In the seventh big-screen outing of Teenage Mutant Ninja Turtles, the iconic quartet of Leonardo, Donatello, Raphael, and Michelangelo, known for their crime fighting and lively personalities, have undergone a notable visual evolution. Over the years, they’ve transitioned from foam latex costumes by Jim Henson’s Creature Shop to CGI creations that have continuously adapted their appearance. In “Teenage Mutant Ninja Turtles: Mutant Mayhem,” they’ve taken on a fresh, animated look, resembling hand-drawn characters with vibrant marker colors and intricate ballpoint pen details.

This departure from their earlier attempts at realism no longer aims to emulate mutated terrapins turned human-sized beings. Instead, the turtles now exude a playful, cartoonish charm, reminiscent of doodles a kid might sketch during a boring class – a perfect homage to their origins as superhero comic parodies. Their appearance has never been more appealing.

Furthermore, the turtles have been given a youthful twist, leaning into their “teenage” aspect. The film, directed by Jeff Rowe of “The Mitchells vs. the Machines” fame, features a young voice cast, including Nicolas Cantu, Micah Abbey, Brady Noon, and Shamon Brown Jr., portraying characters eager to emerge from the sewers and enroll in high school. April O’Neil, a TV reporter, has also been reimagined as a young, aspiring journalist on a scooter, guided by the goal of reinstating her canceled prom to reclaim her status. These choices infuse the movie with a delightful coming-of-age narrative, intertwining the themes of growing up and saving the world.

In this version, the turtles’ mentor, Splinter, played by Jackie Chan, embodies an overprotective guardian who’s been scarred by his encounters with humanity. Despite their training, the turtle brothers have never faced a genuine threat until the film’s events unfold. Their initial pursuit of the mysterious robber, Superfly (Ice Cube), is motivated by personal agendas. Their plan revolves around April, their newfound human friend, documenting their victory over the villain to gain acceptance from a city that often views them as monsters.

However, their quest takes an unexpected turn when they discover that Superfly is not just a criminal but an actual fly, leading a group of mutant misfits, including characters like Bepop (Seth Rogen), Rocksteady (John Cena), Leatherhead (Rose Byrne), Wingnut (Natasia Demetriou), Mondo Gecko (Paul Rudd), and Ray Fillet (Post Malone). These mutants share a common desire for acceptance, albeit through a more drastic approach – turning others into mutants to become the majority.

“Mutant Mayhem,” written by Jeff Rowe in collaboration with producers Seth Rogen, Evan Goldberg, Dan Hernandez, and Benji Samit, occasionally exudes a laid-back ’90s hip-hop vibe, which may seem oddly relaxed for a movie intended for both children and adults. Nonetheless, the film’s charm is undeniable. The turtles’ witty banter and pop-culture references make for endearing exchanges, while the film’s visual aesthetics maintain an enchanting quality, evoking the craftsmanship of handmade creations. Much like the “Spider-Verse” movies, “Mutant Mayhem” showcases the full potential of animation, building up to a chaotic finale that draws inspiration from kaiju films and New York comedies of the past.

This climactic act thrives in the animated medium, offering a joyous spectacle that encapsulates the unique essence of animation. Despite the labor challenges the industry has faced, the dedication of talented artists shines through. Films like “Spider-Verse,” with its Ben Day dots, and “Mutant Mayhem,” with its hand-drawn features and attention to detail, has brought new life and warmth into the film industry, invoking a sense of nostalgia that can’t be overlooked.

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SPOILERS IN REVIEW

Rare are the times when I feel the anguish and tragedy of a film pierce my heart more than when I saw a child poison his dog as an experiment to prove to himself the reality of his father’s suicidal behavior. Of course, a lot of context is needed to understand this specific moment in the film, but it highlights the specific perspective of the story: one of a child in the midst of a trial to determine if his mother killed his father.

