoy the success, because at the time it felt like it was the only escape route from all the questions and all the b - movie myths about what had happened with richey .
“by the time ‘everything must go’ had actually come out, we’d been asking ourselves a lot of questions, we’d been through a lot of other people asking us questions, we’d been through a lot of other people theorising about what had happened with richey, and by the time that success came along, i was willing to embrace it. sometimes you’ve got to allow a lot of space and time to actually have occurred between the memory and now. ”
not only is their classic ‘rise of the phoenix’ story now the stuff of rock legend, but it’s a tale the band have revisited countless times over the last 22 years; every anniversary, retrospective tour or release, and magazine cover feature. this time however, ‘escape from history’ explores the true human impact of edwards’ disappearance and the landmark record that followed, by not only getting under the skin of the band from a much more personal angle, but by going in deep with those closest to the band at the time. from the extended family of their late and current manager, to those who helped them rise to fame and put the record together, this is a much more three - dimensional and beautifully human portrayal of a very conflicting period .
“we’ve told this story so many times, so it’s great to let it breathe with so many other voices, ” revealed bassist and lyricist nicky wire. “over that period we had quite the support network. we were pretty fucked up and odd, but a lot of people stood by us .
“it feels like there’s nothing else to say about ‘everything must go’ any more. so this is a relief and a pleasure. ”
but on 1 february 1995 when edwards disappeared, the band were still reeling from the loss of their manager and mentor, philip hall. now, a childhood friend and a cornerstone of their entire ethos and manifesto was gone too. they had, for want of a better phrase, to ‘keep it real’. they shed their military uniforms, and returned with their spirit intact, but nothing to hide behind – just the music .
“richey was amazing at giving good copy in terms of soundbites, ” smiles james. “if somebody took a picture of him he knew what to do. he knew what to do when somebody put a dictaphone in front of him. suddenly i was being sent on those promotional tours around europe by sony and not nick and richey. i remember that being really scary, because there wasn’t so much of an image to talk about with ‘everything must go’. there was a wholesale clearance of that tablet of truth that came with every album .
“with ‘everything must go’, we were trying to breathe and fly and actually try and live through it and let it speak for us. so being sent to all those interviews on my own, i remember thinking ‘fuck me, this is tough’. ”
manic is a 2001 american drama film directed by jordan melamed and written by michael bacall and blayne weaver . it was shown at several film festivals in 2001 and 2002 , including the sundance film festival . the region 1 dvd was released january 20 , 2004 . this is also the first time gordon-levitt and deschanel have worked together as each other 's main interest in a film , the second being ( 500 ) days of summer . 
manic is a 2001 american drama film directed by jordan melamed and written by michael bacall and blayne weaver. it was shown at several film festivals in 2001 and 2002, including the sundance film festival. the region 1 dvd was released january 20, 2004. this is also the first time gordon-levitt and deschanel have worked together as each other's main interest in a film, the second being (500) days of summer.
manic is a 2001 american drama film directed by jordan melamed and written by michael bacall and blayne weaver. it was shown at several film festivals in 2001 and 2002, including the sundance film festival. the region 1 dvd was released january 20, 2004. this is also the first time gordon-levitt and deschanel have worked together as each other's main interest in a film, the second being (500) days of summer.