TWB Film Group Recap with Rhett Bradbury
The Truth Well Brewed Film Group kicked things off last Wednesday with our first ever get-together. The prompt for the event was “What movies you?” -- what movie have you seen recently that stuck with you, and why? After some small-talk and introductions, a lot of great discussion followed.
Rather than an established film, Junior Designer Nel Sparkman was upset at the recent news that The Lion King will become another live action remake by John Favreau a-la The Jungle Book. Outside of nostalgic prejudice, she, and most of the group, agreed that animated movies can embody more whimsy and suspension-of-disbelief than their aspiring-to-be-photorealistic “live action” counterparts. Consider most any Pixar film, for instance.
Inspired by the score when watching Sicario, Senior Strategist Alex Nguyen was moved solely by the music of The Theory of Everything’s by composer Johann Johannson without ever seeing the film itself. Alex shared 30 seconds of one song that stuck with him while listening to it on a train ride through upstate New York. It was a very movie-ing moment.
Data & Analytics Manager Gary Adams was movied by three recently viewed films, remarking that the newest Terrance Malik movie Knight of Cups failed to surpass the excellence of its own trailer. Blue is the Warmest Color captured young love beautifully, and Richard Linklater’s Everybody Wants Some!! was a nice surprise that brought added nostalgia with it for someone visiting friends in Austin while watching a movie set in Austin.
Anthony Perez, Senior Strategist, finds himself watching Michael Mann’s Collateral at least once a year and did so again recently. It’s one of those movies that movies him on every viewing for its dynamic directing style and unique character trope of the “extremely reluctant hero” via Jamie Foxx’s character, LA cab driver Max.
Copywriter Ali Nasser found himself at the NYC premiere of The Girl on the Train, but wanted to leave her on the train when the movie ended. What movied him lately instead was the German film 28 Wochen (or 28 Weeks) for the complexity and audience-challenging narrative he finds lacking in most US films that would rather provide easier moral mores to process -- and more definitive closure.