Wednesday, March 20, 2019

Two takes on One Cut of the Dead (2018) which is playing at the What The? Festival

With ONE CUT OF THE DEAD playing at the What The ..? Fest I'm reposting both of the reviews we ran when it played at the New York Asian Film FEstival last year. The first by Nate Hood. The second by Joe Bendel

It takes a little time to figure out exactly what’s going on in Shin'ichirô Ueda’s ONE CUT OF THE DEAD. But as the film barrels on, the bits and pieces click into place and one can’t help but smile at Ueda’s cleverness and the sheer complexity of his undertaking. This is a film that works best when audiences go into it completely cold with no preconceptions. But since the phrase “Please go see this movie” is about 395 words short of my minimum for reviews, I’ll have to let part of the cat out of the bag. But only a small part.

The first thirty minutes are presented as a found footage movie about a film crew shooting a cheesy zombie film at an abandoned factory when—surprise!—real zombies attack. Filmed in one long take with a handheld camera, it’s awkwardly paced, irregularly acted, and most crucially, not scary. The whole things reeks of unintentional camp, from a middle-aged make-up artist demonstrating women’s self-defense techniques straight out of Diedrich Bader’s karate class in Napoleon Dynamite to a twist revealing the director went insane a long time ago and deliberately led the film crew to the zombie-infested site so he could film their “real fear.” (This director is responsible for the single genuinely entertaining part of the documentary when he suddenly reappears after seemingly being bludgeoned to death, throwing open one of the side doors of the car the surviving actors are trying to escape in, pushing a zombie into it, and maniacally screaming “Action!”) It finally ends with an amateurish climax where the Last Girl—an actress who’d been berated by the insane director for blowing takes with her mediocre acting skills—confronts her freshly zombified co-star and behind-the-scenes love interest with an axe. She raises it, begs him to come around, steels herself, and pauses as if she forgot her line or that she’s on a roof being attacked by a zombie. She raises it a second time. Again she chokes. A third time, and she finally manages to chop his head off. With the zombies defeated, the camera pulls back into the sky for a bird’s-eye view revealing she’s standing in a giant pentagram of blood. And then the film abruptly jumps a month into the past where we watch the producers, director, film crew, and cast get together to plan the fateful zombie shoot we just watched.

I refuse to spoil what happens next, but please believe me when I say that it’s nothing you might expect. One Cut of the Dead represents everything great about the New York Asian Film Festival: a celebration of bold new talents, unexpected genre mashing, and audacious filmmaking that leaves your mouth on the floor.

Rating: 9/10

It was supposed to be the Rope of zombie movies, filmed in one continuous shot. Then the zombies attack for real. However, if you think that sounds crazy, wait until you see it all again from a different perspective. Zombies get the mash-up treatment like never before in Shinichiro Ueda’s One Cut of the Dead (trailer here), which screens during the What The Fest.

Higurashi is a bullying director a thousand times worse than Peter O’Toole in The Stunt Man. He has so little regard for cast and crew safety, he awakens the zombie curse hanging over their remote location, an abandoned industrial site, where the Japanese military reportedly staged sinister occult experiments during WWII. As crew-members turn into feral zombies, Higurashi finally gets the realistic performances he wants from his terrified thesps.

However, there is much more going on outside the camera’s field of vision. In a complete change of tone, the film goes from a Night of the Living Dead rip-off to a worthy successor to Noises Off. It is hard to explain out of context, but Ueda’s editing is absolutely masterful. You just need to see it for yourself.

One of the many cool things about Cut is how completely Ueda and his cast commit to each phase of the film. The second and third acts are so wickedly clever, precisely because we were with the cast-members when they were running for their lives during the opening set-up.
jap

Takayuki Hamatsu could possibly give the performance of the year as Higurashi. He certainly shows phenomenal range. Yet, Harumi Syuhama arguably eclipses his lunacy as Nao, the makeup artist who turns into a berserk killing machine and also acts pretty nuts in the third act as well. Mao develops some smart but endearing chemistry with them both as her namesake, an aspiring filmmaker.

Eventually, Cut evolves into a hilarious valentine to underdog independent genre filmmaking. It would pair up nicely with Graham Kelly Greene’s criminally overlooked Attack of the Bat Monsters. In fact, at one point a character in the Cormanesque spoof rather wistfully states: “in the future, people will watch these movies and laugh, but they’ll never understand how hard we worked on them.” That sentiment also perfectly fits Cut. It is a total winner that will charm the pants off horror fans. Very highly recommended

Tuesday, March 19, 2019

How To Be Alone (2019) SXSW 2019

A woman is left alone when her husband goes off for the night shift. She instantly goes into trying to remain sane and safe  by running down the rules of being alone at night.

Gloriously wonderful short film is as good as it gets on every level especially the entertainment one. Grand exploration of something we've all done- trying to fight the fear when left alone in a dark hose with a racing mind. While we know its all in our heroine's mind there is still chills as the dark images come calling.

No it is no truly scary hut more suspenseful and humorous, as director Kate Trefry manages to collide the fear with all fear with the silliness of what we are thinking. That a first time director can a horror comedy that works like this says volumes about her skill as a director. Please someone give her a feature film.

One of the great films of any length I've seen in 2019.

Highly recommended.

Skid Row Marathon (2018)

Skid Row Marathon will make you get misty. The tale of the running club at the Midnight Mission in LA’s Skid Row is a heartwarming tale of people getting their lives together and struggling to do more. It’s a must see.

The running club was started by Judge Craig Mitchell after he visited the mission the at the request of a man he sent away to prison. When he got there he was challenged to do something to help the people living there. Mitchell, an avid runner, started a running club that meets several mornings a week. They then hold events to fund the trips the Judge uses as rewards for those who remain clean and out of trouble to travel the world to run in races.

