Jay Berg's CINEMA DIARY

2012-01-04T22:11:00.001-05:00

"TINKER TAILOR SOLDIER SPY" OPENS JANUARY 6 IN BALTIMORE. SEE MY REVIEW PLUS Q AND A COVERAGE WITH DIRECTOR TOMAS ALFREDSON AND ACTOR GARY OLDMAN DIRECTLY BELOW MY REVIEW OF "THE ARTIST".

"The Artist" **** (104 minutes)

2011-12-22T18:04:00.030-05:00

Sunday December 4, 2011

It has been 84 years since a silent film has won the Academy Award's Best Picture.  1927 also happened to be the first year the Academy gave out awards when actually two films were honored: "Wings" won "best production" as "the most outstanding motion picture considering all elements that contribute to a picture's greatness"; while F.W. Murnau's "Sunrise" was similarly honored as "the most artistic, unique and/or original motion picture without reference to cost or magnitude".

Come February 26, I predict that "The Artist" will finally break that streak. There has not been a movie this year that has even come close.

French writer/director Michel Hazanavicius has made a film that is truly one for the ages. At last count, it has garnered best picture nods from critics' groups in New York (both the New York Film Critics Circle and the New York Film Critics Online), Washington D.C., Boston, Las Vegas, and Indiana. In addition, it has received the most SAG and Golden Globe nominations. Last spring, Cannes awarded its top male acting prize to lead Jean Dujardin.  Going in, I thought no way could this film meet my expectation. I was wrong. It was exceeded. And by a large margin.

The basic story is as old as cinema itself: George Valentin (French actor Jean Dujardin) is THE silent medium's biggest star. With his thin mustache and winsome smile, he is a physical compilation of Errol Flynn, Rudolph Valentino, Douglas Fairbanks, and Clark Gable, and easily brings to the screen bucket loads of charm and charisma. It is 1927 and he is at the top of his game.

The film opens with our hero proudly standing directly behind a giant movie screen, gazing up at the reverse images, while the audience in front is gloriously reacting to the premier of his latest creation.  The smile on his face is as wide as the ocean. Meanwhile, Constance (Missi Pyle), his co-star, is standing in the wings, impatiently waiting for her introduction-all the while realizing that her popularity, not to mention her ego, is a far distant second.

On the red carpet afterwards, Peppy Miller, a shy attractive autograph seeker (perfectly played by the director's wife, Bérénice Béjo) is inadvertently pushed onto the walkway in front of the star as he is making his way out of the theater. When George willingly signs her book and then poses for photos, the paparazzi snap away with the resultant headlines screaming, "WHO'S THAT GIRL?".

Later on, after Peppy, an aspiring actress, lands a bit part with help from George, her career takes off. With the advent of talkies and George's subsequent refusal to embrace the new medium resulting in his firing by Kinescope Studios mogul Al Zimmer (a cigar chomping John Goodman), the stock market crash, and the dissolution of his marriage from his wife Doris (Penelope Ann Miller):  George's popularity and financial empire start spiraling downward.  The once proud and prominent star is soon left with nothing but his dog, Uggie (more on him later), his faithful butler, Clifton (the always dependable James Cromwell), and a tiny barren apartment.

The acting by Jean Dujardin must be singled out. His delicately expressive performance, balancing an over-the-top acting style in front of the camera while subtly transforming himself when dealing with his crumbling reality after the camera stops rolling, could easily win him an Academy Award. It is the best most complete performance I have witnessed this year.

Also, look for one of the most romantic scenes I have ever experienced in a darken theater when George first realizes his attraction for Peppy as they are shooting their first scene together.  George slyly causes take after take to be shot so that he can slowly develop his enticement.

Although on the surface, the black and white movie appears to be a gimmick, it is actually a lovingly recreation, not a mocking, of the era. Hazanavicius has meticulously studied the medium to such a degree that he used film stock that would produce a grainier look. He even speeds up the film slightly by shooting at 28 frames per second instead of the normal 24, as it is projected on a nearly square screen in a 1.33 aspect ratio. Moreover, although this is a silent film, it is anything but. The amazingly lyrical score by Ludovic Bource, with a slight assist by composer Bernard Hermann from Hitchcock's "Vertigo" during a chase scene, beautifully "speaks" the universal language on the screen.  Also, the eye-popping production design by Lawrence Bennett is also worthy of mention and Oscar consideration.

Finally, it's been a good year for dog actors: Laika (director Aki Kaurismaki's canine) in "Le Havre"; Cosmo the Jack Russell in "Beginners"; the Doberman and dachshund in Scorcese's "Hugo"; Skeletor the adopted greyhound in "50/50"; the bulldog in "Hipsters"; even Rowlf in "The Muppets"-just to name a few. However, Uggie, the Jack Russell terrier, is the scene stealer of the millennium and well deserving of this year's Cannes Palm Award. His crowd-pleasing performance only adds to the immeasurable charm this cinematic masterpiece has from start to finish.

It is one thing that director Michel Hazanavicius has so lovingly recreated the silent film and its era, but another to tie in a story and screenplay that will have you smiling, laughing, crying, sad, joyous, and practically dancing in your seat at various points throughout its running time.  I am certain you will feel happier leaving the theater than when you came in, and that you will have a newfound appreciation and understanding as to why audiences around the world first fell in love with moving pictures a long long time ago.

The film started its limited release on November 25 and opens in Baltimore on December 23 on two screens at The Charles.

George (Jean Dujardin) meets Peppy Miller (Bérénice Béjo)

on the Red Carpet and pose for the papparazi

Doris (Penelope Ann Miller) reads about her husband's encounter with

Peppy the next day

George and Peppy

George and Uggie

George contemplating his next move after his downfall

Kinescope Studio mogul Al Zimmer (John Goodman)

"Tinker Tailor Solder Spy" (***-128 minutes)

2011-12-16T10:27:00.001-05:00

(l to r) Actor Gary Oldman, Director Tomas Alfredson, and AFI Programmer

Todd Hitchcock at the AFI European Union Film Showcase closing screening of

"Tinker Tailor Soldier Spy"

Monday November 21, 2011

Off to Silver Spring to screen the closing night film of the 24th AFI European Union Film Showcase, "Tinker Tailor Soldier Spy" with an appearance by British actor Gary Oldman and Swedish director Tomas Alfredson (see coverage below following this review). Tomas' previous film was the outstanding 2008 coming-of-age vampire classic "Let the Right One In". (Although "Cloverfield" director Matt Reeve's 2010 U.S. remake "Let Me In" is admirable, it is nowhere as accomplished as the Swedish original.)

For his second commercial project, the director tackles John le Carré's 1974 bestselling spy novel that was initially made into a seven part, 350-minute BBC 1979 TV series starring Alec Guinness. And herein lies part of the problem: compacting the considerably dense spy novel into the 2 hour plus running time practically demands background knowledge of the story and a scorecard to keep track of the myriad of characters that comprise the wordy screenplay.

It is the 1970's Cold War and a British intelligent agent (Mark Strong) is killed in Hungary resulting in the firing of top agent George Smiley (a subdued but effective Gary Oldman in the Alec Guinness role) and his boss, Control (the wonderful John Hurt). However, Smiley is brought back in to uncover the Russian mole within the MI6 (the British Secret Service Intelligence agency-code named "The Circus") who was responsible for the assassination. With the help of Circus agent Peter Guillam (Benedict Cumberbatch) and field agent Ricki Tarr (Tom Hardy), Smiley ultimately narrows the Mole's identity to Percy ("Tinker"-Toby Jones), Bill Haydon (the well-dressed "Tailor"-Colin Firth), Roy Bland ("Soldier"-Ciarán Hinds), and Toy ("Poor Man"-David Dencik).

The incredibly talented cast is matched in mood through DP Hoyte van Hoytema's cinematography, and the intricate production design by Maria Djurkovic.

Those willing to devote their time and rapt attention, and not expecting any James Bond-like pyrotechnics and chase sequences, should ultimately be rewarded with an intelligent screenplay by Peter Straughan and his late wife Bridget O’Connor, as well as outstanding ensemble acting and production values. Just be certain that you have your have your fill of caffeine or else you might miss the spy thriller's climax.

The movie began a limited U.S. platform release December 9, including Washington D.C.

(l to r), "Poor Man" (David Dencik), "Tailor" (Colin Firth),

"Tinker" (Toby Jones), Control (John Hurt),

George Smiley (Gary Oldman), and "Soldier" (Ciaran Hinds)

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Following the screening was an extended interview/question and answer session moderated by AFI Programmer Todd Hitchcock. In response to Todd's question as to what he saw was appealing about the role of George Smiley and what was the challenge that he had to figure out, Gary knew that Guinness had made the role so iconic so he tried to bring his own interpretation after reading the books. He pointed out that Alec was nearly 70 when he did the series, so there was that difference to explore. He realized they were mining the same material and that there were places that they both would meet. However, there were other shades to Smiley that initially presented the challenge of doing the role differently. Overcoming Guinness' towering performance, that for many was the definitive portrayal of the character, was a challenge-but gave credit to Alfredson for having great faith in him.

Todd then asked Tomas to explain how he went from making "an incredibly inventive vampire movie in Sweden" to pursuing John le Carree's spy material in the U.K. Tomas revealed that it was quite hard to explain why one accepts to start working on a project. However, he did say that when opening a script or, in this case a book, it is a very emotional thing. If he gets many images in his head and if he reacts very quickly, for example, crying, laughing, or his heart starts beating, for him, it is the big impulse he needs to accept a project. He also commented that he felt "Let the Right One In" was not a vampire movie but was a story about a young kid, and that this film was not an espionage film. For him it was about the soldiers of the Cold War, and that it was a very personal and emotional journey about relationships.

Todd pointed out that since the film is a 70's Cold War period piece, and asked if it had a contemporary resonate with the U.K. audience considering the film's tremendous popularity in that country. Gary responded that a great deal really has not changed over the years-other than the faces and the enemy and remarked that he personally gets the same kind of sensation watching the news today as he got when was fifteen-years-old.

Gary mentioned that he saw the original series but did not want to use it as a template or revisit it-that he did not want to be contaminated with an impersonation. He remembered it as "this big ghost that cast a shadow and I was terrified".

When asked by an audience member about a possible sequel covering the remaining books, Tomas replied that there might be one or two films in the future.

A question was raised as to why Tomas decided to use an old Julio Iglesias live disco version of "La Mer" over the last four minutes of the the action, which was contrary to the overall somber mood set throughout the movie. Tomas stated that during the scenes when George was listening to music in his apartment he thought about using a soundtrack that gave a glimpse of George's inner life. He eschewed the use of opera since the director thought of him as a romantic-which would be the total opposite of the life he lived in gray and dull England, and immediately he thought of Iglesias. However, Tomas did not use it there because "it would be a little too strange". However, he did find a rare vinyl recording of Iglesias' "La Mer" and decided to use it in the final scenes to "bring in a little fresh air" which would have the effect of "opening a window". He thought the song created that feeling, and that its use was not supposed to create a happy end feeling.

Gary was quizzed about his favorite role (he's been in over 60 films over the past 25 years!) and said it would be playing Lee Harvey Oswald (in Oliver Stone's 1991 film "JFK), stating that it was an exceptional experience because there was little of the character on the page. Stone instructed Oldman to thoroughly research Oswald to prepare him for the part. He also mentioned Tony Scott's 1993 action adventure "True Romance". Gary then added that he has jokingly said that he's been waiting over 30 years to play the part of George Smiley explaining that in the past he has played characters who physicalized their emotions and that it was a joy not having to express it in a physical way in this film.

When asked whether he plans to direct another film (he directed "Nils By Mouth" in 1997), Gary said he would like to but bringing up two boys has taken up a lot of his time. However, he said he was looking at a couple of projects and is hopeful he can direct one within a couple of years.

"The Descendants" (** 1/2-115 minutes)

2011-11-18T08:56:00.001-05:00

Wednesday November 9, 1011

Alexander Payne's success performing double duty as a director and screenwriter has clearly placed him in my elite category. His four previous films include "Citizen Ruth" (1996), "Election" (1999), "About Schmidt" (2002), and the phenomenal "Sideways" (2004) which would have been my pick for a Best Picture Oscar. Each successive film has gotten better and better.

Therefore, after a long seven-year hiatus, my anticipation and expectation gauges were nearly off the charts when I went to screen Payne's latest. I suppose there was really nowhere to go but down (excuse the pun) after "Sideways", which might help explain my overall disappointment.

George Clooney (extremely busy this year with his third release) plays successful real estate lawyer Matt King, a descendant of Hawaiian royalty, whose wife lays in a hospital, comatose from a boating accident. We quickly learn that their marriage was already on shaky ground, made shakier when his eldest daughter Alexandra (Shalene Woodley in a performance that will surely put her in running for Best Supporting Actress) reveals to Matt that her mother was having an affair with a local real estate mogul (Matthew Lillard). Payne proceeds to juggle a number of plot lines:
- Matt's chagrin (he calls himself "the backup parent") of now having to care for his precocious daughters Alexandra and Scottie (pre-teen Amara Miller)-a task previously handled exclusively by his wife.
-the decision to pull-the-plug on his brain dead wife
-his search for his wife's lover
-Matt, as the main executor of his family's trust, must decide on the winning bid for 25,000 acres of prime beachside property that has been in his family since 1860.

Payne, along with his co-writers Nat Faxon, and Jim Rash have adapted Kaui Hart Hemmings' 2007 novel to produce a darkly comedic script that is uneven and ultimately uninspiring-which is a problem when dealing with the nearly two hour running time. Clooney's somewhat droll ineffective voiceover narration in the beginning is, thankfully, dropped a quarter of the way through. Also, although Clooney tries his best to portray the full range of emotions as he threads his way through the myriad of crises, I never found myself as connected and involved as I was with Payne's other films. Sid (Nick Krause), Alexandra's boyfriend seems out of place here and would be more at home in a Judd Apatow comedy. Finally, Payne's saturating nearly every frame with native music will either have you enthralled or annoyed depending on your musical tastes. Put me in the latter category.

On the plus side, there is a terrific supporting role by the wonderful Robert Forster as his cantankerous father-in-law and, visually, the film is a loving post card of Hawaii. However, in the final analysis, the drama didn't grab me and ultimately left me cold.

"The Descendants" has platform openings beginning November 18 (including DC) and a November 23 Baltimore opening.

(l to r) Alexandra King (Shailene Woodley), Matt King (George Clooney),

Scottie King (Amara Miller), & Sid (Nick Krause)

"The Man Nobody Knew" (*** 1/2-104 minutes) + Interview with director Carl Colby

2011-10-27T09:19:00.005-04:00

Friday October 7, 2011

What everybody knew was that the slight William Colby (hardly the prototype as a James Bond-type poster child) was appointed in 1973 by then President Nixon to be the 10th director of the Central Intelligence Agency, until President Ford replaced him with George H.W. Bush in 1976 in the aftermath of the Watergate scandals. We also knew that he died in 1996 at the age of 76 when his body was discovered on the shores of the Potomac eight days after embarking on a solo canoe outing. However, other than his public service record and achievements, as the title of Carl Colby's title conveys, nobody really knew the man.

Emmy Award winning documentary filmmaker Carl Colby, William's eldest son, tries to enlighten the world on the enigmatic persona who seems to have had a single-minded life purpose, personally trying to better this country's interests around the world. Carl's comprehensive exposé, for the most part, succeeds as best he can to convey what made his father tick by interspersing two aspects of his life: his public service and his family life outside the spotlight. However, what we end up with is possibly more questions about the senior Colby than when we had going in.

His career as a real life spymaster, (referred to by the cumbersome subtitle, "In Search of My Father CIA Spymaster William Colby") begins as an OSS officer who trained for missions parachuting into Nazi-occupied Europe. This eventually led to his involvement with post-war covert operations such as the alliance with The Vatican in the late 1950's to remove the Communist Party, heading the CIA in the Far East during the Vietnam War buildup, overseeing the coup & the assassination of Vietnam’s President Ngo Dinh Diem in 1963 Saigon, and becoming the man in charge of the controversial Phoenix Program during the Vietnamese War 1967-1972. This latter program put the term counterinsurgency into our vernacular. His patriotism and tenacity led to his appointment as Director of the CIA-only to see it all explode in 1975 when he defied the President after taking the higher moral ground by revealing to Congress the agency's darkest secrets.

However, the more fascinating aspects of the documentary are the private intimate moments including photos and footage only a family member could provide. The personal history includes, what at first, appears to be an idyllic life when the family settled with him in Italy. However, later in William's career, after recognizing the inherent dangers his family faced (Carl remarks as a young child he at times heard bombs exploding in the distance outside of town)William chose to continue his oversea assignments alone, leaving his family, including his devoted wife Barbara (whom he later divorced after 40 years), behind in the states. We also learn that it was up to Barbara to care for Carl's sister who suffered from epilepsy and anorexia nervosa which led to an early death in her twenties. William avoided his daughter's care and illness, having no patience for her condition. He seemed to have carried this guilt throughout his life.

The rare archival footage incorporated throughout is nothing short of stunning. The clarity of the film stock is totally devoid of scratches and literally jumps off the screen. Carl supplies over 80 interviews with family, former colleagues, prominent government & media members (including former National Security Advisers Brent Scowcroft and Zbigniew Brzezinski, former Secretary of Defense Donald Rumsfeld, former Secretary of Defense and Director of CIA James Schlesinger, as well Pulitzer Prize journalists Bob Woodward, Seymour Hersh, and Tim Weiner) in his attempt to complete a knowing portrait of his father. Although, the sheer number of talking heads tends to bog down the proceeding, overall, this is an impressive work that tries to humanize as much as possible a stalwart Government servant & patriot who ultimately became an indirect casualty of the Vietnam War but whose service to the country was immeasurable.

