Beloit International Film Festival: “Virginia Minnesota” is an engaging comedy-drama from next door


Take a Wendigo, a wisecracking robot and a few old secrets, and you might just have the makings of a superior comedy-drama.

Or Superior comedy-drama.

“Virginia Minnesota,” which plays Saturday at the Beloit International Film Festival (its second-ever screening after premiering at Cinequest earlier in the week) is an engaging movie from writer-director Daniel Stine that takes place in the title town, of course, as well as on the shores of Lake Superior in Grand Marais. A more welcoming invitation for the region is hard to imagine being filmed.

Lyle (Rachel Hendrix) is a travel blogger who tours the country with an unlikely companion, a “robot” (really just a rolling suitcase with a Siri-type device attached). But her travels are taking her back to Minnesota, to the reform school she was once placed in as a girl.

The woman who ran the home has died, and Lyle and several of her classmates have returned home for the reading of the will and to reconnect. (Stine has a small role as the woman’s son.) The visit stirs up memories, not all of them pleasant. Honestly, the repartee between the women is so engaging that I would have been happy to just keep the movie there and let the wine flow.

But one woman is absent – Addison (Aurora Perrineau), the wild child of the bunch, a free spirit and loose cannon who hops from tourist job to tourist job. Lyle is sent to go fetch her, and as the two old friends take a meandering road trip back, dig deeper into the buried secrets that have kept them apart since childhood. The journey gets progressively more and more zany, including an apparent run-in with a Wendigo (although Addison’s mother may be more ferocious).

Tone is a tricky thing to manage, and “Virginia Minnesota” sometimes swerves over the lines. Sometimes the drama veers into sentimentality and pathos. Sometimes the jokes feel too silly and sitcommy for such a character-driven film. (On the other hand, the robot, voiced by Aurora’s father, “Lost” actor Harold Perrineau, is the silliest running joke of all, but still had me chuckling throughout.)

But the chemistry between the female-led cast is so strong that it carries the film over any narrative bumps. The film also has unusually tight and sharp editing for such a low-budget indie, the shots capturing the idiosyncratic beauty of the region and giving the film a snappy rhythm.

“Virginia Minnesota” has its premiere at 7:30 p.m. Saturday at the Beloit International Film Festival with an encore screening at 5 p.m. Sunday. For locations, tickets, and other information about the festival, visit

UW’s Hyphenated American Film Festival kicks off this weekend at Union South


I’ve been a big fan of the Wisconsin Union Directorate’s Film Committee’s programming over the last few years — they seem to fill the Union South Marquee Theatre with just the right mix of recent hits that will bring in the students and indie films that people might have missed during their brief theatrical runs, or didn’t play in Madison at all.

One thing I’ve really liked is WUD Film’s commitment to use their fall and spring film festivals to target specific kinds of films, and subtly try to make a point with those festivals. Last spring, when there were plenty of articles about how so few female directors get the chance in Hollywood to get behind the camera, WUD responded with the Directress Film Festival, made up entirely of films made by women.

Continue reading

Milwaukee Film Festival: “Almost Sunrise,” “Cameraperson” and “The Legend of Swee’ Pea”


I only got out to the Milwaukee Film Festival for one day this year, binging on three documentaries in a row at the beautiful Oriental Theatre. But I left satisfied — all three documentaries were strong, each taking fundamentally different approaches and having fundamentally different goals. The festival continues through Thursday.

First up was “Almost Sunrise,” an express “advocacy documentary” meant to raise awareness, with the film being on the vanguard of an overt campaign to raise awareness and get action on a specific issue. In this case, the “issue” was the mental anguish that many Iraq and Afghanistan war veterans feel upon returning to the United States. Most have heard of post-traumatic stress syndrome, but a lesser-known but more prevalent problem is “moral injury,” a broad term used to describe the guilt and shame many veterans feel over what they had to do while they were in-country.

Michael Collins’ “Almost Sunrise” follows two Iraq veterans, Tom Voss and Anthony Anderson, both suffering from moral injury, leading to substance abuse, alienation from loved ones, even suicidal thoughts. In an attempt to deal with their damaged psyches, as well as raise awareness about veterans’ mental health issues, the pair embark on a five-month walk from their native Milwaukee to California.

In many ways, the 2,700-mile walk is an easier one to take than the long road back from emotional trauma. As the men walk, and talk with veterans and others who walk with them, you can see them start to unclench, open up a little to the world around them. But it’s not easy; while Anderson emerges from the journey reinvigorated and ready for change, Voss is still struggling, and only finds his breakthrough months later at a mindfulness and meditation retreat.

It’s a beautiful, empathetic film, prompting plenty of tears both on screen and in the audience at the Oriental. While the focus of headlines and cable news has moved away from Iraq and Afghanistan, “Almost Sunrise” serves as a reminder of what the veterans of those wars are still grappling with. The film provides a valuable chance to walk in the shoes of men we might not otherwise get to know.


Kristen Johnson’s “Cameraperson” is a daringly different documentary in terms of form, but provides much the same service of helping us see and understand others. Johnson is a veteran cinematographer who has traveled the world shooting documentaries, and she presents “Cameraperson” as a “memoir,” “the images that have marked me” she writes in a brief onscreen introduction.

