Any Day Now (2012)

Not to put too fine a point on it, Any Day Now is one of the best films of the year. Alan Cumming should be short listed for the Best actor Oscar, or better yet just handed the damn statue now.

Based on a true story this is what happens when two gay men decide to take in a young man with Downs Syndrome. Marco is the neighbor of Alan Cumming, and his mother is a junkie who turns tricks. When she is sent to prison they find the boy wandering the streets. Choosing to do the right thing they take the boy in, and run smack dab into the middle of homophobia...its 1979 and gays, even in California are not welcome.

I was moved. Through the whole film I was fighting tears...and so was the entire audience who left the screening sniffling and wiping away tears.

After the screening ended everyone was talking it up. So much so that the volunteers who heard the talk were rushing out to get tickets for the screenings.

Its a near perfect film with Alan Cumming giving his star making film performance. I say film because if you've seen him on stage or TVyou'll know how great he is, though to be honest this is way better. Its real and on target. You feel his pain and his joy. Cumming also gets to sing some songs that will bring you to tears because of how they are used.

And I dare you not be moved by Isaac Leyva as Marco. His grin will make you joyful. He's wonderful.

If there is any flaw in the film, its that in the second half the film gets a tad bogged down in the legal maneuvers to the point it seems to become a bit preachy. Its not fatal, oh god no, I mean you wouldn't feel as you do at the end if that were the case, but its still there.

See this movie.

In Brief: Tribeca On-Line: Nancy, Please; Jackpot; Ballroom Dancer

I've seen 62 movies in the theater at Tribeca. I offer this not to show off but to prove conclusively that I was frequently dropped on my head as a child and suffer some form of brain damage. If you need further proof of this illness understand that when I went home from the theater this past week I sat at home and watched more Tribeca titles on line thanks to the Press and Industry library.  This allowed members of the press to screen some films more easily.

I've already spoken about some of the shorts I saw, but I haven't spoken about the features

PLEASE, NANCY is an okay film. Its about a man who moves in with his girlfriend only to realize he's left something with his ex. It wasn't my favorite. I thought it was too much trying to be like many other independent films. It never seemed to be it's own film rather cobbled together from other, better films.

JACKPOT was high on my list of must see films. Things happen and I didn't see it pre-festival and I managed not to see it during the festival. The film has one hell of a beginning, with our hero and some friends going into a bar just as all hell is breaking loose. He is found under a dead body holding a shot gun. Its a truly classic sequence. I wish the rest of the film was like that. A weird comedy crime action thriller, the film apes the style of vintage Guy Richie. Unfortunately it never really works outside of the odd sequence. A large part of the problem is the humor seems forced---and unfunny. Perhaps if it didn't try so hard it would have worked.... now it's just a miss.

BALLROOM DANCER follows Slavik Kryklyvyy  as he tries to make a comeback in the world of dance. Complications are numerous, not the least of which is that he's partnered with his lover. If you like dance you really should see this film. For me, I can see it's really good, but the subject is not one I'm really interested in, so my attention wandered.

There's more to the library so expect more reports over the next couple of days.

Supporting Characters (2012) Tribeca 2012

Semi-autobiographical story that was shot in twelve days tells the story of two editors working on fixing a merely okay romantic comedy about a dog walker (or is it a dark film about pet euthanasia?). They they fix the movie their private lives begin to bend and shift.

This is an often very funny film that didn't quite work for me. Other people really liked it, but I couldn't get past its disjointed story (what is this about really?), its technical flaws (for a film with a hysterical scene about re-recording a single line of dialog the sound is a mess), unlikable characters (Alex Karpovsky as Nick is annoying instead of endearing) and it's abilty to make all of it's great New York City actually seem like its was filmed some where else (despite my ability to pick out almost every street).

I kind of liked it but I didn't love it-even if the dialog is often sharp. Wait for cable.

Based on the Book: Tribeca Talks: Pen to Paper event 2012

Left to Right: Charlie Matthau, Pen-Ek Ratanaruang, Donald Rice

The concept of watching books turn into movies has held much interest for me of late.  As major works such as Girl with the Dragon Tattoo and Hunger Games have been adapted to the form of big screen entertainment, I’ve pondered how best to perceive them.  If there is in fact in some rule of thumb we could apply to determining their value as a reworking of another medium as opposed to just another movie.  Should cinematic shortcomings be overlooked in light of the value of bringing a worthwhile book into a more widely received medium?  Or should these works be raked through the coals for their lack of faithfulness to the original source material?  Considering the built in audiences they will bring to theaters, one might argue that it’s not unreasonable to see these projects as servants of the stories they purport to tell.  A more reasonable view may hold that these films should be judged entirely on their own merit, without a need for falling back on the printed source material to fill in the blanks when details do not translate on screen.