Daniel, the child, lies at the center of this murder mystery and courtroom procedural “Anatomy of a Fall”, directed by Justine Triet, which won the Palme D’or at the Cannes Film Festival this year. Sandra, the mother, is accused of killing her husband, Samuel, after Daniel and Snoop return from a small hike and find Samuel dead at the stoop of their front door, after he appears to have fallen from the attic window of their three-story cabin. The rest of the story follows the subsequent investigation into the death of Samuel, along with the trial that results from Sandra being the main suspect in the potential murder, as the only person to have been in the house at the same time as Samuel’s death.

Throughout the entire film, there is a measured effort from the filmmakers to exclude every explicit scene of the death. We only see Daniel encounter the body, along with the reenactments of the death and the moments before it, seen from the footage recorded by the detectives for evidence for the investigation and criminal trial. Daniel, partly blind from a previous incident, follows along through the process, confused and attentive, trying to piece together in his mind his recollection of that morning, along with his beliefs on the death, all mirrored by the constant framing of his face on the screen, trying to extract any ounce of opinion from his expressions, as well as placing his perspective as the one of utmost importance.

The criminal trial follows shortly after, where a solid hour of the runtime is spent on deliberating on the facts of the case. The circumstances of Samuel’s death, along with the many testimonies and cross examinations feel exhilarating, as each piece of information supersedes the previous, swaying the opinion and verdict of the case from one end to another, mimicking the pattern of a pendulum for the audience. But in the center lies Daniel, as he is made to testify, while also making the conscious decision to attend every day of the trial where every ugly truth and side of his parents is revealed. From Sandra’s infidelity and resentment, to Samuel’s suicidalness and guilt over Daniel’s accident, Daniel received every piece of information he desired, and along with his experiment, decided that his mother was not guilty, and that his father indeed killed himself. His testimony was the last, and his mother was acquitted. A sensitive and thoughtful kid, he was forced to reckon with his limited perspective, as did the audience, as the film leaves the audience never feeling 100% sure of whether Sandra killed Samuel. A masterful practice on narrative restraint, the film chooses no side, and leaves you to your own devices.

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Nimona (2023) is an animated sci-fantasy comedy adapted from the graphic novel of the same name. In the film, we follow a shapeshifter, Nimona, and her plan to not have a plan. She is determined to become Ballister Boldheart’s, a disgraced knight, sidekick while Boldheart intends to prove his innocence to the Institute.

Much conversation around Nimona has been its production limbo of 8 years. While not nearly as complicated, my experience with Nimona’s story is similar. Around 2015, I was given permission to have an Instagram account after months of begging. I began to consume a lot of content on my explore page and much of which were Tumblr screenshots. Scrolling through my feed, a very peculiar shapeshifter kept popping up. I was interested in this character, however the screenshots were rarely credited, and I wasn’t ‘old enough’ to venture to Tumblr yet, so the shapeshifter’s identity was a mystery.

In 2019, I was a freshman browsing the YA section at Barnes and Noble. I hadn’t thought about the shapeshifter in quite a while; I never found out her name and she soon faded into obscurity. Nonetheless, I came across a memoir while browsing. It stood out to me for many reasons because all I could do was ask questions. What’s a memoir in pictures? Who’s ND Steveson? Why does this art style look so familiar? These questions are mundane; however, I could not shake one feeling: I’d seen this before and I loved it.

After years of lying dormant, my question was answered. It was Nimona. That Christmas, I received ND Steveson’s memoir and a copy of Nimona. I dug deep into both copies, but I found myself deeper in love with Nimona than I did when I was 11.

With a connection as deep as this, I was thrilled to attend SCAD Film Festival’s screening and Q&A with directors Nick Bruno and Troy Quane. I had seen Nimona in my bedroom surrounded by my stuffed animals, but having a reactive audience significantly elevated my viewing experience. With the film being an early screening and during class time, the crowd was smaller than what I had seen at others, however the passion and excitement facilitated by the audience conquered all expectations I had.  A film that was history in the making for both me and general audiences seemingly lacked coverage in one regard: the filmmakers’ writing journey.

