Capone's Art-House Round-Up with WE ARE WHAT WE ARE, THE SUMMIT and A.C.O.D.
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Hey, folks. Capone in Chicago here, with a few films that are making their way into art houses or coming out in limited release around America this week (maybe even taking up one whole screen at a multiplex near you). Do your part to support these films, or at least the good ones… WE ARE WHAT WE ARE It's taken me three films to realize this, but writer-director Jim Mickle (STAKE LAND) has a true gift for casting actors with the best faces for their roles. That may seem obvious, but in a world of making movies where most filmmakers would go with the most recognizable names or faces, Mickle wonders, "Who looks like this character?" The faces of his actors become etched in your mind. For example, I've seen Bill Sage in a dozens of film and television roles, usually clean cut, angular, but it's his portrayal of Frank Parker, the devoutly religious husband and father of three that has been burned in my brain since seeing WE ARE WHAT WE ARE a few weeks ago. A beard all but obscures Sages most recognizable features, and his raspy voice does the rest. It's the performance of a lifetime for this veteran of '90s-era Hal Hartley films, and because of this performance, I'll always be just a little more nervous watching him from this point forward. WE ARE WHAT WE ARE is about the Parker family, reeling in the aftermath of the sudden, mysterious death of its
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