When the festival lineup was announced, I immediately pegged it as being overloaded with heavy, dramatic films. While I could not be certain since I had only seen two of the films, a quick perusal of the summaries made up my mind. This was disappointing. One of the great things about the festival in the past was its diversity, and I am not just talking about the identity of the filmmaker. Subject matter was all over the place, as Ebert did not shy away from horror, fantasy, sci-fi, comedy, and action films in constructing the lineup. The festival used to have a Saturday matinee free to kids. For whatever the reason this came to an end several years ago, which is a shame since often these films were among the festival favorites, and they would also help to lighten the tone of the festival's darker films (one year I counted three films that included cat deaths!) The festival also used to include a 70mm film which often relied more on spectacle than talky drama, not to mention having a budget that dwarfed the typical indie film on display. Sure, the festival still has some traditions, such as the silent film accompanied by a live orchestra and a music themed film. But this year even those two films dwelt with failure and downfall. It can all be a little too much. At least no cats died.
But on to the films. I liked Museum Hours. The idea is appealing. But at 107 minutes, the film really tests the patience of the audience when there is scant plot and dialogue, not to mention being dominated by stationary photography. It could have easily been twenty minutes shorter without lessening the impact. I talked to others who volunteered that they were falling asleep during the movie, and I suspect this effect was widespread among the older Ebertfest crowd.
Short Term 12 is Brie Larson's movie. It was a big crowd pleaser, thanks in large part to the syrupy ending that managed to tie up several difficulties in such a tidy manner that made it look like it was written by a studio executive. I predict big things for Larson, who reminds me a lot of a youngish Jody Foster. Perhaps not coincidentally Larson is also dabbling in direction.
Now on to the first? film of the festival that Roger Ebert had the opportunity to see. I was with Young Adult until the ending. I am not talking about the climax at her ex's party. There is an extended denouement at the geeky Matt's place that does not ring true. It is not the resistance to change that I have a problem with, but rather that final encounter with Matt and Matt's sister's flattery. Both scenes felt forced and arbitrary. It is no surprise that some people have surmised that those last two scenes were a fiction of Mavis' "young adult" writer's mind.
Patton Oswalt continued where he left off on Day 0 with a loquacious discourse on the movie (and other things) that the moderator foolishly tried to reign in. Definitely one of my favorite festival guests in the 14 years I have been attending.
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