35mm and DCP List Autumn 2012 - Access Cinema

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Brooklyn Brothers Beat The Best, The Dir: Ryan O Nan USA 2011 97 mins Cert: CLUB (TBC) Starring: Ryan O'Nan, Michael Weston, Arielle Kebbel, Jason Ritter, Wilmer Valderrama, Christopher McDonald, Melissa Leo Language: English Available: From September Formats: D-Cinema only Trailer: http://www.youtube.com/watch?v=J6jI1aPu41E When you’re in a rut, sometimes it takes something or someone unexpected to get you out. Perpetual underachiever Alex (Ryan O’Nan, who also writes and directs) finds himself on a spontaneous road trip after a determined stranger befriends him. Stacked with charming performances, The Brooklyn Brothers Beat the Best explores a quarterlife crisis caused by being professionally and personally unfulfilled. Recently dumped by his girlfriend and his band, Alex toils away at a comically depressing real-estate office, picking up solo gigs wherever he can. After an altercation with his colleague (Wilmer Valderrama), he also finds himself jobless and without purpose. After hearing one of Alex’s sets, an eccentric spectator named Jim (Michael Weston) comes up with a plan for the two of them to tour the country as a musical duo. Realizing the state of his existential quandary, Alex reluctantly joins Jim on the road. Despite gracelessly fumbling their way between bizarre shows and touring pitfalls, Alex and Jim manage to play off one another and create a strangely alluring sound. Showing significant maturity as a first time director, O’Nan embraces levity while examining the hazards of modern adulthood, and celebrating the creative, albeit socially awkward, underachieving geek in all of us. Featuring pitch-perfect cameos from Jason Ritter, Christopher McDonald and Melissa Leo as well as an undeniable chemistry between Weston and O’Nan. The Brooklyn Brothers Beat the Best makes a resounding case for living life true to yourself, no matter how much the world tells you not to. - Jane Schoettle, Tornonto International Film Festival 2011 Winner - Audience Award Florida Film Festival 2011 Cosmopolis Dir: David Cronenberg 2012 USA 109 mins Cert: 16 Starring: Robert Pattinson, Samantha Morton, Jay Baruchel, Paul Giamatti. Language: English Available: From September Formats: D-Cinema only Trailer: http://www.youtube.com/watch?v=TAhm0HR1TMw David Cronenberg's Cosmopolis is a weird, heady and entrancing portrait of individual alienation in a super-rich, corporate world where money, sex, love, happiness and death are rapidly losing all meaning. It's based on a 2003 novel by Don DeLillo, and while it offers some superficial relevance to the current financial crisis and trades in some of its
imagery and events (markets crashing, protests), this is not in any way a realist work. It takes Cronenberg back to territory he hasn't explored since eXistenZ and Crash. (This is also his first script since those films.) It's a psychosexual, more interior companion piece to films like Inside Job and Margin Call. Cosmopolis gives us a young man riding through Manhattan in a limo on a day that feels more and more like his own handmade apocalypse. He's a super-rich New Yorker, Eric Packer (Robert Pattinson), a 28-year-old billionaire captain of tech industries and money markets. He insists on travelling across town for a haircut, even though his driver warns him that a presidential visit and the funeral of a rap star are causing gridlock. Packer's world is confined to this luxury vehicle. It's full of screens and gadgets and it's here that he’s joined first by a 22-year-old whizz kid and then two women, one played by Juliette Binoche, the other by Samantha Morton. Outside, Packer encounters a protester (Mathieu Amalric) who is determined to shove a cream pie in his face, his soon-to-be-ex wife (Sarah Gadon) and a man with a serious vendetta against him (Paul Giamatti). Cosmopolis is an odyssey defined by a series of one-on-one encounters. There are prostate examinations, stripped bodies, sex, conversations about Rothko and souped-up chats on subjects such as the philosophies of financial security systems and how time is a corporate asset. Much of the talk makes no obvious sense: Cosmopolis has the air of an experimental theatre piece and trades in heightened, eroticised language. You could say it tries to turn the mind of Packer inside-out: to make the psychological real. That's tougher on film, surely, than in print, and Cosmopolis is at its best when it's otherworldly and aching with artifice. It's at its worst when it becomes weighed down by an excessive, wearying wordiness, or when it steps out of the limo – the film's self-imposed arena of surreality – and into a place more like the real world. Cosmopolis threatens to soar and to be important, but it only offers flashes of lucidity; the limo is a mesmerising bubble that is quickly burst when the film steps outside it. That said, there's a consistent air of charged, end-of-days menace running through the film, which Cronenberg handles with an unbroken sense of precision and confidence. He's well-served, too, by a leering, disintegrating Pattinson, giving a commanding, sympathetic portrait of a man being consumed by his own vanity and power. - Dave Calhoun, Time Out London Dark Horse Dir: Todd Solondz USA 2011 85 mins Cert: CLUB Starring: Jordan Gelber, Selma Blair, Mia Farrow, Christopher Walken, Donna Murphy Language: English Available: From September Formats: 35mm + D-CINEMA Trailer: http://www.youtube.com/watch?v=wqOCODCZ1OQ Deep or dreadful neuroses may be the lot of people in Todd Solondz's films — the lonely teenager in Welcome to the Dollhouse, the convicted pedophiles in Happiness and Life During Wartime, the college student who lies her way into a bout of sex with her Pulitzerwinning prof in Storytelling — but damned if the writer-director doesn't find humanity, and the scalding sympathy of wild humor, in their failings. The plus-size misfit at the center of
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35mm and DCP List Autumn 2012 - Access Cinema

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