During the Q&A session, I was eager to learn from the visiting directors and listen to their journey with this film. I was thrilled when Troy Quane responded to my question about Nimona’s development with one statement sticking out, “Adaptation is never straight translation.” This struck me because both Nimonas are very different plot wise, but they still impacted me all the same. While the production behind the film was hectic, I still have the same fondness as I hold towards Steveson’s Nimona.

Nimona was meant to be a shared experience and I believe most other audience members felt the same passion and excitement I felt sitting in that theater.  Whether it was their fifth viewing or their first, the audience had a moment of connection when the credits rolled and the cheering erupted. Nimona’s quest to completion was a love letter to creatives’ persistence; it was a love letter to those who could not get a sparky shapeshifter out of their head and this letter was penned by those who were dedicated to their vision and that’s, as Nimona would say, pretty metal.

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This past week SCAD Film Fest honored director Emerald Fennell with the Spotlight Director Award before a sold out screening of her new film “Saltburn” (out November 17^th). The excitement was electric as showtime approached with a line of patiently waiting attendees wrapping around the block. After an acceptance speech by Fennell, it was time for one of the most anticipated films of the festival, Saltburn. Just over two hours later when the film ended Fennell received a standing ovation from the enthusiastic audience at the Lucas Theater. In her latest film (only her second directorial outing) Emerald Fennell transports the audience to the English estate of Saltburn. Showcasing eccentric characters and wicked desires, Fennell has once again created a masterpiece.

Taking place in the beautiful Victorian-era English countryside, the events of Saltburn begin with two unlikely friends, Oliver (Barry Keoghan) and Felix (Jacob Elordi) who meet while attending the University of Oxford. Oliver, an ordinary college student, is enthralled by Felix’s wealth and popularity. When Felix invites Oliver to stay at his home, Saltburn for the summer, Oliver jumps at the opportunity. This is where the audience begins to see the dark side of Oliver’s love for Felix. As Fennell reveals the extent of Oliver’s lust for status and wealth, the film dives into darker and darker territory. Through black tie dinners and red-cup-on-the-lawn parties, romances and rivalries, Fennell spins a twisted tale of obsession through the lens of class struggle and old aristocracy.

After her directorial debut Promising Young Woman (2020) garnered 5 Oscar nominations and a win for best original screenplay, audiences have highly anticipated Saltburn, and for good reason. The film boasts an impressive cast, starring Barry Keoghan, and Jacob Elordi, who both offer incredible performances. They star alongside a supporting cast that brings the tenuous relationships and social politics of Saltburn to life. Supporting actors Rosamund Pike and Archie Madekwe deliver standout performances throughout the film. All together the cast of Saltburn masterfully portrays moral ambiguity, internal conflict, and selfish desire.

Saltburn features cinematography from Linus Sandgren, best known for his work on 2016’s La La Land which earned him the Academy Award for best Cinematography. With such a prolific cinematographer on board, it’s no surprise that Saltburn is a truly beautiful film. Sandgren captures the dream-like atmosphere of Saltburn, blending the beauty of the natural world with the early oughts U.K party scene in a way that gives the entirety of the film a consistent style, featuring brightly lit nights, and the landscapes of a summer’s day in the English countryside. It’s his beautiful use of style and contrast that reflects Fennell’s thematic messaging on the screen. I would be surprised if Sandgren’s work on Saltburn isn’t one of the main points of discussion come award season.

Saltburn will undoubtedly go down as having one of the best soundtracks of the year. Though not on the star-studded original soundtrack level of Barbie, Saltburn features a compilation of early 2000’s British pop and dance hits that set the scene perfectly. Tracks like MGMT’s Time to Pretend and The Killers’ Mr.Brightside stand in stark contrast to the dark content of the film. Sophie Ellis-Bextor’s Murder On The Dancefloor soundtracks the final scene of the film in a brilliantly choreographed solo dance number performed by Barry Keoghan. Trust me, this scene is the ultimate showstopper and is one people will certainly be talking about.

