Saturday, 22 October 2016

The David Dance Full Movie News And Reviews

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Full Movie Reviews And News Of The David Dance: 

The host of a gay radio talk show struggles to be as assertive in life as he is on air.
Boldness on the airwaves is no substitute for actual living in The David Dance, April Winney's adaptation of Don Scime's stage play about a shy talk-show host (Scime) being forced to practice what he preaches. The story's core dilemma, in which a gay man must push himself outside his comfort zone in his conservative hometown, will be appreciated by many viewers as this heartfelt picture begins touring North America in one-off bookings, as will a preoccupation with America's attitude toward "nontraditional" family structures. But sluggish storytelling and other dramatic failings will keep it from connecting with a broader audience.

Reprising the role he played on stage, Scime is the popular host of "Gay Talk"; but his on-air moniker, "Danger Dave," could hardly be less descriptive of the shy, maybe self-loathing man he is outside the studio. We meet David just as he's wrapping up his final show, having been fired for reasons we won't understand any time soon; thus begins a rather tortured structural scheme in which we bounce back and forth through time for unknown reasons.

Soon we've hopped back to before the death of David's sister and best friend Kate, watching a long discussion of her decision to adopt a child by herself. She wants David to agree to be a father figure, but he balks at first — one of many (sometimes annoying) ways in which this 36 year-old man is unwilling to act like a grown-up.

Another is his confusing reluctance to act when a new technical assistant at his radio station clearly has a crush on him. Chris (Guy Adkins) is attractive, smart and patient — and he'll need to be, because even once they've started hanging out, the film waits an artificially long time to give the couple their first kiss.

That's one of the movie's more forgivable contrivances. More problematic is the climactic scene in which David learns his sister has died in the midst of an on-air debate with a conservative Christian figure over family values: Here, dramatic implausibilities pile up dangerously.

Though frustrating, the timidity of Scime's character will be familiar enough to many viewers to make us sympathize with him. But in trying to dramatize his inner conflict with one too many subplots and a clumsily fractured chronology, The David Dance makes too many wrong moves.



Production company: Brave Lad Films

Cast: Don Scime, Guy Adkins, Antoinette LaVecchia, Jordan Baker, Tonye Patano, Juju Stulbach, Lauren Lopes

Director: April Winney

Screenwriter-Producer: Don Scime

Director of photography: Ian McGlocklin

Production designer: Brian Rzepka

Costume designer: Stephani Lewis

Editor: Erin Druez

Composer: Marc Jackson

Casting director: Brette Goldstein

Venue: Cinepolis Chelsea




107 minutes

A Stray Hollywood movie Reviews And News

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2016 Hollywood Movie A Stray Reviews And News:

Barkhad Abdirahman ('Captain Phillips') plays a Somali immigrant who wanders the streets of Minneapolis trying to rid himself of a canine sidekick.
Exploring the experience of Somali immigrants in America with a mix of social-realism and whimsy, Musa Syeed's winning A Stray relies on a cinematic device at least as old as Chaplin. Pairing a temporarily homeless young man with a scruffy mutt in a similar plight, Syeed allows himself only as much sentimentality as is required to keep this from looking to prospective audiences like a feel-bad tale of outsiders in an oppressive world. Modest but pleasing, the picture will likely fare better on video, relying on slow-build word of mouth, than in its limited theatrical release.

Barkhad Abdirahman, one of the hijackers in Paul Greengrass's Captain Phillips, here plays Adan, one of the thousands of Somalis who resettled in the Minneapolis area around the time of their country's civil war. Unemployed and estranged from his mother, he's sharing a cramped apartment with a half-dozen friends when domestic tensions erupt and leave him homeless.

He winds up taking shelter in a local mosque and is faced with a temptation straight from Les Miserables; when he decides not to steal money from the donation box, he and an imam share a prayer — not just for forgiveness, but that God will give Adan a friend to help him on his path to a righteous life.

Neither of them feels the need to specify this friend should be human, and both Allah and a century's worth of moviemakers know that a cute dog can open doors for the downtrodden where a human sidekick might not. They can also, in this case, close them: When Adan accidentally hits a stray with a new employer's car and brings him back to work, the boss (Faysal Ahmed, another of the Captain Phillips crew) is furious, responding that he prays in this place and a dog makes it unclean. Other Muslims will react similarly over the course of the next few days, and Adan generally sees the pooch as an albatross.

He wanders all over town trying to get rid of the thing — visiting an old girlfriend in her college dorm, for instance, only to feel the sting of her rejection anew. (How can she look down on his imperfect English, he asks the mutt, when he speaks four languages to her one?) Somewhere along the way he decides to call the black-spotted furball Laila (the canine actor's name is Ayla), and each time he thinks he has found a safe home for her, or even just a guilt-free place to ditch her, she winds up back in the duffel bag slung over his shoulder.

Syeed never resorts to cutesy reaction shots to anthropomorphize the dog, never lingers long enough to make a viewer feel manipulated by its obvious cuteness. And at the other end of the spectrum, he doesn't dwell on the misfortune of his human protagonist. The film matter-of-factly observes that the man is always looking for a place he can shut his eyes for a few minutes, is often hungry, and doesn't seem to know where to turn. But the tone is never one of despair.

More than once, Adan passes through rooms where TVs play footage showing a new generation of refugees, Syrians who have it much worse than he does. But even in a few scenes where he deals with a federal agent who promises him housing in return for information about his fellow immigrants, A Stray has no obvious political or moral agenda. It lets Adan do the talking, in atmospheric lap-dissolve interludes where a voiceover turns out to represent his silent prayers to a deity he worries is ignoring him. "Know that I am on a path," he eventually assures the listener he can't see or feel, "the best that I can find."



Production company: Vilcek Foundation

Distributor: IFP Screen Forward

Cast: Barkhad Abdirahman, Ayla, Faysal Ahmed, Fathia Absie, Hassan Ali Mohamud, Jamaal Farah, Ifrah Mansour

Director-Screenwriter: Musa Syeed

Producer: Jamila Wignot

Director of photography: Yoni Brook

Editor: Kamau Bilal

Composers: Rayzak Hassan, Brandon Scott



In English and Somali

81 minutes