I don’t know what to say. This is a kick ass film that I wish I had caught up with during its festival run. It maybe me feel good. And it made cry. Somewhere toward the end tears were running down my cheeks as the people who thought they couldn’t do something so “simple” as run a race did so.

What an absolute joy.

I’m sorry this isn’t much of a review but sometimes you run across something that doesn’t need explaining it simply needs to be shared. I want to share this with everyone reading this small piece. You need to see this because it will show you what it is possible and how people can rise up when they just believe they can- which is something too many of us don’t understand.

One of the great finds of 2019. This film is a must see.

SKID ROW MARATHON opens March 22 at Laemmle Playhouse 7 in Pasadena ahead of the Skechers Performance Los Angeles Marathon.

Monday, March 18, 2019

Slut in a Good Way opens March 29

Charlotte's boyfriend reveals that he is gay and she spirals out of control. while wandering the aidles of the local Toy Depot she and her friends notice all the cute guys working there, and promptly get jobs. As seasons change the romance and sex comes and goes.

Amusing teen sex comedy is unexpectedly charming. while the film tries a little too hard to be different with some arty camera work and black and white photographers, the sterling cast wins your heart. They make some obvious laughs seem funnier than they are (for exampleCharlotte getting drunk in the play ground early on).

More amusing trifle than earth shaking comedy, SLUT IN A GOOD WAY simply entertains. While I could pick it apart (is teenage life in French Canada really an endless stream of weed, alcohol and sex?), there really isn't a point because in the ends you'll remember the delights, the laughs, the characters, and the score. (And I need to point out I love how the end credit segue effortlessly into the film)

Worth a look

Sunday, March 17, 2019

Black Book


Anthony Mann’s Reign of Terror/Black Book has been a public domain staple for decades. Appearing in cheap DVDs and VHS copies for years I have it I don’t know how many oldie thriller sets. Amazingly I had somehow never managed to see it until I saw it Brooklyn Academy of Music’s Joe Dante retrospective. Dante programed he film as one of his influences. We were not told how it influenced him but it’s good enough that it’s not hard to imagine how it could.

Set toward the end of the French revolution’s reign of terror, the film has Robert Cumming’s anti-Robespierre hero taking the place of a “prosecutor” from Strasburg who was sent for by Robespierre. Its seems that someone has stolen the infamous black book in which all those to be denounced are listed. It must be discovered before the convention which will make Robespierre dictator of France. Complications arise for Cummings as an old love shows up and Robespierre and his men are running a larger game.

A taught thriller I’m at a loss as to why the film isn’t better known. Yes it’s workman like and very much of it’s time but it dos what it does with incredible skill and is a hell of a lot more entertaining than most other films from the same time. It’s a film I would gladly put on again and again.

The love of the film as sealed for me with the sequence in the farm house when soldiers are looking for Cummings, his girlfriend and the black book. Roused by the approaching soldiers Cummings flees leaving the book behind. A game of trying to hide the book and not let anyone know it’s there ensues and it’s a sequence worthy to be compared with the best of Hitchcock.

I can’t say enough good about the film other than see it- and if you can see it big.

An absolute delight.

Saturday, March 16, 2019

Dangerous Flowers (aka Chai Lai Angels)

This is a Thai version of Charlie's Angels. Here there are five girls instead of three. Its a total goof.

 Everything about the film from the plot (the angels have to protect a little girl who has a rare pearl) to the characters (one is a guy in drag) to the action sequences (they are sending up action sequences) are very silly. At no point are we ever expected to take any of this seriously on any level, even if they are playing it all reasonably straight. If you go in expecting a straight action film you are going to be disappointed. if you go in expecting a Thai blend of action (the action is the reason to see the film) and comedy then you are more likely to have a good time. If there is any flaws its that the film doesn't quite work in the non-action scenes. The comedy there comes off as heavy handed. Thankfully the talking scenes tend to be brief.

Forgive me for not saying more but the plot is very slight. Its the action that stand out, and thankfully its all set pieces beginning with a fight on an airplane that's cross cut with a fight in a house and car chase on to the kidnapping of the girl to a fight in towels in an office tower on and on to the final girls in white dresses bit which takes things about as far as you can go. Its all well done and very tongue and cheek (often suitably cheaply)

Worth a look for action fans with a high tolerance for silly things.

Friday, March 15, 2019

Man and Child (1956)

Eddie Constantine plays the head of a perfume company who discovers that his company is being used to smuggle drugs when a man kidnaps Eddie's adopted daughter and demands that Eddie find his daughter who went missing as a result of the drugs coming from his company.

Misnamed film, the girl only shows up at the start and end, is an otherwise pretty good Eddie Constantine film.  Filled with witty remarks and more than its share of suspense this is light entertainment that holds your attention.

As with many Constantine films there is a knowing wink that helps glance over the rough patches. Eddie is clearly aware this is a film in such as the moment when someone doesn't believe who Eddie is in context of the film and says " Yea, well I'm Eddie Constantine" to which Eddie says "Well I have no idea who that is" as he glances into the camera.

Ultimately this is a lot of fun and is recommended.

Thursday, March 14, 2019

Dream (2008)

Kim Ki-Duk's tale of how a man and a woman become linked by dreams.

It begins with Jin waking up from a vivid dream involving a car accident. Going to the scene he finds the police are investigating a hit and run accident. Following information from a traffic camera the police go to Ran's home find that she was asleep. Hauled to the police station Ran tries to protest but there are pictures of her driving the car. Jin tries to intercede and soon its discovered that Ran has taken to sleep walking recently.It seems that when ever Jin dreams Ran acts out his dreams but in an opposite way which means that Jin who is trying to see his ex-girlfriend whom he still loves, causes Ran to see her ex boyfriend whom she despises.