        I was naturally drawn to the entry of the Tribeca Talks Pen to Paper series, Based on the Book, which looks at experiences of adapting novels to the screen from the point of view of three very different directors.  Film critic Mark Adams moderated the panel, which took place in the open space of the Union Square Barnes & Noble’s third floor and was open to the public for free.  The large but cozy space attracted a full house, ranging from creative types in the film industry seeking advice on their adaptation endeavors to fans of the work by specific directors participating in the talk.

The event would not shed much light on the issue of how to receive large budget adaptations of major works, as this event focused on independent ventures being screened in the festival.  Two were world premieres:  Freaky Deaky, an adaptation of an Elmore Leonard novel directed by Charlie Matthau would receive its debut screening a few hours later at the School of Visual Arts complete with a red carpet reception for the film’s cas,t and Cheerful Weather for the Wedding, a 1930s period film directed by UK director Donald Rice.  The third film came from Thai director Pen-ek Ratanaruang, who without question stood out as the wild card of the three, as he came to present his latest film Headshot, an adaptation of a noir influenced novel Fon Tuk Kuen Fah by Win Lyovarin.  The talk did, however, shed some light on directors’ varying attitudes towards transforming written words to moving images and the obstacles they encountered.  It also gave weight to the notion of film adaptations ultimately being unique creations taking on their own life independent from the stories that they initially sprang from.

The directors with panel moderator Mark Adams

        The idea of creating untarnished mirror images of the novels movies are based on was quickly dispensed with.  Each of the directors on hand spoke of aesthetic and logistical changes they made to the stories they adapted.  To bring Freaky Deaky to the screen, Matthau convinced Elmore to go along with a significant change in temporal setting, moving the story from some time in the 80’s to 1974.  The music, drug culture, and uninhibited attitude of that decade would prove to be a major element of the movie’s aesthetic.  Donald Rice “killed an aunt” realizing that unnecessary characters would clutter the screen, when the qualities of minor players could be combined into one.  Pen-ek, feeling perhaps the least attachment to the novel he reworked, kept only the opening and conclusion of the original work while changing everything in between.  Being taken primarily with the visual concept of a hit man who is shot and ends up seeing everything upside down, he felt little obligation to the rest of novel.  Reportedly, he continues to maintain a friendship with the book’s author, Win Lyovarin.

        Other editorial decisions that may not occur to the average moviegoer include the whether or not to use dialogue.  Matthau and his crew went back and forth on a witty line that did not seem to gel with the pacing, but ultimately left it in because of the laughs it would get.  Narration is another element that may be included to maintain the original voice of a novel, but for Rice, proved to be an idea that ended up on the cutting room floor.  He felt it was boring and spelled out details that were already apparent from watching the actions of the characters.

Freaky Deaky director Charlie Matthau

         
      Something all three directors shared was an attitude that once the idea for a film adaptation becomes a reality, it is its own entity, owing less to the original creation than some intransigent fans of the novel may expect.  Pen-ek suggested that once a film’s shooting begins, it is best to forget about the book adaptation aspect.  Rice expressed satisfaction at cutting away unneeded elements rather than trying to include as much as possible from the original novel in the film.  Some criticism was leveled at movies like Watchmen, which had potential to be amazing, but seemed to be too tied down to the original comic.  There was an overall sentiment that it is best to “let go of the book” and allow the “film (to) become its own thing.”

Pen-ek Ratanaruang, whose film Headshot is about an assassin who after being shot sees everything upside down 

        And what of the future plans of these directors in adaptations? Or in general?  Matthau teased his next project, The Sugar Shack, which promises a combination of Caddy Shack and The Full Monty.  Unsurprisingly, he expressed an open willingness to adapt more of Elmore’s works to the screen, as a likeminded attitude shared by himself and the crime novelist was made apparent during the talk.  He also talked about a recent interest in developing an adaptation for the novel Huge, by James W. Fuerst.  Donald Rice is working on a project based Ealing comedies from the 40’s and 50’s.  As for Ratanaruang, he is generally open to more adaptation work, it being easier than writing his own stories. Regardless of where the ideas for his films come from, the Thai director quipped that financial backers are reluctant to support anything that isn’t broad comedy with plenty of falling down.


Photo credits: Mr. C, Mondocurry  

Tribeca Day 7: Rodriguez, Wagner, Deadfall, Postcards, The Virgin and Lights Off

I'm past exhausted. I was in the movies at 9AM today and I staggered out close to 9PM, having seen 6 films in between.

I'm just about movied out, but I'm going to see if I can squeeze a few more in over the next couple of days. I have 4 lined up for tomorrow and then depending perhaps two on Friday.

I should also mention that I've started watching things on line. I've seen three so far, with only Ballroom Dancer really holding my attention (the other two were Nancy, Please and Jackpot). A Full report will be coming in a day or so.

Today began with TURN OFF THE LIGHTS . This is a very good documentary about three young Roma men who get out of prison and then try not to go back in. You watch how the three different men react to being out and dealing with, friends, family and lovers. It's a marvelous slice of life that clearly shows how these guys ended up in trouble in the first place. I'm going to see about writing this up full because its a really good film.

