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The Cream of the Crop and Bottom of the Barrel Pt 1: 10 Star Films

By Heather Nichols, Tawfik Zone Contributor

 [Editor’s Note: This is the First of a 2-Part Series]

Now I will admit I’m probably a more lenient critic than most because I know how much money goes into these movies. Even if a movie is god awful and terrible, if there was something in there that shows someone in the creative team cared enough about what they were doing, they’ll still get a rating. When I write the review I like to think of it as a film school critique-  by the way it’s so hard to make a student film. But often times when a film is flawed it’s somewhere in its execution so my job and responsibility as a critic is trying to understand what this film was trying to do.

For a film not to get a zero ranking it has to pretty much look like no one was trying. On the flip side it is very hard for me to give a 10 star rating because a movie has to be darn near flawless, which is not easy to do, making it special and deserving of such high praise.

Films that are so bad they are good do not count because they would not earn either rating. Keep in mind these are only from the films I have seen (like The Shawshank Redemption, I will see it one day I promise) so I am not trying to intentionally snub a film in hopes of being pretentious.

So here we go…  starting with my 10/10 stars. I’ll list these in chronological order. Sequels will be one listing in the event that multiple films in the same cinematic universe are eligible. And to preface a little bit of my general criteria, it breaks down into three main categories. On a technical aspect: framing, lighting, visuals, sound, and editing. Secondly, accessibility; is the story good, are the characters believable, is this something the casual movie goer and the film critic can both enjoy? The third basis is unique for each film; how the film relates to others within its genre, sometimes how it compares to the director’s other works, and anything else that could be counted as a standout factor.  These will be relatively spoiler free, just some basic plot information given in act 1.

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Courtesy of

Broken Blossoms (1919, Griffith)

Now I know, D.W. Griffith fans, you expect the film he’s more known for, The Birth of a Nation. Here’s my issue with that film and it’s not the one you’re thinking. It’s nearly three hours long, which I know is not comfortable for most people to sit through. Also people don’t tend to realize that it’s the story of the civil war told through the loser’s perspective and get caught up in thinking it’s just all racism. This is what I like about Broken Blossoms. Sorry America, we’re terrible… in most early cinema the Asian was cast as a drunken, lecherous idiot. This film presents him as a hero, though it is done with yellow face, the message in the film is clear and it’s an apology from Griffith and it asks the audience for tolerance.

Sherlock Jr. (1924, Keaton)

Full disclosure, I like Keaton more than Chaplin. This is not to say Chaplin’s films are not worthy of 10 stars, I’ve just only seen maybe one or two of his films versus many of Keaton’s. I also really enjoy Steamboat Bill Jr as a close second and at the risk of having a dozen Keaton film’s I’m just going to include this one. One of the most impressive facts about Keaton though is he did all his own stunts, and this was before the days of advanced special effects.

Sunrise (1927, Murnau)

How can you compare the silent era to today’s films? Truth be told, the fact that they could do so much without spoken dialogue is in itself incredible. The story is simple. A farmer is unfaithful to his wife, his mistress tries to convince him to kill her, he then finds he’s really not happy with anyone but her and they fall in love again. I’m completely oversimplifying this and not doing it justice. Just trust me, it’s a great film.

Metropolis (1927, Lang)

Meanwhile in Germany… one of the greatest works of science fiction ever made was born. A film so innovative for its time it nearly bankrupted Germany’s film industry, it’s fantastic. Unfortunately we may never see it in its entirety since pieces have gone missing. If there’s only one flaw it’s that the two predominate females present in the film represent the laziest archetypes of the virgin and the whore… but at the time that was often the way it was.

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Courtesy of

The Wizard of Oz (1939, Fleming)

There’s a reason they play this film numerous times on television and back in the days before DVD and VHS when this film was played on television it was an event. Yes the story is simple but the message is such a reflection of the times; there really is no place like home. I believe this film will continue to enchant for generations to come.

