Hello, there! My name is Preston Barta, and I am the features editor of Fresh Fiction and senior film critic at the Denton Record-Chronicle. My cinematic love story began where I was born: off planet on the isolated desert world of the Jakku system. It's there I passed the time scavenging for loose parts with my good friend Rey. One day I found an old film projector and a dusty reel of the 1975 film JAWS. It rocked my world so much that I left my kinfolk in the rearview (I so miss their morning cups of green milk) to pursue my dreams of writing about film. It wasn't long until I met two gents who said they would give me a lift. I can't recall their names, but one was an older man who liked to point a lot and the other was a tall, hairy fella. They got me as far as one of Jupiter's moons where we crossed paths with the U.S.S. Enterprise. Some pointy-eared bastard said I was clear to come aboard. He saw that I was clutching my beloved shark movie and invited me to the "moving pictures room" where he was screening the 1993 film JURASSIC PARK to his crew. He said my life would be much more prosperous if I were familiar with more work by the god named Steven Spielberg. From there, my love for cinema blossomed. Once we reached planet Earth, everything changed. I found the small town of Denton, TX, and was welcomed into the Barta family. They showed me the writings of local film critic Boo Allen. He became my hero and caused me to chase a degree in film and journalism. After my studies at graduate of the Hogwarts School of Witchcraft and Wizardry, I met some film critics who showed me the ropes and got me into my first press screening: 2011's THE GREEN LANTERN. Don't worry; I recovered just fine. MAD MAX: FURY ROAD was only four years away.
Preston Barta & James Cole Clay // Film Critics
Day 2 was a relatively chill day. The juggernauts are reserved for Sunday’s slot, so yesterday’s docket was a game of dice. Luckily for us, not everything was snake eyes.
Perhaps the title rings a bell, if you follow movie news closely. It won the Jury Prize at the Cannes Film Festival back in May and has A24 (EX MACHINA, ROOM) behind its distribution. So what is there to lose?
Your time is one possibility. AMERICAN HONEY clocks in a whopping near-three hours, and this fact undoubtedly wounded the attendance at Fantastic Fest’s screening. Not even the on-screen presence of international weirdo Shia LaBeouf was enough to put more butts in seats. It seemed as though everyone betted on the BAD BATCH, which had a shorter running time and more star power (Jason Momoa, Keanu Reeves and Jim Carrey to name a few).
Between the two films, AMERICAN HONEY was the lesser of two evils. Ignoring the running time of the film, there’s more keeping it from being the movie it could have been. The trailer hinted at the ultimate movie about youth culture today, being out on the road, finding oneself, partying and jamming tunes. While AMERICAN HONEY does cover the ground, it does so excessively to the point where you become numb to the experience.
If you’re into movies without much of a point, AMERICAN HONEY does its job. It follows an 18-year-old girl named Star (newcomer Sasha Lane) who leaves her sad Oklahoma life to jump in a van full of adolescents doing what they can to turn a dime, which includes selling magazine subscriptions to the wealthy.
After intrigue kicks out after the first hour or so, what remains is the same pretty images we’ve seen countless times before in the film. Repeated imagery and scenes can be effective (just look at SPRING BREAKERS or Richard Linklater films), but AMERICAN HONEY doesn’t offer anything to walk away and think about. It’s more focused on immersing you in its world, and it’s just not enough.
Another somewhat big film was THE AUTOPSY OF JANE DOE, one of the better films Fantastic Fest has put out thus far. It stars Emile Hirsch and Brian Cox as a father and son who run a morgue. One day, they receive a mysterious homicide victim with no apparent cause of death.
This is one of those movies where the less you know is better. What I can say is it’s a lean and frightening homage to occult films that offers some new slices of its own. You should definitely keep it on your radar, and we will keep you posted on an release information.
Where to begin with the acid dripped beauty of the animated comedy MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA. Directed by artist Dash Shaw and voiced by indie steamroller Jason Schwartzman with support by Reggie Watts, Lena Dunham, Maya Rudolph and even Susan Sarandon as one tough-as-nails lunch lady.
When Dash’s (Schwartzman) high school literally starts to sink due to an earthquake, he takes it upon himself to save his best friend Assaff (Watts) and their school paper editor Verti (Rudolph) before they meet their demise.
Shaw employs a dry and poignant wit to pair with the animation that never ceases to evolve, keeping your eyes from ever settling on one frame for more than a few seconds. MY ENTIRE HIGH SCHOOL finds meaning in forging your own path with a hip aesthetic that is hands down the most inventive animated journey seen in a feature length films in years– it’s really that impressive.
If you love movies, chances are you are in love with the artwork that accompanies the the film. 24X36: A MOVIE ABOUT MOVIE POSTERS homes in on the infinite fandom for movie posters.
The film has an affinity for the hand-drawn posters of yesterday like JAWS, THE GOONIES and RAIDERS OF THE LOST ARK. While this is a fun romp and it’s great to hear from the brains behind Austin’s own Mondo, the film becomes unfocused when commenting on posters of the present. Movie buffs and poster collectors will find lots to love and swoon over, others need not apply.
Check back for Day 3’s recap tomorrow.