This is a dark romantic tale is an often uncomfortable to watch since we know what the dreams mean. Ran is getting hurt because of what Jin is dreaming and there is little that the pair can do. Well acted, we feel for the characters because the actors makes it clear that sometimes its so hard to stay awake. They have created two nice characters that we feel bad for.

Unfortunately the film has a couple of problems that work against the valiant attempts of the actors. First the score is not very good. It seems to belong to some cheesy exploitation film from the 1970's. For me it was all wrong and from the first notes it set a really bad mood. The other problem is that script doesn't really work. The characters are never fully fleshed out and as much as the actors try to breath life into them they sill feel a bit hollow or unformed. The trajectory of the story kind of seems too artificial. The film seems not to always be moving in a natural direction, I had the feeling that the director wanted it to go in a certain direction and thats the way it goes. This being a Kim Ki-Duk film it's ripe with a sense of darkness and or even dread. This is not a wholly happy tale even if it is ultimately a love story (there is some violent imagery).

In the end I don't know what I make of it. I like the idea, I like the characters, but there is something about the way the film is told that rubbed me the wrong way. I think its an interesting misfire. (And lest you think that I don't "get" Kim Ki-Duk's style or his films, understand that I am a fan having all but his films in my collection.) if you're a fan of the director or adventurous, I think its worth trying for the characters and the pieces that work.

Wednesday, March 13, 2019

Nothing Stays the Same (2019) SXSW 2019

NOTHING STAYS THE SAME is probably one of the most important documentaries of 2019. I know it's a weird thing to say about a film about a music venue in Austin Texas that is trying to stay open, but it’s absolutely the truth. NOTHING STAYS...speaks to every town and village in America, and asks what happens when you allow crazy construction across your town when, more often than not, it is going to destroy the very thing that you are known for?

The film is the story of Austin Texas, specifically the the Saxon Pub. Austin has been known as a mecca for live music, and the Pub was considered one of the best venues to see great music. People from all over the world have gone to the pub and Austin, because they loved the music and the community that exists around it. The city was had once dozens of places like the Pub to see all sorts of music. However, as more and more people came to town costs rose and the venues that hosted live performances were driven out via taxes or problems with landlords, who either raised rents to impossible levels or simply kicked the tenants out to build apartments. The Austin music scene, as a result is dying.

This is the case with the Saxon Pub, which faces closure because the landlord got an insane offer from a developer who wants to build more apartments like the ones that surround it. As the bar faces an uncertain future, filmmaker Jeff Sandmann investigated what the loss of a legendary space such as the Saxon Pub would mean in the short and long term.

Filled with glorious music, NOTHING STAYS THE SAME is just a great film. A spot on examination on the crazy gentrification of not just Austin, but America, the film ponders what will happen to the city when music that once filled every corner of the city goes silent. What do you do when the cost of living in the city is so prohibitive to anyone who just wants to make music? Worse the venues the musicians once played in are closing. The reason that many people go or move to the city is rapidly disappearing. The city that once had a charming character is now becoming a land of dull apartment buildings.

Director Sandmann is to be commended. He has made a film that not only shows us what is in danger if our culture goes away, but also the battle to stop it. It’s a battle that is being fought across the country on all sorts of levels. While specifically aimed at music this is battle that libraries, museums and other cultural institutions are fighting across America. By showing us the battle for the Saxon Pub Sandmann makes the fight something we can all understand.

Not to put too fine a pint on it, NOTHING STAYS THE SAME is one of the  great films of 2019. Not only does it inform but it also entertains (as I said it filled with great music). This is a must see. And don’t let the fact the film runs just over an hour fool you, it has more information and emotional punch then films running twice or three times as long.

NOTHING STAYS THE SAME screens again on March 16th

Pusher (2019) Pasadena International Film Festival

PUSHER is an emotional short about Brittany Lee, a young woman who is both an addict and a dealer. In the wake of her connection telling Brittany that she is done with dealing, a turn of circumstances forces her to reflect and consider the roads that lead her to this place.

Gloriously low key PUSHER is a reflective slice of life simply lets life unfold. There doesn’t seem to be judgement, there just is life. This is the hard scrabble life of a woman in the middle of nowhere, where there is nothing much to do other than drugs. As one person infers toward the end there really wasn’t much choice not to become an addict since where they live there isn’t much else to do. It’s a sad but tragic fact.

Writer, director and star Andi Morrow needs to be commended for her small gem of a film that rises above so many other films with similar plots. As someone who spends a great deal of time in the inde channels of filmdom I’ve seen five to ten films each year over the last decade that highlight the drug problem in rural America. There is sameness to many of them. Morrow beautifully avoids all the pitfalls and sameness making a rich character study that gets under your skin and breaks your heart. It is a film that engages us on both an emotional level and an intellectual one, forcing us to consider if we were in similar circumstance if we would end up following her path.

PUSHER is a must see. It is not only a solid movie and a calling card of a filmmaker to watch.

PUSHER screens as follows:

Pasadena International Film Festival - March 15th (World Premiere; Best Short Film Nominee)

Chattanooga Film Festival - April 11-14 (Tennessee Premiere)


Tuesday, March 12, 2019

Brief word on WOODSRIDER which hits VOD today

Woodsrider is a film about Sadie Ford.At 19 she drives off to the wilds of the town of Governments Camp to snowboard and to just be alone in the wilderness with her dog.

