Thursday, September 21, 2017
While doing well-deserved time, Tison was a model prisoner, so he was duly moved to a lower security annex. In retrospect, that was a huge mistake. His three sons just sauntered in on visiting day, just like they always did, except this time they had a picnic basket full of guns. At least Tison was a loving father, albeit in a seriously warped way. His cellmate and fellow escapee Randy Greenwalt was a stone-cold sociopath. Donnie Tison, the only Tison brother exhibiting any capacity to think for himself clashes early and often with Greenwalt. Their father will also try to shift the blame for the worst of the post-escape crimes on his former cellmate, but it is hard for the Tison boys to ignore what they see with their own eyes, especially for Donnie.
Of course, it is not just their father who poisoned his sons’ heads. Their mother Dorothy is sort of like a Lady Macbeth-instigator, who keeps herself in a willful state of denial regarding her husband’s dangerously erratic nature. Sheriff Cooper already lost friends and colleagues to Tison, so he will have Tison’s wife and semi-estranged brother closely watched.
Rampage is a somewhat frustrating film, because it assembles some truly terrific performances in a cookie-cutter TV-movie-of-the-week package. Frankly, Robert Patrick’s charismatic ferocity as Pops Tison will be an out-and-out revelation for those who only know him as the T-1000 in Terminator 2 and subsequent self-parodying appearances. In a more distinctive film, his performance could have been a dark horse awards contender.
Likewise, Heather Graham is unusually intense playing against type as Ma Tison. It is a neatly calibrated performance that leaves viewers unsure to what extent she has been deluding herself about her beloved husband. As always, Bruce Davison is rock-solid as Sheriff Cooper, providing a grounded, moral center to the film. John Heard only appears briefly, but he makes the most of it as the “colorful,” ethically questionable Warden Blackwell. Chris Browning is also all kinds of creepy as Greenwalt, but in a quieter, clammier, low-key kind of way, which nicely compliments Patrick’s flamboyant bluster. Sadly, the Tison brothers are rather dull compared to everyone else.
You have probably seen some of Little’s earlier films, like Halloween 4 or Marked for Death, back when going to the latest Steven Seagal film in theaters was a serious option instead of a depressing joke. Most of his recent work has been in episodic television (Bones, Prison Break, Nikita), so maybe it was inevitable Rampage would have a TV vibe. Nevertheless, Little brings out the best in his cast and the film’s late 1970s period details are spot-on. It is certainly far more polished and professional looking than Do It or Die, another recent true crime indie film helmed by a TV veteran (a comparison only a handful of us truly intrepid film dissectors would ever think to make).
Patrick and Graham really do some first-rate work in Rampage, so it is a shame it will probably not be screened and covered more widely. As big-screen storytelling, it is serviceable at best, but the turns from the two well-known co-leads could change viewer and industry preconceptions of them. Recommended as a future Netflix or Shudder stream, Last Rampage opens this Friday (9/22) at the Laemmle Music Hall.
Wednesday, September 20, 2017
DOUBLE EXPOSURE INVESTIGATIVE FILM FESTIVAL & SYMPOSIUM ANNOUNCES OPENING, CLOSING, & CENTERPIECE FILMS
OPENING WITH RACHEL GRADY AND HEIDI EWING’S ONE OF US, CLOSING WITH MYLES KANE AND JOSH KOURY’S VOYEUR, AND FEATURING ALEX GIBNEY’S NO STONE UNTURNED AS CENTERPIECE, FESTIVAL SLATE REFLECTS DISTINCTIVE FACETS OF INVESTIGATIVE STORYTELLING
FESTIVAL TO BE HELD IN WASHINGTON, DC OCTOBER 19-22
WASHINGTON, DC (Tuesday, September 19) – Double Exposure Investigative Film Festival & Symposium launches its third edition with DC premieres of new films that go beyond the headlines to capture riveting stories and confront matters that have been hidden from the public, until now.
