Its trailer is only so-so — scream-stab shenanigans under a creepy narration from a little girl that lays out the movie’s back story — but the low-budget horror flick Hatchet, releasing September 7, has a pretty solid web site and an ingenious, parallel interactive recruitment site (“Join the Hatchet army!”), all of which could help it siphon off some business from horror aficionados who may or may not be disappointed by Rob Zombie’s reboot of the Halloween franchise. The film stars Joel David Moore (Dodgeball), Tamara Feldman, Deon Richmond, Joleigh Fioreavanti, Joshua Leonard and Kane Hodder, the latter of whom “stakes his reputation” on the fact that this is the best movie he’s been involved with. So… you know, there you have it — the reputation of Kane Hodder is on the table, suckers. Raise or fold?
Monthly Archives: August 2007
On Feast of Love’s Nudity
For the film’s trailer, click here.
Dedication
Justin Theroux (Mulholland Drive) adroitly walks the line between idiosyncrasy and genuineness, and the result is something special. Written by David Bromberg, Dedication may not be wholly accurate as a portrait of artistic grappling, but it’s an eminently quotable and agreeably barbed romance with a true collision of convictions. Even more, it’s sincerely about one of the most difficult things in life: making real changes in oneself. While the neurotic misanthrope is a tried-and-true character of a certain brand of cinema, Crudup’s performance achieves a depth and authenticity that helps make the entire movie really sing; the audience understands the panic in his soul. Moore, too, is fantastic; she was good in American Dreamz, but here she utterly obliterates memories that she was ever “first” a singer. For the original capsule review, from CityBeat, click here and scroll down.Resurrecting the Champ
For the original capsule review, from CityBeat, click here and scroll down.On Diane Lane’s Untraceable
“It’s an Internet thriller, it’s a nightmare vision of an Internet murder, and the way that our voyeuristic bloodlust [drives] it,” says Burnett. The idea? “Basically, what would happen if there’s a web site where people are being murdered live, and you knew that the more people that logged in, the faster the person died? So if you log in to watch, you’re contributing to the speed of their death? And millions of people are watching it. It’s a bit like Network, with the intensity of The Silence of the Lambs, but it also has a social aspect to it. It’s an indictment of our voyeurism.”
OK, the actual nuts-and-bolts plot slugline sounds totally down-market, to be honest, but Hoblit has a nice touch with material, as well as getting performances ranging from really solid to flat-out great from young actors. For those reasons, and not its “indictment of voyeurism” (doesn’t Hollywood actually thrive on voyeurism?) I’ll be looking forward to this one. Oh, and because of Diane Lane. She totally rocks. Colin Hanks, Billy Burke and Joseph Cross (Running with Scissors) also star; Untraceable is currently set for release January 25, 2008 from Sony’s Screen Gems division.
Musical Youth: Live in the UK
It had been a long time since “Pass the Dutchie,” but crowds and fans demanded that Musical Youth come back, and so in the middle of 2005, original members Dennis Seaton and Michael Grant got together with the Reggae Revolution, which included Steve Morrison and James Renford, and put together an awesome live show with all their hits, including the aforementioned tune, “Youth of Today,” “Never Gonna Give You Up,” “Tell Me Why?” and “007 (Shanty Town),” along with some newly recorded tracks, such as “Into Something Good.” The result was a small club tour of America and Europe, which in turn resulted in this solid, hour-long concert disc release from a one-off show in the United Kingdom. In addition to the songs above, others tunes included here are “54:46:00,” “Sixteen,” “Pretty Woman” and “One Love.” Housed in a regular Amray case, this region-free disc comes with Dolby digital audio. No smokeshop accoutrements, though. For more information, click here.
Advance Thoughts on December Boys
Handy Manny: Tooling Around
Look, I know it’s not right, but there’s something just
vaguely, snickeringly quasi-sexual about Handy
Manny. I don’t know if it’s the fact that the subtitle of this DVD
collection the preschool hit is “Tooling Around,” I don’t know if it’s the fact
that the eponymous handyman
(handykid?) has, on the cover, a toolbox full of phallic-shaped implements with
their own sets of eyeballs and unnervingly wide grins, I don’t know if it’s
because title simply rhymes with “tranny.” I don’t know if it’s all of these
things, none of these things, or what — all I know is that when I first laid
eyes on this DVD, I laughed out loud. Of course, this all but clinches the fact
that when I have kids of my own, this will be their favorite show, and I’ll be
forced to watch it with them, left to contemplate if it’s actually possible
that I could be less mature than a toddler.
