David Gordon Green’s Snow Angels is a film that asks the viewer to accept hard truths: that any given human being is capable of maliciousness, compassion, mistakes, volatility, naïveté and the desire to do better within the same lifetime. It presents to us an ensemble of small town characters at penultimate crossroads of their lives where decisions will be made that cannot be unmade, and may shape both their futures and our perceptions of character but we must remember… they’re only human. Resisting the urge to use any sort of filmmaking gimmickry, Green forges a blunt, unforgiving yet unusually honest portrait of these people: Sam Rockwell and Kate Beckinsale give heartbreaking, career best performances as hopelessly dysfunctional divorced parents who lose their way both as a unit and as individuals following the tragic death of their infant daughter. This event spirals out around them into the community as we see murder, adultery, budding teen romance and all manner of human interaction transpire. Rockwell is a careening time bomb of emotional immaturity, a man who loves his ex wife and loved his daughter dearly but cannot reconcile his own mental health issues and his performance implodes upon itself like a dying star in a work of art that has never seen this actor more vulnerable and raw. Beckinsale ditches her glossy, restrained pretty girl image for a character that it’s easy to dismiss as unlikeable and irresponsible until you see the depth and dimension she pours into the performance, and it’s not so easy to pass judgment or condemn. Others provide vivid impressions including Griffin Dunne, Amy Sedaris, Nicky Katt, Jeannetta Arnette and Tom Noonan who bookends the film in haunting profundity as a no nonsense high school band teacher who seems almost like a godlike force or deity watching over the souls of this small northwestern town. The single uplifting plot thread is a teen romance between Olivia Thirlby and Michael Angarano, who flirt adorably, fall for each other awkwardly and discover sex, conversation and each other’s company in a realistic, down to earth and warm-hearted way, it’s a cathartic oasis of love and light amidst the dark onslaught of this overall bleak snowstorm of a narrative. What makes all of this tragedy, pain and sorrow so palatable then, you may ask? Green is a terrifically intuitive director who gets genuinely believable performances from his actors, full of naturalistic dialogue, believable idiosyncrasies and a sense that nobody in this story is simply good, simply bad or there to serve one archetype, they are all flawed human beings capable of the deepest acts of love, caring and compassion or the most callous, nightmarish violence, neglect and abuse. There’s a scene where a mother comforts her teen son who has made a traumatizing discovery and she tells him how important it is not to keep that pain bottled up, but to feel through it and it’s one of many strikingly intimate, uncommonly intelligent scenes in a film that is a meticulously edited and shot carousel of human experience. The tag line read: “Some will fly, some will fall,” and it’s applicable to our our experience as human beings overall: life is not easy for everyone, mistakes are made, love is found and lost and the cycle continues. A lot can be learned, felt, internalized and reflected upon after watching this miracle of a film.
It I believe is the low sinking fear that dwells in the pit of a comedian’s stomach, to die out there in the spotlight, to have each and every gag bring as much of a chuckle as the idea of an infant being suffocated by its own psychotic Mother. Like a potato in a hat, it doesn’t sit well with anyone but, there are those with something to say…whose audience just hasn’t been born yet.
So Domenic Migliore brings us his feature debut,ROUTINES, the story of the fall and fall of Bruce Mann (Michael Bugard), a solitary, tragic figure that uses his stage to scream a little…though it often falls on deaf ears. His spartan existence is then rejuvenated by the arrival of Darling Wednesday (Anita Nicole Brown). She becomes his muse, a vital spark, the link to life and love… stopping his slow spiral into the abyss. Theirs is a star-crossed lover’s tale with a moment of finality like you have never seen. And, though it is the catalyst that sees Bruce resume is quest toward self-destruction, it is the Eden he goes to at his hour of grace.
ROUTINES is a difficult film to write about. Not because of the film itself, but to talk about it in detail is to truly soil the experience of watching it unfold. Migilore exhibits his love of masters of Italian cinema alongside a strong Jarmusch infusion that plays in the smoky background like a jazz man high on the music. It is an immersive and emotional film, chronicling the slow internal decent of its front man, as he fights time with passive resistance against a slick and speedy modern world with which he has no connection.