THE VIRGIN, THE COPTS AND ME is a documentary by Namir Abdel Messeeh that starts off in one direction, an examination of Virgin Mary sightings in Egypt and ends up being a family portrait because no one would talk to him. It's an okay film, that works at all simply because the people around Namir are interesting. He is, to my mind a self centered twit, and given the chance I'd like to smack him upside the head. Much of the film feels staged or restaged or made up, which is odd for a documentary, but then the director always seems to want to have his own way so it's expected.

SEARCHING FOR SUGAR MAN is the almost unblievable story of Rodriguez, a singer who had no success in the US, but who was, and is bigger than the Beatles and Elvis in South Africa...which he only recently found that out. This is simply put one of the best films of Tribeca and of the year. Its an amazing story, with great music and a great emotional kick, even if you know how it goes. Both Chocko (who's interview with the director ran earlier today) and myself were blown away. A full report will follow once we see if we're going to a Rodriguez concert later this week. See this one...if not now, in July when the film hits theaters.

DEADFALL is a modern film noir, that didn't impress me at all. One of the most crowded of the press screenings I attended it's also one of the fast selling films at the festival. The plot has a brother and sister robbery team splitting up after a car accident. The cops are looking for them since he shot a state trooper dead. (Why? Beats me since they are supposed to be smart people) Add to the mix, an ex con heading home, and in trouble, after a prison stay, his parents, an ex girlfriend, who's a sheriff and assorted other noir cliches and you have a film that you'll be way way ahead of. You you can't write the dialog and guess the situations you haven't seen any classic noir. I also wasn't impressed by the performances which seemed by rote. 

Going into POSTCARDS FROM THE ZOO I was handed an audience ballot. This confused me since I haven't gone to many public screenings. This is the story of a young girl who grows up in a zoo. She, like many others simply lives there. Eventually she meets up with a magician who dresses as a cowboy and the pair leaves the zoo. Beautiful to look at I'm at a loss to explain or fully understand the film. Clearly it means something to someone, but to me, and most of the audience it's a cypher. When the film ended, a young woman, who I believe was the actress in the film applauded wildly and the audience just stared at the screen waiting for the director to arrive to explain it.

I couldn't stay, I had been generously granted a seat at the world premiere of WAGNER'S DREAM, which was due to start in a theater across the street in about 40 minutes. This was being shown as a Tribeca Talk so there was going to be a panel discussion afterward.

The film is a documentary about the Metropolitan Opera's latest staging of Wagner's Ring Cycle. It involves a unique set design that is so heavy that the floor of the opera house had to be re-enforced.

Okay at this point I have to make a stand and say something up front. If you love Wagner. If you love the Met. If you know all about the Ring then give the film a try. You'll probably like it. If you want to know about the series you would have loved the talk back because it was geared to you.

On the other hand if you're looking for a film that's good for the general audience look elsewhere, because this movie is a long painful slog.

I like Wagner.

I like the Ring.

I didn't like this movie for 3/4 of it.

This hyper specific film is on this production of the Ring and only that. There is zippo attempt at explaining anything outside of it, which makes this film basically a DVD extra for when they release the series on DVD and Bluray. Abuse me all you want because it's true.

The problem is that the film spends it's first 80 to 90 minutes talking about Das Rhiengold and the building of the set for the four operas. Its a multifunctional set that is used in all of them. Its interesting if you like stage craft, if not it get tiring real fast.

After 80 minutes the film races through the other operas in away that is more entertaining than what went before. Sure we know bupkis about anything, but at the same time its entertaining thanks to images from the operas and Wagner's kick ass music.

As entertained as I was by that last half hour I can't recommend you go near this film unless you are a fan of the Met and this production.

I'm sorry if I can't say more than that. This is a film blog and as such I have to talk about things on that level. I know that opera junkies around me during the film and the post film discussion were orgasmic with delight, that's all well and good, but unless you are one of them, odds are you're going to want to shoot yourself rather than watch this film.

I do have to add that the actual productions look and sound amazing and I will have to consider getting them on DVD if and when they are released.

That's it. I'm beat.

Bed time for Bonzo.

Night night.

High Tech, Low Life (2012) Tribeca 2012

Documentary about citizen reporters in China.

Zola is a young man in his twenties who was unhappy that all state sponsored news was good news so he started to post his own reports to the web. Tiger Temple is a 57 year old man, the son of high party officials who decided one day he had to tell the truth. The film follows the pair as they travel around their country reporting and dealing with government officials who want to shut them down.

Good, but not particularly exciting film is...rather bland. The tensest that things get is when Tiger is forcibly removed from his home for ten days during a party conference in Beijing. Other wise it's the pair traveling around and reporting stories that need to be told.

I'm sorry, I can't say more than that. Its not bad, but its never full engaging. Yes, I like it, but I don't think I needed to see this on the big screen. Had I gotten up in the middle of it and went home I wouldn't have missed anything.

It is worth a look, but wait for cable.