The Playhouse Disney preschool hit makes its DVD bow with
this hour-long title, in which Manny (voiced by That ’70s Show’s
Wilmer Valderrama) and his posse of talking tools work to fix problems around
their neighborhood of Sheetrock Hills. Along the way they impart messages of
teamwork, friendship and community, all while providing an introduction to
basic Spanish-language skills. Included episodes consist of “Amigo Grande,” “A
Sticky Fix,” “Pat the Screwdriver,” “Supremoguy” and the never-before-seen
bonus episode “Squeeze’s Day Off.”
The template structure here obviously involves a certain
amount of repetitiveness, befitting the target demographic for this title.
Ergo, whenever Manny and the tools get ready to fix something, there’s the same
sing-song little introduction. That said, the sweetly moralizing lessons
(about, say, small duties and acts serving a larger benefit in the grand scheme
of things) are easily applicable to any number of other situations.
Handy Manny: Tooling
Around comes in a regular Amray case, presented in 1.33:1 full screen, with
a Dolby digital 5.1 surround sound audio track. A simple set-top,
problem-solving game provides a few fun activities for the whole family, and
serves as the title’s only bonus feature of note, apart from sneak peeks at
other Disney kids’ titles. To purchase the title via Amazon, click here;
to purchase the title via Half, click here.
B (Show) B- (Disc)
Joke of the Day
What… like, really? This is actually this law firm’s web site address?
The Invasion
Nicole Kidman — no doubt weary of their star meal ticket’s long and devoted pursuit of idiosyncratic art house fare like Birth, The Human Stain, Dogville and Fur: An Imaginary Portrait of Diane Arbus — her inking to headline The Invasion, at least the fifth big screen iteration of Jack Finney’s classic 1955 novel The Body Snatchers, must have seemed like a godsend. After all, it’s a big studio movie with an easily graspable (and sellable) hook, and a thriller seemingly made for these paranoid times.Yet the film opened in the fifth spot at the box office over the weekend, pulling in just under $6 million. Is The Invasion a victim of bad buzz, a casualty of the cresting surge of young-adult interest in Superbad (a $31 million-plus opening) or a minor referendum on the dubious drawing power of Kidman? It’s hard to parse, but the most honest answer is likely some elements of all three. With this and the suppressed grosses of the likewise very (hypothetically) commercial Bewitched, it’s been established pretty conclusively that Kidman doesn’t have a young fan base. Similarly, while older audiences know who she is and seem to generally respect her gifts, her involvement in a project doesn’t bump it up the ladder a rung or two to must-see status.
Directed by German filmmaker Oliver Hirschbiegel (Das Experiment, and Best Foreign Language Film nominee Downfall), The Invasion is a well-meaning and sort of achingly pensive mess, perhaps ruined by too many cooks in the kitchen, perhaps only made bad in slightly different ways. While its mitigating factors are various and sundry (including some car chase re-shoots credited to the Wachowski brothers’ team, as well as other add-ons), it does seem clear that Hirschbiegel set out to make a fairly muted, if not thrill-less thriller — a socio-politically inflected drama about group-think and humanity’s seemingly innate need for cruelty. Whether that film would or could have been better than this muddled, yawning affair is hard to say, though it certainly doesn’t seem like it could have been more incoherent.
Taking place in the wake of a space shuttle crash, with an infectious alien spore draining the personality out of all those it contaminates, The Invasion’s story lurches about in inconsistent fashion, never finding a comfortable balance between stories personal and writ large. After a decent if dispassionate set-up, little logically follows in the second and third act of the debut screenplay credit from writer David Kajganich. If the exoskeleton logic of the movie is, let’s say, faulty at best, it does offer its own diversionary pleasures, though, however unintentional. Perhaps more interesting than anything The Invasion has to offer in terms of narrative in its final two-thirds, is trying to unravel the tangled timeline of the virus’ spread that the movie’s many background news reports paint. For the full review, from FilmStew, click here.
Halloween, Gossiped and Teased
Oh, Technology and Modernity…
One might have noticed a recent productivity gap here at Shared Darkness. Rest assured, Shared Darkness wasn’t sitting around drinking beer. No, instead there was a good, old-fashioned computer failure. Ahh, takes me back… Nothing erased, hopefully, but much information is held, hostage-like, on a hard drive that can’t currently be accessed. So that sucks. But hopefully this situation will be resolved soon-ish. Just a heads up…
Spike Jonze Finds M.I.A.