Double Exposure’s film program will kick-off on Thursday, October 19 with its opening night film One of Us, the highly anticipated new documentary from Academy nominated directors Heidi Ewing and Rachel Grady (Jesus Camp, 12th and Delaware, Detropia, Norman Lear: Just Another Version of You). In One of Us, three Hasidic Jews leave their ultra-Orthodox community to join the secular world. Unprepared for life outside the tightly-knit community, they experience ostracism, lost relationships and even danger. A Netflix original documentary. Oct. 19, 7:00pm, National Portrait Gallery.
No Stone Unturned, the latest work from Academy Award and Emmy-winning director Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room) is the festival’s centerpiece film and will screen on Friday, October 20. Gibney’s documentary re-opens a 1994 investigation into the massacre of six men as they watched a World Cup soccer match in their local Northern Ireland pub. Gibney exposes a complex web of lies and corruption, and reveals something that a criminal investigation spanning over twenty years did not: the identities of the suspected killers. Friday, October 20, 8:30pm, Naval Heritage Center.
And Voyeur, from directors Myles Kane and Josh Koury, is the festival’s closing night film on Saturday, October 21. Voyeur follows journalist Gay Talese as he reports on one of the most controversial stories of his career: a portrait of a Colorado motel owner, Gerald Foos, who spent decades spying on his guests and recording their private moments. A Netflix original documentary. Saturday, October 21, 8:30pm, Naval Heritage Center.
“We are very proud to screen these wonderful, new investigative documentaries,” said Diana Jean Schemo, founder and co-director of Double Exposure. “Each film illustrates a different aspect of investigative storytelling: the first takes audiences deep inside a community usually closed to outsiders; the second investigates a mystery that has gone unsolved for decades; and the third interrogates the investigative process itself.”
“These three extraordinary films from some of today’s most visionary filmmakers embody the very essence of what we aim to achieve at Double Exposure,” said Sky Sitney, festival co-director. “They are works that seek to uncover something otherwise hidden from view, expressed through a distinctive cinematic language.”
The full film program will be announced September 28.
The Symposium program was announced earlier this month: http://
Passes are available at: https://www.eventbrite.
About Double Exposure
In recent years, the creative landscape of films inspired by investigative reporting has flowered in unexpected and exciting ways, from Spotlight, which took audiences inside The Boston Globe investigative team, to Blackfish, which exposed mistreatment of orca whales at SeaWorld, to Citizenfour, which gave us a front-row seat on Edward Snowden’s massive release of files on government surveillance.
Yet this flourishing of creativity comes just as the rights of journalists and visual storytellers face unprecedented challenges on nearly every level: politically, socially, legally and financially.
Double Exposure, a project of the nonprofit investigative news organization 100Reporters, showcases the best new films inspired by the investigative instinct, in a bid to raise public recognition of this vital form of reporting that doesn’t just ask tough questions, but delivers answers. It pairs film screenings with a concurrent symposium for journalists and filmmakers to connect with each other, and with the producers, editors, funders, and experts who can advance their work.
Major supporters of Double Exposure include the Reva and David Logan Foundation, the John D. and Catherine T. MacArthur Foundation, and the John S. and James L. Knight Foundations.
For more information visit:
The film follows Gina, a flight attendant who flees to Paris after her boyfriend commits suicide because he was convinced she only traveled to get away from him. Once there she misadventures herself into a relationship with Jerome. She then goes off the rails when Jerome's ex re-enters his life.
Quirky, odd ball and very deliberate film is not going to work for some audiences. With its ever present narration by Angelica Huston and throw back psychodrama lighting scheme this film is not going to be either as compelling or as funny as intended. You either go with it's off beat and off kilter humor or you walk out of the audience
I liked what it was trying to do but ultimately I thought it wore out its welcome in the opening reel.
To be honest this film premiered at Tribeca early this year and it as the one film I simply refused to see because I disliked the director's earlier films. I agreed to see the film because I didn't realize what the film was. That said this is the first of Silver's films that I kind of liked Not a ringing endorsement I know but there are moments.