With Saltburn Emerald Fennell has cemented herself as one of the great filmmakers of her generation, going two for two spectacular films in just three years. While the graphic content and at times fast pacing may not be to every audience’s liking, the provocative and attention grabbing nature of Saltburn is sure to garner even more praise once the film hits theaters.

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While some of the excitement has died down from the summer, we still see the impact left behind by the film. The character of Barie has always been an icon of fashion, but more recently she has transitioned into an icon of feminism as well. The film confronts issues and struggles women face in their daily life head-on and they manage to slip in some light and silly dialogue to take the edge off.

However, I think it is about time we discuss the masterpiece of the soundtrack. In what is very possibly the most star-studded lineup I’ve seen for a film, I took the time to relisten to the tracks and felt compelled after my second viewing to express their significance to the overarching purpose of the piece. The creators knew what they were doing when curating the music, characterizing the scenes and immersing the viewer completely in the atmosphere of BarbieLand and forcing us to empathize with Barbie (and, in doing so, women everywhere).

By far the one that sets the tone for the film the best was “Dance the Night Away” by Dua Lipa. The film employs the song almost as a means to introduce the dynamics of BarbieLand, showing the fun pops of color and the glittering life in their society. We bare witness to the how the Kens think and behave in comparison, their competitive nature for the Barbies’ attention. This sets up foreshadowing for the future of the film. Not to mention the fantastic rhythm and catchiness, I added this to one too many playlists this summer simply because of the fun energy it brings.

“Speed Drive” by Charli XCX similarly carried the same excitable energy and tone of the film. Direct references to Barbie by name and the nostalgic take on iconic songs of the past, we feel familiarized as the audience with the rules of BarbieLand. Barbie is the center of attention, inherently everything is about her. In an ideal world, all girls would get to feel that special. The layeredness of the music itself, despite possessing the ditzy bubblegum pop feel, makes the movies worthy of time and reflection.

Then, of course, “What Was I Made For?” by Billie Eilish needs to be discussed here. The lyricism alone would have sold me, but combined with the montage of what it means to be a woman and to grow up with the influence of girlhood. The choice of visuals in combination with the writing was so impactful. I cried in the theater the first time and I can tell you I teared up again the second time around. There is something so beautiful about feeling seen and heard on your screen–even more so to be able to carry it with you in your pocket to listen to through your headphones.

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Written by Claire Lefort

When it comes to setting the table of a Michelin Star restaurant, every piece has a purpose- an
intention destined to them by the cook. Every silver fork, every crystal glass, and as Chef Slowik
has it, every unbearable person too. In this gritty satirical thriller, The Menu provides a
seat-gripping storyline heightened through the superb work of a tenacious cast, reminding us of
the most delectable taste of all: revenge.
The film starts with Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult), a couple preparing
to enjoy one of the most exquisite dining experiences in their lives. Right off the bat, the
audience is put on edge through the subtlety of character dynamics and actions, despite nothing
inherently raising any red flags. This credit directly goes to the chef’s professional and stoic
staff, in particular his right-hand woman, Elsa (Hong Chau). Her duties entail hosting the guests
and providing nothing but the best customer service, within reason. As the night proceeds,
tensions not only rise but shoot through the roof as Chef Slowik (Ralph Fiennes) reveals his true
purpose for tonight’s meal. Everyone will die.

Each person cast in this film undoubtedly brought a distinct level of commitment, specificity, and
truth to their roles. Ensemble-heavy films can be a challenge, but a clear understanding of tone
and intention is visible in every performance. The comedy is achieved honestly, revealing a
certain charm to deadpan delivery mixed with unimaginable circumstances. There’s no dipping
into this piece- you’re either all in or all out. Beginning with our leading lady, Anya Taylor-Joy is cynical, smart, and cunning.