At first, the film seems like a scrapbook of footage Johnson has shot over the years. The location is often provided, but nothing else, not even the year the footage was shot. A farmer in Bosnia. An amateur boxer in Brooklyn. A CIA “black site” in Yemen. Johnston’s own mother, who has Alzheimer’s. A hospital in Liberia, where a harried doctor has delivered one baby and trying calmly to save the oxygen-deprived twin. Johnston’s own baby twins.

Writing them out in a list like that, one can start to see where the images will connect and rhyme with one another. But watching “Cameraperson” is another experience entirely, as what seems like a random assemblage crystallizes into a finely-constructed mosaic of the human condition. Beauty and ugliness, kindness and cruelty, anger and peace, it all exists side by side, and sometimes inside each other. Returning to Bosnia years later after making a documentary about mass rapes committed there, Johnson confesses to the family she filmed that what stayed with her isn’t the atrocities, but the beautiful landscape and the warmth of the people.

And that’s the key to “Cameraperson.” In few other documentaries have we ever been so aware of the person behind the camera, choosing what to show us and what to leave out. Sometimes these choices are explicit – we see Johnson setting up a shot, getting just the right angle, composing within the frame.

But, more importantly, it’s about what Johnson chooses to film and not to film, to see and not see, whether the camera follows the nurse as she hustles out the room for help or holds on that newborn baby, gasping for life. Woven together with Johnson’s own life, her mother at the end of her life and her children at the beginning of hers, this is autobiography in its truest form, a visual document of choices made and chances taken, and missed. It’s wonderful.


Finally, “The Legend of Swee’ Pea” is an example of straight-up biographical storytelling, a sports documentary about a fascinatingly flawed individual and the choices he took and missed. The word “legend” in the title is carefully chosen – Lloyd ‘Swee’ Pea” Daniels was such a phenom on the basketball courts of New York City as a teenager that he attained an almost mythic reputation, maybe the most among those who never got the chance to see him play.

A stellar college and NBA career seemed assured, pulling a young man out of poverty. But Daniels had an almost equally masterly gift for self-sabotage – a highly touted recruit at UNLV, Daniels never even made it onto the court before he was busted for buying crack cocaine, and subsequently bounced from the university. He did end up playing a few years in the NBA in the 1990s, thanks largely to the mentorship of former UNLV coach Jerry Tarkanian. But he was just a pretty good, erratic player who never lived up to the legend.

Benjamin May’s film follows the now 49-year-old Swee’ Pea, a basketball coach who lives in hotels and goes back to Vegas to go on benders. (Drugs he swears he gave up, but alcohol not so much.) The portrait is a clear-eyed but not unsympathetic one of a man who was exploited and exploited others in turn, and though he sometimes stops his constant stream of chatter to recognize the tragedy of his life, it’s not clear whether he’s learned anything from his mistakes.

Director Benjamin May said he experienced the rollercoaster of being close to Daniels firsthand – in the movie, we hear voicemail messages of Daniels cajoling the director for $200 and getting angry when he doesn’t get it. (May said the filmmakers paid towards Daniels’ kids’ college education as a form of compensation.) Even the Milwaukee Film Festival itself got pulled into Daniels’ orbit — the festival had bought him a plane ticket to attend the screening, but got caught up in Daniels’ constant demands and equivocating, and the deal end up falling through.

MMOCA Spotlight Cinema shines on “Dheepan,” “Sand Storm” and “London Road”


While the Madison Museum of Contemporary Art’s Rooftop Cinema series in the summertime may be one of the most distinctive film series in town, the museum has plenty to offer cinephiles when it goes indoors as well. Spotlight Cinema brings eight films to the museum at 227 State Street this fall, all premieres of recent award winners at Cannes and Sundance and other critically-acclaimed independent film. Without MMOCA, it’s highly unlikely they would play theatrically in town.

The series kicks off next Wednesday with Jacques Audiard’s “Dheepan” and runs at 7 p.m. every Wednesday through mid-November. It’s free for museum members or $7 per ticket for adult in the MMOCA screening room. Here’s the schedule — I plan to have reviews of each movie up beforehand either here or at

Dheepan” (Sept. 28) — Jacques Audiard (“A Prophet,” “Rust and Bone”) drew from the real-life experiences of his lead actor, Jesuthasan Antonythasan in this drama about a former child soldier from Sri Lanka who faces more conflict when he becomes the caretaker of a violence-prone housing complex in the suburbs of Paris. The film won the Palme d’Or at the 2015 Cannes Film Festival.

Sand Storm” (Oct. 5) — This Israeli film won the World Cinema Grand Jury Prize at this year’s Sundance Film Festival, telling the story of a Bedouin woman who is forced by tradition to host the wedding party for her husband’s marriage to a second, much younger wife.

Kaili Blues” (Oct. 12) — A hypnotic and entrancing first feature from 26-year-old Chinese filmmaker Bi Gan, this film blends past, present and future in its tale of a doctor who comes to a mysterious small town seeking a lost child.