THIRST STREET opens in NYC at the Quad today and on the 29th in Los Angeles
Features More Than 140 Films From 26 Countries Over 6 Days
NewFest Previously Announced Opening, Closing, Centerpiece Films
Festival Runs October 19 - 24 and is Presented by HBO and
Programmed in Partnership with Outfest
New York, NY (September 19, 2017) – Following the announcement of their Opening, Closing and Centerpiece films, NewFest, which is programmed in partnership with Outfest, today announced the full lineup of their 29th annual celebration of the year’s best LGBT films from around the world. The program of more than 140 narrative features, documentaries, episodic series and shorts runs from October 19-24 at the SVA Theatre, Cinépolis Chelsea, and The LGBT Community Center in New York City.
In addition to the previously announced galas, this year’s festival will also feature a Spotlight Screening & Conversation presentation of Angela Robinson’s PROFESSOR MARSTON & THE WONDER WOMEN, the story of how the superhero Wonder Woman came to be and the secret life of her creator, Dr. William Moulton Marston (Luke Evans), his wife Elizabeth (Rebecca Hall) and their lover Olive (Bella Heathcote). The screening will be followed by a conversation on bisexuality and polyamory with director Angela Robinson and guests to be announced.
This year NewFest received a wealth of international submissions, with films being submitted from 34 countries spread across 6 continents, and 33 percent of the features were directed by women. Overall, the festival will screen 40 feature length films (including over 20 feature works from first-time feature filmmakers, such as Trudie Styler), 97 shorts and an episodic sidebar featuring 8 web-based projects for a total of 145 selections. The US Narrative, International Narrative and Documentary Feature sections will include 11 films in each group, with 16 countries represented, including new works from the Philippines, Canada, Chile, Germany, Finland, Qatar, India, Ireland, Japan, New Zealand, Spain, Taiwan, the United Kingdom, and the United States.
“This year’s festival takes a cross-generational look at the LGBTQ community through the lens of our history, our culture, and our sexual and gender identities,” said Executive Director Robert Kushner. “Through these established filmmakers and vibrant emerging voices of LGBTQ cinema, we’re given the opportunity to reflect on our progress, highlight our strengths, and illuminate the challenges we experience both as individuals and as a community.”
“We are so proud of the caliber of films in this year's NewFest lineup. The work from this year’s creatives shares a collective queer consciousness--looking at sexual fluidity, the gender spectrum, and resistance as a way of life,” said Director of Programming Lucy Mukerjee-Brown. “We've collected stories from our queer family across the globe in order to inspire New Yorkers for the 29th year in a row. Join us to take part in the post-screening conversations and make a statement about the value of LGBTQ visibility and community.”
“The varied stories and forms from around the world within this year’s electric festival program spiritually emulate the vitality of New York’s LGBTQ cultural and political landscape both past and present,” said NewFest’s Programming and Operations Manager Nick McCarthy. “And with so many New York-set films, we’re beyond excited to provide a space and platform for multiple storytellers to reflect on the LGBT experience through the power of cinema in their hometown. We are all looking forward to sharing the auspicious work of our talented filmmakers with the audiences of New York, and to facilitate engagement between artists and guests--highlighting the unity within community .”
New feature-length work includes narratives DISCREET from Travis Mathews (INTERIOR. LEATHER BAR), Canadian entry PORCUPINE LAKE from Ingrid Veninger (THE ANIMAL PROJECT) and the BBC-produced AGAINST THE LAW from Fergus O'Brien, documentaries MY WONDERFUL WEST BERLIN from German filmmaker Jochen Hick (THE GOOD AMERICAN), OUT OF ORDER from Amanda Bluglass (VIVA) and BONES OF CONTENTION from Emmy-winner Andrea Weiss (U.N. Fever). The festival also includes exciting premieres of debut features such as FREAK SHOW from Trudie Styler, starring Bette Midler, Abigail Breslin, AnnaSophia Robb, Laverne Cox, John McEnroe and Larry Pine, ONE LAST THING from Tim Rouhana, starring Wendall Pierce (THE WIRE) and Jurnee Smollet, as well as Jennifer Gerber’s THE REVIVAL, Mike Roma’s DATING MY MOTHER, Samantha Lee’s MAYBE TOMORROW, Gail Freedman’s HOT TO TROT, and Lara Embry and Carolyn Sherer’s ALABAMA BOUND, among others.