The film opened October 14 at L.A.'s Nuart Theater and October 21 at the Gene Siskel Film Center in Chicago. It begins a run at Washington's D.C. E Street Theater & Fairfax Va.'s Cinema Arts Theater on October 28, after which it platforms in other theaters around the country.
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INTERVIEW WITH DIRECTOR CARL COLBY:

Carl Colby has been involved with over 40 documentaries that have taken him all over the world with assignments in over 30 countries. His films have covered a wide array of subjects including films about Franz Kline, William de Kooning, Bob Marley, Frank Gehry, George Hurrell, and Franco Zeffirelli-the latter of which won an Emmy Award for the 1984 PBS production "Zefferelli's Tosca". Among his numerous career achievements were producing and directing films covering Mardi Gras ("Fat Tuesday" which won Best Film at the USA Film Festival); Washington artist Gene Davis; & musical performance films on Kid Thomas Valentine and the Preservation Hall Jazz Band, Clifton Chenier and his Red-Hot Louisiana Band, and Clarence "Gatemouth" Brown. He also produced a TV version of the Obie Award-winning musical "One Mo' Time!". His interest in space exploration resulted in his producing and directing the award-winning film "Voyager: The Grand Tour" which won First Prize at the 3rd International Animation Festival in Hiroshima, Japan.

During the interview Carl gave credit to producers Grace Guggenheim, daughter of the late great filmmaker Charles Guggenheim, and David Johnson for pushing him to be more personal and to try and reach further-which was hard for him but realized in the end it was necessary. In addition, he told me he decided not to put more of himself in the movie. That it was a conceit he did not want to do. "If you see me now, you'd see that I'm kind of a settled OK looking guy. But how could I pull that off in the movie? I want to be the 8 year old who adores his dad in the beginning. I want to be the 12 year old who later hears rumbles coming from 30 miles in the outskirts of town and I'm beginning to get kind of worried. I want to be the guy who's 17 years old hearing people call my father a war criminal. I want to grow up in the course of the film. That's one of the secrets, the techniques that I think the film pulls off without people being aware of it."

On commenting on his career over the years making documentaries about interesting personalities and why it took him so long to point his camera at his father, Carl remarked that he realized early on he would be fine if he talked with him about Gorbachev, Putin, Chechnya, or the drones-he would have an opinion and it would be very interesting, "but he wouldn't go into the emotional zone. He would say 'that's your department, friend'. Or if I asked him why did you divorce my mother. He would just wave it off like not say anything. So it would be very frustrating. So only afterwards when he died that I thought well maybe I got license now. I'll approach it from the underneath."

JB: How long did the project take you to complete from start to finish?

CC: It took about 5 years. I started thinking about it about 10 years ago while I was watching CNN's coverage of 9/11 and I saw Wolf Blizer interviewing James Baker two hours after the towers fell. He asked Baker how did it happen and Baker said that he traced it directly back to the Church and Pike Hearing back in the 70s when William Colby the CIA Director was forced to reveal the CIA's "Family Jewels", which led to the dismantling of America's and the CIA's ability to conduct clandestine action and covert activity-sort of endangering America. I thought, wow, that's pretty interesting. My father's been dead five years and it seems like he's relevant. And then, 2 weeks later I see photographs of CIA operatives sporting beards and wearing turbans and riding camelback & horseback with The Northern Alliance in Northern Afghanistan against the Taliban-and I thought well that's like the OSS. I then thought that maybe there's a story here. So I started more as a professional profile of my father because I do more profiles of individuals and I thought maybe that's an angle. And then I interviewed my mother and everything changes.

JB: You elicited commentary from an extensive list of about 85 individuals ranging from top government officials, CIA employees, the media, and, as you mentioned, your mom who puts a softer human light on your father's personal life outside the CIA. Were any of these participants harder than others to convince to be interviewed?

CC: Well, I took it very seriously that this is my one shot. If you ask somebody like James Schlesinger, who you might know from your family but who's not going to otherwise give you an interview, when I went to pre-interview him , I'd better know what I'm talking about. So for the CIA and in a project like this, I have to know something in order to get something. So, I did a lot of reading and researching which has kind of been a hobby of mine my whole life, reading about current affairs and international relations. I was pretty versed in the flow of the dialogue of the conversations about these things. So, I did a lot of homework spending about a day and a half, two days writing each Email invitation, researching what I would I ask these people and then I'd put it in the Email. A small group said sure I'll talk to you. I knew your dad. Usually that was the old guard CIA people. The current CIA people or the top journalists and others-they wanted to see that I had some substance here; what was I up to and was I up for this task. Tim Weiner, someone like that. I have to know my game. Then I think they perceived that I was going to do something serious so they participated.

JB: Were there any public figures you actually wanted to interview but who refused to cooperate?

CC: Well, nobody in particular refused. I just sort of had a hard time connecting with Dick Cheney. His office was very interested but he was writing his book, or he had another heart attack, or had some heart issue. So that sort of derailed that for a while. And President Bush and Henry Kissinger I just had continuing dialogues with and it just never came to past because the film takes a certain direction and at some point you go after interviews that are serving your story and that are serving the narrative in your writing and making.

JB: Did you encounter any type of government resistance while making the film?

CC: No, not at all. I had no secret access or any privilege access to CIA or anyone else and I obviously made it very clear from the beginning that this is no exposé. I not interested in revealing classified secrets or documents or anything of that sort, or operations, or any one's names. I just basically asked for what the normal American citizen would ask for and took it from there.

JB: Near the end of the film, you narrated that after your dad left the CIA he could be crueler than anyone you ever knew. Can you elaborate on that statement?

CC: He lived at the tip of the spear. He had a mission. He was very serious. He could be serious. He could be friendly. He was the opposite of The Great Santini. I mean, he was not a bombastic, competitive, physically brutish character-not at all. He was kind of affable and quiet and would have a discussion with you. And he would write to me and I would write back to him cordially. What I think I meant by that was that I just don't think that he operated in the emotional zone. It's just not his territory.

JB: So emotionally, he was cruel.

CC: No, I wouldn't say that. He's just not operating in that zone. And I think he had a very low boiling point. So he could absorb pain, an intense amount of pain, and he could inflict pain. And I don't mean that in a very negative way. I just think that he was a warrior. And he had a job to do and he did it very well. There are warriors now: General James Mattis , or General John Allen, or a number of other generals I can name out in Afghanistan today who are fighting the battle. Would I say that they were mean? I wouldn't necessarily say always that way but there is a cruelty in a way that when you accept loses and when you are able to withstand loss. Most people fold. Most people can't take it. He was always quoting Truman: "You can't take the heat, get out of the kitchen". His kitchen was white hot, and he wasn't leaving the kitchen.

JB: And that comes across in the movie.

CC: He was one of these guys, I don't know if you ever feel like you're in danger or whether you feel the necessity to do this, but some people carry around a phone number or two that they're going to call, if something happens. Like, whom are you going to call? Well, I think if you knew him, I think you'd want his phone number in your wallet.

JB: Did you ever hear your father commenting how he felt about Bush Sr. succeeding him at the CIA? Did he ever have an opinion about that?

CC: I think initially he thought that Bush Sr. was a very effective unifying force in a way that helped the agency. That he took on the mission of the individual officers. He rallied around them and tried to support them and cast them in a positive light-in a sense sold the CIA back to the Congress. He tried to rally support for the mission of the CIA even though it started to be decimated by that time. Basically, the gate was up. I mean the Congress had had its fill of the CIA and wasn't going to fund much of it. And that was actually a pretty treacherous time. I mean the mid 70s was not a hay day for the CIA and for America. We'd just lost the war in Vietnam. The Russians were ascendant; they were threatening us. There were 30,000 Cuban troupes in Angola. The Caribbean was kind of in flames. Latin America was starting to bubble up. South America was kind of up for grabs. Most of Africa was kind of in play. And the oil crises was hitting. And, so it wasn't a really strong time to be an American.

JB: You included an enormous amount of amazing archival footage. And I was really impressed with the pristine quality of the images-devoid of the usual scratches and imperfections you usually get with such stock footage. Did you go to any special lengths to clean up these images?

CC: One of the luckiest most fortunate things that happened to me is that I allied myself with Grace Guggenheim as my archival producer and one of our key producers. And she is the queen of the archival footage. Her father's legacy is extraordinary-he made not only heartfelt and beautiful films but very simple films. From a film standpoint, I learned from him. Grace set about really ferociously combing the National Archives and a lot of commercial sources for the best possible footage. She did a super human job from everything down to the transfers to the no scratches-just doggedly going after the very very best. Particularly the stills and how we animated the stills-just everything. It just looks gorgeous on screen. And then we decided at the end, thanks to our main producer, David Johnson, to go ahead with the 35mm transfer. And the sad part is that I worry about what is happening to history and what's happening to those films, which are few and far between. We paid every possible right. We did everything correctly in terms of royalty payments and rights payments and clearances worldwide and we got the best possible transfers. I worry that people are either not using this footage or that they're stealing it and putting on YouTube. It's kind of sad in a way that we're losing our history. And I would give a huge amount of credit to Grace and to her father because of the example that her father set. He's probably the finest filmmaker of his generation not only in documentary, but one of the finest filmmakers of the century.

JB: You did a great balancing act between showing the business side of your dad and the personal side, which is a hard juggling act.

CC: That was one of the hardest things. You really tapped into exactly the right film question. That was the toughest thing. Frankly, I couldn't let 45 seconds go by or more without bringing my father back into the story. People say to me how come you don't have anything about the Korean War or how come you don't have about what happened in XYZ? I said, well, he's not involved with that. It's a tangent. It's like you're on a freight train from New York to Philadelphia and all of a sudden it takes a left turn to Atlantic City and all of a sudden you're lost.

JB: This might explain why it took you 5 years to get it all together.

CC: Exactly.

JB: Finally, are there any more theatrical films in your future?

CC: I tapped into some interesting arenas here so I'm going to look at that and there are a couple of other documentaries that I'd like to do. I'm working on a book that would come out with the release on TV & DVD late next year. That's kind of the next step. And then I'll try to launch one of these other projects.

William Colby testifying before Senate Church committee

in 1975

(l to r) Catherine, Barbara, William, Carl and Jonathan Colby

Complete coverage of The 13th Maryland Film Festival

2011-08-21T15:04:00.090-04:00

After an incredibly tough, damp Baltimore winter, the first week in May brought glorious, and, for the most part, surprisingly dry weather to the faithful attending this mini-gem of a festival held May 5-8. Keeping to its tradition since 2004, Opening Night dedicated itself to the short film genre-and for the first time this year had the distinguished Washington Post critic, and Pulitzer Prize nominee, Ann Hornaday, on hand to kick off the festivities. As usual, the menu of films Festival Director Jed Dietz and his programmers Eric Hatch & Scott Braid offered variance in tone, style, and expertise, as patrons had to carefully scrutinize the offerings to pick out a feature that would be ultimately worth one’s time and money. A significant cross-section of films culled from festivals all over the world literally offered something for everyone-be it documentary, drama, comedy, experimental, or fantasy. There were films of all types to satisfy the genre tastes from the ardent to the casual moviegoer. As usual, celebrities such as John Waters chose & introduced their favorites, there was a 3D classic from the 50’s, and the world-renowned Alloy Orchestra returned to offer their musical interpretation of several silent comic classics. And topping it all off was a wonderful Closing Night film that played at the opening night at this year's Sundance Film Festival, the HBO produced documentary “Sing Your Song” that covered the incredible life and career of Harry Belafonte. Having the 84 year old superstar present to deliver a wonderful Q&A moderated by his long time friend, author Taylor Branch, made this a four-star evening to remember. Therefore, even if several films disappointed this critic, there were enough enjoyable highlights to make this highly anticipated weekend in May in Baltimore totally worthwhile.

Top 5
(1) “Viva Riva”
(2) “Better This World”
(3) ”Meek’s Cutoff”
(4) “Terri”
(5) ”Sing Your Song”
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Thursday May 5, 2011

Day 1-Opening Night

The after party in the lobby of The Brown Center

After a horrendous winter & spring, what a pleasure to have beautiful clear skies and temps in the 60's greeting the throng that packed the beautiful Brown Center on the campus of Maryland Institute College of Art for the 13th annual. After scoring a phenomenal coup a couple of years ago when eventual AA winner "The Hurt Locker" was screened with director Katherine Bigelow and screenwriter Mark Boal months before its release, Jed Dietz can be counted on to present a surprise or two to those who come out to the Charles Theater corridor this weekend.

As has been the tradition for several years, the opening night menu honors the short film genre. After welcoming remarks, festival director Jed Dietz welcomes the MC for the evening: the distinguished critic for the Washington Post (and ex-Baltimore Sun critic) Ann Hornaday.

Ann introduces each of the short films which, this year, for the first time, does not include any animation or experimental. Each of the four films presented depicts unique narrative story lines that expertly show off the varied talents of the filmmakers who created the following mini masterpieces:

"Pioneer" (***-15 minutes)-Director David Lowery uses ingenious sound design (as Ann pointed out in her introduction) and spot-on acting by a first-time 4 year old toddler to tell a story of a father who tries to comfort his son who has just awakened during a thunder storm. The fantastical story he relates brings back memories most of us have when storytelling was so much a part of our childhood.

"We're Leaving" (***-13 minutes)-Fun offbeat narrative story about Rusty, his wife, and their 18 year-old "son", Chopper. Chopper brings new meaning to the word "baggage" when they find that they are being forced to move after 26 years. It is hard enough having to move but more so when having to deal with Chopper, who just happens to be their pet alligator. Director Zachary Trietz keeps the nervous humor going-all the while you will be wondering and anticipating what Chopper is going to do next. Director Zachart Treitz and his crew get amazing closeups of Chopper-who proves he has acting "chops" of his own.

"The Strange Ones" (*** 1/2-15 minutes)-The tension shifts gears as directors Christopher Radcliff and Lauren Wolkstein present the winner of the evening. This is the kind of short film that those who love the genre point to when explaining the beauty of the genre. A narrative is told in 15 minutes that could easily expand to a feature length. The plot is simple: two supposed brothers are forced to find their way when their car breaks down. They happen upon a secluded hotel where a girl who works there offers to help them. Speaking to each of them separately reveals to her a mystery that has her rethinking her offer. Great subtle performances by all three, especially by experienced actor Merritt Wever, makes this one easily the highlight of the four.

"Seltzer Works" (***-7 minutes)-This fascinating short documentary by Jessica Edwards takes us into the almost forgotten world of seltzer deliverymen and one factory that makes the increasingly elusive bottles and product. In 7 minutes, we visit the Gromberg Seltzer Works in Brooklyn and meet Kenny Gomberg, a 3rd generational owner of a factory that will soon perish into history-as are its proponents, who wouldn't think of pulling a bottle off of the grocery shelf.

After a Q&A with the filmmakers, all of the attendees headed to the lobby to celebrate the start of, what I am sure, is another interesting festival that should appeal to all moviegoers.

Festival Director Jed Dietz

opens the 13th annual

Washington Post critic Ann Hornaday
MC's and introduces the shorts

The shorts film makers

Director David Lowery ("Pioneer")

(l to r) Actor Rusty Blanton & Director Zachary Treitz

("We're Leaving")

irectors Laren Wolkstein & Christopher Radcliff

("The Strange Ones")

Director Jessica Edwards ("Seltzer Works")

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Baltimore's own, director/writer

John Waters hanging out in the

Tent Village

Friday May 6, 2011-Day 2

"Green" (*-75 minutes)
This mumblecore production actually gives mumblecore a bad name. First-time director Sophia Takel includes herself in the cast in this extremely tedious story of a couple (Kate Lyn Shreil & Laurence Michael Levine), who are renting a country house while Levine does some blog writing. Their lives become entwined with a mysterious neighbor (Takel) who may or may not be an innocent third party to the occasional odd goings on-which doesn't amount to much as it turns out. The film opens with a lot of mundane conversation & continues on and on and on with more inane dialogue (a staple of the mumblecore genre) throughout its running time. There is supposed to be mounting tension as what appears to be a friendly triangle slowly (and I do mean very slowly) turns into jealousy. In the final analysis, all this conversing had me completely zoning out for most of its (what seemed interminable) 75 minutes. Takal was co-star and editor while Levine directed the somewhat successful 2009 indie film, “Gabi on the Roof in July” which played here in 2010 & had a limited release in New York. However, unfortunately, I was disappointed, bored, & ambivalent by this effort.
During the Q&A, director Sophia Takel, who plays the mysterious neighbor who imposes herself on the couple, revealed that, in real life, she and Laurence are engaged and that Kate Lyn Shreil are roommates.

