[EDITED BY: GRIFFIN SHERIDAN]
Hello and welcome back to an all-new installment of BEAM FROM THE BOOTH brought to you by GRAND RAPIDS FILM SOCIETY!
Thanks to everyone who joined us for our special April Fools’ Day screening of The King of Comedy last night! We’re just getting started with our April programming. If you missed our big 50th issue last week, we highly suggest going back and checking it out for a full breakdown of our April lineup, and — if you’re a newer reader — a collection of some of the best pieces we’ve published over the past year.
In this issue you’ll find details regarding not one but two great screening opportunities, starting with our own Erik Howard on this week’s Wealthy Theatre Tuesday Movie...
‘TUESDAY MOVIE’ PREVIEW
GOOD TIME
[BY: ERIK HOWARD]
“This place where we are now, it can be a lot of fun if you let it. You’re gonna have a good time.”
When the term “cult classic” is thrown around in the world of independent cinema, it’s not hard to think of a filmmaking duo that has practically built their entire filmography on the term. Josh and Benny Safdie were on nothing short of a meteoric rise as the two took daring risks in filmmaking. With their debut feature The Pleasure of Being Robbed (2008) — with Josh serving as director and Benny as editor — being screened at the 61st Cannes Film Festival in its Director’s Fortnight program, followed by their second feature (which they directed together) Daddy Longlegs (2009) screening once again at Cannes in the 62nd iteration of the festival in Fortnight again, these two had announced themselves to the world by reaching the heights many indie filmmakers dream of.
After the 2013 documentary Lenny Cooke and 2014’s memoir-based work Heaven Knows What, both screening at top festivals across the U.S. and beyond, the Safdie brothers made their return to fiction by putting themselves on the ground in the midst of the crime-ridden streets they were familiar with in their debut. Much like The Pleasure of Being Robbed, the Safdies needed to take some risks in how they could flex their already respected storytelling structures and filmmaking prowess. In July 2015, the motions for their follow up project were well underway. The brothers had confirmed their next feature in production would be a crime/caper film called Good Time, yet eyes were immediately turned to the movie from the indie, critical, AND commercial filmmaking communities because...the two announced Robert Pattinson as the lead role.
To say that the brothers took a risk in casting Robert Pattinson today does not hold the same weight as it did in 2017. In the five years prior, Pattinson had starred in a little-known film series by the name of Twilight playing the supporting role of the sparkling-skinned vampire Edward Cullen. I won’t dare to venture into the deep lore of the Twilight productions, but Pattinson became the face of a generation in a deep battle of a love triangle between vampires, werewolves, and Kristen Stewart. No matter what productions Pattinson was in pre- and during Twilight, he’d always received positive reviews amidst what could only be described as a hit-or-miss career. Yet here was his turning point: cast as the maniacally manipulative yet loving brother Constantine — Pattinson was ready to showcase a side to his craft that nowadays can sell tickets just on name alone. He led the picture during its principal photography on the streets of New York in 2016, and Good Time was released the following year.
When I think of essential independent filmmaking, Good Time always comes to the forefront of the conversation — a conversation renewed once again with Good Time showing Tuesday, April 2nd, at Wealthy Theatre — it’s hard to sing the praises and influences of this film without just aggressively encouraging a viewing. Do you start with the immaculate cinematography and its aggressive focus pulls and invasive close up shots, or its synth-heavy soundtrack driving up the tension with every beat, or is it truly as simple as ‘it’s Robert Pattinson’? All of these are factors, of course, but I don’t think I can in good faith not focus my recommendation based on the plot and dialogue of this film. What the Safdie brothers and screenwriter Ronald Bronstein have shown here is a masterclass of plot development as there is not a wasted second of screen time during this nail-biting experience.
The film follows the aforementioned Pattinson and co-director Benny Safdie as Constantine and Nicholas, respectively, portraying the Nikas brothers. Safdie’s Nick is so charming yet tragic as he plays a clearly misunderstood man who, while cognitively and socially impaired, seems to have nobody who truly has his best interests in mind. His brother Connie sees him as so much more than his impairments, yet lives a life with him on the street and in the face of crime. We know Nick and Connie’s grandmother used to be a home for the two of them, but their relationship is far from clear as Connie makes it clear from his stance with a simple “fuck grandma.” While the context of this particular conversation serves as the only exposition necessary for the entire film, the Safdies and Bronstein are here to tell a story that doesn’t get a chance to breathe like its audience. Time is of the essence if these men will find freedom from whatever fate awaits them, yet they’ll face it together.
While on the streets after a short-lived reunion, Connie ropes Nick into participating in what becomes a botched bank robbery which puts the brothers face-to-face with the law which will tear them apart. The palpable tension, escalating moments of shock, and exceptional moments of mayhem amidst Connie’s spiral over the course of a single night has Good Time making the brothers’ following feature Uncut Gems (2019) appear tame. Beneath the pandemonium that this picture ensures, however, lies a deep connection and source of love and brotherhood that allows Good Time to demonstrate its character building and exceptional performances. While Pattinson leads, he’s heavily supported by an essential performance from Buddy Duress, a hilariously manic look into Jennifer Jason Leigh’s entire acting range all in the course of five minutes, and even a fun cameo at future Captain Phillips (2013) Academy award-nominated star Barkhad Abdi. Come for them...but you’ll walk out with a whole new appreciation for how Pattinson announced himself as an actor ready for any role, as well as never being able to look at Benny Safdie again without feeling a warmth and care for a character he brought a voice and face to.
Whether you’re a screenwriter, director, cinephile, or just straight-up love a great film, Good Time is an essential watch for anyone unaware of what the independent film scene can foster. It ushers in brave new aesthetics, sounds, and action. It demonstrates its capabilities to tell the stories of the dark underbelly of the world where, even in the face of abhorrent crimes, people can demonstrate love and care in a way that saying “I’d die for you” sounds minimal. Most importantly of all, it’ll show you where the next great filmmakers truly are. For many first-time viewers, Good Time will show you just how the Safdie brothers so confidently championed Adam Sandler in Uncut Gems — or how Benny was able to land a hugely important role in Oppenheimer (2023) while being behind the camera of his own impeccable films. While the brothers have announced their split as soon as January of this year, much like Connie and Nick, you know that their hearts and minds are with one another every step of the way. If their legacy is truly on hold for what may be a long time, Good Time stands as their ultimate contribution to the past, present, and future of independent filmmaking.
*Be sure to catch GOOD TIME when it screens at Wealthy Theatre TONIGHT (4/02) at 8:00pm!*
BIRDMAN… IN CONCERT!
Our friends down at the Kalamazoo State Theater are celebrating the 10th anniversary of Alejandro Iñárritu’s BIRDMAN with a very special CONCERT SCREENING this June! Check out all the details from their official event listing:
Four-time GRAMMY® Award winner Antonio Sánchez, one of the most renowned drummers in the international jazz scene, takes the stage at Kalamazoo State Theatre on Friday, June 28 for the 10th anniversary celebration of Birdman, Alejandro Iñárritu’s Academy Award winning Best Picture starring Michael Keaton, Edward Norton, Emma Stone and Naomi Watts. During a screening of the film, Sánchez will recreate his score, but as Sánchez improvised most of the original music for the film, each performance is unique — a showcase of his musical creativity. This performance immerses the audience in the riveting film while experiencing the power of storytelling through live music.
Born in Mexico City, he began playing the drums at the age of five, and was playing professionally by the time he was a teenager. He pursued a degree in classical piano at the National Conservatory in Mexico and later graduated magna cum laude from both the Berklee College of Music and the New England Conservatory. He collaborated with Pat Metheny for 18 years, and has worked with greats such as Chick Corea, Gary Burton, Michael Brecker and Charlie Haden. His latest album, SHIFT, features Trent Reznor and Dave Mathews. Said The New York Times, “[Sanchez is] one of the standout jazz drummers on the contemporary scene, a polyrhythmic ace attuned to the subtlest dynamic fluctuations.” Said 20-time GRAMMY® winner Metheny, “I honestly never thought a musician like him would ever be born. He’s a dream….one of the greatest musicians I have ever seen.”
As the description notes, the event will be held the night of JUNE 28th. Tickets are on sale now, and the team at Kalamazoo State Theater have been generous enough to offer a 20% DISCOUNT to Beam from the Booth readers!
Hit [THIS LINK] to head over to Ticketmaster and check out the discounted tickets. Or, if you happen to live near the Kalamazoo State Theater, you may purchase discounted tickets right at the box office — just mention that you have a 20% off discount from the Grand Rapids Film Society.
For those who have seen a film concert before know how special this event will be, and if you’ve never had the privilege of watching a film with a live score, this seems like the perfect opportunity.
If you’re interested, be sure to get your tickets soon! Big thanks to the fine folks at the Kalamazoo State Theater for putting together this exciting event and for sharing the love with the rest of us West MI cinephiles.
UPCOMING EVENTS
MARQUEETOWN (Beyer & Anderson, 2024) [GRAND RAPIDS PREMIERE!]
WHAT: Portraying the fascinating history of motion pictures through one iconic screen - and featuring dozens of Michigan locations and characters - Marqueetown is a true story of chasing your dreams, redefining failure and success, and re-embracing the enduring magic of cinema.
(Cast and crew in attendance including Co-Writer & Director Joe Beyer!)
WHEN: Wednesday, April 10th, 8:00pm
WHERE: The Wealthy Theatre
THE VIRGIN SPRING (Bergman, 1960)
WHAT: PART OF OUR ‘SEASONS OF BERGMAN’ SERIES. Ingmar Bergman returns to a medieval European setting to adapt a 13th century Swedish folk ballad centering on themes of familial honor, exploited innocence, merciless revenge, and the application of faith when grappling with tragedy.
WHEN: Monday, April 15th, 8:00pm
WHERE: The Wealthy Theatre
MOVIE TRIVIA @ CRESTON BREWERY
WHAT: What else needs to be said? Grab some friends and join us for our first-ever movie trivia social event! *See event page for full details.*
WHEN: Tuesday, April 30th, 6:00pm
WHERE: Creston Brewery
And so we’ve arrived at the end of another BEAM FROM THE BOOTH! We appreciate you taking the time to read it and truly hope you’ll continue to do so. Be sure to SUBSCRIBE to get each issue in your inbox every MONDAY (usually), and stay up-to-date on all things GRFS.
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Look for ISSUE #52 in your inbox on NEXT MONDAY, 04/08!
Until then, friends...