The Reel Nerds do it by the numbers when they review The Accountant.
You know how when you’re wanting to go to the movie theater and you look up all the films that are showing and there are alway at least three that you’ve never heard of, let alone have any interest in seeing? Well, good news! I’ve seen those movies. I spend most of my theater experiences in art house theaters watching those movies that you’ve never heard of and then never watch. Yeah, I’m that hipster asshole. My goal with this is to spread information out about these films, that way you can decide one of the following. “That actually sounds pretty cool! I want to see that now!” or “Man, I’m glad I decided to go see the new superhero movie!”. So without further ado, here is my article and review of Toni Erdmann.
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Foreign comedy films are the hardest genre to enjoy in my opinion. It has nothing to do with it being a comedy. I know that this is probably the first comedy I have reviewed as part of this series, but know that I do enjoy comedies. I also very much enjoy foreign films, otherwise, this series would be kind of redundant. The problem is that what makes comedy great isn’t the jokes itself, but the timing. You can’t get hit by a performers punchline if you’re reading what the performer is going to say. It ruins the timing almost always. That is what makes this films so baffling. This film is in three different languages throughout, and the timing is perfect. The film is so well crafted, not only in comedy timing but in the bare basics of pacing, that it is a pleasure to watch.
Toni Erdmann, directed by Maren Ade, was the frontrunner to win this year’s Palme d’Or at the Cannes Film Festival. Or at least is was the frontrunner until it was completely shut out. I’m seeing what won the Palme later this month so we’ll see if they made the right decision. When the presenter of the film festival introduced the film, she said that it was hard to describe. She stated that the film is about a father and daughter relationship, but with more than you would think. She said that the film is about sexism in the workplace, but in a different way than you would imagine. The film does fall under that rule. But at the end of the day, I think that those two aspects aren’t what makes this film great. This film is about humanity. The film gives its optimistic view as to how you should live your life. And that’s what makes this film so special.
Toni Erdmann follows an aged and divorced father who decides to spontaneously visit his grown and business successful daughter without warning. This sounds like a simple enough film with a simple enough idea. Sounds like a real fun hour and a half long film. Toni Erdmann is almost three hours long. Toni Erdmann has no right to be the same length as The Godfather. But Toni Erdmann wears its length better than almost every other film made this year. For how long this film is, the pacing is done so wonderfully that I never wanted the film to be over. It never felt like we were doing something that didn’t need to be there. It felt natural and fun and happy. I wasn’t waiting for the film to end, but when it did end, I embraced it and knew that I didn’t need anything else. The presenter said that this film is the fastest three-hour long film you will see this year. And she is damn right.
Part of what makes the film so great is a combination of both the lead performers, neither of which I have seen before but I am on the move to change that real quick. The male lead, played by Peter Simonischek, is so lovable and goofy while also showing real pain in some scenes. This alone makes him one of the best characters in a film this year. His big motive in life is to find humor and fun in the mundane and everyday life. The exact opposite of what his daughter, played by Sandra Hüller, believes. The daughter characters opposition of the lifestyle her father lives, you would think would give the biggest laughs. Surprisingly, to me at least, this is where most of the heart comes from. A majority of the film is the father realizing that his daughter is successful but unhappy. So what results is him doing his best to give his daughter happiness through jokes and pranks. But once you realize this, the jokes are outweighed by the knowledge of how unhappy his daughter really is, and how no matter what he does to cheer her up, he ends up just getting in the way. The film does a fantastic job of having you relate to both of the characters in ways that you never hate the other one, but you have a real family sense between the two.
A majority of the film is establishing the characters. This includes the two leads, but also includes almost every other character in the film. There is a party scene toward the end of the film, that is honestly the funniest scene I may have seen all year. Once the scene ended I thought, “This would be a good scene to show people if they didn’t want to sit through the entire film”. But what I realized after the film was over was that the scene completely fails if you don’t know who these characters are. Each character in the scene does something that calls back to a character development moment from earlier in the film. The party scene takes everything you learned about the characters from the film and gives you the biggest payoff of any film I’ve seen this year. It would have been a great place to end the film, but the film goes one step further and ends with a scene that makes you love the film even more so. I will say that this is the first film I’ve seen this year that has made me cry, and it was one of the most beautiful moments I’ve seen in a film all year.