Cut (2012) Tribeca 2012

Odd Japanese film made by an Iranian director that bounces between the art house and the grind house. The plot follows a filmmaker who tries to pay off the debt his deceased brother had with some local mobsters. It seems that the brother had been borrowing money to financed three unreleased films. The solution our hero comes up with is to allow the mobsters to punch him at a certain price for each punch. as he gets the shit kicked out of him he rants about pure cinema.

This is a disjointed film that keeps tripping over it's own feet. Watching the brother get beaten up in what seems like an act of atonement is decidedly visceral and unpleasant, but it's coupled with these rants about pure cinema and how cinema used to be informative and entertaing, and they drive the film off the road again and again. (Though the final count down sequence is oddly compelling)

The film is alternately enthralling and distancing, kind of like the on/off switch of a light. The result of the switching back and forth was that once the lights came up and I was walking down the street I found I ceased to be interested.  Its a feeling that was helped along by the sting in the tail ending that simply re-enforced our hero was nuts.

Its worth a shot for all that works but I won't gauentee what you'll think of it.

Searching for Sugar Man (2011) Tribeca 2012

Rodriguez and Malik Bendjelloul

Hi everybody! My name is Chocko and tonight I am reporting from the red carpet event for the New York Premiere of SEARCHING FOR SUGAR MAN.  In a nutshell, the movie is about a Mexican-American folk singer from the 70's named Rodriguez (pictured above) who was adored by critics, but was a flop commercially.  He eventually disappeared into obscurity, unknowingly becoming a HUGE star in South Africa where his antiestablishment songs struck a chord with the masses.  Decades later, his story is finally being told.  I was able to speak briefly with the director of the film, Malik Bendjelloul.

What attracted you to making the film SEARCHING FOR SUGAR MAN?

Why did I make it?  Because it was the best story I ever heard.

Tell us a little bit about your subject matter in the film.

It's about a man who didn't know he was famous.  It's about a man who made an album in the 70's,  failed and started working in construction.  He was really poor and not knowing at the very same time,  in South Africa he was more famous than the Rolling Stones.

What movies inspired you to become a filmmaker?

I wouldn't have done a film if it wasn't for this story.  The story needed to be told and I wasn't looking to make a film when I started.  I was looking for short stories for t.v. and then the research took a couple of years because that's what it takes.  This STORY made me a filmmaker.

What can we expect from you in the future?

I don't know, maybe a narrative drama, because it's hard to find a true story that's better than this one.  I don't know if I will ever find one. 

What message did you want to convey with the movie?

There's a lot of messages...the power of art.  If you make something, if you make a song you can change the world on the other side of the planet without even knowing.  When you make creative stuff, you create life that actually lives on their own and you can't do anything to stop that.  The power of art is the main message.

Tribeca Day 6: The List, Certain People and Hysteria plus some shorts

It's been a weird roughly 24 hours.

Today was my short day, only three films planned, but there was a great deal of craziness around it.

First not long after the wrap up yesterday the Internet and phone went down at the Unseen Head Quarters and I couldn't do anything until about 7am today. That's all fine and good except that it meant that the frantic calls from my brother didn't get answered. (He needed someone to watch the baby while he took his wife to the hospital. Everything is fine, thank you cell phones)

The Internet being down also stopped my watching the many Tribeca shorts. I was just starting my 6th film when it all went to silent.

THE ABYSS OF MAN'S CONSCIENCE (Reconocer) is a great semi abstract film about the cycle of violence in Columbia. Its fantastic piece of animation and I hope that it shows up where I can get a copy.

ADIRAKE is a film about a bot who survived a Tsunami and tries to find a white elephant in the jungle. It's good, but nothing special

CATCAM is about what was found when a man attached a camera to the cat he and his family kind of adopted. Its a very good little film that will make you wonder what your pet is up to.

A FALCON, A REVOLUTION was a disappointing film about how a falconer saw the Egyptian revolution of last year.

FINDING BENJAMIN is a about a man who was found beaten up in a parking lot and has no idea who he is, nor does anyone else. Also very good.

When I'm done with this post I'll see some more.

Today was quieter than the last bunch of days. This is what happened last year, Tuesday things quiet down. That's fine. While I miss many of the familiar faces it was nice to just be able to chill. It means I get a nice quiet day. I can ponder my next move, both at the film festival and after it. I can also steal up for a solid 12 hours of films tomorrow. Okay not solid I do get lunch in there, but its 6 films from 9AM to 9PM.

The films I saw today were:

THE LIST. A solid and moving film about Kirk Johnson who has made it his work to get the Iraqis who have helped US forces out of the country before the various militants can kill them. Its a film that will anger you and break your heart. Its an amazing story and one that needs to be told. I'm going to do a full review after the Festival.

CERTAIN PEOPLE --- yea well. I liked what I could understand. I think its a good film I'm not sure. I know the people who sat in front of me and who understood Swedish loved t, but I was lost because they used white subtitles. Normally that's fine, and it is fine in the second half which takes place at night, but the first half, which is outside and set around a table with a white table cloth it's not. I caught one or two words here and there. If people don't like the film who saw it at the festival its the subtitles that killed it.