(l to r) Actress Kate Lyn Sheil, director/actress Sophia Takal,

nd actor Laurence Michael Levine

"Uncle Boonmee Who Can Recall His Past Lives" (** 1/2-112 minutes)

The winner of the Palme d'Or at this year's Cannes has been garnering very favorable reviews from the majority of critics. Alas, I fear this one will try the nerves and patience of the average moviegoer who, if they enter the theater with even a smidgen of tiredness, will be snoozing throughout. Thai director Apichatpong "Joe" Weerethakul drew inspiration from classic Thai films and his own experiences to tell this tale of a dying man (Thanapai Salisaymar) who encounters the ghost of his first wife, his deceased son (who appears in another animal form) and other odd encounters that take him on a spiritual journey into his past lives. This movie is anything but a straight narrative as it covers the themes of reincarnation and fantasy like no other film I have ever witnessed. And there is a ”romantic” scene involving a catfish (!) which would have made Alejandro Jodorowsky proud. Once again, the pace is extremely laborious (I think I entered a past life or two of my own during those 112 minutes), but, if boredom steps in, you can marvel over the wonderful Thai scenery which elevates “Uncle Boonee” an additional 1/2 star in my rating. The film is currently in limited release.

The apparition of the dying man's son

"Better This World" (*** 1/2-98 minute)
Ahhh-I knew it would take a documentary to get me out of my cinematic doldrums. This extremely well done and disturbing doc by Katie Galloway and Kelly Duane del la Vega is another film (there seem to be a ton over the last couple of years) that will have you leaving the theater thoroughly disgusted with our Government and legal system. Two young idealistic men from Austin, David McKay and Bradley Crowder, attempt to "better this world" by partaking in peaceful protests at the 2008 Republic National Convention. These two extremely naive lads are definitely not the terrorist types but when an older activist they meet in Austin leads them astray, they ultimately find themselves in custody at the RNC in Saint Paul Minnesota slapped with terrorist charges for possessing eight Molotov Cocktails. Through excellent story telling devices by the filmmakers, we learn that their leader, an informer for the FBI, entrapped these two young idealists. We then follow their legal trials and the devastation to their family and friends, which concluded with their eventual imprisonment. The dynamics between the two friends and the betrayal each faced to avoid imprisonment is both heartbreaking and poignant-and completely unnecessary in the post 9/11 climate that now permeates our world. Brilliant editing and score only adds to the excellence. The film premiers September 6 on the PBS series P.O.V.
During the Q&A, Randy stated that, since he's been released from jail, he went back to school and continues remain active in community organizing issues around immigration, school budget cuts in the school system. He revealed that jail made him appreciate each day and not take anything for granted and is working very hard to make the most of life. He also stated that the government's actions of entrapping individuals is not an isolated incident and that it is much more prevalent than people think and is one of the reasons this film was made. When asked about his contact with David who is still incarcerated, Randy said that, as a condition of his release, he is prohibited from any contact with his friend or he will return to prison. He currently has two more years of probation.

(l to r) Producer Mike Nicholson & activist Bradley Crowder

"Without" (***-89 minutes)
An interesting psychological character study about a 19-year-old-girl who takes a part time job in a sparsely populated town caring for a wheelchair bound elder (Ron Carrier) while his family takes a vacation. First time actor, Joslyn Jensen gives a wide-ranging performance going from a dutiful caretaker to bored employee to crazed caretaker as strange things start to occur around her-or do they? Rookie director/screenwriter Mark Jackson quietly and effectively depicts the boredom Joslyn is encountering caring for the elder resident. Although at first dutiful (she is given an outrageous list of tasks and instructions by her employer), she finds herself slipping into patterns of neglect, negligence, and fear. An effective score helps to complement and elevate the visual tensions. My main problem with the film is the large number of red herrings thrown our way. Clearly, director Jackson never met a MacGuffin he did not like; and the result is that, at the end, I expected something more substantial & powerful. However, the nice acting turn by the lead actor, and the intriguing sound design, elevates "Without" a half star to the respectable three star category. A nice first effort all around makes Mark Jackson a name to watch.
At the Q&A, Mark said he and Joslyn had worked previously on smaller experimental films. This marks her first feature length movie. Joslyn performs a neat cover of a Lil Wayne song, which can be viewed on YouTube where she also covers other rap songs. She also mentioned that she performs at a New York sushi bar as a hobby.

Invalid Frank (Ron Carrier) being read t o by

Joslyn (Joslyn Jensen)

Director Mark Jacobson & actress Joslyn Jensen

"Terri" (***1/2-101 minutes)
First premiering at Sundance, this is a wonderful new coming-of-age work by director Azazel Jacobs ("Momma's Man"). Newcomer Jacob Wysocki gives an amazingly subtle performance as Terri, an overweight teen who must deal with high school bullying, a couple of nerdy friends, and taking care of his ailing uncle (Creed Bratton-"Mask" and TV’s “The Office“). Clearly, he wants a better life. However, the question becomes “Will he?” when confronted with the opportunity to break out of his loser life. Brilliant indie character actor John C. Reilly (2010’s “Cyrus” and this year’s “Cedar Rapids”) is on hand to provide most of the humor as Terri's High Principal who takes Terri under his wing and who has a heart so big you will want to reach out and hug him! (I wished I had a principal like him during my early schooling years.) The movie rests clearly on the shoulders of Wysocki who is capably up to the task. (When he decides to wear pajamas to school “because they’re comfortable”, you do not question his motives.) Mandy Hoffman also provides an appropriate score, which is the perfect addition to this satisfying human comedy ably written by Patrick deWitt. The film began a limited platformed release in New York and L.A. on July 1. Azazel, commenting on selecting the role of Terri, said Jacob was chosen when he realized that he brought to the character a confidence and sense of self that would have been hard to act out or direct. As for the wonderful score, he left Mandy create it with little direction other than dropping off the draft to work from.

Principal Fitzgerald (John C. Reilly, right) confronts

troubled students Chad (Bridger Zadina, left) & Terri

(Jacob Wysocki, center)

(l to r) Director Azazal Jacobs &

festival director Jed Dietz

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Saturday May 7, 2011-Day 3

"Meek's Cutoff" (*** 1/2 -104 minutes)
Ever want to know what it was like to cross the Cascade Mountains in Oregon in 1845? Of course, none of us will ever know, however this film by director Kelly Reichardt ("Old Joy", "Wendy and Lucy") has to be as close to depicting this experience as any other. Using the classic box framing of films of yore, the director is so intent on authenticity that by the conclusion of the film you will feel like brushing off your clothes to rid yourself of the dust and sweat you just experienced on the screen. A totally minimalist film, you will follow three families traveling by wagon train, along with their hired guide, as they slowly make the treacherous journey. In search of water and destination is only part of their problem. They now must deal with the Indian threat all around them-which is an immediate concern when they capture a lone scout. Tensions mount, as they now must decide how to maintain their sanity and their lives fearing that any moment his tribe will be coming to his rescue. DP Christopher Blauvelt's cinematography and his prolific use of natural lighting, the acting by Michelle Williams & Will Patton as the lead family and Rod Rondeaux as the Indian adds to the realism. But it is the grizzled portrayal by Bruce Greenwood as the guide, Stephen Meek that is the standout. Also, a beautifully understated score by Jeff Grace adds to the enhancement of the experience. If you go in not expecting shootouts or the usual Hollywood western touches created to satisfy the action-minded audiences, you will walk away haunted by the trials and tribulations these pioneers endured in the 19th century. The film is currently in limited release.
Baltimore Sun critic and author, Michael Sragow (whose book on Victor Fleming, "Victor Fleming: An American Movie Master", was praised by Peter Bogdanovich in the Wall Street Journal as the greatest book written about a film director) introduced the film and interviewed Will Patton following the screening. In his opening discussion, Michael mentioned that Reichardt deliberately shot the film in the aspect ratio (the so-called "golden ratio") of the classic American movies to make it seem that more authentic. The squared-off screen made the actors more prominent and not overwhelmed by the landscape.

Emily Tetherow (Michelle Williams)

(l to r) MC critic/writer Michael Sragow & actor Will Patton
leading the post-screening Q&A

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Belafonte

Sunday, May 8, 2011-Day 4-Closing Night

"Septien" (** 1/2 -79 minutes)
Director Michael Tully has created a film that is a great example of art-house independent film fare that grabs the viewer and throws him into a strange world inhabited by weirdo’s & misfits. (Hmmm-sounds a little like early John Waters.) Unfortunately, although the plot is fresh initially, I eventually became exhausted trying to figure out the motives behind the strange characterizations and even stranger goings-on. After an absence of 18 years, Cornelius Rawlings (mysteriously played by the director) suddenly returns home to his surviving two brothers who are living on the family farm in Tennessee. Dysfunctional with a capital "D", Ezra (Robert Longstreet) is a cross dresser, while his brother Amos (Onur Turkel) excels at some kind of creepy violent porn art (the actor actually provides his own artwork). Throw in the appearance of a couple of inane characters such as the eccentric plumber who used to be Cornelius' high school football coach (with whom he had a serious conflict while he was on the team years ago-and may or may not be the reason for his long absence) & a fire and brimstone-type preacher and you have a hotchpotch of plot points that never quite come together cohesively in the end.

The 3 brothers (l to r): Cornelius (Michael Tully),
Amos (Onur Tukel), & Ezra (Robert Longstreet)

Director/actor Michael Tully, editor Marc Vives,
& actor Onur Tukel

"Viva Riva!" (****-96 minutes)

No movie has been shot in the Congo for 25 years-until now. And what an impressive feature- film debut for Congolese director Djo Tunda Wa Mungay (he's previously done two documentaries)-who intends to establish a cinema base in his home country. You will need a seat belt to hold you in place for almost its entire running time as you enter the seedy crime-filled realm that could easily be any city in the U.S. There is a gas crisis in the capital city of Kinshasa (pretty timely!). Riva (earnestly played by Patsha Bay), the film's charismatic central character, has stolen a shipment of petrol from Cesar, an Angolan crime boss (Hoji Fortuna who is perfectly cast in the "godfather" role). Riva's simple plan is to return with the stolen goods to his hometown of Kinshasa to make a quick profit. Cesar's pursuit alone would be more than enough for him to handle. Unfortunately, there is the local kingpin Azor whom Riva angers after he boldly tries (and eventually succeeds) to whisk away his hottie moll, Nora (Manie Malone). Also, there are additional characters trying to backstab our hero including a female Commandant (Marlene Longage) and her lesbian lover Malou, and a priest who seems to worship the all mighty dollar more than The All Mighty. The pacing and plot twists are frantic (be advised there are gobs of humor, sex, and violence-all necessary in this genre) but the filmmaker never loses his way. Wonderful cinematography (Djo actually shot the darn thing using a small D5 still camera that mimics film to such a degree that you'll be hard pressed to tell the difference from a full blown 35mm print) and a heart-thumping score makes this on one of the most entertaining popcorn films I've seen in many a year. "Viva Riva" opened in New York last June and should make its way across the country not long thereafter. Bravo!
After the screening, Djo stated that prior to the shoot, he organized a two month training workshop a year before production to teach the actors how to work before a camera. Another workshop was conducted for them a year later just before production to have them work with an acting coach after which they were given the script.

Riva (Patsha Bay)

Director Djo Tunda Wa Mungay

CLOSING NIGHT FILM: "Sing Your Song" (*** 1/2-103 minutes)

The HBO-produced documentary is actually two films: The life and extraordinary career of legendary singer/actor Harry Belafonte. His accomplishments in the entertainment industry were groundbreaking in many ways, and the numerous accolades he has received could not be more deserved. We learn of his association and friendship with Brando & Poitier among so many other artists throughout his enormously successful career. The other part of the journey covers the varied political social activism that Belafonte's life has encompassed: from the 60's civil rights, to apartheid, to the Iraq war. We see his close association with such monumental figures as JFK, Mandela, and Martin Luther King, as well as the influences they had on his other life miles away from the lights on Broadway or the glitz of Hollywood. What starts out as the story of one man becomes a global affair that makes you realize what a satisfying journey this 84-year-old talent has become. A wonderful editing job and a great score by Hahn Rowe beautifully tie it all together. Kudos to festival director Jed Dietz, who, after screening it at this year's Sundance on their opening night, pulled many strings to, not only obtain the print, but to arrange to have Belafonte appear in person. A remarkable windup to another successful fest. "Sing Your Song" (which refers to Paul Robeson's advice to Harry when he said, "“Get them to sing your song and they’ll want to know who you are") will premiere this fall on HBO.
After the screening, Harry spoke about the sacrifices he made making his global jaunts and the effect it had on his children having to be judged constantly for what he had said or done. He revealed that his choices were made accompanied by a great sense of anguish and guilt for sacrificing his family for this life. It was his daughter Gina, the lead producer of the film, who pushed him hardest of all to do the film because she felt strongly about his legacy and not so much the celebrity. He stressed that he didn't want his celebrity to get in the way of the message.

Belafonte (2nd from right) singing with his fans

Author Taylor Brnach moderates the Q&A with
Harry Belafonte

UPCOMING: Complete coverage of The 9th Annual SILVERDOCS Documentary Film Festival

2011-06-20T16:43:00.012-04:00

CLICK HERE FOR ALL PERTINENT INFORMATION INCLUDING LINKS TO THE PROGRAM GUIDE.

"The Conspirator" (***-122 minutes)-PLUS: Red carpet photo coverage of DC premier at Ford's Theater

2011-04-22T15:24:00.054-04:00

Sunday April 10, 2011

Director/actor Robert Redford's latest directorial project was given a full-blown Hollywood-type DC premier at the glorious Ford's Theater-complete with every major cast member, Redford, the producers, and over a hundred DC politicians and notables. (Red carpet photo coverage provided after this review.) And what better place to hold the event than the site of Lincoln's 1865 assassination-and within days of the 146th anniversary of this American tragedy.

The first film by the newly formed American Film Company (which had its world premier at Toronto), headed by Joe Ricetts, former CEO and former chairman of TD Ameritrade, is a fine example of the type of film this company is dedicated to producing: an historically accurate account that, in this case, took several years to research. The good news is that you will not see typical Hollywood made up characters or drama. Unfortunately, the drama tends towards the PBS' Masterpiece Theater-type stilted presentation-that might have trouble appealing to the general masses used to being spoon-fed their entertainment.

That being said, this beautifully rendered film is worth seeing on many levels. Many historical films tend to be ignored by the public due to relevancy. However, this film deals with subject matter that is startling in its present-day connection as this country constantly strives and struggles to be democratic and protect the inalienable rights & due process of its citizens throughout its history. In addition, there are several character parallels to some very well known present day politicians that you undoubtedly will recognize.

The film opens on a Civil War battlefield as two wounded Union soldiers are laying side-by-side. As one comforts the other who is struggling to survive, the medics arrive and when they attempt to take care of the less wounded soldier, he immediately directs them to his companion-risking his own survival. Switch to the night of April 14th, where the decorated soldier, Frederick Aiken (James McAvoy-best known in the wonderful films 2006's "Last King of Scotland" & 2007's "Atonement") is a fresh-faced lawyer networking at a highfalutin party. He is disappointed when told that The President would not be attending because his wife would rather attend the play at Ford's that evening.

The action quickly depicts a series of coordinated political hits targeting, not only Lincoln but also Secretary of State William Seward and Vice President Andrew Johnson who survived the attacks. Maryland senator Reverdy Johnson (the great Tom Wilkinson) persuades the young attorney to undertake the unenviable task of defending Mary Surratt (the excellent Robin Wright)-mother to one of the conspirators who had escaped capture. We quickly learn she was rounded up in a feverish rush to judgment as the owner of the boarding house where the conspirators met and planned the attacks. Aikens initially expresses disgust in having to defend someone who surely was guilty. But as the film progresses, he begins to think that not only could she be innocent but, more importantly, that her rights to a fair trial in front of her peers were clearly being denied and prevented by army generals determining her fate.

Screenwriter James Solomon (who took 16 years to perfect the wonderful script) makes Mary's innocence or guilt ambiguous while placing due emphasis on the political climate and legal shortcuts undertaken while a nation was struggling to recover from the devastation of the just concluded Civil War. Presenting essentially a courtroom drama, the film does, however, unequivocally depict the legal injustice done to Mary, the first convicted woman hanged in the U.S.

The film is given a top-notch stellar look by veteran cinematographer Newton Thomas Sigel (Savannah, Georgia is the DC stand in) while Mark Isham's score perfectly complements.

My only main gripe is that I wished more background information about Mary had been forthcoming. Despite being the principal focus, it is surprising how much of her character is maintained in the background and shrouded in mystery. That being said, if you are a history buff, this is a film for your must-see list.
Webster Stone, one of the producers, remarked to me after the screening that The American Film Company was so intent on historical accuracy that they encountered a curious dilemma after their research team discovered that clothing fashions in 1865 tended toward a palette of bright colors. However, they made a command decision to mute the fashions thinking that today's audiences would have trouble believing bright garb were the true fashion of that era. He also remarked that the subject of their next film project is Paul Revere.

Frederick Aikens (James McAvoy) about to counsel his client

Mary Surratt (Robin Wright) on her way to the gallows

Director Robert Redford

James McAvoy

(attorney, Frederick

Aiken)

Robin Wright (conspirator John Surratt's mom,

Mary Surratt)

Evan Rachel Wood (Mary's daughter, Anna Surratt)

Tom Wilkinson (Maryland senator, Reverdy Johnson)

Kevin Kline (war secretary, Edwin Stanton)

Stephen Root (principal

prosecution witness, John Lloyd)

Alexis Bledel (Frederick's

girlfriend, Sarah Weston)

Johnny Simmons (conspirator

John Surratt)

Norman Reedus (conspirator Lewis Payne)

Norman takes a moment to mingle with the fans across

from The Ford's Theater

Redford introduces the film inside The Ford's Theater

The President's Box

The after party at The Newseum

DON'T MISS "Bill Cunningham New York" currently at DC's Avalon Theater!!!

