Posted on Wednesday, June 21st, 2017 by Ben Pearson
The majority of movies at film festivals don’t release trailers beforehand, so we often choose which films to see based on the filmmakers involved, the cast, and a brief description. Approaching a movie fresh is a hugely different experience than seeing one that’s strategically unveiled three trailers and a barrage of TV spots, and because so much about them is unknown, I find myself watching festival films with a different level of anticipation. Not only am I hoping the film turns out to be good (as I do with every movie I see), but in the back of my mind, I’m secretly hoping to see something revelatory. Something that moves me in a way that a huge studio project might not be able to. Something with an awards-worthy performance, or perhaps something that heralds the arrival of an exciting new voice in the world of independent film.
Most of the time, festival films don’t live up to those expectations. Sometimes, you just get a movie that’s fine, a middle-of-the-road piece of work that neither moves you nor insults your intelligence. Something competently made with respectable actors and a handful of pleasant moments, but you won’t ever give it a second thought. That may sound harsh or dismissive, but think about it: if you watch a lot of movies, doesn’t that accurately describe a large percentage of them? Such is the case with The Bachelors, Kurt Voelker’s exploration of grief, loneliness, and despair through the eyes of two men who have lost the most important woman in their lives. Read More »