A24 A-to-Z: #65. "First Reformed" (2018)

Scene from First Reformed

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for years to come.

Review: "First Reformed" is Schrader's Unnerving, Nihilistic View of Grappling with Faith

Scene from First Reformed

The latest film from director and writer Paul Schrader is a war for balance. Early on in the film, it's established that one cannot have hope without despair. So is the struggle of Toller (Ethan Hawke), a priest about to celebrate the 250th anniversary of the First Reformed church. It's a place that's meant to bring hope, but what happens when Toller's life is nothing but despair, drawing him to alcoholism and an overwhelming sense that the Earth will perish? Schrader's vision of faith is a classic sense of nihilism, capturing what happens when despair wins the war. By the end, the film has created a scenario that would take even the most devoted viewer want to believe in hope, even as it it creates a vision of despair so uncomfortable that it's both antagonistic and blissful. 

Calm Down, "Boyhood" is Not Racist

Ellar Coltrane

It is likely that if you've been paying attention to the Oscar season, you'll know how much director Richard Linklater's Boyhood is expected to win at Sunday's awards ceremony. What you'll also probably be aware of is the controversy that has risen in the past week revolving around the film's alleged racism. If this comment makes you step back for a second, it's for a good reason. While the film doesn't feature a single act that is necessarily offensive, a writer over at Latino Rebels is taking offense to the depiction of Mexicans in the film. While her points are valid, it is really hard to back up her opinion with assurance.

A Theory on Why "Boyhood" Could Win Best Picture

Ellar Coltrane

As I wrote in the past with articles on Selma and Birdman, I feel like there is a three way tie for Best Picture between these two and director Richard Linklater's Boyhood. Where Selma captures a historical drama with a modern poignancy and Birdman captures cinematic passion through technique, neither has the emotional core that has made Boyhood a runaway hit during awards season. True, between Boyhood and Birdman, the honors have been almost predominantly split with the Best Picture equivalents looking like 26 to 22 wins. Still, with the BAFTA win this past Sunday, Boyhood is looking to be the clear favorite for a lot of reasons. The most notable of which is that it is ripe with ambition and wasn't made to be an Oscar darling, but just an impressively crafted film.

Check This Out: A Short Documentary on the Making of "Boyhood"

Like most people, I consider director Richard Linklater's Boyhood to be one of the year's best films. It is more than a nostalgic look at adolescence. It is also definitive of the technology era in ways no other film has been able to achieve. With countless accolades already to its name, it has yet to be seen how it will play this awards season. Even then, its legacy is already being mapped out with the most ambitious shooting schedule in recent history. For those that can't wait for it to hit DVD and blu ray next month, Hulu has recent released a short making of EPK that is definitely worth checking out.

Review: "Boyhood" Delivers a Powerful Coming of Age Scrapbook of the Technology Era

Ellar Coltrane

The concept of time is a fickle thing that everyone takes for granted. Oftentimes, the years blur together, creating indistinguishable moments that define our personalities, relationships, and beliefs. For decades, film has tried to effectively explore this through character studies that are varying degrees of success. Still, with most of the stories having a fabrication and oftentimes plot holes or contrivances, it seemed like we've reach the epitome of this technique. Then, with one of the most basic concepts imaginable, director Richard Linklater unleashed a new, innovative architecture with Boyhood. Exploring the life of Mason Jr. (Ellar Coltrane) from ages 6-18 while being filmed in real time, he created a profound character study that embodies youth in a decade that predominantly has felt indistinguishable. He has created the thesis for the 00's. 

The Trailer for Linklater's "Boyhood" Gives Hope of Cinema's Ambitious Future

Ellar Coltrane

If there is one film out there that has been the talk of the town from this year's Sundance Film Festival, it is Richard Linklater's Boyhood. Following a collection of actors, the story shows the growth of a boy (Ellar Coltrane) from his youth through the next 12 years of his life. As the recently released trailer shows, it is a passion project unlike any other. Where films are often delayed due to contract disagreements, this one was the most logical: reality and time. But will all of the effort live up to a quality product?

A Closer Look at the Best Adapted Screenplay Nominees

Closing out our dissection of the big Oscar categories, here is a look at the Best Adapted Screenplay nominees. Much like the Best Original Screenplay selections, this year's batch features an impressive and diverse group of nominees that reflect the best in bring a film's story to life. Some are vivacious with profane bliss (The Wolf of Wall Street) while others explore slaver (12 Years a Slave) and long term guilt (Philomena). It is an interesting group and while less interesting than its counterpart category, it is as open a race.

Review: "Before Midnight" Brings a Romance of 18 Years to a Beautiful, Insightful End

Left to right: Ethan Hawke and Julie Delpy 

It seems improbable that a trilogy as calculated as the Before series would work in the grand scheme. Unlike most trilogies, director Richard Linklater's portrayal of lovers Jesse (Ethan Hawke) and Celine (Julie Delpy) calculates the progression of a relationship in what feels like real time. The actors have aged, and so have the characters and their thought processes and beliefs. The move to set each installment in the series nine years apart almost seems ingenious in this regard, especially with almost every film series impatiently green lighting another installment for next year. However, with Before Midnight, Linklater has done something profound for cinema. He has painted a poignant, deeply detailed analysis of romance and what it means as your priorities change.