2011-04-07T16:48:00.011-04:00

As a rule, documentaries have an extremely short shelf life in theaters. This is one doc not to be miss!!! Winner of numerous worldwide awards (including Audience Awards), this was my #1 favorite at last year's SILVERDOCS. This was my expanded **** review as posted in Film Festival Today:

“Bill Cunningham-New York” (**** 90 minutes)
An extraordinary profile of a man without ego and who absolutely abhors attention. In his opening remarks, director Richard Press stated that it took 10 years to make the film: eight years to convince Bill to be filmed and two years to shoot and edit. This account of the author of New York Times’ aptly named columns, “On the Street” & “Evening Hours”, is a gem. Winner of The Audience Award at this year’s Sydney Film Festival and the Best Documentary at The Nantucket Film Festival, this film is a surefire crowd-pleaser, as it chronicles the 81-year-old as he travels around Manhattan on his bicycle constantly clicking his old school 16mm camera at the latest fashions that he encounters. The filmmakers gained unusual access to Bill’s world, including his meager apartment above Carnegie Hall where the space is occupied mostly by his files & a single bed in the corner of the room (the bathroom was down the hall). But mostly we see him in action on the streets as he is interested, not in photographing celebrity, but the clothes they, as well as the common folk, wear. One segment perfectly describes the man: In Paris to accept the Chevalier of the Order of Arts and Letters for his contribution to the arts, Bill is more interested in snapping away at the arrivals outside the event. When it is time for him to enter the building, he is at first refused entry when the guards do not recognize him. One does not have to be interested in fashion to thoroughly enjoy this brilliant account of a most adorable gentleman whose astonishing work ethic & beautiful moral core are second to none.

"Unknown" ** 1/2 (109 minutes)

2011-03-28T15:35:00.029-04:00

Tuesday February 15, 2011

I had severe trepidation going in to the screening. The director, Jaume Collet-Serra, had a somewhat miserable past track record-which included a (yet another) version of "House of Wax" (2005) and 2009's "Orphan". Although not a complete failure, I admit this extremely implausible action film kept my interest up for most of the running time-before falling completely apart in the last reel.

After his personal success in 2008's "Taken", Liam Neesom is once again cast in an action role where, after a violent auto accident, he has to deal with amnesia-his and/or all of the folks who, he believes, knew him before the accident. In Berlin to attend a biotechnology convention with his wife (January Jones-currently a regular on TV's "Mad Men"), things go quickly awry for Dr. Martin Harris after discovering, while checking in at the hotel, that he left his briefcase at the airport. Catching another taxi to return to the airport, that accident happens where his (female) taxi driver (Diane Kruger) rescues him from the icy waters. After awakening in the hospital, he discovers no one knows who he is. That includes his wife, who is now in the company of the, supposedly, "real" Dr. Harris (Aiden Quinn).

That's the setup as numerous plot twists-and-turns transpire that eventually leads to a conclusion complete with an exhaustive explanation/wrap up. However, by the time it arrives, I could have cared less about whom he was and the preposterous motives and goings-on behind all the nonsense.

Neesom plays a convincing part, as do all of the principals. And the action sequences are nicely staged, but, in the end, I found myself walking out with nary a remembrance, or care, of what I had just witnessed.

Dr. Harris (Liam Neesom) ans wife, Elizabeth
(January Jones) arrive in Berlin

Martin Harris (Aiden Quinn)-or is he?

"The King's Speech"-REVISITED

2011-03-07T11:39:00.011-05:00

Monday March 7, 2011 One of the problems with having a day job & seeing multiple films over a course of a week is the necessity of spending a couple of hours in a darkened theater after a particular grueling day of work. That is to say, at times, depending on the stress I've encountered, and/or the fact that I'm just plain exhausted, and/or I'm in a bad mood-I'm just not as focused as I should be and, consequently, my opinion of a particular film might be skewed as a result. I've tried not to let that enter into my writings. Thankfully, this has happened only on a very few occasions. That being said, since I started this site over three years ago, there has only been one other instance where I've slightly changed my opinion of a film after repeated viewings, and both films, in my opinion, turned out to be the best films I had seen that year. The first time was in 2008 when I revisited "The Curious Case of Benjamin Button" after screening it twice. The latest instance is "The King's Speech". Both films I initially gave 3 1/2 stars. Yesterday, after re-screening "The King's Speech", I walked out thinking that I slightly misjudged this absolutely wonderful, perfect, masterpiece. From the first frame to the last, few films have affected me, taking me through the gamut of emotions I experienced that, somehow, eluded me the first time around. Fully rested. Fully involved. Fully blown away. This film was clearly the best film of the year and deserved every accolade it has received from nearly every corner of the film community. What particularly struck me was how wonderful Geoffrey Rush was in the role as the king's speech therapist. In addition, Alexandre Desplat's score, whose distinguished career includes, interestingly, the score for Benjamin Button, is woven perfectly into the film-which helped make this a complete filmic experience. The Academy got it right. "The King's Speech" gets a 4 solid stars.

Post-AA Ramblings

2011-03-03T12:38:00.010-05:00

Thursday March 3, 2011

THE SHOW (*)
OMG!!! What the hell was that?! I just spent 195 minutes that I'll never ever get back. Although that abomination was a train wreck I couldn't' look away from, unfortunately, there were few redeeming qualities the entire production offered that could have elevated that one star rating. I'm usually on the more positive side of this show. Where others pan the living daylights out of it, I find enough interesting moments to make this even a little worthwhile. But this year, I'm going with the majority. First off, the decision to wander away from the usual tried and true, namely, an established comedian not solely tied to The Industry (Steve Martin, Billy Crystal, e.g.) or a talented song & dance dude (Hugh Jackman), looked promising but ended up a disaster. Okay let's appeal to the 20-somethings by putting onstage a handsome young up-and-coming actor and a nubile young actress. What seemed like an interesting experiment ended up with egg all over every one's face. I hope James Franco's deer-in-the-headlights visage has returned to some sense of normalcy by now-but the fact is, he was clearly out of his league here. Maybe it was the script, the moment, whatever-he looked lost and, as some have remarked, disinterested at best, or even stoned at worse. As for Anne Hathaway-well, she fared better but not by much, as she tried her darnedest to cover for partner. However, in doing so, she nearly appeared desperate. I suggest they go back to someone who can bring their own humor to the process and who can pick apart the incredibly pompous proceedings-which, lord knows, it desperately needs.

THE PLUSES
Hmmm-this is a tough one. Okay. The first 15 minutes. If you missed it, the show's highlights were all there. The last 93% were . . . well, see above. The opening montage, although not original in concept, was humorous as it took the dream level concept of "Inception" (virtually the only mention this blockbuster received all night) and put the hosts in various nominated films and, even some older ones. Sprinkled in were cameos including former host Alec Baldwin. A humorous, well-produced segment that brought some promise and hope for the rest of the show. A period of uninspired, unfunny repartee by the hosts (who were the writers for this stuff? ) was followed by an extraordinary, touching appearance by Kirk Douglas who was, to put it mildly, a mere shell of his former self. That was followed by the awarding of the best-supporting actress award to Melissa Leo who included an f-bomb in her acceptance speech. And it was all off a cliff from there.

BIGGEST SURPRISE WINNER
None. Usually there is at least one. But this year? Nada. Zilch. This only contributed to the drabness.

BIGGEST DISAPPOINTMENT
Although the buzz was (correctly) on "The King's Speech", "The Social Network" deserved at least Best Picture or Best Director. After winning four Golden Globes for Best Director, Screenplay, Best Score, and Best Picture, Drama, the film won AA's for Best Adapted Screenplay, Film editing, and Music. Second biggest disappointment: "127 Hours" being shut out.

BIGGEST ACCEPTANCE SPEECH FLUB
That honor goes to Christian Bale. Although not as bad as Hillary Swank, when she forgot to thank ex-hubby Chad Lowe during her 2000 acceptance speech for "Boys Don't Cry", Bale merely forgot his spouse's name. Uh-oh. I bet that post-show conversation was interesting. At least he didn't call her by another name.

NOMINEE WHO APPEARED TO BE HAVING THE WORST TIME
Director David Fincher. Although his "Social Network" won three awards (one less that "The King's Speech" with four) every time the camera focused on him in the audience, he seemed like he wished he was somewhere else. He appeared utterly humorless. Even though everyone praised him to the hilt on the podium, his expression was so dour he seemed almost constipated. Hey, Dave, loosen-up! (Actually, I can't blame him. I felt the same way watching this show!)

MOST INCOMPREHENSIBLE PRESENTERS
Justin Timberlake & Milas Kunis. I hope they got whatever the hell they were talking about because I'm certain no one else did.

BEST PRESENTER
Sandra Bullock. Appearing near the conclusion to hand out the Best Actor award, although not my favorite actress, she seemed very much at ease and funny in discussing each of the nominees. She was so good, I remember thinking that she would be a nice choice for future hosting duties-if they can't land that A-list comic. Unfortunately, only the die-hards were probably awake to see her by the time she came onstage.

MOST PAINFUL PRESENTERS
Robert Downey, Jr & Jude Law. Their banter was embarrassing and throwing in jokes aimed at Downey's sensational past escapades was, to me, totally unfunny and inappropriate. A close second was Kirk Douglas. Although it was wonderful to see him, his interminable time on stage was awkward & close to embarrassing-taking forever to announce the Best Supporting Actress winner .

MOST COSTUME CHANGES
Anne Hathaway (7).

MY FINAL PREDICTION TALLY
I had 10 out of 11 correct of my major awards predictions-missing out on Best Director. Even though I was somewhat pleased that the award went to the director of the Best Picture, David Fincher ("The Curious Case of Benjamin Button") again, was robbed. Maybe next year he'll win and give the world a smile. I also predicted that "The Social Network" would win the Best Cinematography award, which went to "Inception". I guessed wrong on all three of the short film categories, but, having seen none of them, I had a 1 in 5 chance-a 79% overall.

Pre-AA Rambling Thoughts/Predictions

2011-02-26T13:25:00.022-05:00

Saturday February 26, 2011

-The Red Carpet this year should be interesting amidst reports that it might be snowing tomorrow night, and, if not, it is predicted to be unusually cool (40's) come game time. So don't expect extended interviews on the carpet in beautiful L.A.

-Hollywood is going with the 2-host version again, but steering away from the tried and true. With last year's duo of Steve Martin and Alec Baldwin you could expect a lot of humor. Will Anne Hathaway (at 28 she's the youngest host ever) and James Franco equally pull it off? Stay tuned. At least, from my perspective, these 2 (especially Anne) will be much easier on the eyes.

-I suppose The Academy deemed last year's decision to double the Best Picture nominations a success. We certainly have a well represented genre list this year from a small independent (the Sundance hit "Winter's Bone"), to an animation classic ("Toy Story 3"), to an expansive (albeit convoluted) sci-fi extravaganza ("Inception"), to a indy comedy ("The Kids are All Right") to a western ("True Grit"), to a psychological thriller ("Black Swan"), to a British historical drama ("The King's Speech") to . . . well-you get the picture. Personally, the 10 film list idea is more to give credence and respect to more than the usual five (hey-isn't it an honor just to be nominated?). What it comes down to, as in most years, are only two, possibly three having any chance of winning the top prize.

-Biggest surprise: Christopher Nolan NOT being nominated for Best Director. Nolan was absolutely robbed. His 10-year vision and creation of one of the most intelligent mind-blowing films in the last ten years should have been a no-brainer! Although four of the five on the list are well deserving of the nom, David O'Russell did, at best, a pedestrian directing job directing "The Fighter". Unbelievable.

-2nd biggest surprise: Putting 12-year-old Hailee Steinfield in the Best Supporting category-which might have robbed Melissa Leo of the Oscar. Hailee? A SUPPORTING actress??! She was practically in every scene, as well as the driving force in "True Grit". Someone will have to explain that one to me.

-Biggest Disappointment: Ryan Gosling not being nominated for "Blue Valentine". The Academy got it right nominating Michelle Williams, but Gosling equally deserved to be nominated. Although, frankly, all fire nominees were well deserving so someone had lose out and, unfortunately, it was Gosling. A terrific acting job by one of the best young actors in the business.

-2nd Biggest Disappointment: Snubbing Emma Stone ("Easy A") for best actress. She'll have her chances in the future, but her break-out acting in this comedy was mind-boggling. I would have put her miles ahead of Jennifer Lawrence ("Winter's Bone"). The argument that "Easy A" was a small teen comedy, certainly didn't keep Ellen Page ("Juno") from being nominated in 2008 and, IMHO, Stone gave a more superior effort in this wonderful film.

-So, here I go with my annual who will/should win list covering the major categories. One note of caution: several of my picks are toss-ups this year. Therefore, for some of these, I will be guessing along with you so, please, don't call your bookie to bet your mortgage on my selections.

The envelope, please. . .

BEST PICTURE:
What will win: "The King's Speech"
What should win: "The Social Network"
As most folks who have been following the movie scene over the past 6 months know, "The Social Network" was the hands-down leader up until December. However, the momentum gained by this small British historical drama has seemingly swept away any chance of TSN winning. I wouldn't be shocked if Fincher's film is announced, but surprised, considering the numerous awards "The King's Speech" has been raking in the past couple of months. That said, for me, "The Social Network" was the more satisfying and complete from production values, to score to acting to script-not to mention the topicality of the film. However, "The King's Speech" is a very close 2nd in my book .

BEST DIRECTOR:
Who will win: David Fincher
Who should win: David Fincher
I figure the voters will split the vote and throw Fincher this major bone. I rarely agree with splitting these two categories (and it wouldn't be split if I got my way-see above). But in this instance, his film should garner at least one of the top prizes and the director that should have received it 2 years ago for "The Curious Case of Benjamin Button", will finally get his well-deserved due.

BEST LEADING ACTOR:
Who will win: Colin Firth
Who should win: Colin Firth
You can mail him the Oscar! One of the three biggest locks of the night. A verrrrry close second, however, is James Franco. Like Ryan Gosling, this dude will win his share down the road. However, Colin's performance (he, arguably, could have won last year for "A Single Man" over Jeff Bridges) was as close to perfect as any I've ever seen on the screen. Riveting & poignant, his interpretation of the stuttering king is unforgettable.

BEST LEADING ACTRESS:
Who will win: Natalie Portman
Who should win: Natalie Portman
Oh boy! This is probably the toughest one to pick. OK. I'm flipping a coin. Here goes: Although Bening is wonderful in "The Kids are All Right", how can you keep Portman from winning? Her portrayal of Nina as she slowly descends into the pits of hell as the troubled ballerina is mesmerizing and totally believable. She trained for 10 month and it shows it. However, that being said, Bening is long overdue and the voters love to impart the golden statue to actors in those situations. Also, Portman is just beginning what will be a long distinguished career. However, she deserves the Oscar just the same. It'll be interesting.

BEST SUPPORTING ACTOR:
Who will win: Christian Bale
Who should win: Geoffrey Rush
Another tough one! Here's my reasoning. I preferred Rush's performance over, for me, Christian's, slightly over the top acting. Rush is the glue that holds TKS together. And his interpretation of the therapist who tries to cure King George VI of his stuttering is a joy to behold and admire. However, Hollywood is gaga over first time nominee Bale and, no doubt, admires what physical pains he went through to portray the crackhead ex-fighter. And since they'll award the BP to "The King's Speech", this major award will go to Bale. Don't get me wrong, he's a truly accomplished actor who will get his reward down the road; however, the voters will get it wrong if he wins the statuette tomorrow.

BEST SUPPORTING ACTRESS:
Who will win: Melissa Leo
Who should win: Hailee Steinfeld
Melissa was clearly the odds-on favorite before they, unjustly, put Hailee in this category. And, Hollywood might be fuming over the self-congratulatory ad Melissa placed in the Hollywood trades. However, I'm going out on a limb and predict she'll still win the award. Leo is a great actress (who maybe should have won in 2009 for "Frozen River",) who puts everything in her role as the mother/manager of Mickey Ward in "The Fighter". However, for me, although she is clearly in the wrong category, Hailee's acting is more expansive and believable. The voters don't often give major awards to child actors but it has been done in the past and could well happen again-but I doubt it. Amy Adams is the dark horse in this category, and gets an honorable mention for her tough-as-nails portrayal as Mickey Ward's gal, but Amy doesn't figure to get the Oscar this time around.

BEST ANIMATED FEATURE FILM:
Who will win: "Toy Story 3"
Who should win: "Toy Story 3"
The 2nd biggest lock of the night. One day, the unbelievably talented folks at Pixar might win Best Picture. (As one of the 10, I was close to saying it should win the BP award.) However, Hollywood would probably be crucified if they picked an animation film-even though this one took me through the full gamut of emotions that most films can't even come close to doing. This was my one of my favorite film of the year so, TS3, here's your bone.

BEST FOREIGN FILM:
Having not screened all the foreign nominees, I'm excluding my pick this year. (Although the buzz is on "In a Better World".) However, I smiled when I saw "Dogtooth" on the list. One of the most amazing films in this or any other year, this is a wonderful honor to bestow on this Greek masterpiece. The film stayed with me for months.