Rounding out the US Narrative offerings are Christopher Schaap’s PROM KING, 2010, David Berry’s SOMETHING LIKE SUMMER, William Sullivan’s THE RING THING, Jenée LaMarque‘s THE FEELS, Albert Alarr’s A MILLION HAPPY NOWS and Anahita Ghazvinizadeh’s THEY, while Itako’s BOYS FOR SALE, Paul Oremland’s 100 MEN, Jeffrey Schwarz’s THE FABULOUS ALLAN CARR, Tristan Milewski’s DREAM BOAT and Arshad Khan’s ABU complete the feature length documentary entries.
The remaining International narratives include Marília Hughes and Guerreiro Cláudio Marques’ THE CITY OF THE FUTURE (Brazil), Carlos Lechuga’s SANTA & ANDRES (Cuba), Darren Thornton’s A DATE FOR MAD MARY (Ireland), Victor Villanueva’s JESUS IS DEAD (the Philippines, East Coast Premiere), Joselito Altarejos’ TALE OF THE LOST BOYS (Taiwan, the Philippines, North American Premiere), Lokesh Kumar’s MY SON IS GAY (India, North American Premiere), Nicolas Videla’s THE DEVIL'S MAGNIFICENT (Chile, International Premiere) and Nils-Erik Ekblom’s SCREWED (Finland).
Through the film selection process this year’s event, the festival’s programming team chose to highlight several themes, including the history of LGBT activism in New York City, the global condition of LGBT communities and the ways in which different generations of LGBT artists, activists and storytellers influence each other by looking both backwards and forward in time.
To that end, they chose to program a Legacy section of shorts entitled Out of the Archive: Queer New York, containing 7 short films spanning the past 50 years of LGBT filmmaking, including a 2010 short documentary from Ira Sachs comprised of footage of the exteriors of houses where New York artists were living when they died of AIDS; QUEENS AT HEART, a short doc about two pre-Stonewall transgender women; and I NEVER DANCED THE WAY GIRLS WERE SUPPOSED TO, Dawn Suggs’ mediation on black lesbian subjectivity.
The Legacy feature is Hettie Macdonald’s 1996 narrative feature BEAUTIFUL THING. Two decades after its initial release, the film still stands as one of the most poignant and honest depictions of the coming-out process ever presented on screen, and represents this year’s festival’s theme of self-expression.
Considering the massive growth in LGBT-oriented TV and web-based episodic content over the past several years and a successful panel last year focused on Queer Storytelling in a Digital Age, NewFest decided to add an Episodic Showcase that is comprised of three episodic programs for 2017, and including works such as Brooklyn-local Chanelle Aponte Pearson’s 195 LEWIS; THE T; DARLING SHEAR; Andre Perez’s AMERICA IN TRANSITION; Kit Williamson’s EASTSIDERS; MARICAS; and SNUGGLR.
This year’s lineup of 97 new LGBT shorts have been divided into thematic programs, as follows:
DRAWN THIS WAY: QUEER ANIMATION
This bold and inventive series of formally adventurous and engaging shorts highlights animation's varied capacity to capture self-expression, identity, and communication. Beauty encompasses the fluidity of everyday life, whether going for a swim, cooking your father’s favorite dish, or reconnecting with a lost love. This eclectic combination of narrative and nonfiction works features stories from all around the world, yet possesses universal qualities and a brilliantly beating heart at its core. Audacious, heart-warming, inspiring, and a little absurdist—get ready for a gorgeously realized emotional roller coaster!