Homo Sapiens” (Oct. 19) — Listen to the Talking Heads song “Nothing But Flowers” on the way to the screening of Nicholas Geyrhalter’s new documentary, which looks at manmade spaces like malls and factories that have been abandoned by humans and are now being reclaimed by nature. A vision of a post-human civilization?

Little Sister” (Oct. 26) — Set around Halloween before another big election (Obama in 2008), this affecting comedy follows a  young nun-in-training who returns home to a hippie mother (Ally Sheedy) and traumatized Iraq Vet brother, and reverts to her old teenage Goth persona as she attempts to heal her family.


London Road” (Nov. 2) — Tom Hardy and Olivia Colman star in this unlikely cinematic opera, based on a series of murders that happened in a small British town. Every sung line is taken from the official transcripts of the case.

After the Storm” (Nov. 9) — The last film by master Japanese director Hirokazu Kore-eda (“Our Little Sister“) just played at Sundance Cinemas, and now comes his newest film, another tale of a fractured family learning to heal itself. In this case, it’s a deadbeat dad reconciling with his family amid a typhoon.

Don’t Call Me Son” (Nov. 16) — A gay teenager rebels when he learns that his mother adopted him from a wealthy conservative family in this Brazilian family drama.

Sundance Cinemas Fall Screening Room Calendar features “The Innocents,” “Mia Madre,” “Starving the Beast”


As a film critic, you sense the change of seasons before you actually feel the change in temperature.

A month ago, in the middle of the summer, I was writing one or two reviews a week, at least one of them a big blockbuster. Now I’m juggling five or six reviews a week, mostly of independent films, as the fall season gets underway. Believe me, I am not complaining.

Continue reading

Hot dog! The UW Cinematheque fall 2016 season premieres this week


We may not be ready to let go of summer just yet, but the release of the UW Cinematheque fall 2016 schedule makes digging that sweater vest out of the closet a little easier.

The free on-campus film series, which has spread from its home base at 4070 Vilas Hall to include the Marquee Theatre at Union South and the Chazen Museum of Art, features indie movie premieres, restored classics, documentaries and cult films. It’s safe to say that none of these films would play in Madison on a big screen if it wasn’t for the programmers at the Cinematheque. And it’s all free.

Continue reading

The “Mystery Science Theater 3000” cast is reunited. And it feels so good.



(Photo courtesy of City Pages)

It was somewhere in the fourth hour of my five-hour drive up to Minneapolis that I wondered to myself whether my apparently lifelong devotion to “Mystery Science Theater 3000” was worth it.

I was driving from my home in Madison up to the State Theatre in Minneapolis for the live broadcast of the Rifftrax Live “Mystery Science Theater 3000 Reunion” show on June 28. In the ‘90s, this would have been a no-brainer. It’s fair to say I was obsessed with the show – had just about every episode on videotape, MST3K Info Club card in my wallet. Many a Saturday night was built around takeout Chinese and a new episode of “MST3K.”

But that was then. Now I’ve got a career, a wife, kids. I watch and write about the DVDs from time to time, and have headed to the local movie theater for a Rifftrax simulcast event from time to time, which is a lot of fun. But it’s not essential to me in the way it was 20 years ago.

And yet still, I went to Minneapolis. And I’m so glad I did. The event will be rebroadcast in theaters on Tuesday, July 12, and if “Mystery Science Theater 3000” has meant anything at all to you over the years, I highly recommend you go.

Continue reading

Five ideas for 007 movies while we’re waiting for the next James Bond


Tom Hiddleston. Idris Elba. Jamie Bell. Maybe even Daniel Craig. Whoever ends up being the next James Bond, one thing is for sure — 007 fans will have to endure months of speculation and unconfirmed reports about who’s meeting with Barbara Broccoli to take over the role.

Now, keep in mind, that Craig has never actually said he’s not doing 007 any more — he’s made some noise about the fact that he’s sick of the role, but those comments usually come right after a bruising film shoot. And he’s not exactly known for being straight with the press in the past.

Continue reading

“Captain America: Civil War”: What do the saviors owe to the saved?


Some may find it a little silly to ascribe deeper meanings to a movie like “Captain America: Civil War,” which after is meant primarily to be a source of entertainment and profit, a summer blockbuster to maintain ongoing Marvel franchises and jumpstart new ones.

On the other hand, his name is Captain America . . .

Continue reading

Around the world in 16 movies with the UW Marquee International Film Festival


Well, this is a great idea. As foreign films seem to have a harder time breaking through into theatrical distribution (some supposedly indie distributors such as Fox Searchlight just flat-out won’t touch foreign-language movies), the Wisconsin Union Directorate is christening its first annual Marquee International Film Festival this weekend.

It features 16 films running Thursday through Sunday in the Union South Marquee Theatre, 1208 W. Dayton St. All are free. Some are films that recently played Sundance Cinemas for a week or two, others are festival hits that wouldn’t have gotten a theatrical screening in Madison, and a couple are early peeks at films that we wouldn’t otherwise see until later in the year.

Here’s a breakdown of what’s coming. Visit for more details on this and the rest of the semester’s offerings.

Continue reading