BEST ORIGINAL SCREENPLAY:
Who will win: "The King's Speech"
Who should win: "The King's Speech"
Another major award to the little film that could. A terrific screenplay that clearly defines the diverse personalities of the actors that voiced the words. A close second is "The Kid's are All Right". Christopher Nolan's script, although totally original, the problem is few people could understand it-at least without multiple viewings.

BEST ADAPTED SCREENPLAY:
Who will win: "The Social Network"
Who should win: "The Social Network"
The 3rd mortal lock of the night. Aaron Sorkin's script is so powerful it becomes a character in the story. It will be a well-deserved win for one of the industry's most talented writers. Again, a verrrrry close 2nd to Joel & Ethan Coen's adaptation of Charles Portis' novel. I loved the language they used in the film-as much as the acting! However, Sorkin's script in "The Social Network" is in a class by itself.

BEST DOCUMENTARY:
Who will win: "Inside Job"
Who should win: "Restrepo"
The Matt Damon narrated film about the 2008 financial crises should take home the big prize. However, the amazing, you-are-there-in-the-middle-of-the-conflict-in-Afghanistan film, is my personal favorite this year.

There you have it. Now, here's hoping the extravaganza doesn't last much past the 3 1/2 hour schedule time. However, I wouldn't bet the house on that one either.

Stop back for my post-AA report next week.

Catching up: 6 REVIEWS OF FILMS NOMINATED FOR ACADEMY AWARDS

2011-02-22T16:28:00.075-05:00

"The Fighter" (***-114 minutes)-Monday December 6, 2010
Critically acclaimed Director David O. Russell directs yet another boxing tale that is at the heart and soul of lead actor, ex-Backstreet Boy, Mark Wahlberg who spent years trying to get it made. Based on the true-to-life story of Massachusetts boxer, Mickey Ward, the film, strangely, is focused more on the people around him: Alice, his domineering mother/manager wannabee (Melissa Leo who was nominated for her riveting performance last year in the indy film "Frozen River" and who gives a bravura performance in this role); his crackhead ex-boxer older brother Dicky (Christian Bale who gives a somewhat over-the-top interpretation of a guy whose only claim to fame is that he might have once knocked down Sugar Ray Leonard), his tough-as-nails girlfriend Charlene (Amy Adams, giving a feisty memorable turn as the barmaid who tries to wrestle Mickey away from his mom and take over Mickey's future); and, in a supporting role, 7 (very annoying) sisters who are more caricature than real in the several scenes they appear. The storyline, of Mickey attempting to step in and fill the shoes vacated by his loser brother, and his journey to succeed, well, we've seen this all before. In addition, the fight sequences are pedestrian at best when compared to such classics as "Raging Bull", "Body & Soul", and even "Rocky I". However, this film gets an above average three stars more for its endearing characters and acting chops from the principals, than from its familiar storyline.

"Black Swan" (*** 1/2-108 minutes)-Monday December 13, 2010
Director Darren Aronofsky's 2008's "The Wrestler" put Mickey Rourke back on the map. His latest should put actress Natalie Portman squarely in the middle of the map-especially come Oscar night. Her interpretation of Nina Sayers, the troubled ballet dancer trying to win the dual roles of the white/black swan in Tchaikovsky's "Swan Lake", is clearly one for the ages. Portman actually trained for ten months to prepare her for the physical and psychological challenges the script demanded-and it all paid off in spades. Nina has always dreamed of landing the lead role and knows that it demands professional perfection. Unfortunately, Thomas Leroy (Vincent Cassel), the creative director, sees her only as the white innocent swan and incapable of transforming herself into the darker black swan. Driven to get the part, she realizes that to achieve perfection, and to successfully gain the dual roles, she must submit to the iron wills & devious motives of everyone around her. This realization starts her spiraling down to professional, personal, and psychological hell. Of particular note are the top notch supporting roles of Barbara Hershey in a wonderful, long overdue comeback, as Erica, Nina's failed ex-ballerina stage mom who sees Nina as merely a reflection of her long abandoned ambition, and Mila Kunis ("Date Night", "Forgetting Sarah Marshall") as Lily who is the understudy Nina fears is vying for her job. Also, look for Winona Ryder as the aging ballerina, & Leroy's lover, who is about to be replaced by Nina. And always in the background is a wonderful score provided by Clint Mansell as well as the continuous swirling sounds of the great 19th century Russian composer whose ballet is the backdrop of the story. However, it is Aronofsky's talent of portraying the devious inner workings of professional ballet companies, as well as the inner minds of driven, talented artists who cannot determine what is real and what is not, that makes this a potent unforgettable thriller.

"True Grit" (*** 1/2-110 minutes)-Tuesday December 14, 2010
The great Coen Brothers are at it again. This time, they are applying their enormous talent and vision to a somewhat surprising new project: a remake, of sorts, of the John Wayne 1968 western that earned the late veteran an Oscar. Of sorts because, unlike the original, their story more closely follows Charles Portis' 1968 novel about an old grizzled U.S. Marshall who is more interested in drinking whiskey than helping a young girl track down and bring to justice the murderer of her father. And that young girl takes the original Kim Darby part and turns it on its ear, as newcomer Hailee Steinfeld turns in a memorable performance opposite Jeff Bridges. Although his turn does not top Wayne's, Bridges interprets a very believable, albeit, slightly different "Rooster" Cogburn . A solid supporting cast includes Matt Damon, practically unrecognizable here as the Texas Ranger LeBoeuf (I love that name!) who briefly joins the tracking party in search of Tom Clancy, played by the always reliable Josh Brolin-who doesn't appear until the final reel. Of particular note is Barry Pepper as "Lucky" Ned Pepper, leader of the bad dudes, who is the absolute personification of evil. What really stood out for me is the language. Joel & Ethan have created words and sentences that sing. (In any other year, I would predict they'd take home the Best Adapted Screenplay-if not for the extraordinary screenplay by Aaron Sorkin for "The Social Network"). And their longtime cinematographer, the great Roger Deakins, has created a feel for the old west that is glorious on the big screen. (My jaw dropped when I saw the western town in the opening 5 minutes. I started brushing the dirt off my clothes.) The Coens are defined by their offbeat films and characters so, it was refreshing in a way, to see them successfully tackle a new genre and, for them, play it straight.

"The King's Speech" (*** 1/2-118 minutes)-Tuesday January 25, 2011
Little known director Tom Hooper (he did a TV drama in 2007, "Longford", and a critically well received sports movie in 2009, "The Damned United") has created a small ($15 million) intimate historical drama that is gaining Oscar momentum, the likes of which has not been seen in years. When King Edward abdicated the throne to marry Baltimore-bred socialite, the twice divorced commoner Wallis Simpson, it fell upon his brother Albert (who would become the father of Queen Elizabeth II) to take over the realm in 1936. The only problem was, the shy reserved Albert had absolutely no desire to take the job. Another reason was that he had been suffering from stuttering since an early age. The film opens with him giving a speech to a vast British audience to open The British Empire Exhibition in 1925. Considering how hard it must have been to deal with the malady in private conversation, imagine the terror he must have felt delivering speeches to what essentially was 1/4 of the world's population at that time! When visits to various speech therapists failed, he happens upon an Australia actor-turned therapist Lionel Logue who realizes that, to be successful, a friendship must be established first & foremost if Albert was to see any progress. Looming in the background is that speech referred to in the title (as well as referencing his speech malady). Due to the ever-growing German threat, it will be up to the monarch to address his vast kingdom-as well as the rest of the world knowing that strength of speech is paramount. Until I witnessed Colin Firth's performance, I thought James Franco ("127 Hours") had given the best male performance this year. Now, make that second best. Colin, who missed out last year for "A Single Man", will not lose out two years in a row. You can mail him The Oscar. This is a brilliant nuanced performance that had me spellbound throughout. Equally impressive is Geoffrey Rush as Logue and he could easily get his second (after winning BA in 1996's "Shine"). Also, on hand is the always-dependable Brit, Helena Bonham Carter as Queen Elizabeth (the Queen Mum). A wonderful score by the great Alexander Desplat, with a welcomed well-placed sprinkling of Beethoven, further enhances the total experience. Of particular note is the brilliant screenplay by David Seidler, who, as it turns out, also was a stutterer. Having always identified with Albert and wanting to write the story, he properly asked Queen Elizabeth if he could proceed with his dream. She asked him to wait until after her life was over as it was still too painful for her. That opportunity finally came in 2002 when she passed at the age of 102. Finally, what makes the story even more fascinating is the discovery of diaries and letters by Logue's grandson that chronicled the relationship between the two men that forms the backdrop for this wonderful human drama and glorious peak into recent history.

"Another Year" (***-129 minutes)-Sunday January 30, 2011
The latest human drama from the great, critically acclaimed writer/director Mike Leigh ("Secrets & Lies", "Vera Drake", "Happy-Go-Lucky") is not one of my favorites but is definitely worth seeing on many levels. First, is the (always) outstanding acting; second, is the story that grabs you and takes you along without telescoping any of the plot paths; and thirdly, his use of actors that, physically, are as far from attractive Hollywood-types as the moon is from Earth. In other words, real people whom everyone can identify & empathize. Leigh writes and directs characters & depicts slices of life that, I am certain, you will constantly be shaking your head in recognition. As the title suggests, the film expands over the course of a year in the lives of Tom & Gerri (played by Leigh regulars Jim Broadbent and Ruth Sheen)-still very steadily & happily married after 30 years. What makes the year so diverse are the folks who swirl around them-bouncing in and out of their lives as the story unfolds. Their stable lives and homestead serve as a focal point for much of the action. However, the story concentrates mainly on Gerri's co-worker, Mary, played by Lesley Manville, another Leigh staple, in an incredibly exact performance. We have all come across a "Mary" in our lives. Attractive, middle-aged, still single, drinks a little too much, and is always looking for Mister Right, Mary is constantly calling on Tom & Gerri for companionship and acceptance. They, reluctantly, serve as sounding boards to her longings. Other characters come and go as each of the four seasons arrives, but it is Mary's story that is constantly changing with the seasons. We first see her as quite happy & affable, if somewhat annoying, but by story's end, our feelings for her have changed which is a tribute to the wonderful coloration Lesley brings to the role. Gary Yershon, who contributed the music for "Happy-Go-Lucky", provides another fine unobtrusive score. Yet another terrific effort from Mike Leigh who continues to be one of the world's leading dramatists and filmmaker of our generation.

"Biutiful" (*** 1/2-148 minutes)-Sunday February 6, 2011
Like Mike Leigh, writer/director Alejandro González Iñárritu is accumulating a catalogue of successful films that is firmly establishing him as one of the planet's best. The director of such films as "Amores Perros" (2000), "21 Grams" (2003), and one of my personal favorites, 2006's "Babel", has enlisted the services of one of the greatest actors working today: Javier Bardem who won a supporting Oscar as the frightful Anton Chigurh, in the Coens' "No Country For Old Men". Here, Bardim turns in another stunning performance as Uxbal, whose criminal activities involving sweatshops and illegal immigrants in Barcelona are just one of several life issues he is struggling to deal with. There is also his on-again off-again relationship with his bipolar wife (Maricel Alvarez), raising his two children, and (not a spoiler as he learns of this condition in the opening reel) an illness that threatens his life. Uxbal, however, is not a cold, heartless criminal. On the contrary, he is quite sympathetic, despite living an amoral existence. He wants to do good-but is incapable of deciding how to accomplish that goal. Instead, he pours his love and soul into his children and is determined to successfully pass his legacy, both tangible & intangible, to them. This is a gritty, somewhat depressing tale that makes one of the beautiful cities on earth look like a slum town. Despite that, the story & artistry by the incredibly charismatic Bardem is so compelling that it makes it all worthwhile. Although, in general, the audience I screened it with thought it could have been considerably shorter, I did not check my watch at any time during the nearly 2 1/2 hours. By the way, the ironic title refers to an incorrect spelling of "beautiful" he gives to one of his kids. On the contrary, like Todd Solondz's (unhappy) "Happiness" (1998), "Biutiful" is anything but. However, it is unrelenting and unforgettable.

"127 Hours" (*** 1/2-93 minutes)-PLUS Discussion/Q&A with dir. Danny Boyle

2011-02-20T13:13:00.039-05:00

Director Danny Boyle at the screening of "127 Hours"

Tuesday October 12, 2010

The story of Aron Ralston and his incredible survival journey made a helluva book (Ralston's own "Between a Rock and a Hard Place") and documentary (2006's "Survivor: The Aron Ralston Story with Tom Brokaw"). But who in their right mind would try and make this a narrative story and then try and sell it to audiences around the world? How would this gruesome story, (and this should be no spoiler as it's been almost 8 years after the event was reported worldwide) of how a guy freed himself & survived being trapped by a bolder for 6 days in a deserted canyon with virtually no food or water, sell?

Well, leave it to none other then the brilliant "Slumdog Millionaire" English director Danny Boyle to figure out a way to uniquely make one of the most compelling and, yes, one of the most entertaining films of the year.

James Franco (who played James Dean in a TV movie in 2001), giving the best male performance I've seen so far this year, plays the reckless, carefree lad who doesn't inform his family and friends of his whereabouts the day he sets out alone for his usual wilderness jaunt. As he is trying to maneuver around the canyon walls, a boulder is jarred and comes crashing down pinning his arm to the rocks. He quickly finds that no amount of effort will successfully free him.

Equipped with a video camera, a still camera, minimal food and water, a couple of climbing tools, and a pen-knife, he fears that his young life can now be measured in days unless he takes drastic action to free himself.

Boyle will never be typecast as a director. His repertoire includes such diverse topics as 1994's dark noir "Shallow Grave", heroin addicts in 1980's Edinburgh (the brilliant 1996 film"Trainspotting"), zombies running amok in London as a result of a monkey virus outbreak (2002's exciting original "28 Days Later"), a children's fable (2004's well received "Millions"), 2008's crowd-pleasing, Academy Award winning salute to Bollywood, and now this extraordinary true tale of survival. Boyle ingeniously manages to pull in the audience by using a style that is all his own. Through the outstanding use of music, editing, and storytelling, the talented director manages to hold your attention throughout the entire ordeal-despite knowing the outcome.

Most folks I know, when hearing of the subject matter, have said that this wasn't the type of film they would be interested in experiencing. All I can say is, not only is this one of the best films of the year, but one that is, ultimately, uplifting in a way that can't be related in words. It must be seen to be believed-and admired.

This was a rare opportunity to attend a screening with one of the world's finest A-list directors and the post-screening discussion/Q&A with Danny Boyle, fresh off his well-deserved success directing last year's Best Picture, "Slumdog Millionaire", didn't disappoint.

Moderated by D.C. film critic, Kevin "Big Daddy Kev's" McCarth y, (who humorously began by remarking how guilty he felt drinking water), the discussion granted rare fascinating insight into the director's strategies as well as pertinent background in the making of the harrowing film.

In talking about James Franco, Danny recognized him as a really great actor who has been underused. He said he & James watched the 45 minutes of Aron's actual video that he shot over the 6 days-video which he had previously shared only with a couple of close family members. Referring to the footage, Danny mentioned they were "weirdly controlled . . . because his thought processes is that he thinks he is going to die, he didn't want his mom to see him in a terrible stage as his last message to her; he wants to look dignified and purposeful and coping as best as he can. It was really moving . . . and helped James act here." Aron revealed to Danny that he changed a couple of messages after reviewing them while trapped in the canyon because he thought it showed that he was too upset. That gave the director the (fictional and somewhat humerous) idea of James imagining himself as a talk show host interviewing people talking about him. However, the video message he left for his parents (where he said "I'm sorry that I haven't appreciated you in my heart the way I know I should") was taken verbatim from the tape.

The film was partially shot at the actual remote site: Horseshoe Canyon in southern Utah's Blue John Canyon in Canyonlands National Park. Danny mentioned it was tough getting a crew there and they ended up camping out for 5 days to shoot. Aron joined the set on location,which just happened to be on the 7th anniversary of his ordeal. Although it must have been strange to revisit the site, at least, as Danny pointed out, this time he wasn't alone.

An audience member asked what inspired him to write the screenplay (he co-wrote it with Simon Beaufoy) and direct the tale. He responded that he was intrigued when he first heard of the story back in 2003 when it happened and it just "snagged" in his brain. Although not on the same scale as what had just happened to the trapped 33 Chilean miners, he couldn't help put himself in Aron's place thinking what would he do if he was caught in that predicament. That gave the story an "amazing resonance beyond the survival" aspect. So, after reading the book in 2006, he approached Aron telling him that he had a specific idea about how to make it by essentially putting the audience in the canyon with him until he was released-"a first person immersive experience". Aron at first wanted to make a documentary with him narrating in order to keep control of it. Boyle's success with Slumdog helped sway him and convince him to make a narrative. Also, that success gave him a window of opportunity to get the funding for the project-which, understandably, was not attractive to the studio. By that time Aron had changed as a person and had met his wife "who helped him complete the journey".

When Kevin asked if Aron's parents has seen the film, Danny replied that only his sister has seen it. At the first test screening in New Jersey, at the point in the film when he amputates his arm and steps back from the canyon wall, the crowd cheered wildly and Aron was "pouring tears" from the reaction. When Danny approached him afterward, Aron remarked that it was strange watching it because there were parts of it he was very cold and distant from, while during other parts, he was overwhelmed and that he couldn't control himself. Boyle added wryly that Aron liked the film ("thank goodness").