We’re getting to the point of the year where, if I’m lucky, I’ll be saying “This is the best film I’ve seen all year” for multiple films. This is the best film I’ve seen all year. It’s beautiful. It’s hilarious. It’s heartwarming. It’s a reminder that life isn’t as horrible as we often make it out to be. There is one line in the film that hit me harder than I would have imagined, and I think I’m going to end this review with it. Because if you sit through this film, which I highly recommend, I think you will feel something you may not have felt in a long time, at least that’s how it was for me. Please, don’t loose your sense of humor.
3 years ago, I wrote a post featuring all of the catalog movies I wanted to watch at the Littleton Alamo Drafthouse in the hopes that the suggestions would eventually get programmed. Amazingly, in three years, half of my list has come true! Let’s go through the list and see what screened and what I still need screened to complete my life.
Super Mario Bros. (SCREENED)
Not long after watching this at the Esquire, it DID get programmed at the Alamo so I leveled up!
Last Action Hero (SCREENED)
Again, not long after this list was published, Last Action Hero screened and we attended!
Batteries Not Included
Sadly, still has not screened. Will probably never screen. But I still hold out hope. This movie is absolutely delightful. But I know this is a long shot.
Back to the Future Marathon (SCREENED)
Back to the Future day came in 2015 and the Alamo screened the trilogy… but I couldn’t make it. I celebrated the trilogy somewhere else that day but that doesn’t mean I accomplished my goal. I still want to watch II & III at the Alamo. Sadly, I also missed a craft dinner for BTTF II.
Baseketball
Still waiting to be screened. A favorite to quote among my friends. Not essential, but I’d like to have the ticket for it.
Hamlet (1996)
I think they did screen this but I missed it. This would be tough to program given the almost 4 hour runtime, but I want it.
Hook (SCREENED)
The Esquire got this finally but I couldn’t get there to see it that weekend. Here’s hoping Alamo will give me that second chance. Well I did that chance, and Rufio and Don’t Ask were there for a Q&A!
Howard the Duck (SCREENED)
There has to be some Alamo cult programming this is perfect for right? Well turns out they programmed it for the Mile High Sci-Fi show, so I had to endure so-so comedic commentary laid over it.
First Blood
I think I have a good chance of this getting programmed someday. But people will be surprised it’s not balls to the wall action like it’s sequels… which is why it’s my favorite. They programmed Part II as a craft dinner, so First Blood is possible.
Robocop 2
I always enjoyed this one. Want a ticket. They do the original often. Change it up and give me 2!
Star Trek VI (SCREENED)
My personal favorite of the original series. We get Wrath of Khan all the time, let’s change it up. They did it as a great craft dinner just a few weeks ago.
Suburban Commando
I got this picture off the Austin Alamo page. This could happen!!! Still waiting.
Teenage Mutant Ninja Turtles II & III (HALF – SCREENED)
No secret. Huge TMNT fan. But they never show the other two. I lost my mind when the Esquire showed TMNT: The Movie. But they’ve shown it three times since and ever time I went, some jerkoff made a joke about Ninja Rap. So there’s an audience for the second one, I know it! And I never saw the third one in the theater when it came out, so unfinished business. Well turns out, the first sequel doesn’t draw a crowd like the original because attendance was so low at TMNT 2 they’ll most likely never do it again, which ruins TMNT 3’s prospects.
UHF (SCREENED)
Another fav that is perfect for cult programming. They did it and it was fun!
Predator
I’m surprised that with as many times as I’ve heard people yell “Get to da choppah!” this doesn’t roll through Esquire Midnights more, not even around Halloween. Alamo, “Get it to da projectah!” Are you kidding me? Still not this? I swear they even showed Predator 2 at one point.
Heat
Let’s add some new ones to the list! They just did Heat in Austin with Christopher Nolan as host. All I demand is the film (but if Nolan wants to attend we won’t stop him)
Mystery Science Theater 3000: The Movie
I think I might have actually accomplished this at an Esquire Midnight… but who cares. Let’s see it at the Alamo just to be sure.
This week is NOT for the birds! (see what I did there?) Storks continues its disappointing run as a potential best-performer by giving it up to dark horse Masterminds. Most of the league invested in Storks this week when they should have believed in Deepwater Horizon, which while not the BP, didn’t have as steep a decline as predicted and thusly, Jason’s Farthouse Cineplex claims his second week of the season. It was a close race for the top 6 teams this week and now we’re at the midpoint of the season. Can Radley Cinemas hold his lead to the end? Will Movies After Ass go on an unprecedented Perfect Cinema streak?