For the record the film is about Katinka, who invites her friends to her country home for her birthday. Her brother shows up with a girl in tow and the pair sets in motion lots of emotional fireworks and bad feelings.

As I said what I understood was really good but because the subtitles SUCKED and I don't speak I can't review it until I see it on DVD with better (I hope) subtitles.

The final film was HYSTERIA about a doctor in 1880's London treating women for hysteria (aka sexual frustration). Its similar to play called In the Next Room or the Vibrator Play from 2 years ago. Here we have Hugh Dancy as a doctor who starts to work for Jonathan Pryce. He then gets entangled with both of Pryce's daughters and of course an early vibrator. Well acted, the film is a tad too knowing and artificially constructed for my tastes. It's not bad but with all the other goodies (and even most of the baddies) at Tribeca this is an unremarkable film in the line up. Seriously I've seen 52 films at the festival and I don't know why they picked this one. Worth a look when it hits theaters in a couple of weeks, but not worth racing to the festival.

That's it for today. I have things to do for the blog and for me...I need desperately to shave my face and head, the long hours in the trenches have put me behind as far as that goes.

Until tomorrow...keep reading.

War Witch (2011) Tribeca 2012

I liked this film when I walked out of the theater but it was a film that haunted me for the rest of the day after I saw it. This quite possibly could end up being one of my favorite films of the festival. I know it certainly is one of the least expected films on anyone's roster of films to see at Tribeca, which is a shame.

Told in flashback, this is the story of a young girl, who at 12 was taken from her village by a rebel group and forced to fight. Drinking the milk of a plant she is given the ability to see the ghosts of the dead and government soldiers in the forest. The ability, which saves her life and those of the rebels on several occasions has her dubbed a witch, and given a high honor.

What can I say. See this film. Its one of those truly special films that haunts the edges of your psyche. As I said I really liked this film when I walked out of it but I found that it's simple, seemingly unsenssational story clung to me over the course of an afternoon of film going. This was the third of five films I saw on the day I saw it and it managed never to disappear from my thoughts, even as I was seeing other films.

I think the film works because it, like our heroine's story is simply told. Talking to her unborn child she is explaining why she may never love it once it is born. She simply is relating the terrible things that she has seen and done, with the result that we are moved. We are there with her. these things happened and that's all. No cry out for meaning, just straight reporting. Its a techniques that has made one of the most haunting films of the 32 that I've seen to date as I write this up.

See this film. Seriously if you go to film festivals to see unexpected treasures then put this film at the top of your list.

Journey to Planet X (2012) Tribeca 2012

One of my favorite films of the festival Journey to Planet X is a joyous celebration of movie making...and of doing what ever it is that you love for the sheer joy of it.

This is the story of Eric Swain and Troy Benier two friends who met at their day job, the work for the US Geological survey in Florida. When Eric mentioned that he made short films Troy decided to help him and partnership was born. The film follows the pair as they put together their latest film, a half hour science fiction epic nominally called Planet X (though the title is later changed)

The documentary came about because the Brooklyn Underground Film Festival recieved a copy of one of their earlier films. Not sure what their audience would think of the film they turned it down. However, over time the organizers of the festival found that they were rewatching the film repeatedly with friends and family. They then contacted the pair to see what they were up to and the result is a cinematic treat.

This is a film that puts you back in touch with the pleasure you get from doing something you love. Sure the film is about filmmaking but at the same time the process of making the film could be a metaphor for anything you do because you have to, write, paint, garden, fix trucks, dance. If it’s a hobby you do purely for the love then I’m sure the film will touch you in someway.

For me, a frustrated filmmaker, who long ago sublimated making films and replaced it with writing about them, this film got the fires going. When the movie endedI turned to my fellow Unseen Film guys and was like, lets make a movie. It was clear that there is no reason for us not to do it. Yes I know there is so much crap out there thanks to the digital revolution (as is pointed out in another Tribeca film Side By Side) but the kind of filmmaking here is different than that in that this is about following a passion even if its just for us. The film even got me into a good place about why I’m doing Unseen Films.

Yes, Tim and Troy are aiming for recognition and for film festivals and something bigger, but it seems that they are ultimately doing it because they enjoy it and are having fun doing it. I believe that even if they hadn’t met with some success, and the fact that they are the subject of this film indicates some success, I still think they would still be making movies.

As I said at the top this is one of my favorite films of the Tribeca film Festival so far. I’m pretty sure this is going to be a film that stays with me all year long. See this film. Seriously see this film and feel good.