Coming from skateboarding videos and the like, acclaimed filmmaker Spike Jonze has always had an interest in quick one-offs and quirky side projects. This week, for VBS.TV — a broadband internet television site from the publishers of Vice magazine, launched in March and updated with 20-30 minutes of original content a day — Jonze offers up a video diary of a lovely day in London recently spent with M.I.A.
Spread out over six short episodes, Jonze and his handicam hook up with Maya Arulpragasam, aka M.I.A., and travel around London talking about everything from immigration and the third world to iPod battles and Maya’s new haircut, which was given to her by a ketamine-addled Polish man. Spike and Maya also make a visit to her friend Afrikan Boy (the first signing to her new Zig-Zag record label), and later have a dance-off in the street outside Maya’s house. Jonze, the Creative Director of VBS.TV, looks to continue this series with an equally candid profile of Kanye West next week. For the piece, click here.
Perfect Stranger
a Senator who’s a little too friendly with same-sex Congressional pages gets killed by her higher-ups, Rowena quits in a piquant moment of anger, and goes freelance. When a childhood friend who was having an affair with married advertising executive Harrison Hill (Willis) suddenly turns up murdered, Rowena smells her next big story, and starts sussing out the truth with a dogged determination.
Thanks to her tech-savvy associate, Miles Haley (Giovanni Ribisi), Rowena gains access to Grace’s email account, and learns that Grace was threatening to go to Hill’s wife with news of their affair. Armed with that knowledge, Rowena then goes undercover as a temp at Hill’s agency, while also concocting an online chat personality as a former office mate, an almost-paramour of Hill’s. In exposing Hill’s secrets, though, Rowena discovers some surprises about Grace, Miles — who nurses a crush on Rowena that’s blindingly apparent to or acknowledged by all but her — and her own on-again/off-again boyfriend, Cameron (Gary Dourdan), leaving her uncertain of whom to trust or what the real story is.
M. Night Shyamalan may have inadvertently ruined most mass-market thrillers when he explained his writing style, in the wake of the mega-success of 1999’s The Sixth Sense, thusly: “I just think of a twist, and then I don’t reveal it until the end.” That seems simple enough, but the manner in which that sort of backwards-thinking logic has been sluggishly applied to a seemingly increasing number of Hollywood genre pieces has resulted in some truly awkward and awful movies, including this spring’s The Number 23 and Premonition. Scripted by Todd Kormarnicki, from a story by Jon Bokenkamp, Perfect Stranger seems wholly engineered in reverse. There’s the requisite twist, all right, but it’s so derisible in the leaps of logic and escalating complexity that it requires that you’ll be less shocked, and more head-shakingly amused at the whole thing.
Housed in a regular Amray plastic case that comes with a cardboard slipcover of a heavily airbrushed Berry glancing alluringly over her left shoulder, Perfect Stranger is presented in 2.40:1 anamorphic widescreen, which preserves the aspect ratio of its original theatrical presentation. English and French subtitles complement dual Dolby digital 5.1 soundtracks that adequately capture the movie’s aural design, which is actually fairly thoughtful and smartly used in a few scenes, with eerie office atmospherics (like lightly humming lights and electronics) adding a thin sheen of tension to proceedings. A gallery of preview trailers for other Sony releases is complemented by the disc’s only supplemental extra, a 12-minute making-of featurette consisting of brief interview snippets with cast and crew. To purchase the film via Amazon, click here. D (Movie) C- (Disc)
Jessica Biel To Go Nude
So the Internet is abuzz — and old media, too, as I already heard this on two drive-time morning shows on my recent coffee, post office and tire-slashing jaunt — with news that Jessica Biel has apparently agreed to bare breasts and ass for her role as a single-mom stripper in the now-instantly-more-popular indie flick Powder Blue. Egotastic and other sites have up production photos of Biel wandering around the streets of Los Angeles looking like some sort of Flashdance street urchin (let’s hope that’s not her stage costume), but hornballs should note the potential flaccidity factor of the fact that Biel’s character is working the pole to provide care for a terminally ill son.