You won’t believe your eyes when you hear the Reel Nerds review The Girl on the Train.
You know how when you’re wanting to go to the movie theater and you look up all the films that are showing and there are alway at least three that you’ve never heard of, let alone have any interest in seeing? Well, good news! I’ve seen those movies. I spend most of my theater experiences in art house theaters watching those movies that you’ve never heard of and then never watch. Yeah, I’m that hipster asshole. My goal with this is to spread information out about these films, that way you can decide one of the following. “That actually sounds pretty cool! I want to see that now!” or “Man, I’m glad I decided to go see the new superhero movie!”. So without further ado, here is my article and review of American Honey.
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God damn I needed this. By this time last year, I had a good amount of truly great films from the year that I could say belong in my top ten. Right now I only have two films there, but this is one of them. After all of the bad art house and indie films (White Girl, Anti-Viral) it is so good to have not only a great film but an artistic experience. I honestly struggle to start this review because I have not idea where to begin.
American Honey, directed by Andrea Arnold from Fishtank fame, is both beautiful and garbage at the same time. American Honey follows a young woman, played by newcomer Sasha Lane, who joins a group of misfits, lead by Shia LaBeouf and Riley Keough, to sell magazines across the country for easy cash. Regardless of how you feel about this film, it is important to understand that this film is real. This is one of the most brutal views of millennial culture I’ve seen in a long time, but it is also one of the most realistic views. These people are very much alive and whether you like it or not, these people are the majority of millennials. You might not like these characters. You might be disgusted by the events in this film and hate every word that comes out of the mouths of these characters. But that is kind of the point.
If you are in the boat that hates Shia LaBeouf, please see this film. It might not help your hatred. But this is the best performance I have seen him give probably ever. LaBeouf is a strange creature who went from being an action star to being an art house actor. It almost never happens, in fact, I can’t think of another moment where this has happened, but I respect LaBeouf for doing it. He does exactly what he wants whenever he wants. And oh my god he is fantastic in this film. You never know if you should trust him or if he is full of crap or if he is just a straight up idiot. He performs this character so well that he drags the audience through so much that you never want to see him but you can’t look away.
You can say that about a majority of this film. American Honey is like a dumpster fire, a beautiful and majestic dumpster fire. You either don’t care if it burns to the ground or you want to see it burn. Regardless, you can’t take your eyes off of it. There is a mesmerizing factor to the film, it can be disgusting but you can’t look away. The one thing I will say is that I feel that the older you are the more you will dislike the film. This film is a product of its time, and if you aren’t part of the millennial generation this might not work for you in any shape or form. Halfway through watching this film I realized that there is probably an age where if you are older than that age, you will not like this film. I will guess that age is 32.
Another thing worth mentioning is the aspect ratio of the film. I will say that whenever a film chooses to change their aspect ratio from the standard, I will immediately start to like the film more. I don’t know what it is about it, but I love it. The film is presented in 1.37 aspect ratio which makes it look a little bigger than a perfect cube. The film takes advantage of this by having the camera often be very close to the actors and very much in the action. It reminded me a lot of the cinematography in Son of Saul if that helps you figure it out. Every shot in this film is beautiful. The shots actually remind me of Instagram photos surprisingly. I’m not sure if that was on purpose to fit the theme of millennial culture, but if it is props to the film.
The only real complaint I have about the film is that it feels very long. There were a couple moments at the end where I was waiting for the film to wrap up. There were three moments that I thought, this is probably the last scene. I’m not considering this a huge issue because afterward, I started thinking about what wasn’t necessary to the film and I feel like everything in the film was necessary, the script being much tighter than I imagined it would have been. So I think the real complaint here comes down to the pacing of the film.
Recommending this film is tricky. This film is for a very specific audience. If you are in your twenties watch it and I think you will enjoy it a lot, you will be surprised at how oddly relatable the film is. If you are in your thirties I don’t imagine you will like the story or the characters, you might just find it annoying if you don’t just focus on the cinematography and other beautiful elements of the film. If you are in your forties or higher, you will hate this film and might even see it as a straight up horror film. If you have college age kids, do not watch this film. I’m pretty sure my mom is going to call me and have a serious conversation with me after watching this film.