Freaky Deaky - Tribeca Talks: After the Movie

          I just wanted to share a few visuals that we captured from the FREAKY DEAKY panel discussion that DB, Mondocurry, & I attended last Sunday night after we watched the World Premiere screening of this film at the School of Visual Arts Theatre - part of the Tribeca Film Festival. The panel was moderated by Kurt Loder with cast members from the movie which included Michael Jai White, Crispin Glover, Andy Dick, Sabina Gadecki, Breanne Racano, Leonard Robinson, and the director - Charles Matthau (Walter Matthau’s son). Let these photos serve as an appetizer before one of us at Unseen fully digests Freaky Deaky - Charles Matthau’s adaptation of the classic Elmore Leonard novel!

           To be honest, I was expecting something totally different from this film - something more action packed, gritty, and foul mouthed w 70's funk & wit with plenty of blaxploitation overtones. With the likes of Michael Jai White on the cast, I guess I was envisioning badass Black Dynamite fighting crimes without doing the time vs THE MAN in a BOONDOCKS like setting. But don’t fret, my misunderstanding of the film leads to a whole lots of off the wall, crime fighting, psychedelic, & tongue and cheek surprise performances from Andy Dick, Christian Slater, Crispin Glover, and yes - the more comedic role played by the charismatic, loyal but conniving - Michael Jai White.

 Hope y'all enjoy the visuals from the panel!

     (Moderator - Kurt Loder and Director - Charles Matthau) (Breanne Racano and Sabina Gadecki) (Andy Dick and Michael Jai White giving each other the look!) (Michael Jai White and Crispin Glover) (Breanne Racano and Sabina Gadecki) (Sabina Gadecki and Andy Dick) (Leonard Robinson and Breanne Racano)

Downeast (2012) Tribeca 2012

Antonio is a self made millionaire who gambles everything to reopen a cannery in Maine.

This is a story of our time that shows how the road to hell is paved with good intentions.Its a fact that is driven home as Antonio is forced to put everything he owns on the line as the town fathers try to stop him from getting fund (he'll be in competition with them) and the banks go skittish when a client bounces a 90 thousand dollar check.

Its a good little film that seems more like an extended segment of 60 Minutes or an episode of dateline NBC. The trouble is that the film doesn't have enough meat, enough detail and back story to fill out its 76 minute running time. Its simply:

Old plant closes
Antonio wants to reopen.
The people want it.
The town fathers don't.
Banks go skittish despite order increasing...

It's not bad, but it in the current form its little more than the aforementioned TV show.

Worth a look but not on a big screen.

Tribeca Day 5: Any Day Now, Consuming Spirits, Franco.. and Burn

Heavy rain over night made it a mad dash to get to the theater on time this morning. Complicating matters was yesterday was a late night at the blog... so I was even more sleep depped than normal

Anyway, not a great deal to report, or complain about from my end. Mondocurry and Roy are off covering events tonight so we maybe getting some sort of reports down the road.

I saw four movies today.

I would love to talk about ANY DAY NOW, but I'm restricted because it doesn't World premiere until Thursday night. I can't say what I think until then. I can say that when the film ended the audience sat silently in the darkness for most of the end credits. I can also report that those that left the theater were blowing their noses and wiping their eyes. I can also report that everyone who was there and attended later screenings were talking about the film, so much so that the volunteers were talking about trying to score tickets. I strongly suggest you do so too.

CONSUMING SPIRITS is a rambling animated film about various people who criss cross through a newspaper office in a backwater town. Its a mix of a wide variety of animation styles. It has an frequently witty script that seems to have been recorded from life rather than written. How is it? Beats the snot out of me. For all that is good in the film, it's undone by a rambling all over the place nature that makes it tough to connect to. I laughed and enjoyed myself, but at the same time the film had me falling asleep. Hell I think I did fall asleep. I never fall asleep in the movies. Half way into this almost two and a half hour film I walked out, because I was too zonked out. (A review from Roy maybe coming)

FRANCOPHENIA (OR DON'T SHOOT I KNOW WHERE~THE BABY IS) is weird shaggy dog cobbled together by James Franco using behind the scenes footage from a shoot on General Hospital. Its a 70 minute art piece that sends up celebrity, film making and a few other things. I liked it but its the sort of thing I'd watch once.... If you want a good report read Mondocurry's review from a couple of days ago.

BURN is an amazing film about a year with a Detroit firehouse. It's moving look at the men who won't leave their city despite it burning down around them. I'm going to write this up fully down the road, until then I suggest you get tickets to see this on the BIG SCREEN. The reason you want to see this BIG are`the fire sequences. I'm a fire brat, the result of my dad being a volunteer fireman. I've never seen fires shot like this. It's amazing. See this film, especially if you can do so on the big screen.

That's it for tonight. I have two of today's to write up fully. I also have about seven other films to watch on line...

Keep reading we'll keep reporting.

Graceland (2012) Tribeca 2012

Graceland will leave you disturbed, deeply disturbed.

I watched people straggle out of the film on the afternoon I saw it rattled by what they had just seen. One lady looked distressed as she left during a brothel sequence.

On the other hand this is one of the best films at Tribeca this year, and possibly of the year.