When asked about the wonderful use of music, Danny said that it was the one variance, other than editing, that was important to changing the film since he was essentially dealing with one character and location (he even tried using 2 different cinematographers, but that failed when both shot their sequences the same way). He chanced upon Free Blood, an American band from Brooklyn (which happened to be friends of Suttriat Larlarb, the production designer), while traveling around Utah looking for locations and used their song "Never Hear Surf Music Again" in the opening sequence. He mentioned his use again of composer A.H. Rahman (who composed for Slumdog) who also composed the wonderful song over the end credits.

On commenting on a question about his varied career, Danny revealed his silly theory that "your first film is always the best", although it might technically not be the best, but is the one where "you really don't know what you're doing and there is something wonderful about that; there is an innocence that you never get back again . . . so you're always trying to get back to the beginning again if you can." He went on to say that one of the ways that you can try and generate that is by changing genre or scale of a story. This was the first time he's done a one-actor film and was inspired to do that after seeing Darren Aronofsky's "The Wrestler" where you just follow an actor. Figuring out how to do that kind of film is what makes it challenging and interesting. "It keeps you vibrant"-like it was for him at the beginning of his career.

When quizzed about how he approached the amputation scene, knowing full well that the audience knew the end result, Danny went on to explain the dynamics of shooting the trapped sequences. He said they were done in a series of uninterrupted 20 minute takes of him trying to escape the bolder. During that time, James lost himself in the role "which is a wonderful way of getting a performance . . . forgetting who he was in the process." He added that he thought the intensity of his performance is conveyed as a result. Boyle felt an obligation to be true to the story adding that it, in reality, it took Aron a total of 44 minutes to remove himself from the rock. However, the euphoria of freeing himself resulted in his leaving a more complete man-that it represented a kind of rebirth.

Danny then talked about how Franco got the role. He stated that a number of actors read for the part but that James always looked "stoned". However, Boyle was familiar with his range of work and that it was really important for the actor to play a character with various moods and tones in order to sustain the film. He was finally convinced when Franco read for the second time. He added that he personally didn't think that a lot of actors could have pulled it off.

An audience member commented on the kinetic visual energy of the film on what must have been a very passive experience. Danny responded by saying there were 2 ways to approach this. He could have, on a purely business level, done it as a meditative wilderness experience-but then no one would come to watch it. But disagreed that people go to movie to escape since folks generally see films dealing with their urban existence-implying they aren't really escaping anywhere. And although it appears to be a wilderness theme, and that Aron is escaping his urban existence, on the contrary, Boyle considers it an urban film. He went on to explain that the rhythm of it is urban, pointing out that "he takes with him an invisible umbilical cord back to the city" (a video and still cameras, as well as having the rock group Phish on his IPod). He added that he "always considered it an action movie where the hero can't move . . . that's the puzzle in terms of tactfully how to make it".

As to the decision of injecting humor into the proceedings, the director merely responded by saying "that you can get away with so much if you can find humor in stuff." He added that it was very important that you are drawn into the character and realized that it was incredibly important to your tolerance to be able to live through the film with him because, obviously, you are not going anywhere, you're staying in the same place the whole time. Further explaining that "the danger with the film is that it is very still, but it must never be inert. . . and humor is one of the ways of avoiding that. It refreshes everyone who hears it and, therefore, it is a crucial element in the film."

Commenting on a couple of his previous films, when asked about a possible sequel to "Trainspotting", Danny said he considered picking up the story using the same actors when the characters are in their middle age. However, he inferred that dealing with vanity issues with those actors would be a concern to pull it off. And he would be open to doing a "28 Months Later" sequel to his "28 Days Later" & Juan Carlos Fresnadillo's"28 Weeks later" but his schedule won't permit it right now. He's directing "Frankenstein" in early 2011 at London's National Theater and will be doing the opening ceremonies at London's 2012 Olympics.

Boyle then shared a humorous story of how he managed to show a deserted London in "28 Days Later" without using CGI. Not having a major studio involved, he had to be creative in getting the natural effects he needed. Shot pre-9/11 in the summer of 2001, at 3:30 AM, he employed students to help out in crowd control-including his 18-year-old daughter. In order to make predominantly male drivers comply with his request to stay off the roads, she enlisted her female friends and found that, by their wearing short skirts, male drivers were much more easily convinced to pull over while filming.

Danny closed the entertaining session adding that he keeps the prosthetic arm used in the film in a shoebox.

I've been to scores of screenings locally as well as various film festivals around the country and usually discussions with A-list actors and directors are concluded with organizers, publicists, etc., stepping in at the end to whisk away the celebrity. When the half-hour was over, an attempt was made to "protect" Danny from the audience, to which the director clearly refused. Instead, he proceeded straight to the lobby where he took photos, signed autographs, and spoke to whoever wanted to ask further questions-or just to shake his hand. In short, Danny Boyle was so approachable and down-to-earth that I am in total awe and respect of both his professional talents as well as his incredible people skills.

Aron (James Franco) before the incident

"Stone" **1/2 (105 minutes)

2011-01-29T17:54:00.024-05:00

Ed Norton with Moderator Nell Minow following the screening of "Stone"

Monday October 4, 2010

Off to the AFI Silver for another special event. This time it's the screening of Robert De Niro and Ed Norton's latest corroboration (they previously worked together on 2001's "The Score", which was also Brando's last film) followed by a Q&A with Norton-who grew up down the road in Columbia Maryland. Despite the A-list actors and a promising opening 10 minutes, ultimately, the post-screening festivities (coverage provided after this review) were far more satisfying than the film.

The psychological prison drama is one we've seen before. As the film opens, we witness a young Jack Mabry (Enver Gjokaj) threatening his wife (Francis Conroy) when she announces her intent to leave him. Switch to the present, and Mabry (De Niro) is a dutiful parole officer getting ready for retirement. But, before he does, he's about to be responsible for handling Gerald "Stone" Creeson (Norton-in dreadlocks, no less)-a hardened urban criminal doing time for murdering his grandparents and then torching their house.

When Creeson, a career manipulator, realizes that his chances of getting paroled are slim & none, he hatches a plan to have his wife Lucetta (played alluringly by Milla Jovovich) seduce Jack in hopes of blackmailing Creeson to ultimately obtain a favorable parole recommendation.

Director John Curran (2006's "The Painted Veil) does a fairly competent job. However, what is most disappointing is the pedestrian script by promising screenwriter Angus MacLachlan in this his 2nd effort after bursting onto the scene with 2005's highly successful "Junebug.

Although the acting is first rate by the principles, the film's psychological twists and turns all seemed too familiar and predictable that, by the end, I could have cared less about the outcome.

The DVD was released on January 18.

As I stated, the wonderful discussion and Q&A were well worth the price of admission. Moderated by film reviewer and corporate expert, "Movie Mom", Nell Minow, the audience was thoroughly entertained and enlightened by Mr. Norton, who provided much insight into his acting style, in particular, & the movie making business, in general.

When quizzed about the cornrows he sports early in the film, Ed said that while researching at the prison he noticed that they were ubiquitous-as prevalent as tattoos. He also mentioned that the prisoners carry with them a kind of "intense anxiety" that he tried to bring to his portrayal and that a lot of it that ended up in the scenes was not in the script. He spoke about one particular prisoner who actually supplied him with about 60% of the language that Norton ended up using in the film.

He called De Niro the "librarian of actors", saying that he was the most right-brained, clinical, methodical, & meticulous actor he knew. Edward added that he identified with De Niro's research oriented approach to his craft. Also, knowing each other before meant they didn't have to over rehearse their scenes together.

In response to a question about his work on the stage, Edward mentioned that his whole grounding and training was in theater and that he's always looking for a good play. Also, Edward admired and appreciated Curran who brings a lot of ambiguity to his films instead of spoon-feeding the audience and making sure they like him.

When quizzed as to what he found was most difficult in going from acting to directing (he directed the 2000 comedy "Keeping the Faith") he humorously commented that it was "annoying actors that won't come out of their trailers to the set". Then, more seriously, added that it was having to deal with so many responsibilities. He quoted Hitchcock saying that it was like getting pecked to death by a thousand pigeons. He was more comfortable directing a lighter film for the first time as opposed to a more layered film such as "Stone"- adding that he greatly admired people like Orson Wells who do monumental characters while directing.

Gerald (Ed Nortonn) & Lucetta Milla Jovovich) discussing
their plan

Jack (Robert De Niro) & Madylyn (Frances Conroy)

Ed Norton responding to a question
from the audience

ROGER EBERT RETURNS TO TV VIA PBS

2011-01-21T10:27:00.004-05:00

Here is a link to an AP piece about the show. Be certain to check your local listings for air times.

Also, here is an interesting article on Roger's website regarding the prosthesis he'll be donning on the show.

"Easy A" (*** 1/2-90 minutes)

2011-01-11T17:28:00.016-05:00

Wednesday September 29, 2010

A star is born-and her name is Emma Stone. Well, not exactly born-the 22 year-old actor has already appeared in a number of supporting roles-beginning in 2008 in "The Rocker" & "The House Bunny", as well as 2009's critically-acclaimed "Zombieland", and in 2009's not-so-critically-acclaimed "The Ghosts of Girlfriend's Past". However, her breakout role as virgin schoolgirl Olive Penderghast will not only put her on the map but could easily garner an Oscar nod as well.

Olive wants to get out of a camping weekend with her hippie parents and ends up spending it alone at home. When quizzed by her best friend Rhiannon (Alyson Michalka) as to how she spent her weekend, she makes up a white lie that she had a rendezvous with a college dude. The fib spirals quickly out of control through the usual gossip channels. Suddenly popular "in the wrong way" she uses her newfound popularity to help positively transform the negative perceptions of gays, nerds, and misfits-all the while fueling her perception as the school sexpert.

Director Will Gluck, who misfired with the 2009 gross teen comedy "Fired Up", completely reverses field and tones it down with this high school comedy that seldom misfires. The smart intelligent script by Bert V. Royal is further enhanced with an "A" supporting cast including the great indie actors Patricia Clarkson & Stanley Tucci as Olive's easy going, cool, liberal parents; Thomas Haden Church (2004's wonderful "Sideways") & Lisa Kudrow-who play Olive's favorite teacher and the school's guidance counselor, respectively; and Malcolm McDowell as the school principal.

The film will bring to mind other top notch teen comedies such as "Clueless", "Mean Girls", & several John Hughes' classics, but this one stands on its own-mainly due to the charismatic Stone who confidently carries the picture on her lovely shoulders. Oh, and the "A" in the title is more than likely a clear reference to Nathanial Hawthorne's "Scarlet Letter", where the heroine was forced to wear that letter around her neck to symbolize her adulterous ways. For me, it also stands for the rating that I am giving for both the film, in general, and Emma Stone, in particular.

The movie is currently available on DVD.

Olive (Emma Stone) getting the attention
of her school mates

"Jack Goes Boating" (***1/2-89 minutes)

2011-01-06T13:28:00.003-05:00

Actress Amy Ryan with moderator Blake Robison, Producing Artistic
Director of the Round House Theater

Wednesday September 22, 2010

Add Philip Seymour Hoffman to the ever-growing list of actors who are trying their hand behind the camera. Thankfully, he continues to put his mug in front of it as he marvelously performs double duty in this wonderful character-driven drama based on the off-Broadway by Bob Glaudini (who does the scriptwriting honors as well).

Jack (Hoffman), a limousine driver for his uncle in New York, is a painfully shy loner. He regularly meets with his much more outgoing co-worker & best friend Clyde (John Ortiz, last seen in 2009's "Public Enemies" & "The Fast & The Furious") and, at the suggestion of his wife, Lucy (Daphne Rubin-Vega) agrees to be fixed up with an equally shy person who works with Lucy in a funeral home.

The three principals have recreated their stage roles for the screen. The newcomer to the project is the wonderful Amy Ryan (nominated for Best Supporting Actress in 2007's "Gone Baby Gone") as Connie. Although the match appears to have been made in heaven, two lost souls who have finally found each other, loner Jack begins the laborious process of trying to woo Connie with proper mentoring in cooking and swimming skills provided by Clyde. All of this prepares the audience for the climatic third act when Jack attempts to prepare a first-time dinner for Connie, Clyde, & Lucy.

One can see how this story would fit nicely on a live stage, but Hoffman, who does an admirable, if somewhat pedestrian, job behind the camera, opens up the story with drab location shots around the big city. Nevertheless, what really drives this simple, human story about 2 very diverse couples is the superb acting. Each actor brings a definite believability and poignancy to their characters that makes the 90 minutes fly by, and, ultimately, worthwhile.

The film is available on Netflix on January 18.

Following the screening at the AFI-Silver Theater was a wonderful interview with actor Amy Ryan by moderator Blake Robison (Producing Artistic Director of the Round House Theater in Silver Spring, MD) followed by a fascinating Q & A. During the interview, Amy spoke about her last appearance in D.C. at the Kennedy Center in 2004 performing in "A Streetcar Named Desire" (which led to a Tony nomination). She also performed on the stage in "Uncle Vanya".

Amy was born and raised in Queens and still resides in N.Y. in Manhattan. She mentioned that she worked with Hoffman in "Capote", but, before that, she worked with him in N.Y. in one-act plays for the drama department. When Philip asked her to be a part this film, he asked her if she could wait about a year because it was to be filmed in winter. She humorously remarked that "yes, Philip is someone I'd wait forever for". The play was performed in N.Y. by the LABrinth Theater Company, a company run by both Hoffman and founder John Ortiz.

Ryan stated that the rehearsal lasted an extraordinarily short two weeks before filming began. She mentioned that Philip wanted to get that done because it would be difficult to explore the acting as much when he began directing.

When asked the question as to what was her favorite part about stage acting and film acting. Amy responded that, in stage acting, she has an intimate dialogue with the audience and experiences a thrill due to the energy that happens in the dark-that everyone is in on the story. She mentioned the thrill, "like no other", of the immediacy of this process. As for film acting, there is the excitement of sharing it with a larger audience despite the process being so minuscule-that it's a different intimacy. Amy always believed it was important to do plays when she was younger because she realized that theater is where she would learn to be a better actor and film was where she could apply what she learned.

In addition to stage and film, Amy has also added TV to her resume, appearing in the finale of season four of "The Office" and several subsequent shows, as well as in HBO's "In Treatment" series as Gabriel Byrne's new therapist.

Jack & Connie go boating

Clyde (John Ortiz) & Lucy (Daphne Rubin-Vega)

2010 AFI SILVERDOCS AUDIENCE AWARD WINNER ON INDEPENDENT LENS, JAN 4 AT 10 PM ON PBS

2011-01-04T12:35:00.004-05:00

If you don’t live in the Baltimore/Washington area, check your local listings as PBS airs “Independent Lens” at different times in different markets. Repeats are always on the schedule if you happen to miss it the first time. Here was my review form last June’s Festival:

"MEN WHO SWIM" (***-58 minutes)

The North American premier of 40-year-old filmmaker Dylan Williams' lighthearted take on his attempt to combat his impending mid-life crises ends up winning this year's SILVERDOCS Audience Award. Welshman Williams moves to Sweden to live with his Swedish girlfriend, marry, & start a family. No longer able to hold onto dreams of becoming a rock star, and feeling like, excuse the pun, a fish out of water, his new plan is simple & unique: become involved in a men's synchronized swimming team. However, his simple hobby rises to the next level when he & his comrades decide to compete for the unofficial All Male World Championship in Milan as the Stockholm Art Swim Gents. We see the team training and, on the surface, all appears hopeless when their coach quits after seeing the futility of it all. However, the middle age gents are determined to go all out to try to dethrone the world champion Dutch team-despite the physical and sociological obstacles placed before them. (For example, when one media reporter proclaims this is "a sport for homosexuals", one of them proudly replies, "Any sport is for homosexuals, and any sport is for heterosexuals.") A light and humorous look at guys who fervently try to prove that life, indeed, begins after 40-and that, with the proper effort and determination, anything is possible.

"Romantic Warriors: A Progressive Music Saga" (*** 1/2-95 minutes)

2010-12-15T12:32:00.017-05:00

If you ask most people "What is progressive rock?" more often than not you'll get blank stares. However, if you mention such 40+ year-old classic rock groups such as Pink Floyd, Yes, King Crimson, Jethro Tull, & Emerson, Lake & Palmer, suddenly you'll get a nod and a response. These groups were the pioneers of a genre of music that has long been considered anti-mainstream and not readily accessible in this day and age of pop music sensibilities. With its roots going back to the late 60's and early 70's, this form of music culls together rock, classical, jazz, and world music that is still thriving-despite lacking the publicity, advertising, & generous airwaves enjoyed by its more popular accessible pop counterpart.

Award-winning German documentary film maker Adele Schmidt and her partner and prog fan, Peruvim-born José Zegarra Holder, have set out, and wonderfully succeeded, in documenting the talent and artistry of worldwide progressive rock musicians that will gleefully introduce this art form to newcomers, and will explain why prog music should not be ignored. Although the film is chock full of history and interviews, the real reason for tuning in is the music. Skillfully edited, the music is fabulously mixed to showcase the incredible talent that defines what this musical style is all about.

It seems proponents of prog rock in the U.S. have settled for displaying their wares on the U.S. East Coast. Three festivals are showcased: ROSfest (Rites of Spring) held in Pennsylvania, ProgDay (purported to be "the world's longest running progressive rock festival") held at Storybook Farm near Chapel Hill, North Carolina, and NEARfest (North East Art Rock festival), the largest progressive music festival in the U.S. currently held at Bethlehem, Pa. in June. You'll see bands performing at both locations throughout the doc. A forth location is right here in Baltimore at Mike Potter's Orion Studios where he constantly invites international prog groups to practice & perform throughout the year.