The pleasantly jiggly bra-and-panties shots from I Now Pronounce You Chuck & Larry were certainly the best thing about that strikingly unfunny hunk of crap, and while I don’t know that Powder Blue is the right vehicle for this apparent newfound courage regarding screen nudity (his Oscar win notwithstanding, co-star Forest Whitaker has also not exactly made the most discerning choices lately), this is what I’ve been saying for months now needs to happen, as there have been movies and moments with Biel (particularly in the excremental London) where nudity would or should have flowed naturally from the scenes, only to be awkwardly shot around. Not to mention the possibilities of an erotic thriller that this opens up…
Julie Delpy on Bad Directors
It’s easy to bask in the reflected glow of filmmakers like Jean-Luc
Godard, Krzysztof Kieslowski and Richard Linklater, and learn something from
working with them. But during a recent one-on-one interview with Julie Delpy,
I asked the 2 Days in
multi-hyphenate about what she’s learned in her career from bad directors.
is taking over the directing of the film, really, and that’s when you know
you’ve got not a winner,” she says. “Because you know that the director is not
the captain, and it’s over — the film won’t have coherence. What I’ve learned
from working with bad directors is two things. Number one, it’s bad to be a director that screams at everybody,
I feel, because you lose a lot of the people that could and should be your
allies. And for me, even when people were driving me crazy — it didn’t happen
on this film, but someone was trying
at times to drive me crazy — I never lost it, I was always together. It’s
actually interesting for a woman to be a director, because we have a tendency
to be a tiny bit more emotional than men, so it’s really about keeping in check
your emotional side, and being together. The other thing is when a director is
confused and doesn’t know where he’s going… I’m not saying I was perfect, at
times I was confused and overwhelmed. But you have to make strong decisions,
and if you’re confused and you show it, it’s over.”
Donkey Kong Saga Continues
Documentary subject Steve Wiebe is in Los Angeles to help promote the damn entertaining videogame nonfictioner The King of Kong: A Fistful of Quarters, which opens in limited fashion this week, and after the movie’s premiere last night at the ArcLight Cinema, he and others waded over to the nearby, unfortunately named Big Wang’s to continue festivities with a couple brews and Donkey Kong machines. No records were set, but per his appearance on the “Kevin and Bean” morning show on Los Angeles radio station KROQ this a.m., Twin Galaxies honcho Walter Day (the gentlemen to Wiebe’s left in the photo in the above-linked review) has made another change to the manner in which Donkey Kong scores will now be adjudicated. Moving forward, Day will have to be personally present for record submissions, due to some controversy surrounding scores submitted via videotape. For more information on the film, you can visit its web site by clicking here.
Vacancy
Kate Beckinsale). The pair’s marriage is busted up, and through a thicket of bitter bickering (David attacks Amy’s “Zoloft-and-Prozac cocktail”) they’re returning from one last trip together before finalizing their divorce. When their car breaks down, the duo end up at a creepy motel with an oddball manager named Mason (Frank Whaley, sporting serial killer Aviator glasses and a little, up-combed pompadour that’s an apparent tribute to Sam Rockwell).
The couple resign themselves to a tense and uncomfortable night together, but no sooner do they acquaint themselves with the characteristically ratty details of a rundown room (natty bedcovers, brown water trickling from the faucet) than they hear frantic banging from the room next door. When it continues and they complain about the noise to Mason, he informs the Foxes that they’re the motel’s only guests. Seeking to unwind, David pops an unmarked videotape in the VCR, and discovers a snuff film shot in the very room they’re in. Figuring correctly that they’re next on the victim list, David and Amy try to escape, but quickly find out that their jumpsuit-sporting captors are toying with them in an attempt to further ratchet up the couple’s panic and increase the sadistic appeal of their puppet-master production.
Having similarly wrung tension from confined locations in Control (Hungary’s entry a few years back for Best Foreign Language Film, and a movie set almost entirely on the Budapest subway system), director Nimrod Antal locates some primal, gut-level reactions to darkness, jarring noise, faceless killers and the like. He’s aided by leering camerawork from cinematographer Andrzej Sekula (Pulp Fiction, Reservoir Dogs) that makes heavy use of close-ups. The film’s violence-for-entertainment’s-sake angle feels a bit hollow, though that’s admittedly the equivalent of criticizing a shark. Where things come apart, though, is in the movie’s final third, which leans heavily on arbitrariness.