Citizen Kane (1941, Welles)

To be honest I’m more afraid of a mob of film students showing up outside my house with pitch forks if I omit this film. Yes, it’s a great film but I don’t know if I can call it “the best film ever made.” The camera work, the fact that they used cheesecloth to create a ceiling in a shot, and all the other behind the scenes technical aspects are brilliant. The two issues I have with the film are essentially irrelevant to its brilliance. One being if Kane died alone in his bed, how did anyone hear his last words? The second being I completely missed “Rosebud” the first time around and at the end was like “Wait, where was that in the film?” If I needed the metaphor explained I imagine others did as well.

Double Indemnity (1944, Wilder)

Film Noir is one of those genres that is starting to re-emerge slowly into mainstream story telling. It’s a basic formula that can be cliché at times but when executed correctly can be absolutely brilliant. Of the film noirs I’ve viewed this is by far my favorite. With stars Fred MacMurray and Barbara Stanwyck directed by Billy Wilder, it’s a formula for success. What younger audiences might not be as keen to pick up on is the introduction to Stanwyck’s character, Phyllis. Without dialogue, we know she’s a bad girl and she’s out to get what she wants no matter what it takes, all through the use of a towel and Venetian blinds.

It’s a Wonderful Life (1946, Capra)

We’ve all been at a dark point in our lives where we’ve pondered if the world would be better off without us. This film doesn’t shy away from answering that question and it’s beautifully wrapped up into a Christmas film. If you think about the juxtaposition, I don’t think you could have a more appropriate pairing considering the holidays are a time of depression for many. The message still holds up today because it’s another everyman type story- the world isn’t significantly different without him there, but the people who never met him don’t have the joy in their lives that he brought to it because he was never born. It shows us to appreciate what we have. Also it stars Jimmy Stewart who is possibly one of the best actors of all time.

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Courtesy of

Singin’ in the Rain (1952, Donen and Kelly)

I confess I have a soft spot for films about film. But this one is extra special because it presents cinema in a way that explains the transition into talkies in 103 minutes versus a semester of film history. The songs are good and you haven’t lived until you’ve seen Gene Kelly perform. There’s also something just so very special about Technicolor.

Rear Window (1954, Hitchcock)

I might be in a minority thinking this is superior to Vertigo. The film has a limited set compared to many other Hitchcock films, with all the action happening in a confined space. In this way we’re almost forced into the wheelchair of Jimmy Stewart as he watches his neighbors day by day until he witnesses something out of the ordinary, a murder committed in a neighboring window. The staging is great, the suspense palpable, a film that really puts you into the shoes of its protagonist.

Some like it Hot (1959, Wilder)

I’m sorry, I haven’t seen Sunset Boulevard which is why it hasn’t shown up here. But you want a classic director look no further than Billy Wilder. This is quite possibly the best comedy that has ever been made. It has three of the greatest stars who ever lived headlining it. Also it deals with subject matter that you have to stop and think was kind of risqué for the time, especially that closing line, “well, nobody’s perfect.”

Psycho (1960, Hitchcock)

I will say most Hitchcock films can be ranked incredibly high on my personal favorite list. There are just so many reasons this film deserves the love, first upon release it was completely snubbed by critics. Oh yeah and this was after Hitch gave up almost everything to get the film made. The studios thought the idea was too vulgar, a toilet shown on camera! Heaven forbid. So it was up to him to work with what he had to get it produced, to the point he almost lost his house. Did I mention this completely redefined the slasher genre? And it’s one of the few films that gives you a heroine to follow and then kills her off, forcing you to identify with Norman Bates… yeah creepy.

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Courtesy of

The Graduate (1967, Nichols –no relation)

A film that even today’s audience might be able to relate to. A disillusioned college graduate finds himself drifting through life. Maybe less relatable in the storyline about being seduced by an older woman but finds himself torn when he falls in love with her daughter. If you turn this into a metaphor of wanting to stick to what is older and more familiar with embarrassing new changes in life it might make a little more sense. Mrs. Robinson might be one of the more complex and sympathetic females (yes I said sympathetic) to ever grace the screen.

