Jesse Scolaro

Jesse Scolaro

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Drew Scott, Jill Rothstein, Josh Rothstein, Jesse Scolaro and Jonathan Scott - Premiere of 'Dukale's Dream' at School of Visual Arts - Arrivals - New York City, New York, United States - Thursday 4th June 2015

Drew Scott, Jill Rothstein, Josh Rothstein, Jesse Scolaro and Jonathan Scott
Josh Rothstein, Hugh Jackman, Deborra-lee Furness, David Steingard and Jesse Scolaro
Josh Rothstein, Hugh Jackman, Deborra-lee Furness, David Steingard and Jesse Scolaro

The Cake Eaters Review


Weak
The Cake Eaters reminds me of what an IFC Original Soap Opera might look like. All of the characters are loosely interconnected in some non-specific small-town setting, and the individual stories so deliberately exist on separate planes that the film can never possibly attain coherence. It is episodic, melodramatic, and oddly tepid -- all of the emotions seem propelled by the disingenuous desire to make an Enlightening Indie Drama. Surely the film wants to be a thoughtful, profound emo-weepie, but it contains all the insight of a Hallmark Movie of the Week.

The film tells the very simple story of how three generations of men deal with the death of one woman, their mother (for two) and wife (for one). Aaron Stanford is the twentysomething slacker who works in a high school cafeteria and is very protective of his deceased mom. Bruce Dern plays the aging father who carries on a long-term affair with a local shopkeeper (Elizabeth Ashley). Jayce Bartok is the elder son, a struggling musician who returns home when he hears the sad news, apparently just to look morose as he walks around town.

Continue reading: The Cake Eaters Review

Cry Funny Happy Review


Good
For his feature debut, director Sam Neave takes the filmmaking approach of Mike Leigh, peppers it with a dash of John Cassavetes, mixes in six characters of varying tics and troubles, and gets a boiling pot of humor, reality and tasty conflict.

Cry Funny Happy, a 2003 Sundance feature and a recent entry in the 2003 Independent Film Festival of Boston, displays Neave's deft feel for both the power and idiocy of human conversation. However, he's not interested in the witty, refined banter of say, a Woody Allen film - instead, Neave gives us a voyeuristic look at the nitty gritty, the stuff people say when they don't have a smart script to fall back on.

Continue reading: Cry Funny Happy Review

Jesse Scolaro

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