Housed in a regular Amray case with a crisply photographed accompanying cardboard slipcover, Vacancy is presented in both full screen and 2.40:1 anamorphic widescreen. Owing to that fact — and the inclusion of a dozen preview trailers, for films like Hostel: Part II, Revolver, Perfect Stranger, Bobby Z and the forthcoming 30 Days of Night — the interface is awfully slow-moving. Subtitles come in English and French, and the movie’s Dolby digital 5.1 soundtrack is a solid one. Supplemental extras consist of a 90-second tracking shot alternate opening for the film (including a helicopter, a big budget eater), as well as another snipped scene involving a raccoon. There’s also nine full minutes of distressed snuff films — the thrill-kill movies presented within Vacancy — which is a bit unnerving. The big extra, though, is a 21-minute making-of featurette, which includes copious interview snippets with the cast and crew. Writer Mark L. Smith cops to the inspiration being the fact that he and his wife used to own a dude ranch in Colorado open only four months a year, but Glenn Gainor and other producers mainly content themselves with merely re-telling the film’s story, and repeating how great everything is. Admittedly, an audio commentary track would’ve been stretching it here, but more from Antal would have been a plus. C+ (Movie) C+ (Disc)
More American Gangster Gossip
The gathering storm on American Gangster, its developing general consensus, seems to be quite good, but there’s still the question of its running time. Universal hasn’t yet been screening the movie that openly, but I had a colleague who caught a recent screening in Las Vegas react with an “ugh,” chiefly (though not completely) because of its length. “It’s 40 minutes too long,” said colleague opined, stressing that point twice. This version was supposedly the final cut, but more tinkering may ensue, who knows.
Still, the performances were there, the source admitted. So with Crowe’s excellent turn in 3:10 to Yuma as well, he’s looking to have a Leonardo DiCaprio-type problem come awards time. For which film would he be more likely to snag an Oscar nomination? It’s hard to say, having not yet seen the former film. Most people would likely lay money on American Gangster, but Yuma director James Mangold has some residual heat from Walk the Line, LionsGate has dumped the movie’s wrongheaded initial marketing scheme, and recent history may be on Yuma‘s side as well. After all, The Departed was more widely embraced than Blood Diamond, yet DiCaprio was nominated for Best Actor for the latter. So even if American Gangster shows box office legs, 3:10 to Yuma may be seen as more of a triumph of “simple,” streamlined storytelling, with the praise flowing more directly downhill to its actors.
8 Simple Rules: The First Season
It’s of course difficult if not impossible to watch 8 Simple Rules for Dating My Teenage
Daughter without thinking of John Ritter’s unfortunate death. Taken too
soon, Ritter was one of
most affable, well-liked stars. The son of legendary country crooner Tex
Ritter, he ascended to stardom in the late 1970s with his Emmy- and Golden
Globe-winning portrayal of randy every-bachelor Jack Tripper in the classic
sitcom Three’s Company. Ritter later
tackled a variety of memorable roles big and small, including turns as a
bumbling dad in the G-rated Problem Child
franchise, a
the Steven Bochco-created Hooperman, a
strange, wires-crossed suitor in Buffy
the Vampire Slayer and a friendly listener in the critically acclaimed
indie flick Sling Blade.
8 Simple Rules for Dating My Teenage Daughter and broadcast on ABC from
2002 to 2005, 8 Simple Rules was
created and shepherded through production by veteran television scribe Tracy
Gamble (According to Jim). Small
screen hall-of-famer Ritter plays sportswriter Paul Hennessey, a father who
lives by a set of dictums which basically boil down to one golden law: keep
your hands off teenage daughters Bridget (Kaley Cuoco), the boy-crazy one, and Kerry (Amy Davidson, above right), the moody and artistic one. Ergo
his rules, which basically read as follows: 1) Use your hands on my daughter
and you’ll lose them afterwards, 2) You make her cry, I make you cry, 3) Safe
sex is a myth — anything you try will be hazardous to your health, 4) Bring her
home late, there’s no next date, 5) Only delivery men honk — dates ring the
doorbell, 6) No complaining while you’re waiting for her — if you’re bored,
change my oil, 7) If your pants hang off your hips, I’ll gladly secure them
with my staple gun, and 8) Dates must be in crowded public place — if you want
romance, read a book. Paul’s wife Cate (Katey Sagal) for the most part supports
Paul’s doting interventions, but her recent return to work as a nurse eats up
much of her time, leaving dad to play a more active role, sometimes to his
daughters’ chagrin. Luckily for the already overburdened Paul, there’s youngest
son Rory (Martin Spanjers, above left) on hand, to lend wisecracks and mischief.
