In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.
Jacobs discusses the chemistry between Winger and Tracy Letts and how it felt to cede ownership of his film to viewers.
The Lovers takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
The film’s ultimate reassurances still feel a bit hedged, even in its sweet final observation of the ambling Jacob Wysocki’s sunlit face.
Awesome packaging, per usual, from Benten, but The GoodTimesKid isn’t for the faint of heart.
Cassavetes is the acknowledged influence, and like Cassavetes, director Azazel Jacobs has a reverent sense for present, lived-in experience.
Like father, like son? In the case of avant-garde luminary Ken Jacobs and his son, Azazel, this is only true up to a point.