Her character acts as a vessel for the audience, the only seemingly normal one in the room. Margot is one of us, one of the service workers of the world, so we follow her through thick and thin every step of the
way. Her boldness, intelligence, and strength make her an impactful protagonist and someone
you want to root for to the very end.

Funnily enough, despite Ralph Fiennes’ character being the supposed villain of the story, he’s also someone you want to see succeed. The brilliance behind Feinnes is his ability to reveal humanity in twisted character motives, making them real, genuine needs. There wasn’t a single moment in this film where I felt like he was undeserving, especially in his scenes with Taylor-Joy. Their performance together was utterly captivating and vulnerable. Slowik’s remorse for Margot is clear- his dealings are not with those who live in struggle, who work in service, and who do what they can to survive. Instead, his hatred lies within the top class and the privilege they live in. The overconsumers. The overindulges. Most of all, the ruiners of passion and craft.

Fiennes is intimidating, powerful, and entirely in control. His presence on film is nothing short of harrowing and riveting all tied up in one. Nicholas Hoult and Hong Chau also provide performances worth noting. To be frank, Hoult’s character is frustrating. He acts selfishly throughout the entire film, but to an extent, there is a payoff. Hoult’s ability to slowly peel back the layers of Tyler was fascinating to watch and difficult to digest. Chau’s command is more than a little satisfying. Her nonchalant demands and expectations are sometimes met with haste, yet she never loses. It’s thrilling to watch a character in service stand up for themselves without the fear of punishment, as she is simply carrying out her duties. The roles are reversed for once and the audience is left to relish in Elsa’s condescending nature.

Will Tracy and Seth Reiss created a complex story filled with complex characters, leaving the audience stunned, somewhat victorious, and hungry. This film not only provides commentary on the overconsumption of content but points a direct arrow at the ones who are the problem. My hope from this film is that more material is made about the terrifying truth of income inequality- enough so that some sort of change and major conversation can be sparked. It’s a difficult pill to swallow, but the issue will only get worse. Keep in mind that there’s strength in numbers, and The Menu has left me famished. Eat the Rich.

The post The Menu Gives us a Taste of Overconsumption and Income Differences appeared first on SCAD Radio.

At the SCAD Savannah Film Festival, Assistant Production Director, Riley Samz had the opportunity to review Glass Onion: A Knives out Mystery, which was not publicly out, now out on Netflix and no longer under review embargo we are able to share their thoughts on the film

Written by Riley Samz

A crowning highlight of the 25^th anniversary of SCAD’s annual Savannah Film Festival was an early screening of “Glass Onion: A Knives Out Mystery.”

Writer and director Rian Johnson brings his trademark twisty plot, sure to keep any audience guessing from the opening scene to the conclusion. Indeed, there is no moment in the film in which you can predict with surety the next daring plot twist or shocking revelation. The script and story are the shining star of Glass Onion, a worthy successor to the Oscar-nominated writing of its predecessor, Knives Out. It contains not just excitement and humor aplenty to forge a captive audience, but nuance and layering enough to stay trapped in minds long after the credits roll.

Though it was not excellent writing in a vacuum, as other pieces of the movie were far more than satisfactory. An ensemble cast led by superstars Daniel Craig, Edward Norton, and Janelle Monáe, the latter of which was present at SCAD’s screening, brought a performance that did the superb script justice, then elevated it even higher. Their characters, ranging from relatable to largely satirical, all brought a believability that grounded the slightly fantastical script through obvious inspiration from real-world figures.

The shooting and production quality were also remarkable and worth noting. Many scenes had an extremely artistic quality, a dramatic composition as fitting for a Renaissance painting as for the silver screen. The set and costume design each seemed like a character in themselves, making the whole world alive. Last but not least, the strong sound design was capped with an excellent score, that flowed and adapted to the rapidly changing plot and emotion. Calm orchestral was popped by dramatic violins and crescendos during plot twists amid the constantly increasing tension.