The season here spans 28 episodes — a full-order commitment
that showed ABC’s confidence in the series and its star — though it takes a
while to find its footing, tonally. Some episodes incorporate flashback
elements, to help bump up the blink-and-you’ll-miss-them identification with
Paul and Cate with respect to their kids growing up. If the characters themselves are pretty broadly drawn, Ritter’s
charisma and crack comic timing go a long way toward helping establish
something approaching warm and fuzzy invitation, which is all that most sitcoms
aim for. In fact, many of the more genuine, out-of-left-field laughs on the
show come from moments of sputtering bewilderment from Ritter, one of his
specialties. (For some of Paul’s unwanted lessons in street slang, click here).
Helping the series too is Sagal, who, of course, was nominated for four Golden
Globes for her portrayal of lazy housewife Peggy Bundy on Married… with Children,
a very solidly written solid sitcom that never got the respect it deserved
because it reveled in sneering blue-collar affinities. Here she gets a softer
edge, but a little bit of sardonic edge slips through, in pleasing fashion.
Popping up in single-episode guest starring roles are Terry Bradshaw, Jason
Priestley and Cybill Shepherd.
Housed in a nicely packaged Amray case, 8 Simple Rules is spread out over three discs and presented in
1.78:1 anamorphic widescreen, courtesy of a great-looking transfer with no
problems with edge enhancement or layer-change hiccups. A Dolby digital 5.1
audio mix, meanwhile, playable in either English or French, adequately captures
the series’ front-mixed sound design. Optional English, Spanish and French
subtitles are also available. Somewhat strangely, there’s no sort of memorial
retrospective on Ritter, though there is a nice, 10-minute collection of
bloopers and outtakes from the 2002 season of the Emmy Award-winning sitcom, in
which lines are flubbed and blame jokingly assigned and diverted. For a clip of some of Ritter’s on-set hijinks, click here.
Meanwhile, to purchase the set via Amazon, click here.
B (Show) C (Disc)
Chris Gorak Finds Perfect House
I had a 1-on-1 sit-down with Chris Gorak on Tuesday regarding his directorial debut, Right at Your Door, a two-hander of claustrophobic paranoia starring Rory Cochrane and Mary McCormack. Since Gorak’s background in art direction and production design had placed him on plenty of big-budget film sets before, I figured he’d have a unique point-of-view on the difficulties of production, and maybe a leg up on other first-time directors. With that in mind, I asked him if he still had any “oh-shit” moments during production, a cramped 20-day shoot.
Gorak’s answer was telling. It wasn’t the production itself that stressed him out; it was a pre-production wrinkle that kept him on his toes. “There was Rory’s character, Mary’s character, and then
the third main character that I didn’t realize until I was in it was the house.
And so the hardest thing to do was cast the house,” says Gorak. “The script is written and you
cast your actors to it, but how do I cast a house, because I can’t build a
stage set. Usually on a bigger film you’d build a set to fit the story — like, here’s
the hallway, and this is where he’s going to enter. But here I was searching,
combing the hills of
looking for the perfect house with view of downtown, and finding someone who
wanted production at their home. And then I would go scene by scene if I felt
right, then I would sit there… it was this exhaustive process and we didn’t
lock the house location until two weeks before we were shooting. So that was a
little hairy.
The 11th Hour
An Inconvenient Truth boiled down an enormous subject
consisting of frequently hard-to-impart quantitative data, then
producer-narrator Leonardo DiCaprio’s macro-environmental documentary,
The 11th Hour, takes matters a step further, exploring modern society,
the symptoms of our destructive relationships with Earth’s ecosystems
and natural resources, and what we can do to change course.
The title of this PG-rated film (an ever-so-brief snippet of a baby seal clubbing
earns you that, in case you were wondering) conveys the undeniable
sense of urgency and passion imparted here. Featuring an array of
interviews with a wide variety of thinkers from all sorts of fields — everyone from economists, renowned scientist Stephen Hawking, and
former CIA head James Woolsey, to business leaders, sustainable design
expert Bruce Mau, and former Soviet Prime Minister Mikhail Gorbachev — The 11th Hour is at times a bit pedantic. Streamlined structure isn’t
necessarily its strong spot; while some of the digressive bits are fascinating (the notion that the human
mind “invented” the concept of the future, choosing a path of survival once mitigated, now amplified), others sap the movie’s forward-moving momentum, if only fitfully.