Low key documentary is going to delight audiences that click with low key off the grid vibe. – is a kindred spirit to many of the crazy mountaineers we see profiled who go off and simply go from mountain to mountain without a real care in world. Sadie just wants to snowboard and hang out in the wilderness. Yes she occasionally goes back to town to hang out with people but mostly she just is.

The problem with the documentary for some is going to that this is film this is reflective and meditative. There is a kind of Zen observational quality to it that is going to drive anyone who wants explosions and gun fights up the wall. It’s kind of like if Frederick Wiseman made a film on a snowboarder.

I like the film and its quiet nature. If you think that is up your alley then I heartily recommend the film.

Human Nature (2019) SXSW 2019

Human Nature is a look at our ability to splice genes and thus manipulate the lives and beings of every living thing on earth.

I am not certain what I think of Human Nature. While the film is full of great information and wonderfully doesn’t talk down to the audience, thus making it one of the best explorations of the subject in any media that I’ve run across. it has a couple of problems that kind of keeps me from jumping up and down and raving about it.

First the telling is so restrained that it never fully engages. I loved at what I was being told because the film simply and expertly gets the science across. The problem is it really straight forward. It remains on a single emotional level and stays there always tickling the head instead of the heart.

The other problem for me is it never really goes into the dark side. While the hubris of what happens in Jurassic Park is discussed, it is largely poo pooed as something that scientists would never do. Yes even the talking heads about how they might make changes to their children, while down sides like breeding kids to be super athletes is discussed the tone of it all always seems to be “yea we could do those things but other than for a purely good reason we wouldn’t do that”. While I would love to accept the altruism on it’s face I’ve been around the block to know that while saying they would all do the right things doesn’t mean that’s what would happen. Let’s face t there is too much money in doing evil.

And despite my nitpicks I like the film. I love that the film beautifully lays out everything you need to know to have at least a basic understanding of the subject. I just wish it was a little more realistic and a little more exciting.

Monday, March 11, 2019

Well Groomed (2019) SXSW 2019


A look at several competitive dog groomers and their quest to win the award for being the best WELL GROOMED is review proof. There is nothing that I can say about this film that is going to have any effect on its intended audience. Those that want to see it will do so and love it and those that don't  will hate it.

As you can see from the poster above the sort of grooming we are talking about is not simply making a dog look normal. That would be too easy. Instead it involves cutting and coloring the air on the dogs so that they are creations that involve mermaids, dinosaurs or characters from Alice in Wonderland. Its wild and crazy and amazing .

The film follows several of the groomers as they go through the cycle of shows and work on their designs. We get a good idea of the sort of people who strive to be the best in a competition that really is out there.

I don’t know what to say. I have no idea if this film is high art but it is a great deal of fun. It’s a wild ride full of laughs and smiles and lots of disbelief. Disbelief that people can do what they do and at the fact that people would want to do it.

If you want a wild ride you must buy a ticket. If you’re not sure if the film is for you, look at the picture above. If it delights you then buy a ticket. If you get a lemon face stay away (and have your sense of fun looked at by a doctor).

WELL GROOME D screens again today Monday, March 11th at 5:00 PM at Alamo Lamar and Thursday, March 14th at 2:45 PM at Alamo Lamar

Rezo: An Animated Portrait of the Georgian Artist

Rezo Gabriadze was an accomplished screenwriter, whose films included the international cult hit, Kin-Dza-Dza!, but he refocused his creative energies into marionette theater, because he experienced far less state interference there. The puppeteer-illustrator-filmmaker explains how the lean, difficult years of his youth shaped him as an artist and a human being, through his own words and images, in his son Leo Gabriadze’s animated documentary, Rezo, which opens this Wednesday in New York, at Film Forum.

As a young boy in Kutaisi, Gabriadze was so weak and scrawny, everyone picked on him. His only friend in town was Ippolit, a rat living in the library, with whom he shared the books. He read the pages and Ippolit chewed the covers—or so Gabriadze remembers. He is indeed just as apt to pass off his flights of fantasy as gospel events, but that is all part of the charm of the film and its subject.

Although Gabriadze was a city kid, his most formative memories are of his visit to his grandparents’ hardscrabble farms, during summers and whenever war started advancing too close to home. They were not talkative (especially not his gruff grandfather), but the animals and natural environment fired the lad’s imagination. He was also deeply affected by the friendship he found with a German POW who had been assigned to his grandparents as a free laborer. In fact, the nameless German (who clearly looks like one of the elite Junkers) emerges as one of the richest and most intriguing figures in Gabriadze’s tale (or in just about any recent animated film, for that matter).

Although Marc Chagall was fiftysome years older than Gabriadze (and Belarusian Jewish), Rezo is probably the closest thing to what Chagall might have done as an animator filmmaker, had he had the opportunity and inclination. We can definitely see Russian-Soviet militarism encroaching on the old traditional world—and yes, there are cows in Rezo. In what is probably the film’s trippiest sequence, Gabriadze conveys what it was like to grow up in the midst of the omnipresent Soviet propaganda.

This is also an absolutely charming film. The senior Gabriadze, who appears in live on-camera interludes, still has a twinkle in his eye. He is a marvelously engaging storyteller, even via subtitles. His sketches and paintings perfectly evoke a sense of how harsh those times could be, as well as nostalgia for their simplicity. Those who admire Gabriadze’s work might be surprised how little time is devoted to his professional career, but it might perfect sense from a psycho-analyst’s perspective.

Regardless, Rezo is a wonderfully sly and bittersweet oral history from a great Georgian artist. It also proves how animation can be the perfect vehicle for serious filmmaking. Frankly, this is probably the only way to do Gabriadze’s story justice, because he clearly remembers in very animated terms. Produced by epic filmmaker Timur Bekmambetov (Ben-Hur, Day Watch), Rezo happens to run a fleeting sixty-five-minutes, so Film Forum has paired it up with Yuri Norstein’s classic 1979 animated short Tale of Tales. Highly recommended, both for animation fans (of all but the youngest ages) and patrons of Russian and Caucasian culture, Rezo opens this Wednesday (3/13), at Film Forum.