All this praise, however, is not to call Glass Onion a perfect film, as it still has its pitfalls. The two-plus hour runtime feels somewhat excessive, particularly with numerous scenes that feel more like filler rather than a notable contribution to the plot. The mood of the film also seems unstable, as if the movie can’t decide if it is a comedy or a pure mystery thriller. While relatively small details in the context of an entire film, they do break engagement and consistency and do bring the film down a bit.

What may have been perfect, however, was the presentation of the film here in Savannah. Excitement was apparent when the first wave of tickets sold out in under five minutes, weeks before the film festival ever started, and confirmed by the line stretching around the block hours before the curtains rose. Exuberance carried into and through the screening, as the captivated and active audience laughed and cheered at all the right moments, elevating Glass Onion from a film to a full experience. The experience reached its pinnacle when Janelle Monáe took the stage before the screening to receive the Spotlight Award and returned afterward for an enlightening Q&A in which she not only shared experiences from the set and her career but also offered outstanding and inspiring advice to the many students in attendance.

Overall, Glass Onion: A Knives Out Mystery stood out at the festival not just for the film itself, but for the infectious excitement that surrounded it, making for a truly unforgettable movie and experience

The post Glass Onion Thrills with Excellence and Excitement appeared first on SCAD Radio.

To give context on what the biopic is about it is essentially a long production that started 10 years ago with comedy company Funny or Die on YouTube. They released a video as a way to parody the biopics that were out at the time. The original cast for that short parody trailer of the biopic was Aaron Paul, of Breaking Bad fame as Weird Al and actress Olivia Wilde as Madonna. When it released, Eric Appel mentioned in his interview with SCAD Radio, that he had to work back to that trailer and find ways to make those bits longer and adapt it to the biopic format. The basis of the concept was to make a biopic of an artist that is still alive.

Now, if you don’t know much about Weird Al Yankovic essentially, Weird Al Yankovic is a musician, parody artist. He was essentially one of the first to have this comedy musical career which really created a foundation for parodies. It was a predecessor to YouTube videos and Minecraft parodies, I think once YouTube came out, I was the perfect demographic where I had the ability to access YouTube, a new generation to view his videos of parody songs. Weird Al made Eat It, a parody of Beat It, White and Nerdy a parody of Ridin Dirty. He did a parody of Nirvana. Weird Al is sort of a milestone to a musician in the sense that Nirvana stated Weird Al asked if he could do a parody on Smells Like Teen Spirit, that was them knowing that they’ve made it in the industry, that they’ve been recognized by pop culture. I think Weird Al Yankovic is like a transcript. He’s tuned into pop culture. He started that career in the late 70s, early 80s and is still going strong today.

This particular biopic brings the idea that if you want to leave a legacy, you can make that story your own and with Weird Al he’s obviously gonna make a parody and commentary of it. The biopic genre has advantages and disadvantages. Many artists have passed and therefore in a way do not have a say in what should be shown or not shown. Queen at least had Brian May, Roger Taylor and John Deacon to voice on behalf of Freddie Mercury. The film is about showing a little bit of himself, reflecting who he is, and bringing in new generation again. It’s also to recognize his work or to appreciate his love for music because the biopic includes several of his songs: Amish paradise, Eat it and Like a Surgeon. He took a biopic genre, and how it’s usually produced and he flips it on its head. For those who don’t really know his life story, you can’t quite tell, is this true? Is this not true? but then it’s also very blatant. With the fact that it’s not true he brings a sort of hero arc to himself. He wants to make himself a bigger legend. He’s a humble guy in real life, so within the movie, he really takes on these heroic acts or he really falls. He has a really hard character fall with alcoholism, and dealing with relationships in the biopic that, may not have happened in real life. Weird Al himself does not drink or do not drink to that level that was depicted. So he really did kind of get the nuance of the biopic, the harsh upbringing, the the need to explore in life and the college years you know, the the story arc of a biopic, but he makes it so great and comedic. It’s just a great light hearted film, especially watching it in a crowd with reactions or I’d recommend watching this with family. Definitely something that will just get the conversation going.