Some of this might read like a bummer man…but it ain’t. While ROUTINES isn’t a date movie or something you should watch while operating heavy machinery, it has a handcrafted feel, a quiet and beautiful melancholy. It is cinema as art, and just like Coppola said at the end of Hearts of Darkness: A Filmmaker’s Apocalypse; (and I’m paraphrasing here) it was his hope that one day some little girl on a farm in Kanas would make a film with her father’s little 8mm camcorder and become the next Mozart, and that the professionalism of film would disappear…and it would really become an art form.
That is finally, how I feel about ROUTINES. A modern take on comedic tragedy stretched over a spare yet poignant canvas. It is possible to laugh one’s self to tears, but there are those who can meet with triumph and disaster, and who treat those two imposters just the same. ROUTINES carries these elements, and it is my profound hope that you will eventually have you chance to check it out.
Till that day comes, we have for you now the writer/director and his two accomplished leads for you listening pleasure…
Michael attended university and studied philosophy and film theory at the University of Michigan and Eastern Michigan University before venturing into non profit fund raising and eventually business to business sales.
Curious to pursue his creative interests, Michael began with modeling for print ads for a clothing retailer and Detroit area photographers and movie background work. He moved on to doing stand-in and featured extra work. Being heavily featured as an elite Hunt Club client in Hostel: Part III (2011) gained him attention in the indie horror community.
Michael attended acting and improv workshops, and has acted in two award winning and other shorts, cable network TV, corporate training and promotional videos, TV and internet commercials, and several independent features. From background to talent, Michael has been on the sets of over three dozen productions, and specializes in sinister, scary, and eccentric roles.
In 2013 he stepped behind the lens to do his own photography when not on set. His work has been displayed at the Damned Exhibition in Detroit, published online, in newspapers, a publication by the US Fish and Wildlife Service, in a print magazine and on one cover, have been used by celebrities for their social media profile pictures (most recently for David J of 80s goth/alternative legends Bauhaus and Love and Rockets), one celebrity IMDb photo (Jeff Hatrix, aka “Jeffrey Nothing” of Mushroomhead), and unexpected places on the internet, such as the main photo for the Clu Gulager page on Wikipedia.
Michael was asked to write an article about horror film for issue X of Michigan Movie Magazine in 2011, which sparked his interest in writing for film. Drawing upon his nearly 30 year, personal exploration of film and theory, he added screenwriter to his list of artistic skills; the script for “The Russian Sleep Experiment” feature film, adapted from the wildly popular urban legend, is the first creative result of his generation long, cinematic investigation.
His next step in his evolution as a filmmaker is producing. He co-produced the mockumentary short, Behind the Scenes of Horrorcore Hotel (2014) and a music video for punk rock band Dead in 5, which featured Don Campbell (brother of Bruce Campbell), with more to come.
Domenic Migliore grew up in the suburbs of Chicago, Illinois. At the age of 12, he started making home movies with his friends. At the age of 14, he started writing short screenplays. He entered several small writing contests and was a semi-finalist in some of them. At the age of 18, he attended Tribeca-Flashpoint Academy for film, but left early to enter a mentorship program where he met actor/writer/producer Tom Malloy. With Tom’s notes he completed the feature screenplay, “Sprawl”. The film was produced in 2011 (re-titled “Ashley”), it starred “America’s Next Top Model” winner Nicole Fox, “Two and a Half Men” star Jennifer Taylor, and Michael Madsen. The film is now available to stream (from Warner Bros. VOD) on Amazon Prime, iTunes, and Google Play. Domenic has directed 7 short films and 5 music videos. For his short “debeaked”, he received the “New Emerging Filmmaker” award at the 2013 Terror Film Festival in Philadelphia, Pennsylvania. His work has been featured on the horror anthologies “Faces of Snuff” and “Ted Bundy Had a Son”, compiled by filmmaker Shane Ryan. Domenic is also a photographer. His work has been displayed at the Los Angeles Center for Digital Art and the Black Box Gallery in Portland, Oregon. Domenic lives in Barrington, Illinois.