Although many bands are shown performing, four are prominently featured: Cabezas de Cera, D.F.A., Cheer-Accident, and Deluge Grander/Dan Britton. Qui, Phideaux, Karmakanic, and La Maschera di Cera are given shorter, but entertaining, film time. Tying it all together for the older folks is ex-Gentle Giant lead guitarist Gary Green, who gives insightful commentary on progressive music throughout the documentary. "Ancient" 1974 clips of GG's performance will give the viewer equal helpings of background & nostalgia.

At the screening I attended at Orion Studios on December 4 (which featured a wonderful pre-screening performance by Chapman Stickist Rob Martino-who is featured in the film), I asked Adele about the title. She responded that it fit the mindset of the musicians who have accepted the "romance" of playing the music they love with total disregard to financial or commercial success, while being thoroughly engaged in the struggle to present their music & gain acceptance with the general public. This documentary should go a long way in accomplishing that goal.

The film is currently making the festival circuit but is now available for purchase at Amazon.com as well as at this site.

"The Social Network" (*** 1/2-120 minutes)

2010-11-05T15:23:00.017-04:00

Thursday September 23, 2010

Director David Fincher's "The Curious Case of Benjamin Button" was my favorite film in 2008 and should have taken home the coveted Best Picture Award (won by "Slumdog Millionaire"). Fincher goes from fantasy/adventure to this docudrama and, will most likely be in strong contention for this year's award. Shown mainly in flashbacks, we methodically see how the dude who created Facebook, almost by fluke, became in a few short years the planet's youngest billionaire.

Harvard student & computer nerd Mark Zuckerberg (Jesse Eisenberg in a breakout role that will undoubtedly get him AA consideration), upset at being dumped at a restaurant by his girlfriend (Rooney Mara-set to play the latest Lisbeth Salander in the Americanized version of "The Girl With the Dragon Tattoo") in a brilliant nine minute opening scene, decides to get back by immediately creating an online on campus woman rating page using the head shots of Harvard coeds. After the campus servers crash from all of the ensuing traffic, Mark is contacted by jock twins, future Olympic rowers, Cameron and Tyler Winklevoss (both seamlessly played by Armie Hammer) who have a "Facebook" idea but need Zuckerberg's genius to bring it to fruition. Realizing he would never be accepted in their "club" Mark takes their idea and runs with it-all for himself. (One of the legal deposition scenes involves their lawsuit against the now successful Facebook CEO.)

The two main supporting characters are Eduardo (competently played by Andrew Garfield-currently in "Never Let Me Go") who is Mark's only friend who became his early financier-only to be later dumped by the heartless Zuckerberg. (Also included are deposition scenes involving his lawsuit against his longtime friend and co-founder.) And Justin Timberlake (forget 'N Sync, folks-this guy can act! Look for an AA Supporting Actor nom) as Napster & Plaxo founder Sean Parker who takes Mark by the shirt collar and introduces him to Silicon Valley with all the accompanying wild woman, parties, & drugs.

However, the real star is the spectacular rapid fire spot-on dizzying script (based on Ben Mezrich's book "The Accidental Billionaires") by "West Wing" scribe Aaron Sorkin who also wrote the "Charlie Wilson's War" & "The American President" screenplays. It is almost as if Sorkin were being paid by the word, as one's utmost attention is a requisite to getting the most juice out of his wonderful delicious script. My main beef was that, although the pulsating soundtrack by Trent Reznor and Atticus Ross is a perfect accompaniment to Fincher's spectacular visual style, the music at times overpowers the words-which has as much character presence as the actor's who are voicing them.

The film, a "Citizen Kane" for our times, never bores and will help put in better perspective a story about how a computer geek had the knowhow, timing, & luck, to earn a king's ransom establishing a network that now involves over 500 million humans interconnecting as "friends" on the World Wide Web.

Erica (Rooney Mara) & Mark (Jesse Eisenberg) exchange

barbs in the opening scene

Sean Parker (Justin Timberlake) tries to join forces

with Zuckerberg

Eduardo (Andrew Garfield): Mark's friend, partner, & financier

BLOGGER'S NOTE:

2010-10-01T09:05:00.012-04:00

The good news is that, even though I haven't posted any new reviews since early October, I have continued to attend several film screenings and events over the past month. However, due to recent circumstances beyond my control, I haven't been able to devote the proper time to sit down at my keyboard to update this site. However, I am now ready to get back to my writings and will soon post reviews of several films and events including: Philip Seymour Hoffman's "Jack Goes Boating" (with coverage of a post-screening Q&A with AA nominated actress Amy Ryan), director David Fincher's "The Social Network", Emma Stone's "Easy A", "Stone" (with coverage of a post-screening Q&A with Ed Norton), "Never Let Me Go", AA winning director Danny Boyle's upcoming "127 Hours" (with coverage of the Q&A with the director), & the upcoming "Fair Game" about mother/CIA spy Valerie Plamem whose covert identity was revealed by The Bush Administration in 2003 (with coverage of the Q&A with director Doug Liman, Valerie, & her husband, ex-Ambassador Joe Wilson). So please stop back as I will soon be ready to provide you with my humble opinion that just might prevent you from spending a couple of hours in a theater that you'll never get back.

"Buried" (***-110 minutes)

2010-09-27T15:59:00.018-04:00

Tuesday September 21, 2010

As the credits were rolling, I sat there transfixed-immediately probing my brain as to how I was going to approach the review of this film after I had just spent an hour and 40 minutes watching Ryan Reynolds ("The Proposal", but is best known as the actor who dumped pop singer Alanis Morissett to marry Scarlet Johannson) alive in a coffin. My initial conceit was that this was a near miss-a 2 1/2 star flick. However, this film will not go away from my brain cells, and the more I think about it, the more there is to admire about it. Director Rodrigo Cortés, proficient in short films, has ingeniously made, along with cinematographer Eduard Grau ("A Single Man"), his first full-length feature that grabs and won't let go.

Paul Conroy, an independent trucker in Iraq, wakes up in that coffin, along with, among other things, a pen, lighter, flashlight, and a cell phone. After the initial shock of where he is, he gets a series of phone calls and discovers that he has been kidnapped and buried for a ransom. Over the course of 110 minutes (which helps explain the life of that cell phone battery that seems to last forever-until we realize that the movie plays in real time), he desperately tries to contact outsiders to try to help him escape his tomb.

Cortés' ingenious use of light (occasionally throwing the screen into darkness), sound, and a nice haunting soundtrack by Victor Reyes, makes it even more suspenseful, claustrophobic, & creepy. In addition, Reynolds pulls it all off with an intense believable solo acting turn (only voice-overs are supplied by other actors) that is sure to finally get him noticed in a big way.

Although "Buried" is not an easy film to recommend, and it does lose its way a couple of times during the middle reels, you won't be able to look away from this exercise in terror that delivers up until the very end.

The film started platforming across the U.S. last Friday, including D.C., and is due to open in Baltimore next month.

Paul Conroy (Ryan Reynolds) in a bit of a fix

"The Town" (***-125 minutes)

2010-09-15T14:56:00.021-04:00

Tuesday September 14, 2010

The town referred to in the title is Charlestown, identified at the outset as a Boston neighborhood with the unique distinction of having more bank and armor car robberies in one square mile than anywhere else in the U.S. Armed with that tidbit of information we immediately are thrust upon a bank robbery about to take place. The perpetrators are a gang of four and, with precision skill, we quickly recognize that these guys are quite adept at their occupation.

During the course of the bank robbery, they take the bank manager hostage and later release her. When the leader of the gang, Doug MacRay (Affleck), who has that heart of gold, finds out the hostage lives in their hood, he takes it upon himself to check her out. Soon the cops and robbers theme, takes a turn into romance and personal redemption. Added in are two more heists that turn into increasingly major gun battles. The last, staged at Fenway Park, is so ridiculously unrealistic that my eyes haven't stopped turning in their sockets.

Based on Chuck Hogan's 2004 novel "Prince of Thieves" (which won the 2005 Hammett Prize for excellence in crime writing), Ben Affleck follows up his Boston-based directorial debut, 2007's "Gone Baby Gone", with this gritty crime drama in which he also stars & co-wrote (along with Peter Craig & his Gone Baby Gone co-writer, Aaron Stockard).

The film should please the most ardent popcorn-loving crowd. Although I do not count myself as one of them, there is much to admire here. First is the acting by some of Hollywood's finest talents. At the top of that list is last year's Oscar nominated Jeremy Renner from 2009's AA Best Picture "The Hurt Locker". His role here as the hotheaded Jem, Doug's childhood friend & partner, is a volcano ready to explode. His performance proves his best acting nomination last year was no fluke-and could put him on the nomination list again. His total immersion in his character made me squirm while watching him in my seat. As the bank manager, Rebecca Hall (wonderful in Woody Allen's "Vicky Cristina Barcelona" and this year's "Please Give") perfectly portrays the roller coaster emotions she experiences. As the FBI agent pursuing the robbers, Jon Hamm (best known for his TV work in "Mad Men") is totally believable and is the perfect foil for the gang. Blake Lively gives a commendable performance as Jem's sister, a lady who still has the hots for MacRay. In addition, there is an all too brief wonderful performance by the great Chris Cooper as Doug MacRay's dad, currently living out his days in prison.

Also positive is the look and feel of the locations, which hometown boy Affleck knows all too well (although the Boston Irish accents are so thick in spots that I wished that subtitles were provided). And the soundtrack by David Buckley & Harry Gregson-Williams perfectly complements the action.

The main problems: the film needs some serious editing. Cutting at least 20 minutes would have made it tighter. Also, those action sequences, although expertly staged, go way over the believability scale for my tastes. The last shootout at Fenway Park, as I mentioned above, is practically science fiction and takes away from everything that preceded it. And, of course, we have that usual Hollywood ending that neatly wraps up the 2 hours but ultimately left me cold and disinterested.

So put me down for a 2 1/2 star flick that elevates to 3 stars due mainly to the incredible acting Affleck gets out of his cast, as well as the overall production values on the screen. Just be certain you have enough popcorn to get you through the 2 hours.

The gang of four (l to r): Jem (Jeremy Renner), 'Gloansy'

(Slain Jenkins), Desmond (Owen Burke), & Doug (Ben Affleck)

Agent Frawley (Jon Hamm) tries to get Claire (Rebecca

Hall) to cooperate

Krista (Blake Lively) & Doug (Affleck)

"The Disappearance of Alice Creed" (***1/2-100 minutes)

2010-08-21T13:49:00.014-04:00

Thursday July 29, 2010

From a silly Hollywood comedy that falls flat to this near-brilliant indy British noir- J. Blakeson's directorial debut is a sure winner. Although he previously wrote the forgettable "The Decent 2", his screenplay here is tight and unrelenting. It reminded me of the Wachowski Brothers' fabulous initial offering, 1996's "Bound", or this years' wonderful "The Square" in which the action is confined to a couple of set locations complete with nonstop suspense & plot twists that never stop churning until the final credits.

The riveting opening ten minutes depict two guys as they meticulously plan a kidnapping. Composer Marc Canham provides a pulsating score that accompanies the visuals, without dialogue, building up to the actual abduction of one Alice Creed. Slowly, we get to know who these 3 characters are as well as their motives. As each layer of the plot is peeled back, just when you think you have it all figured out, Blakeson decides to take the story into even more unpredictable territory.

The three actors each display incredible range throughout the ordeal. Gemma Arterton (Strawberry Fields in "Quantum of Solace") as Alice and Martin Compston as the young kidnapper, Danny, are perfectly cast and believable in portraying the naivety and cunning demanded by Blakeson's wonderful script. However it is the great Eddie Marsan (supporting in Mike Leigh's 2004 "Vera Drake" and as the quirky cab driver in Leigh's 2008's "Happy Go Lucky") as the intense psychopathic Vic, who can explode at any moment, that will truly keep you focused until the end.

I liked the fact that the violence is minimal as the director is more interested in character development than blood. My only problem was that the film loses some steam in the final reel, but, overall, this one is sure to satisfy you for practically all of its 100 minutes running time.

The kidnappers (l to r), Danny (Martin Compston)
& Vic (Eddie Marsan)

The kidnapped Alice Creed (Gemma Arterton)

"Dinner for Schmucks" (**1/2-110 minutes)

2010-08-13T13:53:00.017-04:00

Tuesday July 20, 2010

Oh boy, it's time for yet another Hollywood remake/redo of a French film. Director Jay Roach has established his career devoted to the comedy genre that includes the Austin Powers franchise, the successful 2000 "Meet the Parents", "Meet the Frockers", as well as producing the Borat & Bruno films starring Sacha Baron Cohen. Here he tackles the 1999 well received "The Dinner Game (Le Dîner de cons)" directed by Francis Veber, the source of previous U.S. remakes including The Man With One Red Shoe," "The Birdcage," and "Father's Day." Alas, another huge disappointment-especially considering the talent involved.

The premise: career minded Tim Conrad (Paul Rudd as the straight man) hopes to climb that executive career ladder to the upper floors with corner windows. After Tim impresses his boss, Lance Fender (Bruce Greenwood) during a meeting, Tim is invited to an exclusive dinner regularly thrown by Fender. The kicker: each attendee must bring a guest-the craziest/weirdest of which will be declared the "winner". Although he is reluctant to attend in a moral sense, Tim ultimately sees his chance for furthering his professional standing when he, literally, runs into Barry Speck, played by Steve Carell-outfitted with fake teeth, geeky hairdo & glasses to emphasize his character's geekiness. After Barry offers Tim one of the items that he exclusively uses in his dioramas, a stuffed dead mouse in a costume, Tim realizes that he has found his guest.

The highlight of the film, the actual dinner, does not come until the final reel, and, by then, it is too late. You have to previously endure a trying hour and a half as you watch Carell slowly intrude, and nearly destroy everything good in Rudd's life including his relationship with his girlfriend, Julie (Stephanie Szostak in a throw away role). The other characters who are introduced along the way include Barry's IRS boss, Therman (usually reliable Zach Galifianakis in a role that did not produce even a giggle), and Kieran (Jemaine Clement giving a way-over-the-top performance as a narcissistic womanizing artist who is planning to exhibit in Julie's art gallery).

I really wanted to frequently laugh out loud, but the joint screenplay by Andy Borowitz, Ken Daurio, David Guion, & Jon Vitti only managed to squeeze out several light chuckles and one noticeable guffaw (during that dinner sequence at the end). I really yearned for more bite and satire but the script seemed to have that usual Hollywood soft edge-making sure not to offend anyone in the audience.

Rudd & Carell have now done three films together (including Carell's breakout film, "The 40-Year-Old Virgin", & "Anchorman") and their overall chemistry works here, but the film desperately needs an editor's scissor. When the only thing to recommend is a 15-minute segment at the end and those wonderfully conceived dioramas of dead mice, you know you are in for a long evening.

Barry (Steve Carell)with his dioramas

Barry & Kieran (Jemaine Clement) contemplate life

The dinner for schmucks

"The Kids are All Right" (*** 1/2-104 minutes)

2010-08-04T12:28:00.021-04:00

Thursday July 22, 2010

Director/writer Lisa Cholodenko's previous narrative efforts were 1998's "High Art" & 2003's "Laurel Canyon", both of which received generally mixed reviews. However, this her third film, she collaborates the writing duties with Stuart Blumberg (2004's "The Girl Next Door") and the results, I predict, will be multiple AA nominations for this terrific ensemble work.

Annette Benning (on the heels of her phenomenal acting in "Mother and Child") stars with Julianne Moore (who also gave a stellar performance in last year's "A Single Man") as Nic & Jules, a long time married lesbian couple raising their 2 kids whom each separately produced using the same surrogate dad. The kids, Joni & Laser, perfectly played by Mia Wasikowska ("Alice in Wonderland") & Josh Hutchinson, are curious as to who their real father/sperm donor is. When Joni (named after the pop/folk singer Joni Mitchell) investigates and they connect with said donor, they set up a lunch date with Paul (played by veteran Mark Ruffalo in a sure fire breakout role).

However, mucho complications ensue when Paul, a cool dude who has never married and owns an organic food restaurant, agrees to meet the surrogate moms-also agreed to, although reluctantly, by said egg donors. Prior to Paul entering the scene, there is already a mid-life crises in full bloom in the steady, typical, bringing-up-kids atmosphere provided by the controlling Nic and the subservient Jules. Now, everyone's world is about to be rocked when Paul enters the picture.

Although "The Kids are All Right" is a "comedy", the smart dialogue & plot situations are believable no matter the sex of the parents. Each character and their motivations are realistic and heartfelt-making this film even more special.

A few words about Mark Ruffalo: His name may not be recognizable but any regular moviegoer will know his face. Most recently seen in "Shutter Island", he's been present in a multitude of films & TV productions and genres. Steady & sure in every role I've seen him in, Paul is the role that may finally put him on the actor A-list. Ruffalo gives a beautifully nuanced performance that, as I stated at the beginning, will undoubtedly lead to one of many nominations this film will bring come Oscar time next year.