After the movie, Eric Appel did a QnA session. Appel mentioned that he was planning on only staying a few minutes of the screening during Film Fest, but stayed for the whole movie just because of our reactions. He could hear it and I think he was very much appreciative of the Scad and Savannah crowd because of it

This movie is a reminder that we can make our own legacies if we want to and to recognize what’s real and what’s not. Another factor I enjoyed was his, his awareness of the time era that he came up in the in, the 80s by parodying The Knicks My Sharona with his take of My Bologna. If you enjoy the 80s era and pop culture or you grew up around then, you get a laugh about what is parodied. I think that’s why Madonna is so integral to the film, because Yankovic was becoming a star in the same era as her. The fact that he just incorporated Madonna into his story, legacy and interaction with fame is something that gets a kick. The cast that goes along with it is just simply amazing. This wasn’t just a parody, but a passion project and it shows the effect that Al Yankovic has left in a comedic career and the impact he has had for others. We wouldn’t have lonely island without weird Al, or Tenacious D be as popular if it weren’t for Yankovics hold in integral foundations for that musical genre. I’m hoping more more awareness of Weird Al Yankovic comes because I was shocked that when I asked people are you going to see weird owl and many people were like, No, I don’t really know him. And I think that just shows at least for people my age, the side of YouTube that they were introduced with or even you know, parents, maybe not also showing his legacy and I think he has a refresh and restart or even just not quite a comeback because he’s been here, but I think, this movie opens up to a larger audience. It’s a reminder to do some self reflections about ourselves and the legacies that we are currently making and we would like to take it, maybe we’d like our legacies to go. I highly recommend it. It is currently out on Roku. That if you do have a Roku account to go out and support it ,So I highly recommend it. I think it’s, it’s a great watch for sure

The post A Review of ‘Weird: The Al Yankovic Story’ a Love Letter To His Career, Comedy, and Making of a Legacy appeared first on SCAD Radio.

Thirty years after losing Goose and being Iceman’s wingman, Maverick gets called back to Top Gun for one last mission, where he has everything and everyone against him except for his old friend and Commander of the U.S. Pacific fleet, Tom “Iceman” Kazansky. Besides the mission Maverick must accomplish, he has to deal with ghosts from his past, having the son of his late best friend, Rooster, as a part of his team.

The film captures the nostalgic sense of an 80’s movie, mixed with modern special effects and a youthful sense of humor and reality, that attracts both, the younger and the older audience, bringing new faces to the screen (Miles Teller, Glenn Powel) and new people as spectators as well as keeping some of the familiar faces (Tom Cruise, Val Kilmer). This is one of the aspects that made this movie more than a hit, a phenomenon. That can be reflected in the reaction of the public during the SCAD Savannah Film Festival on the night of the screening. A great amount of the public was wearing Top Gun costumes, and more than a hundred people were waiting for Miles Teller to walk down the red carpet to just see him.

The moment Teller showed up everyone was screaming and delighted to see him live. Being there was a shocking experience and just watching how the audience reacted was very fantastic to see. For those who were able to get tickets, the screening was an overwhelming environment to be in. Every time Miles would appear on the screen, the audience cheered and applauded him. Every time something exciting would happen on screen they also cheered and applauded. This film lit a spark in spectators that no one would’ve expected from the sequel of one of the most iconic movies from the 80s.

After the movie ended, Miles offered a Q&A and gained everyone’s attention for every word he said and every gesture he made. Something magical happened that night, and personally, it’s still blurry for me, and I’m sure it is for most of the audience that was in Trustees Theatre during the screening. It’s a must-see movie and if it can be watched on the big screen rather than at home on streaming platforms, the whole experience will be complete for the sound, special effects, and emotions. Going to the theatre and watching this movie is like going back to 1986 and walking out of it wanting to be a fighter pilot in the U.S. Navy. 