Anita Nicole Brown is an aspiring actress who caught the acting bug late. Although cast in many independent films, Brown still considers herself aspiring because she feels that with acting (as with anything in life) one should always look to grow and learn more. And that is what she is doing. Coming late into the field, Brown feels she has been blessed with many life experiences that have prepared her for each and every character she has and will be cast in. She has played the gamut of characters that include an action fighter (Crisis Function and Crisis Function Awakening – still filming), a detective investigating corruption (Wages of Sin: Special Tactics – still filming), a jury member trying not to be swayed by her fellow jurors (12 Angry Women – still filming), a woman who discovers her boyfriend has been cheating on her (Pieces of David) and even a mother pushed to the edge (A Woman And A Gun)! But Brown has yet to accomplish her goal: Showing the world that a Type One Diabetic (T1D) can and will accomplish anything they desire and change the perception of diabetics in this industry. After almost 17 years as a T1D, Brown has overcome so much with her diabetes especially regaining the ability to walk after fighting diabetic nerve damage in her legs and feet almost nine years ago. And now, Brown wears her diabetes each and every day. Literally! She has an insulin pump and for some productions, the thought of having an actress with such a visible device for treatment has been a bit unnerving. But in the past few years, Brown has seen a change in which production companies are writing her character in as a diabetic who is strong and determined OR they allow the pump to be worn and shown without feeling the need to address it because it does not take away from Brown’s ability to deliver the character. It is a slow change but it is one Brown is excited about accomplishing! Look out world, Anita Nicole Brown has much more to show you!
House Of Sand And Fog is an emotional thunderclap in ways you won’t see coming, leaving the viewer gutted after a finale that feels spare and detached yet wracked with emotion in the same moment. You feel haunted after witnessing the story unfold, and I was particularly affected by Ben Kingsley’s determind, tender performance for days after my viewing of the film. He plays an Iranian man, a proud man who was a Colonel in the air force in his home country, and has been forced to work construction labor jobs in America to support his family, and to keep up the appearances of their lifestyle. When neglected taxes force a troubled woman (Jennifer Connelly) out of the house she grew up in, Kingsley sees an opportunity to buy the the property for a fraction of what it’s worth, essentially leaving Connelly homeless. She has a history of alcoholism and instability, and this unfortunate situation really worsens her condition, leading to angry and confrontational behaviour towards Kingsley. He has no ill will towards her, he’s simply trying to make a better life for his family whom he loves very much. His wife (Shohreh Aghdashloo) is still very much rooted in Iranian culture, and much of what’s going on goes over her head. There’s also a cop (Ron Eldard) who strikes up a reckless romance with Connelly and tries to strong arm Kingsley into selling the house back to her, pretty much reasoning with his dick instead of his brain. This is a film that refuses to take a side, showing us unblinking and compassionate views of both people within the conflict, and never lifting a judging eyebrow. It’s a sad, sad turn of events and the film wants to show us the tragedy, but it does so with the utmost care, and always has a loving hand in presenting it’s two lead characters. Connelly is heartbreaking, showing us the burning humiliation that frays her spirit to the last sinew. Kingsley is flat out brilliant in the kind of performance that holds up for decades to come. He rightly won an Oscar for his galvanizing turn that breaks hearts and opens tear ducts. Ron Eldard is the only piece that doesn’t fit, because he’s usually not fund in this type of stuff. He’s really talented as an offbeat character actor, but just seems out of place here playing it straight, and it also doesn’t help that his character is just damn unlikable. Aghdashloo is the third leg of the acting table, and her work earned her an Oscar as well, she is plain superb. Be careful of what mood you’re in when you give this one a go, it’s pretty devastating. It’s also powerful cinema, and a story that could happen to anyone, anywhere in the world, giving us something real to latch onto and connect with.