If you listened to this week’s podcast, Ep. 270: Podcasterminds, we discussed the news that Paramount would once again be spreading the Star Trek Beyond home video release’s bonus content across different retailers. They did this before with Star Trek Into Darkness, and studios do it often with other films. But like most things today, we don’t get outraged until it directly affects us. James clearly expressed his frustrations with that model while Ryan shrugged it off as business as usual for the studios. But, I fall into James’ camp. I can’t shrug it off. I’m a Star Trek fan and “that’s just business” isn’t an acceptable excuse for me.
It’s so easy these days to get your entertainment fix online. You can order a blu-ray from Amazon and it’ll show up at your door, sometimes even before the release date. Or, you can avoid cluttering your shelf with plastic and just watch it online via digital download. In fact, the studios prefer that be your only option but that’s a discussion for a different article. So then, what’s the incentive to stand up, get in your car, battle road morons to get to the store, battle shopping morons to get to your movie, then possibly discover they’ve sold out of that movie? But wait! There’s one last copy buried under a different tag! Congratulations! You’re either old and afraid of change or you’re a collector! (Or both)
I’m not a fan of streaming. It’s convenient for trying out, exploring options for entertainment. But the selection isn’t permanent, the picture quality is always fluctuating, you usually don’t get bonus features, and there’s often a service outage when I want to watch something the most. If I LOVE a movie, I want to own it. What’s more convenient for me is to walk over to my shelf, grab the disc and put it in a blu-ray player that’ll unlock all those bonus features and play the video stream at a consistent rate as the artists intended, and do all that on a whim. Also, I’m a graphic design nerd, so creative package design and box art has an all access pass to my wallet.
So, needless to say, I’m buying Star Trek Beyond on blu-ray in November. And, I’ll walk into ANY store that sells it and come home with a couple of discs that compact the entire experience of Star Trek Beyond because it’s the 50th anniversary of Star Trek this year and Paramount is going all out on making that experience magical and memorable for fans.
Wrong!
Paramount, taking a page out of the Ferengi Rules of Acquisition, is about to exploit your fandom. How big of a fan of Star Trek are you REALLY? Are you fan enough to go to all the outlets selling Star Trek Beyond and complete the experience? C’mon pussy! There’s only one 50th Anniversary ever! You bought every series on DVD and then re-bought TOS and TNG on blu-ray, and also TOS one more time because we remastered the effects for re-broadcast and put that on a newer release! You probably even have a bunch of dusty old VHS’s with only two TOS episodes on each tape in a box somewhere. Are you really gonna argue buying 4 or 5 copies of the same movie is too expensive for you? You baby. A Klingon would kill you where you stand!
Fortunately, America is still free enough that you’re not required to buy everything Paramount produces. (But someday, mark my words, it’s coming. When companies finally rule the nation with impunity and it’s the law to buy 4 or 5 copies of a single movie because Paramount is too big to fail and such a failure would destroy the economy, you’ll buy that fucking Star Trek XXVIII brain implant!) Thus, you have a choice of which copy of Star Trek Beyond is right for you. Here’s what they’re offering format wise: http://www.startrek.com/article/beyond-blu-ray-combo-packs-available-nov-1, which is fine EXCEPT it doesn’t specify a couple things. It reads like DVD owners and 4K Ultra HD adopters don’t get bonus features and 4K doesn’t get 3D.
Now after all that, we also have retailer exclusives (incentives, but for the customer or the retailer? *wink*): http://www.startrek.com/article/star-trek-beyond-blu-ray-details-revealed with some cool things like Amazon and Walmart each have gift sets with model ships in them. But if you look closer, you’ll notice Amazon’s 4K Combo has that aforementioned 3D Blu-ray disc included in their bundle. So that must mean Amazon has the best, most complete purchase of the film? Nope. Target has it’s own second bonus disc with 45 minutes of EXCLUSIVE bonus features. iTunes gets the director’s commentary track. Best Buy has the Steelbook.
Ryan’s correct that retailers have always had product exclusives, but they were often limited to different box art which is a purely cosmetic exclusive and doesn’t limit your experience of the film. Most people don’t do this kind of research before they buy their movie so they don’t even know they’re missing anything. Can you imagine buying Harry Potter and the Cursed Child only to later discover Barnes and Noble’s copies had an extra chapter in them? People would lose their god damn minds! Comics publishers have been selling variant covers for decades but they don’t leave out pages and panels inside some books and not others. I gotta buy the $15 sketchbook variant to get the page that fleshes out the hero’s arc? Fuck yourself.