Days of the Whale (2019)SXSW 2019

Catalina Arroyave's DAYS OF THE WHALE is a gem of a film. While the film certainly chose to world premiered at SXSW because it's street artist characters were certain to connect with the festival goers, the film is much more special and alive to simply remain connected to one segment of the film going audience.

The film follows artists Cristina and Simon who are part of a community of young artists in Medellin in Columbia. Struggling to get their art seen they also have to deal with the problems of being, young, in love and living in a city here gangs hold say over some parts of life. When a threat is left on a wall by one of the gangs, the pair decide to paint over it with a mural, thus creating a conflict between themselves and within their community.

I don't know where to start so much in this film is wonderful.  The story is compelling, the art is amazing, the sense of place is near perfect...there is so much I want to say in the hope of getting you to see the film I don't know where to start. However probably the best  reason is the cast which is as good as they come. Headed by Laura Tobón and David Escallón the cast never seems to be acting only living their lives. Better yet Tobón and Escallón work so well together that they are one of the great romantic couples I've ever run across. Their affection for each other is tactile and bleeds off the screen.  Watching the pair together I kept thinking I want that level of connection in my life.

I really love this film a great deal and I don't want to spoil it for you by telling you what I think the film is. Never mind what I think the film is, other than great, just go see it. Go see it and see a world that is more real and a live than the one you are living in some bland office somewhere.

Highly recommended.

DAYS OF THE WHALE made its world premiere as part of the Global section at the 2019 edition of the SXSW Film Festival, last night in Austin, Texas, It will make its national premiere at the Cartagena International Film Festival in Colombia, March 6-11.

Sunday, March 10, 2019

Ernie and Joe (2019) SXSW 2019

I’ve seen a lot of documentaries so far in 2019 and Ernie and Joe is the first film I think has a shot at an Oscar. This portrait of two officers in the San Antonio Police Department’s Mental Health Unit is a quiet stunner. It’s a film that will open your eyes and make you wonder why other police departments aren’t doing the same thing.

Opening with the two men answering a call to a court house where a man with mental issues refuses to leave a waiting room because he doesn’t feel safe. The two men sit down with the man, winning his trust and assuring him that if he goes with them all would be alright. He trusts them and goes off with them. The film then follows the men through their days, at home, at seminars and on patrol.

I don’t know what to say except this is a great film.

Vital and important this is a film that shows us something that could change the way the police operate. This film clearly shows us how one properly trained officer can make a difference. At a seminar one of the officers tells the story of how a woman called 911 saying she was going to shoot herself. The police responded with a tactical squad plus many other additional officers. As they were trying to decide how to handle it he called the woman up and talked her into putting the gun down and coming out. What could have (and in other places would have) ended tragically ended happily. Granted that doesn’t always work, we do hear of lives lost, but we also have our eyes opened to the possibility of saving more lives.

But he film does more than just show us the men working. We get to see them at home as well where we see the lives they lead and the toll the job is taking on them. We get a sense of the people it takes to do this job effectively.

You must see this film. Not only must you see the film we must use it as a rallying cry to get the police to change what they are doing.

And yes I really think that if the Oscars can get their collective heads together and realize that the best films don’t always need to be flashy or music filled this film could be taking Oscar gold.

ERNIE AND JOE screens again today Sunday, March 10th at 3:00 PM at Alamo Lamar and Friday, March 15th at 6:00 PM at Alamo Lamar

Leave The Bus Through The Broken Window (2019) SXSW 2019

Andrew Hevia decides to go to Hong Kong to cover an international art show but is completely unprepared for the trip not speaking the language, understanding the culture or knowing anything about Chinese history. He flounders and begins to turn the camera on himself.

Bittersweet and darkly funny, LEAVE THE BUS THROUGH THE BROKEN WINDOW is wicked documentary about a guy in a place he probably shouldn't have been. Yes, he manages to get along and make something of the trip, but its clear he is in way over his head and is just fumbling his way along. It makes for an amusing and sad experience especially in light of the narration, which read by an mechanical female AI voice and comes across as judgmental.

Say what you will about Hevia's wanderings, the film has a glorious sense place and you really get a sense of the city of Hong Kong better than almost any other film you'll see. This is the ground level huan Hong Kong and not one made up for the cameras. I want to compare it to the home video footage that a friend of mine shot on their trip to China. While normally saying something is home movies is a bad thing, in this, and the case of my friend's footage, it's a good thing because its not images and places that look good, but rather where people dwell. You are in their world and we are better for it.

This film is a kick in the pants. Beautifully put together it is long enough to make us feel like we've had a meal and short enough never wear out its welcome.  This is the sort of hidden gem thatI'm going to be recommending to friends as it makes its way through the various festivals.

Highly recommended

LEAVE THE BUS screens again at SXSW as follows:

Sunday, March 10 at 1:45PM - Alamo Ritz 2

Wednesday, March 13 at 3:00PM - Alamo Lamar C


Saturday, March 9, 2019

Mr Jimmy (2019) SXSW 2019

Portrait of Akio Sakurai aka Mr Jimmy, who played Jimmy Paige's music note for note in small clubs in Japan until the man himself saw him and gave him an ovation. He then went to America to try and make his mark as part of Led Zepagain.

