The cute cat effect is there, but the tragedy of Lil Bub’s condition, the lack of a well constructed narrative, and the inclusion of some weakly related side stories keep “Lil Bub & Friendz” from being as fun and poignant as it could have been.
For those who aren’t in-the-know, Lil Bub is the ultimate Internet cat celebrity. One day a video of Bub popped up on YouTube, showing her stalking and then pouncing on the camera. Soon thereafter, the views started pouring in and then in came the Lil Bub blog, Facebook page, merchandise, and more. However, while we were all fussing over and admiring Bub’s unusually adorable mug, she and her owner, Mike Bridavsky, had to pay very close attention to the condition that made Bub who she is – a number of genetic mutations that left Bub with dwarfism, polydactylism and deformed lower jaw.
While “Lil Bub & Friendz” does cover every angle, exploring the evolution of the Internet celebrity, the appeal of cats specifically, Bub’s fan base, Mike’s personal connection to Bub, and more, co-directors Juliette Eisner and Andy Capper have a tough time creating much momentum because they don’t seem to know what to do with the material they have. For instance, if you’re making a film about a cute cat that went viral, you’re basically handed an opening hook. However, rather than show what makes Bub worthy of such fame, we get this strange presentation of Bub on a tacky alien spaceship set, jokingly yet oddly suggesting the cat is so bizarre, she’s otherworldly. Perhaps it could have worked had it been funny, but it comes across more like the uncomfortable situation when you’re stuck watching a pet prance around in a costume who very clearly doesn’t appreciate being dressed up. Plus, even worse, the opening also alienates viewers who aren’t already familiar with Bub.
Click here to read more.
Saoirse Ronan and Gemma Arterton are captivating enough, but this hybrid drama-period piece lacks the zest, pace and tension you’d expect from a film digging into the repercussions of vampirism.
Horror’s had a presence at the Tribeca Film Festival ever since I started covering it back in 2009, but 2013 marks the first year the festival’s Midnight Section feels particularly well-programmed and cohesive to the point that it’s attracting attention normally reserved for sections like Spotlight and Viewpoints. Not every film in the program is a winner, but the group does offer a little something for every breed of genre fan, from horror-comedy to sci-fi to sheer terror and more.
A group of women are forced to fight to the death until just one remains. Sounds a lot likeThe Hunger Games, right? Well, yes and no.
Writer-director Rob Meyer and co-writer Luke Matheny’s “A Birder’s Guider to Everything” likely won’t incite a mainstream birding craze, but the pair does deliver a charming coming-of-age tale that’ll at least let you enjoy it vicariously through the film’s Young Birders Society.
Unless you caught “The Pact,” actress Caity Lotz is probably off your radar, but between “The Machine” making waves at the Tribeca Film Festival and “Battle of the Year” heading towards a September 13th release, that could change fast.
V/H/S may have put the horror anthology format back on the map, but V/H/S 2 truly solidifies it as an effective form of storytelling that can satisfy the masses just as well as any feature narrative. This time around, the film is comprised of four short films connected by a wraparound component, and all achieve a notable degree of innovation and true terror.
“The Killing Room,” “The Divide,” “The Pact,” and loads more in the works, but right now, it’s all about “Mr. Jones” for producer Ross Dinerstein.
Want a good taste of what to expect from Rob Meyer’s Tribeca Film Festival entry “A Birder’s Guide to Everything?” Just check out this interview of Alex Wolff hamming it up, Michael Chen geeking out about his birding knowhow, and Katie Chang trying to keep them under control.
Don’t expect to see any ass-kicking, super intelligent robots that look like Caity Lotz to hit the market anytime soon, but, until the real scientists move beyond mapping slug brains, you can catch the ultimate cybernetic super soldier in action in Caradog James’ Tribeca Film Festival entry, “The Machine.”