Listen to a New Fall on Your Sword Track From Wikileaks Documentary ‘We Steal Secrets’

I first fell in love with Fall on Your Sword when their incredible score for Mike Cahill’s Another Earth took that film from a metaphysical and emotional science fiction wonder to indie masterpiece. It’s a soundtrack I’ve listened to an infinite number of times in the last two years, and since, the guys behind FOYS, Will Bates and Phil Mossman, have been in high-demand, lending their brilliant and varied musical talents to Nobody Walks, Lola Versus, 28 Hotel Rooms, etc.

And now, you can listen to piece of the score from We Steal Secrets: The Story Of Wikileaks, which they’ve scored for director Alex Gibney. The film hits theaters May 24th but you can purchase the soundtrack beginning next Tuesday. So in the meantime, take a listen to "First Release" below.


The Movies We Hated In 2012

My colleague Hillary Weston and I see a lot of movies. Sure, we both loved a bunch of movies this year, such as the delightful Moonrise Kingdom, the biting Bachelorette, the lovely Beasts of the Southern Wild. But there were a few that we downright hated. While we don’t always agree on which movies were, in fact, the worst, here’s a brief list of the films from this year that drove us into fits of fury.


Ridley Scott’s sort-of-prequel to Alien left me with more questions than answers. For example, why did they hire Guy Pearce to play an old man instead of, I dunno, an actual old person? Would that automated surgery machine take my health insurance? What’s Michael Fassbender’s daily caloric intake? (It must not be too high.) What I did take away was this: there is no way that this has anything to do with Scott’s original masterpiece other than casually tossing around “Alien prequel” will gain a lot of buzz. I couldn’t have explained the plot of this movie five minutes after leaving the theater, and I had thankfully forgotten Prometheus until I decided to come up with the worst movies I’d seen this year. So there you have it, folks: Prometheus is completely forgettable until you try your best to think of things that are horrifically bad.—TC

To Rome With Love

Oh Woody, how I love thee. But just because you have spent your entire career putting out film after film—back to back every year for what seems like an entire century now—doesn’t mean you should allow yourself to be so sloppy. Honestly, I doubt he even liked it, as even Allen’s character felt like someone doing a bad impression of himself. (Larry David, Owen Wilson, and Will Ferrell have all played better Woody Allens.) And don’t even both trying to find anything intelligent or redeeming about the women that populate the picture. Ellen Page’s boyish waif seductress was, to borrow a term in just about every one of his movies, "a pseudo intellectual" who was both manipulative and hollow; Greta Gerwig was an oblivious and passive goof who was supposed to be an intellectual but looked like an witless idiot; Alison Pill’s character was about as bland and lifeless as the canvas pants they wrongly put her in; and even the brilliant and beautiful Judy Davis had absolutely nothing to work with. The whole Penelope Cruz hooker storyline was absurd and a narrative bore, the Roberto Benigni "comedic" meditation on celebrity and the ego was unbearable to watch, and the father-turned-opera-singer sideline was no better than this Flintstones episode. By far the best part of the film was when I left to get a jumbo box of M&Ms and had to spend five minutes searching for the candy attendant. —HW

Silver Linings Playbook

There’s at least one movie released every Oscar season that everyone but me seems to like. This year, David O. Russell’s choppy mess of a movie fills the Little Miss Sunshine slot. Furthermore, this is the first movie that has ever forced me to leave the theater early. What did I hate most? The over-the-top quirkiness of the script? The propensity for each character to explain his or her madness rather than convey them with their actions? The fact the last thirty minutes are better than the first hour-and-a-half, at least according to every person I know who claims I cannot judge it solely on the first two-thirds of the film? (Go watch The Godfather and try to tell me the same thing, folks.) I’ve never been so grateful for Jessica Chastain, who will surely quash Jennifer Lawrence’s shot at an Oscar next spring. —TC

Lola Versus

After seeing Daryl Wein and Zoe Lister-Jones’s sophomore effort, I recall writing down a few initial thoughts: "This movie has little to no genuine feeling. The dialogue was trite. The characters were like posed mannequins in an Anthropologie window attempting to tell a joke." And the worst part: even the wonderful and talented Greta Gerwig as Lola and a score by Fall On Your Sword could not save this shallow attempt at an anti-typical romantic comedy. The filmmakers are both young, intelligent people who have lived in New York for years, but I have to wonder: have they ever spoken to other humans? Every moment was contrived and two-dimensional, and it was filled with pathetic portrayals of wallowing that weren’t even accurate save for the lovelorn title character’s affinity for binge drinking and sleeping with people she would later regret. Lola chastises herself, saying "I know I’m slutty, but I’m a good person," even though it’s made clear that her ex was the only person she had slept with until they broke up, and then she sleeps with two other guys. Even the sparse scenes with her ex have absolutely no chemistry, and neither character exhibit qualities that would make you root for them not to wind up alone. All in all, it’s a film that apparently takes place in New York, but not a New York you’ve ever seen. —HW

The Dark Knight Rises

Here’s the thing: I knew I would hate this. But I had to see it, because to completely avoid the movie blockbuster of the summer would prove my own ineptitude at being a blogger. (And, as a blogger, it is my duty to share my opinions.) Christopher Nolan finally wrapped up his dour Batman trilogy with an overwrought political epic complete with as many of The Christopher Nolan Players as possible. Christian Bale brooding? Check. Tom Hardy being gay-question-mark? Yup. Marion Cotilliard for no particular reason? Uh huh. And leave it to Nolan to even strip away all the fun from Catwoman, who, as played by Anne Hathaway, is more like an old, unenthused tabby who only occasionally gets to ride some stupidly overdesigned motorcycle. Don’t get me started on the fact that it took a good forty-five minutes for Batman to actually show up; it was less of a superhero movie and more of a chance for Christopher Nolan and co-writer/brother Jonathan to an Oscar-clip monologue to every single character. —TC

The Paperboy

I don’t know why I expected more from the guy who interpolated shots of incestuous rape with images of bacon sizzling on a griddle in Precious, but I can say without wavering that The Paperboy was not just my least favorite film of the year—it’s also the worst movie I’ve ever seen. I’m all for a piece of well-made trash, but no amount of scrubbing would reveal a diamond under those layers and layers of shit. It’s misogynistic, homophobic, exploitative all around, and relies on the popular opinion that the South is a cesspool of murder, rape, racism, alligators—things that can only take place down there. And something must be said when Macy Gray delivers the best performance in a cast made up of Zac Efron, Nicole Kidman, Matthew McConaughey, John Cusack, and Scott Glenn. —TC

Let’s Talk About Sexism in Movie Reviews, You Guys!

A few weeks ago, Lola Versus was released in theaters and received mediocre reviews. It’s really a shame, because I thought it was quite good! Sadly, a lot of (mostly male) critics did not, and a lot of them did what many male critics do: they compared it to other things about young women. You see? This thing about a woman is just like that thing about a woman, because those two things are about women! UGH, dumb women, always trying to get men to watch chick flicks and shit. Why do they keep making them anyway? Ugh, because they are dumb, I guess. 

Obviously that is not how I feel, and you’d be hard-pressed to find a review of Lola Versus that would openly call all women dumb. Having said that, let’s hop back into our internet time machines and go back to a place just a few weeks ago!

On The Hairpin, writer Jessica Hopper wrote about seeing Lola Versus to check out if the movie was actually not good or if the negative reviews were actually kind of sexist. She is a woman, and you know how they are—she kind of liked it! And she also found an unfortunate trend among the reviews of the film!

The Lola Versus folks may not be able to correlate their lagging box office directly to the bad-to-awful reviews that they got from mostly male critics, who gave it a collective HELLS NAW and did some deep shitting upon the little film, but the facts of a critical gender split on the movie remain: of the 64 Google-able reviews of the film that were written by men, 65% of them were negative. In comparison, of the 39 reviews by women, 79% of them were positive. The unifying theme of the critique? There can be only one show/movie with a quirky single lady having questionable break-up sex in New York, U.S.A. — and that show is Girls.

A quick stroll through some of the notable negative review finds consensus — once we have seenGirls, we should be sated. Lena Dunham, uber alles.

“This is the kind of cutely alienated indie relationship comedy that Lena Dunham’s HBO series Girlshas made irrelevant.” – Entertainment Weekly

"Lola Versus" deserves the bulk of the ire being misdirected at the new HBO series "Girls."  – Indie Wire

“It’s all like an extended episode of “Girls,” minus that series’ self-lacerating sense of humor." – New York Film Critics Circle

“I’m sorry, but in the season of  “Girls” a secondhand, sentimental sex comedy, however well-meaning, is not going to cut it.” – So sayeth an uncharacteristically sharp A.O. Scott of the New York Times.

“You’re better off with HBO’s “Girls” if you want a sharper and more fulfilling take on the 20-something female experience in New York.” – The Playlist

Wait, facts and statistics and numbers? I thought girls were bad at math? Anyway, I think what we have learned here is that Lena Dunham is a bad feminist because she is TOO SMART AND GOOD and has ruined it for the rest of the women who want to create art about being women. Case closed!

OH NO, but wait! I am only kidding, because not only is Lena Dunham smart and talented, but so are a lot of other writers, like, for example, Zoe Lister-Jones, who co-wrote Lola Versus before Girls premiered on HBO. In fact, I saw Lola Verses months before I first watched Girls, and other than the fact that both the film and the TV show depict a young woman living in New York City, I found them to be very different! Am I the only one? 

That’s a rhetorical question, obviously. But here is one that is not rhetorical: Why the fuck is there another Spider-Man movie? For that matter, why are we going to have The Dark Knight Rises? And what the hell was up with The Avengers—hadn’t we already seen those characters before? And why, please God, WHY, are all of these movies getting good reviews? Is it because they are, like, works of art? No, they are about adult men wearing spandex and shooting shit at other adult men wearing spandex! The sort of feeling I’m getting is: It is OK for there to be a million movies about dudes blowing shit up, but, nope, no more comedies about young women in their twenties because we already have Girls. And also, women need to stop trying to be funny because Bridesmaids showed that they can make jokes and poop in streets just like dudes can, so it’s time for the ladies just to chilllllll with their feelings and stuff because it’s summertime and that means it’s time for the men to finally wear the tights. 

Movies Opening This Weekend, In Order Of How Much We Like Their Trailers

Some people judge a movie based on reviews, other will go see something just because it features a favorite actor. Here, we’re judging this weekend’s offerings based solely on what we see in the trailers and ranking them accordingly.

Prometheus: What more could you want from a movie? Space travel, disaster, Ridley Scott and a stellar cast, including the fantastical Noomi Rapace, make this the trailer to beat this weekend. And it’s going to own the box office, so there’s also that.

Bel Ami: Does this movie, featuring Robert Pattinson as a social-climbing ladies’ man in ancientish Paris, look good? Not really. Does the trailer get us excited? Absolutely. There’s no way that two hours of this powdered-wig seduction would hold our attention, but for a few minutes it’s exciting enough to rank highly.

Dark Horse: The latest from Todd Solondz looks funny, offbeat and perhaps less I-need-a-shower-after-this than his previous work. And even though Selma Blair kind of looks like Katie Holmes is trying to escape from her face, this coming attraction definitely does its job.

Safety Not Guaranteed: Aubrey Plaza and Mark Duplass can sell almost any movie, and this Seattle-based caper about a guy who thinks he’s discovered the secret to time travel doesn’t need a whole lot of help in that category. This movie doesn’t look like it’s going to scratch our blockbuster itch, but if Prometheus is sold out, we’d definitely sneak in.