In the end, we can only vote with our wallets to encourage change. If you don’t like what Paramount is offering you, you can follow James and wait for an acceptable re-release. It’s not ideal but I’m going with the Steelbook. At the end of the day, it’s pretty special that this movie has so many options at all. Meanwhile other great films like The Nice Guys get no special treatment. I’m sure I’ll be disappointed 3 years from now when I’m exploring the special features, wanting to listen to Justin Lin and Simon Pegg’s thoughts about the film, but it’s a small price to pay for shelf image consistency.
Buy Star Trek Beyond November 1st at whichever retailer has the thing you want most. Fuck it.
If you suspected Miss Peregrine’s Home for Peculiar Children would over-perform this weekend, you’re probably feeling really good about yourself right now. Storks did surprisingly well too, leading projections for the Best Performer bonus all weekend, but not enough. When the actuals were tallied, MPHFCP won the crown and completely shook up the rankings. Congrats to Jason’s Farthouse Cineplex for his first win of the season! And props to Detonatormonkey for being the only one to roll the dice on our movie of the week, Masterminds, even though it ultimately disappointed.
(As a warning, most of this is written specifically for James in response to the latest episode of Reel Nerds Podcast for the Masterminds review. So I’ll be talking directly to him in a lot of these points, but if you want to see my full thoughts on Lynch, by all means, enjoy this article.)
Yeah. Since James decided to be rude, I thought I’m just going to review the most intense and hard to understand film David Lynch has ever made. That film is called Inland Empire and is so confusing and nonsensical that David Lynch hasn’t made another film since this because he believes that no one has figured it out yet. So yeah. This will just be me being angry and talking about David Lynch because apparently, I have nothing better to do.
First, let’s start with the basics of what is the definition of a David Lynch film. You can watch David Lynch films in two ways. The first way, which is the way that Roger Ebert believes is true, is to watch it not for plot or understanding but just as a spectacle. Just watch it for the imagery and the wacky adventures. This works for some of his films better than others. The other way to watch his films, which is the method that I follow, is to view them not as the conventional way you watch movies, but to watch them as a puzzle. A jigsaw puzzle takes time and effort to piece together. And much like a jigsaw puzzle, David Lynch is harder to figure out than most other directors working probably ever.
To compare David Lynch with another director that the Reel Nerds hate, let’s briefly look at Terry Gilliam. Both directors are surrealist artistic directors. Both both are very different kinds of surrealism. Terry Gilliam’s films feel like a dream that usually includes a fun childlike world. Terry Gilliam feels like a dream where David Lynch feels like nightmare. A common theme in all of David Lynch is innocence and the magic of following your dreams, which eventually crumbles and falls into itself for something darker and more disturbing. David Lynch, very similar to certain films made by Michael Haneke, aims not for you to enjoy the film but to feel the film. He wants you to feel uncomfortable watching his films. The last thing he wants you to feel is happy in his films, and the making of The Straight Story proves this.
David Lynch is weird I’ll give you that. You might hate his weirdness, as a matter of fact I know you hate his weirdness James, you’ve made that abundantly clear by talking about it for literally the entire month I’ve been gone and haven’t been able to defend him. Funny how that worked out. The important thing is that you need to understand that he isn’t weird because he doesn’t know what he’s doing. He knows exactly what he’s doing and to prove that I’ll point to The Straight Story. James said this is the only good film Lynch has made. Which is interesting because that is exactly what he was aiming for. The Straight Story is the only film that doesn’t follow his canon because he did it as a way to prove that’s not what you want even if you say it is. At this point he had made Twin Peaks, which revolutionized television. He made Eraserhead and The Elephant Man, both are considered some of the best films ever made. He made Blue Velvet which was his first time he decided to throw structure out the window and do whatever he wanted, which lead into Lost Highway. At this point in his career, he had established himself. People knew who he was and what he did. But you still hated him. Which is understandable because he doesn’t make films for you. But like how you talk about him today, people were saying that he is a total hack. Claiming that he just threw whatever he wanted on camera and said it was deep, tricking everyone into thinking they’re smart. To prove this motion wrong, he made The Straight Story. Why do you think it’s called The Straight Story? I’ll give you a hint, it’s because it’s a straightforward story. You can watch it and see that there are Lynch parts to it, but at the end of the day he made it to show that he could. He made a film that everyone can like and is a heartwarming tale about an old man helping his brother. Everyone loved it! And you know what happened? It was his least successful film. Even Dune did better than it at the box office. By making that film he proved that people don’t watch Lynch for straightforward stories. They watch him because of what he’s good at, giving the most accurate look at a nightmare on camera.
