By Other Voices voices@moviecitynews.com

LETTERS FROM LARRY

DEAR DAVID:

Jack Goes Boating isPhillip Seymour Hoffman’s directorial debut adapted to the screen by Bob Glaudini from his play. It’s a foray into the ordinary- every-day-people- find- true-love genre personified by the Oscar classic, Marty. Hoffman and his superb cast do a wonderful job with it by conveying the obsessive craziness that even “little” people are capable of when they’re in love.

Hesher is another impressive surprising piece of work in a well-worn indie vein. A mysterious anarchic stranger appears to upset all decorum and to teach the timid the gospel of carpe diem. The prototype is Ruth Gordon’s Maude in Harold and Maude. James Spader’s interloper in Sex, Lies, and Videotape is the darker Ibsenesque variant. Here it is the wonderful Joseph Gordon Leavitt in the title role, channelling both his inner Brando and his inner Keanu Reeves, with his shirt off, a lot his tattoos on display, and a haircut shouting, “Jesus!”

The secret trick of Hesher is that the movie is not at all about this entertaining character Levitt plays. It’s about the ten-year-old boy, furious with grief, whose life he invades. It is told from this boy’s pov. Writer directorSpencer Susser takes many cool left turns and gets a career best supporting performance by Natalie Portman.

The best most powerful American indie I’ve seen so far is Debra Granik’s Winter’s Bone, a tale of murderous family loyalties among meth-manufactuerers.

In the most economically deprived region of the Ozarks in Missouri, Ms. Granik channels her inner John Ford and Sam Peckinpah and suggests that more women are ready to enter narrative preserves where men used to have sole occupancy.

I have no idea who Chris Morris is and I’m not sure if in so-called real life I want to. His Four Lions, a political satire about an Islamic terrorist cell in London, is brilliant, scary and sick fuck funny. Here he radicalized the method of Sacha Baron Cohen and The Coens with the merciless logic of Kubrick in the days of Strangelove.

Whatever else is true, Morris has a vision and he takes no prisoners.

Larry
Sent from my iPhone

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Larry Gross is a 25 year screenwriting veteran and Winner of Sundance’s Waldo Salt Screenwriting Award for his most recent release, We Don’t Live Here Anymore.

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“We don’t have any idea what the universe is. Wise people have always told us that this is proof you shouldn’t think, because thinking leads you nowhere. You just build over this huge construction of misunderstanding, which is culture. The history of culture is the history of the misunderstandings of great thinkers. So we always have to go back to zero and begin differently. And maybe in that way you have a chance not to understand but at least not to have further misunderstandings. Because this is the other side of this question—Am I really so brave to cancel all human culture? To stop admiring the beauty in human production? It’s very difficult to say no.”
~ László Krasznahorkai

“I have a license to carry in New York. Can you believe that? Nobody knows that, [Applause] somebody attacks, somebody attacks me, oh, they’re gonna be shot. Can you imagine? Somebody says, oh, it is Trump, he’s easy pickings what do you say? Right? Oh, boy. What was the famous movie? No. Remember, no remember where he went around and he sort of after his wife was hurt so badly and kill. What?  I — Honestly, Yeah, right, it’s true, but you have many of them. Famous movie. Somebody. You have many of them. Charles Bronson right the late great Charles Bronson name of the movie come on.  , remember that? Ah, we’re gonna cut you up, sir, we’re gonna cut you up, uh-huh.

Bing!

One of the great movies. Charles Bronson, great, Charles Bronson. Great movies. Today you can’t make that movie because it’s not politically correct, right? It’s not politically correct. But could you imagine with Trump? Somebody says, oh, all these big monsters aren’t around he’s easy pickings and then shoot.”
~ Donald Trump