Good looking and good sounding documentary is going to be a love it or loath it for most people. If you are a huge fan of Zeppelin and Paige then there is a good chance you will love the film since the film has a great deal of the legendary group's music expertly played. If you're not a fan of music or you don't click with Mr Jimmy's obsessive nature this is going to be a long haul as the film spends a lot of time allowing him to talk of his obsession (he even ants his costumes exactly the same as Paige's) and showing us form over content  sequences that don't really do much other than look good and kind of ape the arty sequences in THE SONG REMAINS THE SAME.

I found myself in the second group early on as Jimmy was going on about the way a Paige jacket sat on his shoulder and my interest began to wane. I probably could have pulled myself back from the brink if there seemed to be more to Jimmy than his obsession, but there really isn't. This is a man who lives to play but for me that simply isn't enough to support a two hour documentary.

On a purely technical level director Peter Michael Dowd has made one of the best looking films of the year. Filled with incredible images and stunning sequences  Dowd has made a film that takes us to the heart of obsession and makes us shake hands with it. I would love to see what else he can do with a story. At the same time I really wish he could have made me care about his subject more. Yes I stayed to the end through Dowd's skill in putting sound and image together but not because I really cared about his subject.

MR JIMMY premiered last night at SXSW and plays again on the 11th and 14th. Mr Jimmy will be performing on the 13th at midnight at the Dirty Dog Bar.

Friday, March 8, 2019

The conundrum that is Starfish (2018)

After Aubrey's friend dies, she goes to spend time her friend's apartment. Waking to find the world ended in ice and strange creatures wandering the earth she must try to put things right with the help of a mix tape.

In the days since I first saw STARFISH I've been wrestling with how I feel about it. A beautifully acted and great looking film, it is ultimately trying to be something else. This is what all great horror films are on some level, but in this case I' not sure if it succeeds or not.

Billed as a horror film, the film is also (or wants to be) a meditation on grief and loss and how we deal with it.  Aubrey is literally in her friends world, having broken into her apartment and is dealing with the mystery of the weird signal that ended the world and brought the strange creatures that are now walking the earth.

The sights and sounds of the new world are stunning. The film gives us some of my favorite images of any genre film I've ever run across. When the image and sound track match up the effect will take your breath away and make you audibly react. I found I kept whispering "that's so cool" or "Wow"

However as stunning as the images are and how amazing the moments seem, things don't always hold together. This was especially true when I went back through the film a second time and there are things I let go the first time through figuring they would link up to things later on only to find there were no connections and bits were left hanging. I repeatedly said"hey that doesn't quite work..." (no I can't discuss them because you need to see this film kind of blind)

Part of the problem is the way the film is told. There is an arty edge to everything. It is always reaching to do more than just tell the story. While it wonderfully creates a one of a kind head-space and simpatico with Aubrey there was this gnawing sense that this might have played better, and connected more to the audience if it was more straight forwardly told without some of the flourishes and perhaps even some the music and image sequences which are actually what make the film a film you should try to see.

As much as I love huge swaths of the film, there were and are moments where I felt separate from it and outside of its world. I could feel it going on about being about something but that thing s was kind of alien to me. This was especially true on the second go round when I was trying to make sense of the earlier part of the film based on my knowing what happened and where it was heading.

Honestly over a week since I first saw the film and nine drafts of this review later I honestly don't know what I think or feel about the film. I know I am puzzled enough by the film that I have revisited it several times. Partly to work out what I think and partly to see a number of the sequences again.

I won't try to say if it's a good film or a bad film, rather I'll simply say that if you want to see a film that will engage you and haunt you and make you do more than just see it and then move on see STARFISH.  I have no idea if you will like it or loath it but you will most certainly know you have seen something that will stay with you.

STARFISH opens in select theaters March 13th. It will them open additional theaters through April.

Thursday, March 7, 2019

3 Faces (2018)

In 3 FACES director Jafar Panahi contacts actress Behnaz Jafari and tells her that he has received cellphone message saying that a young woman who was forced into marriage had killed herself when her efforts to reach Jafari in the hope of having her convince her family to allow her to act failed. Uncertain if the message was real or not the pair head off into country to try and find out what actually happened.

Panahi banned by authorities from making films continues to do so low budget and low tech and we are better for it. While specifically about the restrictions placed on women (and filmmakers) in Iranian society, the film transcends its specific culture to instead speak to a larger world where restrictions are placed on everyone. Of course this being a film by Panahi there are other themes at play here such as notes about celebrity and community.

For me it took a little while to get into the film. It opens with a long drive to the village where our leads discuss the video and life. It’s shot in a couple of long takes the sequence is more like listening in on someone’s long conversation at the table next to you at a diner. It’s interesting in regard to the parts that are connect to our lives but there is a lot of extraneous material (though I will say Panahi's phone call with his mother amused me.) For my taste it went on a bit too long. Yes I know why the scene exists as it does and I understand we get to see the emotional distress of Jafari at potentially having a hand, even if unintentional, in a suicide, but it didn't feel natural and screamed of importance.

Fortunately once we arrive at the small village this film works like gangbusters. The interplay between the leads and the people of the village is much more interesting than the long drive to the village. Here the film is allowed to breath. Life happens. The ideas that Panahi is trying to explore take root and we get to ponder what we are seeing and aren’t being led. I finally clicked with the film.

That the film works is thanks to the wonderful cast. The towns folk are charming and Jafari is her typical radiant self. I don’t think she is capable of a bad performance.

A small gem 3 FACES is recommended.

3 FACES opens tomorrow in New York

Random thoughts on Moominvalley (2019) NYICFF 2019

The MOOMINVALLEY that played the New York International Children's Film Festival was not a film as such but to unconnected episodes of the new TV series played back to back. The stories were unconnected to each other.