To be perfectly honest I don't know what the hell I think of this film, but if a film is supposed to provoke a reaction, then this film is gangbusters. You will feel something...whether you want to or not.

The film concerns, Marlon, a driver for a congressman. When the congressman's daughter gets kidnapped, Marlon's daughter is taken too. Complications arise from the get go and it throws our hero into the thick of it with everyone out to get him. (I could say more but to do so would smooth out too many of the emotional bumps, and I don't want to do that.)

A variation on the basic story found in the Mel Gibson film Ransom or Akira Kurasowa's High and Low this film takes it off into dark, black, sleazy directions. Its a world where no one is clean and everyone is playing an angle. Trust me on this, by the time this film ends and you stagger from the darkness this film will have flopped you in how you feel about every character on screen at least twice. Reading my notes, a running commentary on the ups and down of the film I found that My feelings changed again and again for everyone with perhaps the exception of ur hero's daughter.

When Mondocurry called me after seeing the film at the pre-festival screening, he warned me that this might be one of the more depressing and disturbing films of the year. He was, as always, right on the money. Its so dark that in addition to taking notes I started to doodle in my note book because I didn't want to know...

Its a film that makes you feel uneasy to start---and then makes you feel worse.

In it's way the film is a masterpiece. It's a film that provokes a strong reaction in the viewer and I can't help admire that. I can't say whether I like it, but damn I admire it.

This is one of the best films at Tribeca.

Polisse (2011) Tribeca 2012

Life does not cease to be funny when people die any more than it ceases to be serious when people laugh.
 George Bernard Shaw, The Doctor's Dilemma: A Tragedy

This is real. Watching the cops in this film is like watching the police that criss cross through my office. My day job is in criminal justice and watching this film was like witnessing stories I've encountered and been told come to life.

This is the story of the CPU, Child Protective Unit, of a French police force.We watch over several months as the unit handles a variety of cases and how the job takes a toll on them both personally and professionally, and how they find hope and the ability to keep doing what they are doing.

Look, forget Law and Order SVU. Forget any of the dour films and TV shows about cops who are in the thick of darkness, that's not real, this is. This is cops being cops, making jokes, many black in humor, helping kids, being rattled by what they see and just trying to get along. Its not all gloom and doom, some of it is funny.

One of the most talked about and most anticipated films of Tribeca will move you. Its a kick ass film that seems to get things really right on just about every level. Rarely have I ever seen a film that felt this right...or was this good. Don't get me wrong this is a really good movie, possibly one of the best at Tribeca, which so far is a saying a great deal.

You do have to keep in mind, this film does go into dark places, and there are somethings in this film which you may find troubling or heart breaking. I was leveled by two things in the film, so be warned this isn't always an easy film to watch, as it shouldn't be.

If I must find fault, and you will please for give me if I mention two small flaws that keep from immediately putting this on my best of fest list, first the film is possibly over long at 127 minutes. Don't get me wrong it's gripping, but at the same time I was wondering where it had left to go after a certain point. Secondly the film decidedly dark in the second half. What I thought was a perfect balance of light and dark for what was about the first half of the film, turns darker in the second. It's not that there is anything wrong with it, except it feels more a construction rather than anything natural.

The best thing I can say is, if you think you can handle the subject see this film.

Booker's Place (2012) Tribeca 2012

In 1966 Frank De Felitta made a film about the people of Greenwood Mississippi and how the blacks and the whites saw each other. The center piece of the film was Booker Wright, a waiter in a white only establishment who spoke to De Felitta and who talked about being a waiter and how he was treated. It was an interview that changed Booker's life forever. Decades later Raymond De Felitta, the son of Frank hooked up with Yvette Johnson, the granddaughter of Booker, to look at his life and how his appearance on TV forever changed their community.

Moving documentary is a wake up call and reminder of the bad old days. Its a film that reminds us just how bad things really were. It then points out how we still need to work on things. It's also a film about how one man really can change to world, or at least his community.

I was moved. Here was this guy who was not an accidental activist as his grand daughter had thought, rather he was a man who one day decided that he had to say something, even though he knew there was going to be a price to pay.

Shot in a beautiful black and white the past and present merge together making us wonder how far we've really come.

If there is any flaw in the film its that some time in the final half hour, after Booker had made his appearance n TV and things turned difficult, the film kind of loses it's way. In its final minutes it doesn't seem to know which way to go. Its not fatal, it just keeps a very good film from being truly great.

See this film.

(This is getting a theatrical and VOD releases and will be the subject of an NBC News story in May.)

Tribeca Day 4: Freaky Deaky, Benji and making it up as I go along

The rain in New York made it a good idea to stay inside. Thankfully, I had a full day of films at Tribeca scheduled.

Tribeca is now now winding down for me. I have about 20 screenings left over the next four days. I can'r believe its all coming to an end. I've been out of the day job for only four days but it feels like its been four months. This was supposed to be a "vacation" but its more like work and I'm going to have to take a couple of days off to simply decompress.

Tribeca I love you, but you're too freaking big. I say that with great love and affection.

