That’s how she finds herself standing in front of the school’s music teacher Mr.
Still, when that cute boy in the King Crimson t-shirt signs up for choir on the first day of school, so does Ruby. She’s also a stealth singer with an amazing set of pipes, a gift that seems destined to go unused and unheralded. Ruby helps out, and is the only Rossi who isn’t deaf. Her older brother, Leo (Daniel Durant) works with him. Ruby is part of a family who make their bones by hauling in fish, like so many other folks in their Gloucester, Massachusetts, home town. Tellingly, you hear the film’s heroine before you see her, with the sound of someone belting out a cover of Etta James’ “Something’s Got a Hold on Me” playing over a boat trawling the Atlantic. You’re essentially watching five movies for the price of one.īased loosely on the 2014 French film La Famille Bélier, CODA - short for Child of Deaf Adults - focuses on a young woman named Ruby Rossi (take a bow, Emilia Jones).
Coda movie review skin#
(It begins streaming on their site starting August 13th.) They are getting a lot of bang for the buck, given that it’s a mash-up of several archetypal, go-to narratives shoved into the sausage skin of a single feature. Having premiered at the virtual version of the fest this past January - a shame, as it would have killed with the opening-night Eccles Theater crowd - it went on to win the Grand Jury Prize and the Audience award, as well as getting picked up by Apple for a record-setting $25 million. But it also provides a textbook example of the comfy-chair indie cinema that’s been an arthouse staple since the early Nineties. Yes, this dramedy reminds you that studios don’t make this kind of modest, character-based film anymore. “Oh man, that was such a Sundance movie!” It isn’t necessarily a compliment in this case.ĬODA, Sian Heder’s story of a young woman torn between pursuing her dreams and being a lifeline for her deaf family and the outside world, isn’t just a “Sundance movie”: it’s arguably the Sundance movie, somehow embodying both meanings of the phrase at once. Maybe you caught Garden State, or Little Miss Sunshine, or Me and Earl and the Dying Girl, or numerous films of a similar vein. They regularly walk away with jury awards and trade-reported deals. They’re often just north of pandering, a little too eager for that easy laugh, a little too aggressive in playing arpeggios on your heartstrings. These films get accused of merely being artisanal takes on stock sitcoms and issue-driven dramas, pushing overly familiar stories flecked with a bit more quirk. There is also a less charitable version of the phrase still in circulation, however, which suggests a rather clichéd version of the programming that regularly dots the fest’s lineup. Should you have found yourself left smiling and slack-jawed, or simply moved, by Eighth Grade, or The Spectacular Now, or Minari, or Half Nelson, to name just four movies that premiered there and found a deservedly larger audience afterward, trust us: you know what a Sundance movie is. It’s a catch-all term, and you don’t to have attended the festival to have seen a Sundance movie. When someone says “it’s a Sundance movie,” you probably know what they mean: the sort of small, sometimes scrappy movies that helped turn Robert Redford’s film fest out in Utah into both a welcome alternative to big-studio tentpoles (now more than ever!) and a kingmaking institution.
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