(from l to r) Nik (Annette Bening), Jules (Julianne Moore),

Laser (Josh Hutcherson), Joni (Mia Wasikowska), & Paul

(Mark Ruffalo)

The end of an era: 10/05/39-07/21/10

2010-07-29T17:05:00.043-04:00

July 21, 2010-Evening

On October 5, 1939, a beautiful Art Deco movie palace, designed by architect John J. Zink, was opening on 5904 York Road in the Govans section of Baltimore. On the marquee was the Spencer Tracy classic "Stanley and Livingston". On 7/21/10, the marquee spelled out yet another classic: "Star Wars-A New Hope". Then, after the last of the overflowing capacity crowd had left around 11:00 PM owner Tom Kiefaber, who, in 1977, had taken over the day-to-day operation of the theater which had been in his family since day one, finally closed the doors.

What had transpired for those 71 years will probably never be duplicated again. Baltimore, and the film world, has lost two true originals: "The Historic Senator Theater" (as the owner would proudly announce in person or on a pre-recorded message prior to each screening) and the passion & dedication of Tom Kiefaber. Oh, the show will go on, as renovations by the new proprietors will soon be underway. Hopefully the lobby's original terrazzo floors and striking art deco murals will remain untouched, as well as the back lit sunburst & the rainbow prisms on the ceiling. And, I can only hope and pray that the same care and diligence that Mr. Kiefaber put into every screening will be continued from here on out.

Tom took such tremendous pride in each presentation that in 2003, the Senator was selected to become the first venue to complete the Historic Cinema Certification Program offered by George Lucas' THX Ltd., the San-Rafael, California based company. You could always expect state of the art projection & sound systems to be presented on the massive 40 ft curved screen. Folks, there was a reason that the theater has been listed on the National Register of Historic Places since 1989.

The Senator's glory can be viewed for all time on celluloid in films such as "Twelve Monkeys", "Diner", "Avalon", and John Water's "Cecil B. Demented". Several premiers have occurred there over the years, as well, for Baltimore location films "Ladder 49", "Runaway Bride", "Avalon". John Waters & Barry Levinson often chose The Senator to premier their works.

In 1999, Tom received a call from the Baltimore Little Italy neighborhood association who asked him to put in motion an idea to show movies on a space, which Tom later realized, was the perfect ratio of a 16mm movie screen. However, the only spot for a projector was from the apartment window of longtime Little Italy resident 89-year-old John Pente. John had been living in Little Italy since birth, and in that apartment, bought by his grandparents, since 1941. He was truly a legend in the neighborhood and he would do anything to bring the community together. As a result, a heavy Bauer projector was carried up three flights of stairs to John's bedroom, and The Little Italy Summer Outdoor Film Festival was born. Its notoriety spread nationwide. Coverage included The Today Show, the front page of The New York Times, & ABC's World News Tonight. A five-minute short was even produced that appeared regularly on Northwest Airline flights beginning in 2000. Four countries (including Italy, of course) sent their representative to inquire about the event. Tom even offered free popcorn to the attendees who brought their own folding chairs to the parking lot in front of John Pente's apartment. (Sadly, and ironically, John Pente, passed away at the age of 100 on July 26th, a mere 5 days after Tom's last day.)

Over the years, Mr. Kiefaber annually offered specially priced or free screenings of classic films, especially during the anniversary of the building's opening and surrounding the Christmas holidays.

In 1993, Tom presented the extraordinary 70mm documentary "Baraka" which was filmed by Ron Fricke in 24 countries on 6 continents. I was so moved by the work and presentation, that I came back multiple times during its run to see it on the magnificent screen at The Senator because I knew I would probably never ever see it the same way in any other theater. Shortly thereafter, Tom started celebrating Earth Day by offering to show it free each year. The event, coupled with a drum circle in the lobby before the show, was a mainstay of the community. I came back repeatedly-often bringing friends to witness one of the most amazing documentaries I've ever seen-the only way it should be seen: on the giant screen at The Senator. He and I often spoke of someday putting our money together to buy our own 70mm print of the doc.

Tom Kiefaber was honored in 2003 with the Business Leadership Award “in recognition of his tireless advocacy for historic, independent movie theaters".

Finally, I'd like to personally thank you, Tom, for you are the reason this column exists. In 2007, in response to an occasional Email to my mailing list buds in which I reviewed certain films I had seen, you suggested that I place my writings on the Internet. I took your advice and, because of it, I now share my thoughts with a multitude of readers. Thanks, Tom. I sincerely hope that whatever endeavor you undertake from here on out will bring total success into your life; and bring to you as much joy as you have brought to us moviegoers over these many years. You will be missed!

--------------------------------------------------------------------------

There is a group, The Friends of The Senator, who are dedicated to preserving the heritage of The Senator and are providing up-to-date news and information regarding this theater. Their site is: http://www.friendsofthesenator.org./

Other sites worth noting:

The People's Theater at http://www.thepeoplestheatre.us/;

The Senator designated one of America's Top 10 Theatres! By: J. Rentilly Moving Pictures MagazineWinter 2008/2009 Click here

10 theaters doing it right: We tell you about the movie houses that make watching films a dreamBy Gilbert Cruz, Gregory Kirschling Entertainment Weekly Click here

The Senator's owner honored by Theatre Historical Society of AmericaSecond recipient in history of THSA's prestigious"Creating Theatre History" award Click here for a YouTube of award presentation

Places to see a classic cinemaUSA Today Posted 09/29/2003 Click here

Sidewalk block honoring the late Bruce Crockett,
creator of the Sidewalk Hall of Fame

A portion of the 100 blocks comprising The Sidewalk
Hall of Fame

The capacity crowd await the final show

Tom Kiefaber addresses the audience for the final time

The Millenium Falcon hovers over the concession stand

Theater manager Gayle Grove with Tom after the show

Tom gets knighted by a Star Wars Jedi Knight wannabe

The historic Senator Theater

The rotunda

The Senator Theater in 1948

RENTAL RECOMMENDATION: "Please Give" (*** 1/2-90 minutes)

2010-07-26T16:02:00.024-04:00

Wednesday July 21, 2010 -Afternoon

Phew! After the mindless action flick from the night before it was a welcome relief to catch up on a film genre that is more to my liking. An easy, character-driven realistic comedy/drama from Nicole Holofcener, the talented indy director who has been directing nothing but critic favorites since 1996 with "Walking and Talking". Then, beginning in 2001, she added screenwriting to her directing credit for "Lovely and Amazing", followed by "Friends with Money" (which was the opening night movie at the 2006 Sundance Film Festival and, although not one of my favorites, it became her most financially successful move to date), and now the wonderful "Please Give" which was released last April. And, despite currently receiving meager box office results, I highly recommend putting this one on your list.

Catherine Keener (her 3rd film in a row with the director) gives yet another standout performance in the lead role (she's been quite busy this year appearing in "Cyrus" as well as "Percy Jackson & the Olympians: The Lightning Thief"), with another competent veteran, Oliver Platt, as a married couple, Kate & Alex, who run a furniture shop populated with the belongings of dead people. Marty is the straightforward, happy-go-lucky partner who's in it for the bucks, while Keener seems to have a deep-rooted moral conscience in the buying and selling end of her business. She's also quite the philanthropist-even offering money (paper-not coins) to homeless and the not-so-homeless folks she happens upon on the streets of NY. (There's a funny scene involving a person in front of a restaurant that I won't spoil here.)

They live together with their teenage daughter, Abby (Sarah Steele), who's hell-bent on getting expensive designer blue jeans. They live next to the apartment occupied by the cantankerous aging Andra (Ann Guilbert-a wonderful character actor whom Woody Allen would envy). She's being looked after by her two visiting granddaughters, sisters Rebecca & Mary (Rebecca Hall, who appeared in Woody Allen's "Vicky Cristina Barcelona", & Amanda Peet, respectively). The timid, caring Rebecca is a radiology tech while narcissistic Mary works at a spa giving massages and facials.

Meanwhile, Kate & Alex are doing so well in their business they plan to expand into Andra's pad as soon as she's left the planet. The plot is set in motion when they decide to finally get to know their neighbor by inviting Andra and her granddaughters over for dinner to celebrate Andra's birthday.

The character development and interactions that ensue take a little while to get going, but once in motion, the story takes off and you'll find yourself thoroughly involved as the director delivers on many levels. The script subtly & humorously raises your consciousness as to what is most important in life and relationships without being judgmental & preachy-all of which adds Nicole Holofcener to the growing list of insightful writers/directors working in today's cinema. A wonderful film!

The DVD release is scheduled for July 29th.

Abby (Sarah Steele) & her mom (Catherine Keener)

Alex (Oliver Platt) trying to make a sale

Rebecca (Rebecca Hall) (l) & Mary (Amanda Peet)

"Salt" (***-99 minutes)

2010-07-23T16:58:00.013-04:00

Tuesday July 20, 2010

The movie career of Australian director Philip Noyce started with a bang: 1989's brilliant high seas thriller "Dead Calm" starring Sam Neill, Billy Zane, and a very young nubile 21 year old newcomer named Nicole Kidman playing a person being stalked by a mass murderer on a sailboat (rent it!). Noyce went on to film another wonderful Aussie film, "Rabbit-Proof Fence" in 2002 and a couple of high powered Hollywood films based on Tom Clancy's spy novels, "Patriot Games" & "A Clear and Present Danger".

In "Salt" Noyce combines the heroic femme fatale theme with the spy genre to give us, yet another, James Bondish, totally outlandish, action film that seems to be a requisite of the majority of summer flicks year after year. (Nice to see strong willed female roles abounding lately; namely, Lizbeth, the gal with that dragon tattoo, & now Evelyn Salt). This time around we have the charismatic Angelina Jolie doing the honors as the focus of a plot that never quite reveals who she is or whom she is working for until the end of the final reel.

Let me say up front, I'm not a huge fan of these bombastic, leave your brain at the front door, popcorn movies. But I have to hand it to Noyce, the guy can direct action sequences with the best of them. And, although the plot is never fully revealed until the end, you actually won't care because the presence of Jolie is so mesmerizing that the superhuman stunts she performs, with no let up, keeps you interested in the game nonetheless.

The film opens with Jolie as Evelyn Salt being tortured unmercifully by North Koreans who suspect she is a spy. Her life/torturing are sparred when she becomes involved in a prisoner swap. Advance 2 years later and she is about to celebrate her 2 year anniversary with her husband, a German (August Diehl), who happened to be involved with freeing her in North Korea. She is working as an undercover CIA operative in D.C. and, just as she is about to leave work to celebrate, a Russian defector (Daniel Olbrychski) shows up that sets in motion enough chase sequences and plot twists for two films.

Liev Schreiber, Chiwetel Ejiofor, and Andre Braugher offer pedestrian supporting roles, and, once again, you'll be bombarded by an aggressive in-your-face (ear?) soundtrack, this time by the talented James Newton Howard. The good news is the music here is more in the background than, say, in "Inception", and was definitely not as distracting. Also, the production values, as well as the editing by Stuard Baird and John Gilroy, are top notch.

Finally, if you are into the whole spy genre, you'll be pleased that Noyce pays particular homage to the Cold War 60's environment prevalent between the Russians & U.S. If you think this is preposterous in this day and age, remember that this film comes practically on the heels of headline that story a couple of weeks ago involving those Russian spies we just swapped. And, I love the '60's nod to the knife-in-the-shoe-wielding Russian female spy, Colonel Klebb, in "From Russia with Love".

So, suspend total belief at the door (anyone who has been in the middle of midday D.C traffic will still have their eyes rolling witnessing the chase scene a third of the way in as Jolie performs maneuvers that even Spiderman would envy), grab that popcorn, & sit back. And, although you'll be entertained, be prepared to have trouble remembering what the film was all about not too long after you leave the theater.

Evelyn Salt (Joie) about to use her home-made weapon

Ted Winter (Liev Schreiber), Peobody (Chiwetel Ejiofer)
& Salt (Jolie) about to interrogate the Russian defector

"Inception" (***-148 minutes)

2010-07-15T16:09:00.029-04:00

Tuesday July 13, 2010

The most highly anticipated film of the summer (which, folks, let's be honest, that ain't saying much this year!) is also one of the most unique original films ever created. Director/screenwriter Christopher Nolan ("Memento"; "Insomnia";"The Dark Knight") had the idea knocking inside his head (dreams?) for about 10 years and the results are ingenious, spectacular, thought provoking, intriguing, entertaining, and yet, stupefying. If a film ever required multiple viewings this one is at the top of the list. And a bit of a warning: Do not, I repeat, DO NOT, walk into this one not prepared to give it your 100% attention. And if you need to make a bathroom run (please note the running time), you can forget about it. That being said, this is one amazing trip into the landscape of dreams-yours and everybody else's.

The basic premise: Dom Cobb (Leonardo DiCaprio successfully playing yet another character who is in constant anguish & angst) is a master of dream sharing &, therefore, is capable of stealing ideas from the minds of others-corporate mind thievery or espionage. An extractor, if you will. We quickly find out, also, that his wife is dead and that he's on the lam, internationally, unable to return to the U.S. to see his children-other than in his dreams.

He's given the opportunity to get into the U.S. safely by Saito (Ken Watanabe) who believes, by using his techniques, he can, instead of stealing an idea, implant an idea (inception) into a rival's dreams in order to change the course of his conscious actions when the rival's rich father dies. If Cobb agrees and ultimately succeeds, Saito knows enough people who can get him through customs and back to his children.

Got it? Well, that's the basic set-up. What follows next is the recruitment and placement of the "heist" team that will accomplish this task by entering/creating a dream within a dream within a dream. In other words, three levels down. The target? Robert Fischer Jr. (Cillian Murphy), who is about to inherit his father's empire. Saito intends to benefit if Fischer is convinced to split up his newly acquired energy empire. Still with me? Although the premise is straight forward, the execution not as much so. There is a lot of explanations as to time warping between levels (one level down, 5 minutes of dreaming becomes 1 hour-but 3 levels down, those 5 minutes turn into years); consequences of dying in your dream; how to wake up from the dreams; objects taken with you that can reveal whether you are in the real or dream state; etc. All the dialogue demands total attention and then some to piece together & make sense of the logic in Nolan's mind (hence my suggestion of repeated viewings).

The supporting cast is generally terrific but I had wished more time was available for richer character development. Joseph Gordon-Levitt (most recently starring in last year's terrific "500 Days of Summer") is Arthur, Cobb's point man and confidante; Tom Hardy is Eames, master of disguises; Yusef (Dileep Rio) is the chemist who is responsible for the strong sedatives needed for the operation; and, the weakest link in the group, Ellen Page (What?? Juno?!) is Ariadne, the young architect recruited to "build" the dream mazes in each of the levels. Playing Cob's deceased wife, Mal, is Academy Award winner Marion Cotillard ("La Vie En Rose") who provides the emotional thread that drives Cobb's motivations throughout. She tries to convince Cob to join her forever and ever in dreamland by constantly reappearing, uninvited, in all of his dreams. Not a good idea when you are three levels down and continually interfering with the mission. Competent cameos are provided by veterans Michael Caine and Tom Berenger.

For me, there are a couple of problems-the most annoying of which involves the soundtrack. There is no question that Hans Zimmer, who has composed scores for countless films and who has been nominated for 58 awards while winning 48 (including the AA for "Lion King"), is at the top of his game. However, for some reason, his music is placed incessantly throughout almost every frame-often rivaling and practically drowning out the dialogue. It eventually became, for me, an unwanted character. In a film requiring total concentration, this was a huge distraction. Also, the decision to make each dream sequence an individual action movie in itself seems preposterous (mine do have quiet moments from time to time). However, it does succeed in sustaining one's interest. Sort of. The final reel involving a shootout in the mountains goes on way too long and I found myself practically zoning out. Cutting this one by 1/2 hour at least would have been my preference. Also, in the end, I didn't have the emotional connection I should have felt after spending so much time in dreamland.

During my initial visit to Sundance in January 1999, I happened upon The Treasure Mountain Inn on Main street-home of the alternative film festival in Park City-Slamdance. They were presenting the major award winners chosen the the night before. I hunkered down in a room with about 75 folding chairs for 4 consecutive screenings, one of which was a fabulous small black and white film entitled "Following" which had won the Cinematography Award (put that on your rental list-it is wonderful). Afterward, the blond haired English director conducted a Q&A for this, his first feature film made for a paltry $6,000.

Despite the minor flaws, how he put on screen ideas that originated right around the time I was sitting in that small room in Park City is pure genius. However, it will be interesting to see how widespread the appeal will be with the viewing audience. Although "Inception" is an action movie at heart, there all so many intellectually challenging convolutions to deal with, that, I fear, this film might be lost on a major segment of the target audience.

(from l to r) The heist gang: Yusef (Dileep Rio), Eames
(Thomas Hardy), Arthur (Joseph Gordon-Levitt),
Dom (Leonardi DiCaprio), & Ariande (Ellen Page)
with Saito (Ken Watanabe)

Mal (Marion Cotillard) & Dom (Leonardo DiCaprio)
Share a quite moment in dreamland

Shared dreaming demonstrated in Paris

Director/screenwriter Christopher Nolan

Catching up: 3 FILMS TO PUT ON YOUR NETFLIX LIST!

2010-07-15T12:13:00.024-04:00

Monday July 12, 2010

"Solitary Man" (*** 1/2-90 minutes)-Producer/Director/actor Michael Douglas won an Academy Award playing a sleaze ball con artist in "Wall Street". In "Solitary Man", his performance ranks up there with his personification of Gordon Gekko. