"I'll just get my gear."

Posts Tagged ‘Riley Keough’

Zola

Tuesday, September 21st, 2021

ZOLA tells a wild road trip story that, I feel, doesn’t amount to much, but it’s worth it for the ride, and for the telling. The big hook is that it’s based on the 2015 “now iconic series of viral, uproarious tweets” (source: A24films.com), something that’s not only emphasized in the marketing, but noted on screen at the beginning. The official onscreen title is @zola (which is actually the Twitter handle of some wedding company, not author/protagonist A’Ziah “Zola” King), the main characters are often looking at their phones and monotonously speaking aloud their texts to each other, and there’s a notification sound heard frequently throughout the movie – I was never really sure if it was meant to be diegetic or not. Admittedly all that sounds stupid, but when it comes down to it this is really just “based on a true story.” Not even entirely based on a true story told in an unusual medium, because a Rolling Stone article about the whole affair…

Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted

…is also credited as source material.

The story is about Zola (Taylour Paige, MA RAINEY’S BLACK BOTTOM, soon to be in the TOXIC AVENGER remake), a Hooters waitress and sometimes stripper, agreeing to take a road trip to Florida to get some money dancing with a crazy white girl she just met named, in the movie version, Stefani (Riley Keough, MAGIC MIKE, MAD MAX: FURY ROAD). Turns out this bitch (get used to it, that’s what they call each other, both lovingly and not so much) is also planning for them both to turn tricks when they get there, and things get out of hand. It’s a true crime story, but not of a crime normally considered significant enough to get a movie, even including the two most harrowing parts, which were fictional. But that kind of makes it cooler. (read the rest of this shit…)

Logan Lucky

Wednesday, August 23rd, 2017

The prodigal son has returned. Four years ago, Steven Soderbergh (OUT OF SIGHT) had gotten burnt out on directing and decided to retire. After the 2013 doubleheader of SIDE EFFECTS and BEHIND THE CANDELABRA he hung it all up, and in the interim he’s done nothing but kick back, lay low, recharge his batteries, start his own brand of Bolivian muscat brandy called Singani 63, do an edit of HER for Spike Jonze, create his own alternate cuts of PSYCHO, HEAVEN’S GATE, RAIDERS OF THE LOST ARK and 2001: A SPACY ODYSSEY for fun, shoot and edit MAGIC MIKE XXL, direct, produce, shoot and edit 20 one-hour episodes of The Knick, and relax. And now, finally, he’s back to work!

I guess that makes BEHIND THE CANDELABRA his Black Album and LOGAN LUCKY his Kingdom Come. But fortunately without a duet with Coldplay at the end.

If it was anybody besides Soderbergh it would seem weird that it was this one that pulled him back in – arguably as close to hack-work as he’s ever done. It’s sort of a redo of his three OCEAN’S movies but with hick characters and locations. But even a weak Soderbergh movie has always been worth seeing, and one of his talents is finding the compelling in the routine. It’s a bouncy, far-fetched caper story, but he seems completely invested in the lead character and the time he spends with his precocious little daughter (Farrah Mackenzie, DOLLY PARTON’S COAT OF MANY COLORS), and gives those scenes weight that really anchors the movie. (read the rest of this shit…)