Plot
 | This article needs a plot summary.(January 2024) |
| I Will Make You Mine | |
|---|---|
| Directed by | Lynn Chen |
| Written by | Lynn Chen |
| Produced by | Dave Boyle Lynn Chen Mye Hoang Cathy Shim Emily Ting |
| Starring |
|
| Cinematography | Bill Otto Carl Nenzen Loven |
| Edited by | Abe Forman-Greenwald |
| Music by | Goh Nakamura |
Production company | Gray Hat |
| Distributed by | Gravitas Ventures |
Release date |
|
Running time | 79 minutes |
| Country | United States |
| Language | English |
I Will Make You Mine is a 2020 American comedy drama film written and directed by Lynn Chen and starring Chen and Goh Nakamura. It is the third film of a trilogy in which Nakamura plays himself following the Dave Boyle films Surrogate Valentine (2011) and Daylight Savings (2012). It is also Chen's feature directorial debut. [1]
| This article needs a plot summary.(January 2024) |
In February 2020, it was announced that Gravitas Ventures acquired distribution rights to the film, which was released on May 26, 2020. [1] [2] It was released on VOD on May 29, 2020. [3]
The film has a 100% rating on Rotten Tomatoes based on 21 reviews. [4] Bobby LePire of Film Threat rated the film a 6 out of 10. [5] David Ehrlich of IndieWire graded the film a B. [3] Ty Burr of The Boston Globe awarded the film two and a half stars. [6]
Kevin Crust of the Los Angeles Times gave the film a positive review and wrote, "More evolution than sequel, Chen‘s chapter maintains the laidback, low-fi charm and black-and-white aesthetic infused with Nakamura’s dreamy, pensive music but also grows the characters, infusing them with more narrative purpose." [7]
Lisa Kennedy of Variety gave the film a positive review, calling it "a female-forward work with three generously drawn roles for Asian women actors." [8]
Jeannette Catsoulis of The New York Times gave the film a positive review and wrote, "Soft black-and-white cinematography (by Bill Otto and Carl Nenzen Loven) and low-key humor help offset the limitations of its partly crowd-funded budget, as does the naturalism of the partly improvised performances." [9]
John DeFore of The Hollywood Reporter gave the film a positive review, calling it "A beautifully shot, settled-down finale." [2]
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