Yet co-directors Leila Conners Petersen and Nadia Conners
systematically reveal as propaganda claims that environmental damage is
merely a myth. They also shrewdly assay how a so-called “consumer
democracy mindset” has rendered us largely ignorant of the basic terms
by which we live in concert with the Earth and how, without better
caretaking, humans will face the same fate as 99.9999% of all species
to ever inhabit this planet: extinction. As such, The 11th Hour
is an important and engaging film that presents a persuasive case — morally, fiscally, and existentially — for
massive activism and change. For the original capsule review, from CityBeat, click here.
Julie Delpy on Third Before Sequel
At the recent press day for the chatty, loose-limbed relationship dramedy 2 Days in Paris, the subject of multi-hyphenate Julie Delpy’s
two “Before collaborations” with
Richard Linklater and Ethan Hawke came up, and not merely because of her most recent
film’s thematic overlap — namely a mixed-culture couple who may or may not be
right for one another working through some issues in voluble fashion — with
those projects. No, it was because Before
Sunset was so well received, in fact, that it kicked up some talk of
another possible installment.
says that it’s far from a certainty, even in the theoretical realm. “You know,
it depends on if we ever stumble onto the right idea. It took us nine years to
really come up with the right concept for the second film, and we wouldn’t like
to do a crappy third one that will suck, you know? And we could make a crappy third one, you know? It could happen,” she
says. “But we’d really like to stumble onto the right thing for it. Every time
anything is well received is a surprise for me, especially when I’m involved as
a writer, because I’m so happy — that means I say something that has a little
sense. I’m amazed because, for example, when I was writing Before Sunset, my agent fired me because he thought I was wasting
my time writing a stupid sequel to a movie that would never be made, and even
if it was made it would do nothing for my career. So you have to have a lot of
faith and belief in yourself to keep on writing when you’re ditched by your
agent, who tells you you’re crazy to write a stupid sequel. But in the end he
called and was like, ‘Why did you leave us?’ I was like, ‘How could you turn it
around?!’ The guy is so in denial over what he did that he’s actually thinking
that I left them.”
A delusional agent? Shocking, I say. Shocking…
The King of Kong: A Fistful of Quarters
I’ve already mentioned The King of Kong: A Fistful of Quarters, but it’s really worth repeating, the charms of this humorous and involving, to-scale documentary from Seth Gordon. The film centers on family man and middle-school science teacher Steve Wiebe (above right), who’s the
upstart hero of the piece, about the
battle for the Guinness Book of World Records-recognized high score on
Donkey Kong, generally regarded as the most difficult classic arcade
videogame.
Wiebe is a straightforward, earnest guy who bests the long-standing record
for Kong and submits his accomplishment via videotape to a recognized governing body of videogame history and minutiae.
But the old record-holder — a crafty, smirking, self-proclaimed Jedi
Master of gaming turned hot-sauce mogul named Billy Mitchell — doesn’t
plan on going quietly into the night. Protecting his name and record,
he unleashes a fascinating scheme of proxy psychological warfare that
dredges up old grudges between now-adult arcade opponents.
The King of Kong is in equal measure about intrapersonal competition, rivalry
and compulsive obsession, and it’s for this reason that the project has already been tapped, à la
skateboarding documentary Dogtown and Z-Boys, to be made into a
narrative feature. Though on the surface it sounds wonkish and severely
limited by its subject matter, it’s actually anything but. Director-editor Gordon really knows the value of contrasting and incidental footage (read: letting
characters hang themselves with their own words), and as such The King of Kong
achieves pleasingly squirmy moments of slack-jawed recognition, as well
as some surprisingly affecting beats. The lesson learned, once again?
Life is still high school, just writ large. For the original capsule review, from CityBeat, click here and scroll down.
Joke of the Day
More thoughts soon on Feast of Love (MGM, September 28), a fairly engaging (and nudity-saturated) kaleidoscopic drama from writer-director Robert Benton about tumbling in and out of romantic affection, but by far the line of the most incidental hilariousness came from a small supporting character, who counsels her roommate thusly: “We all have dreams — I wanna buy new tits and a hybrid.”
Oh, and this is funny, too. So you just got a two-for-one, actually.