Episode One was SECRET OF THE HATTIFATTNERS. Which had Moomintrol, Snork Maiden and Little My setting off to a legendary island that Moominpapa always talks about . Once there they encounter the Hattifatteners and have to deduce why they are so interested in a "mirror".

Episode Two was NIGHT OF THE GROKE and it has Moomintroll spending a night alone in the house when his parents go off to spend a life of wild abandon on the beach. Through circumstances he and his friend Sniff end up thinking a giant forest troll is lurking, however things get serious when they encounter the dark shadow that is the Groke, a beast which ill freeze you blood.

To be honest I don't know what I think of the show. My exposure to the Moomins has been through some random stories and long form features where the stories were allowed to go as long as they had to and not fill a time slot. While beautifully animated and expert and lovingly voiced (Warwick Davis, Taron Edgerton, Rosamund Pike, Matt Davis aong others) the shows seemed to strain in the required 20 or so minute time slot. Things will go for a certain amount of time before ending. Everything is there for a great tale, they just rush to a conclusion. Because I am not a Moomin scholar I don't know if the tales are rushed or not. I do know that the writing, other than pacing, is sharp with some great one liners and lessons for everyone.

For what its worth the audience around me, especially the kids ate it up since they all seemed to be big Moomins fans.

MOOMINVALLEY plays March 9th and 16th at the NYICFF. Both screenings are currently sold out but more tickets may appear- the screening I attended was sold out but still had a lot of empty seats, so if you're interested try showing up. For more information on the  film and the screenings go here.

NYICFF 2019: Boys Beyond Boundaries

Brief word on the shorts that make up this collection of films playing at the NYICFF. More than the festival's Girl's POV the collection focuses on who we are really and the paths we take that our own,

Building a Prosthetic Arm With Legos
Absolutely awesome film about a young man born with one arm who built himself an arm of Legos.

Grandbad
Okay film about a boy who is pressured to paint graffiti and his grandfather

Juni
Boys bond over a meal of iguana. Good little film about how relationships change and how people come together.

Stardust
A young man who helps his dad a s garbage collector dreams of the stars. While possibly slightly long, it is still a sweet little film about the need to reach for more.

Xavier
Young drummer Xavier keeps his own beat much to the annoyance of everyone except his father. A nice film about a young man on his own course and a support parent who understands he has his own way to go.

Slow Dance
At a middle school dance a young man looks for courage. A well done film about trying to find the nerve.

Beauty
Portrait of five transgender kids is a lovely little film about people finding themselves.

BOYS BEYOND BOUNDARIES plays every remaining day of NYICFF except the 17th. For tickets and more information go here

Wednesday, March 6, 2019

Boston Underground Film Festival Unveils Lineup for 21st Edition - Satanic Sundance hit HAIL SATAN? opens the five day fest in Cambridge, MA - March 20th - 24th

The 21st Annual Boston Underground Film Festival
Unleashes Five Days of Cinemadness on Cambridge from March 20th through the 24th
Titles Include Hail Satan?, Mope, Tone-Deaf, Knife+Heart, The Unthinkable and More!


WATCH THE FESTIVAL TRAILER ON YOUTUBE HERE AND VIMEO HERE!


MARCH 6TH, 2019 Cambridge, MA – New England cinephiles! Spring festival season kicks off in two weeks when the 21st annual Boston Underground Film Festival returns to Harvard Square, bringing with it a five-day film frenzy to the Brattle Theatre and Harvard Film Archive from March 20th through the 24th. This year’s program includes a fierce and fresh collection of transgressive, unholy, and unthinkable underground cinema, along with a few outsider-odyssic festival favorites from near and far (in space and time)!

Hail Satan?

BUFF marks the occasion of its decadent and debaucherous 2-1 with the number of the beast: Director Penny Lane’s provocative Sundance-sensation Hail Satan? crowns this year’s festivities with its inspirational and entertaining chronicle of the extraordinary rise of one of America’s most colorful and controversial religious movements, The Satanic Temple (TST). A damning commentary on the role of organized religion in our purportedly secular society, Hail Satan? challenges preconceived notions about the objectives of the nontheistic, Salem-based, political activist movement and offers “a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world.” Filmmaker Lane and TST co-founder & spokesperson Lucien Greaves will be present for a post-screening Q&A.

Mope

Reaffirming last year’s commitment to giving first-time feature filmmakers a broader presence at the festival, BUFF celebrates a bounty of exhilarating visions from the cinematic edge, including Lucas Heyne’s Sundance-smashing porn-drama-cum-true-crime tragicomedy, Mope, and Crazy Pictures’ Swedish, precisely-paced disasterama The Unthinkable, which delivers a pulse-pounding stunner of a closing night!

BUFF revisits its roots with a double-dose of 90’s DIY Queen of the Underground Sarah Jacobsonher 1997 feature debut Mary Jane’s Not A Virgin Anymore, paired with her seminal short from 1993, I Was A Teenage Serial Killerpainstakingly restored in 2K by the American Genre Film Archive. In perfect complementary fashion, BUFF also presents Industrial Accident: The Story of Wax Trax! RecordsJulia Nash’s personal chronicle of her father Jim and his partner Dannie, who formed an unlikely family of punks, queers, and outsiders on their transformative, breakneck ride through the music and culture of the 80s underground scene—to Boston’s industrial devotees.

Knife+Heart

BUFF’s queer flag flies high with coming-of-age wartime musical Canary, Christiaan Olwagen’s electrifying tale of a smalltown boy coming out to a Bronski Beat in mid-80s South Africa, and Yann Gonzalez’s synth-infused, erotic queer giallo, Knife+Heart, which marries lush De Palma-esque mise-en-scène with a spellbinding score by M83 (which is helmed by Gonzalez’s brother, Anthony).