After making The Straight Story, he moved on to make what many consider his best film. Mulholland Drive is one of the best films ever made. It currently sits at number four of my top ten film ever made. To be frank, it is one of his more easier films to put together. I will honestly probably make an Art House Asshole for this film in the future, so I’m not going to go super into this film. But this film and Inland Empire are two films that you need to watch to figure out the codex that is the filmography of David Lynch. If you haven’t already watch Mulholland Drive. I recommend doing the Roger Ebert version of watching this film for your first time. I grantee you won’t understand it on your first watching, which might anger you. But the magic of Mulholland Drive is that once you crack this film every other Lynch film will unravel at your fingertips.
I understand that it sounds like I’m part of the David Lynch Cult of MovieMajik, but we’re almost done. The final film David Lynch has made as of writing this article is Inland Empire, and you know what is really going to piss James off? I don’t fully understand Inland Empire. But you know what film is in my top one hundred? Inland Empire. Inland Empire is the cumulation of all of David Lynch’s ideas into one three hour long film. I think there are two ways to watch Inland Empire. The first way is to watch it as the first David Lynch film you will ever see. This is good because if you can sit through all three hours of this film, you will get the basics of David Lynch and you can decide from there if you even want to bother with the rest of his filmography. The other way, which is the method I recommend, is to have Inland Empire be the last film you watch of David Lynch’s filmography. One of the major reasons why I don’t fully understand Inland Empire is because I don’t believe that Inland Empire is complete. If you look at enough guides and various interpretations of the film, you will see that Inland Empire is connected to both Mulholland Drive and Twin Peaks. Inland Empire is one major key to figuring out that David Lynch isn’t filmmaker in the traditional sense, but has dedicated his life to one giant art project. Inland Empire is the first key to seeing that every single film, including Lynch’s shorts, are connected in one way or another. Whether it be that this film is just a dream in the mind of this character from this other film, or in the Tarantino way where these two characters are from different movies but are related in this way. David Lynch isn’t making a series of films, he’s making one giant project that once he feels is complete, he will release the final piece of the puzzle that will make everything click. When it happens it will be one of the most magical moments in film history. Everything he has been working towards will make sense and he will prove that he isn’t just a filmmaker but something much more than that. He’s making something that will shock the world and we won’t know what hit us.
Or none of that will happen. It is possible that David Lynch is a hack and I’ve tricked myself into thinking all of these things because I don’t like thinking about all of the time I’ve potential wasted watching his films and deciphering his supposed codex. Maybe he made The Straight Story because he was bored of surrealism. Maybe Inland Empire is just him throwing a couple of his internet shorts into one long film for a quick buck. Maybe he got his success right away with The Elephant Man and Eraserhead and Twin Peaks that he didn’t know what to do so he bullshitted his way through Hollywood and tricked me into thinking I’m smart for liking his films. But in a way, that’s also kind of impressive.
I love David Lynch. I like puzzles, even if they are unsolvable. He’s like a hobby to me. I can come home after a long day and pop one of his films in and look for things I didn’t see before. It doesn’t bother me that he doesn’t have chapters in his blu-rays because I never watch them all the way through anyway. You can hate him. When someone has a different opinion on something in a film, that’s kind of what makes the film great. If people like Lucifer Valentine can continue to get work and make films for that audience, you can probably find a filmmaker that will make films for you. That also means you are going to see some filmmakers that you don’t like. And I think it’s important to understand that even if you don’t like them, they’re important to someone else. For every David Lynch, there is a Shane Black. For every Martin Scorsese, there is a Jeff Nicols. And I hope that everyone one day gets to find a director they love as much as I love David Lynch.
Kendal returns to tell us tales of the festival circuit when the Reel Nerds review Masterminds and Miss Peregrine’s Home for Peculiar Children.