The Godfather Parts 1 and 2 (1972-1974, Coppola)

So fun fact, I’m half Italian and a distant cousin of mine was up against Al Pacino for the role of Michael Corleone; but that’s not why this film is special to me. First off, what an ensemble cast and everyone brings their A-game. Visually it’s candy for the eyes with brilliant choices in framing and lighting. But even if you’re not a cinephile there’s a great story to go with it that can captivate you for six hours and fifteen minutes (let’s face it, you’re going to watch both in one sitting). At its root part one is about a father who leads a life of crime and his sons, one of whom has evaded the streets, even becoming a war hero. Then slowly he’s pulled into the world of crime and the hero turns into a monster. The scene where Michael says “I’m with you now,” and Don Corleone (Marlon Brando) has a single tear fall, is all the audience needs to know that this is the beginning of the end. Some argue part two tops its predecessor because Coppola was given more artistic freedom, personally I don’t think you can have the second without the first but at the same time part two embellishes part one which is why both are works of perfection.

Tune in next week for more of Heather’s 10 Star Films as well as her 0 Star Films.

Music: Interview with Singer-Songwriter E.M. Watson

On August 1st, 1981 MTV entered the airwaves. In its heyday, it opened the gates for enterprising pop musicians and innovative filmmakers who quickly transformed music videos into a new art form as well as a means to segue into bestselling concerts and other forms of filmmaking.

Although MTV has become a station for everything other than music videos, music video filmmaking is undergoing a revival from up-an-coming indie filmmakers and emerging artists, much in the same spirit of the pioneers of this mode of expression.

To honor this artistic resurgence, I will have a three-part series of interviews with the people who make music videos, one performer and two directors. Thanks to E.M. Watson, Michael Daye, and Jordan St. Martin Reyes for taking the time to correspond with me.

Courtesy of E.M. Watson

Courtesy of E.M. Watson

We begin with E.M. Watson, a Georgia based singer and songwriter, whose latest music video “Don’t Be Judgin’ Me” has won awards at local film festivals. You can check out his music with his band Playground Hero here as well as his own solo work here. You can also follow him on Twitter.

How did you become a part of Espeute Productions?

I was close friends with the founder, Daniel Espeut when he started the company in 2005. He and I worked on various film projects as a team until we eventually split off to pursue different endeavors. Daniel continued building the business while I pursued a career in fitness and martial arts. In 2009 I decided to change my career and pursue music full time and attain a Marketing Psychology degree. I built an in-home studio, enrolled in school and taught myself music production at night. Eventually I attained clients that needed my services including Espeuté Productions, where I found that I was the happiest when working on the Espeuté projects. In 2014 Daniel and I decided to join forces to build the Espeuté brand and it allowed me to utilize my marketing psychology degree as well as my musical gifts.

When people pitch video concepts to you, what qualities do you look for?

I consider myself a scenario based song writer. It’s the “moment” that inspires me to write a song. I expect that the music video concept will allow the viewer to feel and see the “moment” as I did when I was inspired to write the song. I strongly feel that a music video should be an enhancer and not a modifier. I see way too many music videos that alternate my perspective of a song because the lyrics and the video are on two different wavelengths. As an avid music lover, I want to be able to connect with the songwriter when I hear their song. I want to be able to relate my own personal experience with the songwriter’s experience and I feel that a good music video should do that.

What were your first impressions when Daniel Espeut presented you with the concept for “Don’t Be Judgin’ Me?”

At first I was a little hesitant because I wasn’t sure if it would work. He and I had never done a one take music video before and the amount of costume changes needed just seemed a little over the top. But he was very confident and I knew he was a talented individual so I trusted his vision. In a strange way I felt that he understood the underlying message of the song more than I did even though I had written it. Sometimes other people will connect more with your song and make you realize a deeper meaning for why you wrote it. I strongly believe that this was just one of those special cases.

Describe the pre-production processes of each of your music videos – Could be the One, Light Me Up, and Don’t Be Judgin Me. What were some of the major similarities between the three as well as the major differences?

For “Don’t Be Judgin’ Me” the pre-production was very long and tedious. Daniel Espeut and I spent a great deal of time getting permits, doing choreography, mapping out the location, putting together the proper team and much more. We wanted to make sure we nailed the concept because we only had 4 hours to do it and in the end there was no refund.

With “Could Be The One” and “Light Me Up” I took a stronger leadership role with the creation of the concepts. I worked a great deal with my brand manager, Daniel Goldberg on developing the concepts for the videos and we had many late night discussions on the style I was looking for. As I stated earlier, I am a scenario based songwriter and I crave simplicity and subtleties with my style of music videos. Though the concepts are different for all three music videos, you will find that they all take the viewer into one particular moment and allow them to see and feel what I am feeling.

What are some of the most exciting aspects of being a performer in the music videos? The biggest challenges?

When you perform in a music video you get the chance to give the viewer and full experience. You have to give more of yourself to the viewer in hopes that they will feel your message. Not only do you have to attempt to re-live certain experiences and portray that on film but you must dive deep into the minds of other performers and try and get them to do the same. It’s like you create a whole new world and you have to make sure everything in that world makes sense. As a performer on stage you are limited with how much you can give to the audience. Maybe with a large budget and countless rehearsals you can attempt to duplicate the effect of a music video but you only get that one chance to do it right.

E.M. Watson and Espeute Productions crew rehearsing "Don't Be Judgin' Me." Courtesy of Watson.

E.M. Watson and Espeute Productions crew rehearsing “Don’t Be Judgin’ Me.” Courtesy of Watson.

Would like to give a huge shout out to Justin Daniel, the manager of my band Playground Hero for all of the hard work he puts into our careers. I would also like to thank my band members Davon Watson, Ian Rowland and Wade Stephens for all that they do.

Chris Esper’s Hollywood Journey Pt. 2

For Part 1 of the interview, click here.

Chris Esper at iconic Hollywood sign

Chris Esper at iconic Hollywood sign

What did writing script coverage teach you about the filmmaking process?

It taught me a lot about storytelling and having a more critical perspective when watching a movie. You think you know what to look for at first, but it truly opens your eyes to more that’s in the story. It also taught me about the development process and what it takes to get a movie made in Hollywood. It’s very difficult. Quite honestly, I think during my time at OddLot, I turned down more scripts than I actually recommended. It can be few and far between to find a screenplay that’s satisfying all across the board. Sometimes the story idea could be great, but the characters aren’t well defined or vice versa.

Who were some of more interesting/colorful industry people you encountered during your stay?

I met tons of great people out there, but perhaps the most memorable for me was meeting Kenneth Johnson, who is another director whose work I admired through the years. His credits include TV shows and movies such as “The Six Million Dollar Man”, “The Bionic Woman”, “The Incredible Hulk”, “V” and “Short Circuit 2”. I had e-mailed him a few times before so he remembered me, but I e-mailed him and told him how I was in town and wanted to meet him and maybe pick his brain a little. He was very kind and invited me to his office. I walked in and the first thing I see are a bunch of photos, posters and memorabilia from his work. My eyes lit up. Anyway, we sat down for about an hour and I talked about some of things I liked about his work and he explained how did certain things in them and had some great stories, especially working with Bill Bixby on “The Incredible Hulk”.

Chris Esper with director Kenneth Johnson

Chris Esper with director Kenneth Johnson

He also mentioned that he had seen “Still Life” after I sent him a DVD a while back and he really liked it. He thought it was heartfelt and emotional. At that moment, I didn’t think this could get any better with a high compliment like that, but it did. He invited to be his guest at a three day directing class he was going to be doing in Burbank. I had heard about the class for a while, so I was very excited for this. I went and it was great. He would show a clip from something he did and explain how he did and all the cheats and tricks of the in saving time on set, working with children, animals, bad weather, etc. Very, very useful information. He asked that I keep in touch with him, which is great.

Another great event was seeing “Life Itself” at the American Cinematheque in Santa Monica. First of all, I love Roger Ebert so I was excited to see this in the theater and it’s a fantastic documentary (the best one of the year I think.) Anyway, when the film ended, I got to briefly meet director Steve James and Ebert’s wife, Chaz. Both were very nice folks and I expressed my love Ebert and how I used to watch him on television and write my own reviews in a notebook I kept as a kid. They appreciated that. In addition, I also got to meet the director of “Dear White People”, Justin Simien, also a great guy.

What were some of your favorite professional experiences?

One of my favorite professional experiences was working at one of the major studios. I can’t really get into too much detail about the gig, but it was terrific experience that could hopefully lead to more work with them. This is all thanks to a good friend of mine out there who I met at the MPI seminar.

Another great experience was volunteering at John Truby’s screenwriting workshop. He’s a script doctor in Hollywood and has a few credits including writing the original “21 Jump Street” series. I was also given access to sit in on the class and take notes much like everyone else that paid to be there. So, that was very rewarding and I learned a lot. John is also one of the nicest guys you could meet. He was very supportive of every student and has an amazing ability of making it look so easy and letting you know that anyone can do it.

The Incredible Hulk Memorabilia, Kenneth Johnson's office

The Incredible Hulk Memorabilia, Kenneth Johnson’s office

Part of my internship was taking place at Sony Pictures since we were not far from them. For me, not only was this exciting because we would be on lot, but also because I sent my script at age ten Columbia and here I was getting to go inside. It was like it all came full circle and it was a wonderful feeling.

One last thing that was great was seeing two of my films, Always a Reason and Steak Knives, play at my first West Coast festival, Culver City Film Festival. Not only were both films accepted, but Steak Knives took home the prize for Best Comedy Short, which I was really thrilled about.

What projects do you have in development?

Now that I’m back on the East Coast, my plans are finish my latest short film, Please Punish Me, that’s been in post production and now nearing the end of it. I’m really pleased with this film. It shows a continuing growth in the work I’m doing which I’m excited about. It’s a comedy about a businessman who’s life is too good and everyone around him receives the negative side of his positive gain. So, he seeks to be punished for his “curse”.

In addition, I have some short films I wish to make, thanks to a few scripts that were handed over to me, but my ultimately goal now for 2015 is to develop and begin planning my first feature film.

Chris Esper with Dear White People director Justin Simien

Chris Esper with Dear White People director Justin Simien

What are some of your future plans?

Aside from my developing projects, my plan is stay on the East Coast for a little bit and keep working on my craft and freelance and save some more money so I can go back to LA and perhaps make it a permanent stay.

Here’s to a prosperous New Year, hopefully one full of creative endeavors.

A Day at the Museum

These days whenever I go to Atlanta, I feel like a country bumpkin entering a foreign world. My latest outing to Atlanta made me realize how much I enjoy museums and that I don’t go nearly enough.

In the midst of Midtown lies the Museum of Design Atlanta (MODA), a small building that from the façade could easily escape the naked eye. Let me tell you, it is not a place to be missed. What MODA might lack in size, it more than compensates in the stellar quality of curation. Their latest exhibition on Ebony Magazine’s Fashion Show clothing from the 1960s to 2000s is a guaranteed visual feast for fashionistas, lovers of textiles, and history buffs alike.

Johnson (3rd from left). Courtesy of

Johnson (3rd from left). Courtesy of

Eunice Johnson, the director of the fashion fair, had a flair for drama and a keen ability for trendsetting setting trends. Highlights of this exhibition include a stunning yellow-gold silk Steampunk 80s gown with dramatic flamenco ruffles and mutton sleeves; a 21st century Josephine Baker-esque mini dress replete with tubey stiff chiffon ruffles; one of the few male items, a bold sequined double-breasted suit that Isaac Hayes would’ve rocked; and my favorite, a generously-patterned kimono made fresh with the addition of fur cuffs paired with a beaded light blue flapper dress.

The Johnsons gave MODA a strict stipulation that absolutely forbade photos. So you’ll have to go check it out for yourself (take the chance to go to the arresting mod red laminate bathroom while you’re at it for the sensation of being thrown into the psychedelic 60s.) And yes, the steep $10 admission for a single exhibition is totally worth it.

Across the street, the magnificent High museum (which is one of the finest cultural institutions in the world), not only allowed, but actually encouraged patrons to take photos (sans flash) to share on social media with some sort of hashtag. I’ve decided to spare the internet from my inadequate phonetography.

"Les grands arbres du Jas de Bouffan" by Paul Cezanne. Courtesy of

“Les grands arbres du Jas de Bouffan” by Paul Cezanne. Courtesy of

The High excels at laying out their exhibitions in a way that doesn’t overload the patron and showing the artists’ stylistic trajectory. This current exhibition of Cezanne and Modern Art is no different. Although I found the Cezanne works on display too soft focus, the arrangement, which presented his early sketches and landscapes, showed how his work was radically different from any other work at the time.

Nevertheless, I prefer Cezanne’s mentor Camille Pissarro as his paintings have a more vibrant and lush palette of creams and neutral colors.

"Portrait d'une jeune fille (Fille en blouse bleue)" by Chaim Soutine. Courtesy of

“Portrait d’une jeune fille (Fille en blouse bleue)” by Chaim Soutine. Courtesy of

I am partial to screamingly saturated colors, which is why I immediately fell in love with the warped pre-psychedelic portraits and colorfully cacophonous landscapes of Chaim Soutine, a painter with whom I was not familiar hitherto. Born to an impoverished Jewish family, during his career, he focused his work on portraits of the working classes. These are some of the few done of this group.

En route to the special photography exhibition, you are greeted by “the forty part motet,” a striking set-up of forty speakers, each one featuring an individual acappela voice in a 16th century choral arrangement by Janet Cardiff. Although I am tired of the influx of chamber music (especially during Christmas season), I found myself hypnotized by getting up close to each speaker and then going to the middle to hear the collective reverberation of multiple timbres.

Gordon Parks - Department Store, Birmingham Alabama (1956). Courtesy of

Gordon Parks – Department Store, Birmingham Alabama (1956). Courtesy of

Before Gordon Parks directed the 1971 version of Shaft kickstarting the brief, but glorious badass Blaxploitation genre, he created a similar ripple effect in photojournalism. On the surface, his series of photographs of a middle class black family in rural Alabama for Life magazine in the late 1950s are apolitical. Through the lens of living color, his presentation of black people as everyday, average people living lives like most white people disturbed and enraged whites for its relatability. While the overt segregation captured in these photos (such as the “whites only” entrances, water fountains, etc.) have disappeared, in many places, this remains in practice.

Also on display is the work of Leonard Freed, a white Jewish photojournalist who documented more overtly political lives of blacks in urban America. He takes a more traditional, but no less compelling, social activist track of a grainy, shadowy black and white lens.

Now that I’ve had a whiff of high culture, I’ll go back to my MO of TV bingewatching.

Review: Obvious Child (2014)

The Gentle Side of Abortion

Courtesy of

Courtesy of

For some inexplicable reason, a bunch of elitist fat middle-aged white men have decided to devote their energy to revive a prehistoric war on women’s bodies, namely their reproductive rights. Since the Obama election in 2008, abortion has resurfaced as a “hot potato” topic that has inspired an alarming amount of hostile, inappropriate behavior. Unfortunately, our supreme court has validated much of the shameless vigilantism masqueraded as religious freedom, with rulings such as the elimination of buffer zones for abortion clinics that make the women and the workers open targets for the angry, unruly mobs.

Following society’s non-controversial politically correct mindset of whitewashing hard truths, films and TV shows have largely ignored this subject in fears of receiving scrutiny from one or a group of vocal disgruntled consumers. Even the movies and TV shows have dealt with the subject matter have been ridiculously sheepish in their depiction of abortion. Reportedly, Girls a show that has a good reputation for dealing with hard-hitting issues concerning young women (a stance with which I personally disagree), had the character have an eleventh hour miscarriage in lieu of an abortion.