Happy Face

From Satanists to mopes, to Sarah Jacobson and Wax Trax! Records, outsiders rule the screen at #BUFF21 and Alexandre Franchi’s part autobiographical coming-of-age, part D&D-fuelled fable Happy Face bears an antidote to the tyranny of beauty with no makeup, no sfx, no filter and all heart, as a quixotic teen goes incognito to group therapy for the facially different in a misguided attempt to reconnect with his cancer-stricken mother. Join us for a post-screening Q&A with the director as well!

Fans of horror, have no fear, there’s plenty that’s fearsome in this year’s lineup! Adrian Panek’s harrowing, horrifying Werewolf, raises the bar for siege films to disorienting new heights, while this year’s midnight Secret Screening is guaranteed to be one of the year’s most groundbreaking works of terror. After recovering from a subsequently restless night, be sure to join us bright-but-not-too-early for a space-themed brunch, with the filmmakers, at the US Premiere of Drew Bolduc’s dark sci-fi gem Assassinaut, which follows a group of spacewrecked teens on a mission to save the President of Earth from a murderous astronaut.

Assassinaut

For those that love their scares with a side-order of laughs, festival alumnus Richard Bates Jr. returns with Tone-Deaf, a brilliantly bleak critique of the bizarre cultural/political climate those of us trapped in timeline B are experiencing, starring Amanda Crew (Silicon Valley) and Robert Patrick (Terminator 2: Judgment Day) in a home-away-from-home invasion horror comedy fresh off its world premiere at SXSW! And the laughs keep coming with Sophia Cacciola and Michael J. Epstein’s internet-age lambasting horror comedy, Clickbait; join us in hailing these hometown heroes as they join us for a post-screening Q&A!

Our annual kid-friendly Saturday Morning All-You-Can-Eat Cereal Cartoon Party tunes back in to a cherished bygone pastime with three hours of ‘toons and cereal smorgasbord, hosted and programmed by renowned curator, author, publisher, and founder of the Miskatonic Institute of Horror Studies, Kier-La Janisse, PLUS a veritable bounty of shorts programming, celebrating the finest animation, transgressive horror and genre-inspired music videos, awaits!

Festival passes sold out online last month through BUFF’s annual crowdfunder; individual screening tickets will be available online for advanced sales and at the Brattle Theatre box office.

Tickets will be on sale at www.brattlefilm.org and www.bostonunderground.org on March 6th.

###


BOSTON UNDERGROUND:

Kit Film Noir Film Festival 2019

The Second Annual Dr. Saul and Dorothy Kit Film Noir Festival

Into the Night:
Cornell Woolrich and Film Noir


Wednesday-Sunday, March 27-31, 2019

Many films shown on 35mm. Click here or see below for full schedule.

The Katharina Otto-Bernstein Screening Room
The Lenfest Center for the Arts
Buy Tickets
“As a master of dread, he has conceivably no pulp equal.”
– Jonathan Rosenbaum


Short story maestro, former Columbia student, muse of suspense filmmakers: Cornell Woolrich (1903–1968) lived all of these lives. A prolific man of letters, Woolrich has had his novels and stories adapted into nearly 40 films and dozens of episodes of radio and television. Yet despite his strong influence on the postwar crime film, Woolrich has remained overshadowed by his hard-boiled contemporaries: Chandler, Hammett, and Cain.

The Second Annual Dr. Saul and Dorothy Kit Film Noir Festival seeks to correct this oversight. The festival will present 11 adaptations of Woolrich’s fiction: from the canonized masterworks of Alfred Hitchcock (Rear Window) and François Truffaut (The Bride Wore Black) to lesser known “B” films such as Monogram potboilersFall Guy and The Guilty.

The screenings will be accompanied by a series of talks by Woolrich experts and film historians. Columbia’s Rare Book & Manuscript Library, located in Butler Library, will also host an accompanying exhibit of items from the Cornell Woolrich Papers.

Students have access to free rush tickets for each screening with a CUID pending availability.
View Festival Trailer Here
Weds, March 27

7:30pm: Keynote Lecture by James Naremore (University of Indiana)
Free with registration

Thurs, March 28

7:30pm: Deadline at Dawn and Nightmare (double bill)
Buy tickets

Fri, March 29

7:30pm: Black Angel
Followed by a discussion with Francis M. Nevins (Cornell Woolrich biographer) and Ann Douglas (Columbia University)
Buy tickets

Sat, March 30:
“B Movie” Woolrich Day


1pm: The Guilty and Fall Guy (double bill)
Buy tickets

4:15pm: Lecture by Frank Krutnik (University of Sussex)
Free with registration

6pm: The Leopard Man and Return of the Whistler(double bill)
Buy tickets

9:15pm: The Chase
Buy tickets

Sun, March 31:
Woolrich/Hitchcock/Truffaut Day


1pm: The Window
Followed by a free screening of “Four O’Clock”
Buy tickets

4:15pm: Lecture by Pamela Robertson Wojcik (Notre Dame)
Free with registration

6pm: The Bride Wore Black
Buy tickets

8:45pm: Rear Window
Buy tickets

Programmed by Rob King (Columbia University). Festival managed by Soheil Rezayazdi.

This festival is funded by a generous gift from alumnus Gordon Kit (Columbia College ’76), in honor of his parents.

Tickets: $12 General Admission / $10 Seniors (65 and older) / $8 Student*
Packages: $40 for four films / $75 for all eight films
Advance ticket sales available online only
Day-of screening ticket sales available on-site, pending availability

*Students will have access to free rush tickets 30 minutes prior to each screening, pending availability and with a valid CUID.