Lola Versus: We love Greta Gerwig, we really do, but there’s something a bit too post-rom-com about this movie, from the looks of the trailer, to draw us in. Ask again when it’s on TV on a rainy Sunday afternoon, but chances are we won’t be rushing to the multiplex.

Peace, Love and Misunderstanding: Unless you’re taking your mom to the movies for, uh, Father’s Day, no way.

Daryl Wein and Zoe Lister-Jones Find Inspiration in Their Own Romance

Hollywood couples are a dime a dozen. After all, who else can celebrities date other than each other? But no couple, not Elizabeth Taylor and Richard Burton or Katharine Hepburn and Spencer Tracy or even Sacha Baron Cohen and Isla Fisher, come to fame by mining their very relationship. Except, that is, Daryl Wein and Zoe Lister-Jones. When the actors began their first feature film, Breaking Upwards, in 2009, they were in the midst of breaking up.

“It was a messy time in our lives,” explains Wein, a boyish 28-year-old, with uncharacteristic understatement. Suffering from the two-year itch, they decided to date other people, a chaotic bit of semi-singlehood that lasted a year. It was Wein’s idea to chronicle the tumult in a screenplay. “I didn’t want anything to do with it,” Lister-Jones explains. “I thought it was weird to write about our relationship while we were living it.” Wein, who didn’t, enlisted their friend Peter Duchan to complete the screenplay. Then Lister-Jones chimed in. “When they showed me the script after they finished it,” she says “I couldn’t help but want to put my two cents into it.”

After making the film, in which Lister-Jones stars as a character named Zoe, and Wein as one named Daryl, on a tight budget and launching a furious PR campaign—friends and family members were gangpressed, a run at the IFC and a New York Times feature were achieved—the two found themselves not breaking up after all. In fact, Wein and Lister-Jones reconnected, and were encouraged to keep collaborating. They bought a house in Brooklyn and rented another in Los Angeles, where Lister-Jones scored a role on the NBC sitcom Whitney. Wein, meanwhile, took meetings and worked on a new screenplay.

The fruit of their enduring coupledom is the upcoming Fox Searchlight film Lola Versus, which traces the journey of a recently single, familiarly neurotic post-grad named Lola (Greta Gerwig) as she navigates the New York City dating scene, trying to find both a mate and herself. There’s a lot of unsatisfying sex, awkward dates, and drunken soul searching. “We drew a lot from Zoe’s year as a single woman,” explains Wein. This time though, instead of playing herself, Lister-Jones plays her stand-in’s funny best friend, Alice. “I felt like it needed to be told in a different voice,” she explains. As for their future projects, the pair is keeping quiet. Suffice to say, whatever storyline they choose, they’ll probably end up together.

Clips From Greta Gerwig Movies In Descending Order Of Mainstreamness

Oh, Greta Gerwig. The Helen of Troy of Mumblecore; the face that launched a thousand Kickstarter campaigns.

The actress has definitely paid her dues, appearing in more tiny, indie, topless-role-having flicks than most other young actresses. Now, with the upcoming release of Lola Versus, she’s getting the chance to hold a film all on her own.

It’s not without precedent. Gerwig had high billing on the recent Whit Stillman snooze Damsels in Distress and did time in Greenberg, the Ben Stiller vehicle directed by Gerwig’s now-boyfriend Noah Baumbach, and the Ashton Kutcher sex romp No Strings Attached.

On the eve of Lola Versus’ release (and a clip from the movie, watchable but not embeddable here), we look back at Gerwig’s career in film, from the biggest budget to, well, what made her a name in the first place.

Lola Versus.

To Rome With Love.

Damsels In Distress


No Strings Attached.


Nights & Weekends.


Hannah Takes The Stairs.