The post SCAD Film Fest: Top Gun With Miles Teller Soars High appeared first on SCAD Radio.

I went to the SCAD Savannah’s film fest for “The Daughter” a short film followed by the showing of “Crows are White” the two together were magnificent and I think that putting these films together wasn’t a pure accident. I want to give this warning that I watched these films and I’m going to talk about what happens in them. If you wanted to watch these films do that before! 

Let’s hop right in with the short film “The Daughter” which is a film with some phenomenal acting in it we will start with “the daughter” Ira Dubey she has fantastic chemistry with her father in the film Naseeruddin Shah who uses poetry in the pair’s conquest to search for a doctor with the needs of Ira’s character. It has a melancholy feeling right from the start of the sixteen-minute film. When we meet Chitrangada Satarupa’s character, she is Ira’s sister in the film and a doctor in a town with a curfew. Her sister’s downing attitude which to us is somewhat confusing, Ira’s character leaves with the bracelets her sister gives her, she’s heading down the road with Naseeruddin’s character and he begins to recite poetry throughout the whole movie which gives it a very nice flow. 

She has a very emotional scene behind the wheel and tells her father that she cannot do it. When she brings the man back to her sister’s hospital after giving him her mother’s bracelets it’s clear he has the chemicals to euthanize a man. Her father did not travel with her telling poetry, he was in the hospital. The doctor Ira’s character brings in begins the euthanization and Ira’s character holds her father’s hands for the last time. 

I thought that was a fantastic way to use her time and seal everything up in a tiny little bow. How could I forget the music in this film it has its very own orchestra with gives it a certain avant-garde feeling, with the use of poetry and classical music on the backdrop of a restrictive area with a woman coming to terms with saying goodbye for the last time to her dying father. 

Now on to the film “Crows are White” a Documentary film, I believe that this film should be on everyone’s must-watch list, prior to this film I hadn’t seen or even frankly heard of Ahsen Nadeem or his work but now I’m going to have to do a deep dive into his filmography. 

If you don’t love documentaries this is a great introduction, it’s set up almost like “Documentary Now!” He still tackles very serious subjects, Parents’ Approval even later in life is the whole story’s focal point. This film is supposed to be about the monastery he travels to Kyoto, Japan. He wants to follow this one monk who he thinks will shed some light on the emotional turmoil he feels toward his own religion/ his parents. 

When he arrives, he finds out the monk has taken a vow of silence and the only coverage he can get on him is on his marathon walk where if he has to stop for any reason, he has to commit suicide. If he passes the seven-year-long journey, he will become a living buddha. Once he is kicked out, he then meets Ryushin, he does the calligraphy for the monastery which is not that important, and he knows and he talks to Nadeem about how he is very depressed and hates his job but, he must take over the family temple or his family’s legacy will end with him. We see Ryushin the calligrapher, get drunk, eat meat, and even listen to death metal, citing that slipknot is his favorite, making the scenes even funnier with the very quiet monk jamming along to screamo driving down the roads of Japan. Then the film starts to take a very inwards perspective on the director when he gets married in a semi-traditional Muslim wedding, He realizes that he values what his parents think. He lets the project go and just lets himself go as well, this creates a lot of friction in his relationship with his wife dawn.

When the interview starts with the monk he has been waiting five years to have. When he does the living god begins to answer and within one sentence, he receives a phone call and the interview ends. He makes the executive decision to go to Ireland and introduce his parents to his wife. The final scene depicts dawn outside of their Airbnb or wherever they are staying in Ireland, pacing and entering the home repeatedly. Then Nadeem and his Parents turn the corner with flowers.

 I have nothing but praise. This was a fantastic film and if you have the chance to watch it you should take the offer up. The imagery has a certain home-esqe feel, and I don’t live in Kyoto unless you count Phoebe Bridgers. All jokes aside this movie on any level will find something inside you and stir. it. up. To make you feel emotions you have suppressed or even conquered will make you feel happy to know that other people go through this and that you are not alone. 

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