Tag Archives: Emilio estevez

33rd Santa Barbara International Film Festival Podcast

SBIFF 2018

It’s time again for our annual Santa Barbara International Film Festival podcast! Frank and Tim recap Frank’s journey this year at the festival, including seeing Emilio Estevez’s new film, ‘the public’ and Susan Kucera’s LIVING IN FUTURE PAST which was presented and narrated by Santa Barbara’s own Jeff Bridges. This year, Frank’s red carpet interviews included on this podcast are with Executive Director of the festival Roger Durling, Gary Oldman, producer Doug Urbanski, Willem Dafoe, Emilio Estevez, Martin Sheen, Leonard Maltin, Academy Award-nominated editor of I, TONYA Tatiana Riegel, Academy Award-nominated VFX supervisor of BLADE RUNNER 2049 John Nelson, Academy Award-nominated sound editor of THE LAST JEDI Matthew Wood, GET OUT’s Daniel Kaluuya, Jordan Peele, Guillermo del Toro, and lastly Frank talking to Ben Mendelsohn about Podcasting Them Softly’s namesake, KILLING THEM SOFTLY.

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33rd Santa Barbara International Film Festival Opening Night: Emilio Estevez’s ‘the public’

Opening the 33rd Santa Barbara International Film Festival was Emilio Estevez’s new film, ‘the public’ which is set in a library deep in the harsh Midwest winter in the heart of Cincinnati where the local homeless population seeks refuge during the day, stages a sit-in to spend the night after all the local shelters reach their maximum capacity and numerous others had frozen to death.

Estevez, Jena Malone, Alec Baldwin, and Michael K. Williams were among the stars of the film that took to the red carpet along with Martin Sheen who did not appear in the film, but was there to show support for his son.

Introducing the film with an elegant and impassioned speech was dashing Executive Director of the festival, Roger Durling, who spoke about the recent catastrophic mudslides that deeply affected the community.

‘the public’ is a gripping, topical film that is a reflection of the many humanitarian crisis in America, and particularly one; the homeless population. The film is incredibly cunning. The focal point isn’t solely aimed at the social and economic injustice of America’s homeless population, but also the opioid epidemic as well as mental illness and how it is currently viewed by the poisonous symbiotic relationship between window dressing politicians and manufactured news and how that information is then fed to the populous of America.

This film is a lot to absorb.

Estevez wrote, produced, directed, and starred in this feature and he assembled a remarkable cast from those who walked the red carpet premiere to those who did not including Jeffery Wright, Gabrielle Union, Christian Slater, and Taylor Schilling in a film that is a subtle recognition of one of Estevez’s most seminal films, John Hughes’ The Breakfast Club.

‘the public’ asks a plethora of serious and substantial questions whilst also pulling a strong emotional response from its audience. It is a great film that not only reflects present day America, but also exposing a problem that no one is seriously addressing in mainstream America.

B Movie Glory: Sand


Sand is about as tasteful and memorable as it’s title, a bland, pointless and inconsequential piece of low grade fluff that starts nowhere and ends up just about the same. Funnily enough, it attracted the attention of some fairly notable actors who show up to loiter around in a boring family melodrama that barely registers past a flatline, and wander off again without bothering to bring their character arcs to a satisfactory close. Michael Vartan is some California stud who returns home to the surfing town he grew up in only to run afoul of his nasty criminal father (Harry Dean Stanton), and two deadbeat half brothers (John Hawkes and some other dude). They’ve shown up to lay low from the cops, but instead have eyes for Vartan’s cutie pie girlfriend (Kari Wuhrur) which is where the vague trouble starts. I do mean vague, as no one really makes an effort to convince us that these characters care, let alone know about what’s going on, and any sense of real danger is stifled by lethargy. Denis Leary usually crackles with witty intensity, but not even he seems to want to play, a sorry excuse for a villain who mopes around looking like he forgot his lines and just wants to go home. Norman Reedus is wasted on a quick bit as Wuhrur’s surfer brother, and there’s equally forgettable cameos from Jon Lovitz, Emilio Estevez and Julie Delpy too, but it all goes nowhere. There isn’t even any kind of adherence to genre, no Mexican standoff, no ramp up to revenge, it just kind of drops off and leaves an absence of anything interesting in the air. Some cool Cali scenery that could be Big Sur if I remember correctly, but even then you’re better off ditching this one and going to the beach for real. 

-Nate Hill