Courtesy of

Courtesy of

This summer, an indie comedy entitled Obvious Child has received a lot of favorable coverage from the higher end publications such as Slate, Salon, and NPR for being the first piece of entertainment since Maude or All in the Family to handle the subject in an open and honest way (and not cop out at the last second).

Contrary to my impassioned, partisan rant, Obvious Child is actually a light (but not air-headed), humorous, and intimate account of Donna (Jenny Slate), a woman pushing 30 without a steady career, though she pursues stand-up comedy on the side, where she bares all (figuratively speaking).

Courtesy of

Courtesy of

Like most current indie rom coms, it suffers from a weak first act that’s a bit too sitcomish. Instead of building character, the screenplay is preoccupied with one-liners designed for big laughs. It gives us caricatures rather than characters. For example, Donna’s boyfriend, whose eyes are callously fixated on his phone as he is breaking up with her, is so unbelievably douchy that it makes it hard to believe what she ever saw in him. The film draws out Donna’s grief, manifested in a seemingly never ending montage of her drunk messaging his answering machine and semi-stalking him, to the point that it becomes exasperating.

After another prolonged montage, this time of the drunken one-night stand between Donna and Max (Jake Lacy) a young IT man whom she met at the comedy club, the film finally settles into its groove after the revelation of Donna’s pregnancy.

Courtesy of

Courtesy of

In The last two-thirds of Obvious Child, there are two streaming plotlines that are at once connected and seperate: the brief time leading up to the abortion (on Valentine’s Day) and the blossoming romance between Donna and Max. Instead of several situations in the plot, the film finds its humor from the realistic and awkward interactions between two or three characters at a time, particularly from neurotic Donna and shy Max who stumble their way through romance.

While Gillian Robespierre’s writing and directing are good, this film is primarily an actor’s showcase.

Jenny Slate, who got her start on SNL (though she was fired after one year), has steadily built a following with her quirky, adorably crude sense of humor. Obvious Child marks her first leading role in a film. In the headlining role, Slate naturally has received a significant amount of the accolades and deservedly so. She brings a lot of charm and endearingly neurotic wit, but she also captures her character’s vulnerability. Slate is a cross between the zaniness of Gilda Radner, to whom she also bears a close physical appearance and the cutesy foul-mouth of Sarah Silverman, minus the acidic undertone.

Courtesy of

Courtesy of

However, there are some minor hiccups in her performance where she strains too hard for laughs, such as when Donna embarrassingly tries to hide her embarrassment when Max walks in on her climbing into a box of books.

In a low-key role, Lacy is just as good as Slate, if not better. He gives a nuanced performance that’s a gentile parody of the docile and slightly bland, but very sweet mid-westerner (who warms a package of butter for Donna on a date). Despite the stereotypical exterior, Lacy subtly injects his character’s dry sense of humor that becomes more apparent towards the end.

Courtesy of

Courtesy of

The entire supporting cast is first-rate. Gaby Hoffman, a former child and teen star who has successfully reinvented herself as an Indie supporting staple, is stellar as Donna’s sensible and supportive roommate/best friend. Polly Draper, who is always an asset, plays Donna’s no-nonsense but loving and compassionate mother who has a surprising secret to reveal. David “Tobias” Cross is amusingly sleazy as a wealthy self-involved comic who hits on Donna at a time when she is most vulnerable.

As in the case of many movies and TV shows (the exception being Louie), the standup performances in Obvious Child come across as stale. Possibly because of the dictates of the moviemaking process, standup loses its immediacy and spontaneity. Only the last routine where she announces her abortion publicly in a Tig Notaro style makes an impact.

Courtesy of

Courtesy of

While I didn’t find Obvious Child as hilarious as the lady in front of me, who busted her guts laughing, I certainly found it to be a refreshing change of pace from the childish inanity of most summer fare. If you’re looking for an intelligent, gentle comedy, Obvious Child was made for you.