Today was the first day where I saw lots of stars. They were wandering around in the Chelsea Cinemas as part of the Tribeca juries. They were outside the SVA theaters where they were doing red carpet shoots.

The theme for today was to see what I could right then. I threw out my plans other than Freaky Deaky and just went with it.

Remind me not to do that again. 3 of the five films today weren't very good.

I'm also NOT going to review the films again. I just don't have it in me to do so.

WHILE WE WERE HERE- is a stark black and White film about a couple who go to Naples. He is a musician with a gig. She is a writer working on a personal project. While he is working she goes to a near by island where she meets a younger man who wakes up her passion. This should have been a great film. It looks good, has good performances, but it also has a central character who is so cold, so closed, so intellectual that there is no life at the center of the film. There is no one to connect to... no that's not right the one person we connect to is the voice of Claire Bloom recounting bits about growing up in the 1940's. You can't make a 90 minute movie where the best character never appears. Its a misfire best summed up by one of the sex scenes where you can name the calculations that went in assembling it and you can not only say what the next shot will be but say when the cut will happen. Its perfect to the point of being fake.

I saw some of THE PLAYROOM,but walked out about a half an hour in. I can't say if the film is good or bad, only that it annoyed the piss out of me. The film is set in the mid 1970's and never felt real. Who are these people? Who lived like that? It looked like it was created based on old catalogs and stereotypical ideas about what the 1970's were like. Having grown up in the 70's, and having been the right age to be aware of things going on, none of it felt real, to the point that any plot was lost on me because I was too busy bitching about the details.

I left the theater and plopped myself down in the lobby making notes and waiting for my next movie. I also ran into Mondocurry who had finished seeing NANCY, PLEASE. We chatted and firmed up the plans for FREAKY DEAKY later on.

The third film was WHOLE LOTTA SOLE. An Irish film about some nimrods who run afoul of a crime boss by having a huge debt, decide to hold up the fish market, unaware it's a front for said crime boss. I hated every character except Brendan Fraser, as an American watching his cousin's business and his lady love, seemed even remotely real...make that likable. I didn't laugh once and after 45 minutes of being truly annoyed I left the theater.

BENJI is one of the best films of the festival. The story of Benjamin Wilson, a promising high school basketball player, its the story of how one person can carry the hopes of so many people, and how even in death he can inspire people for the better. The story of Benji is told by the friends who knew him, the people he affected, and even the man who killed him. This is as moving a film as you'll see all year. I can't say more than that other than see it.

I should add that it was a nice surprise to see Roy wander in before the screening.

After BENJI I headed across the street to see the world premiere of FREAKY DEAKY. Its based on an Elmore Leonard book.I'm not going to say much, Mondocurry, Mr C and myself are trying to decide who is going to review it, but for now know it's a good, but not great film, about the various characters in orbit around a pair of rich and stupid brothers. Set in 1974, the film is done in the style of 1970's TV shows. with lots of references an homages. Not all of it works, but the cast including Michael Jai White, Andy Dick, Crispen Glover, Christian Slater and others is very good. There was a panel discussion and Q&A that followed, which was informative. It deserves a full report so until I can get something up I'll leave it there.

After the movie we three went to dinner at the Rub on 23rd Street. Very good food, very good service. Its so good that Mondocurry and Mr C are going to the place later in the week before more Tribeca screenings.

And that dear friends is it for me tonight. I'm beat and have to get up again tomorrow.

Keep reading, there's more reviews coming.

Sunday Wrap-Up 3/22/12 with Bully and Shelly

The Revisionaries (2012) Tribeca 2012

A look at the people who are responsible for buying the text books in Texas, and how what they decide determines what is taught in the rest of country. Its focused primarily on Don McLeroy, a dentist, who feels that the Intelligent Design is the way to go.

Say what you will this film will curl your hair. It's  not so much that they are arguing science vs religion, it's that they are now turning their battle toward social studies where they have made Thomas Jefferson not a mind behind the revolution, and they have made it illegal to teach about the First Amendment's protection of freedom of religion. Of course it's couched in innocuous language, but that's the up shot.

Its a frightening portrait of hubris and wrong headedness running rampant.

Forgive me if you are for intelligent design, but I think even if you are the rewriting of American history will curl your toes. I was talking to someone after the screening and they said that while they can see the thinking behind Intelligent Design, they were horrified by the move to rewrite history into some twisted idea of reality.

Actually the thing that will horrify you is how the Texas School Board does the revisions piece meal, with the result that you get contradictions and truly bizarre statements. It will make you wonder how anyone could ever hope to write text books to meet their standards. Frankly the people on the board make all of Texas look like backward morons.

The film itself is good not great. The film is too focused on McLeroy  and Cynthia Dunbar (an attorney who teaches law school and has no idea about the rule of law). We don't really see the man who would eventually unseat McLeroy. Nor do we get any sense of how the public views the School Board and their insane shenanigans.

Definitely worth a look.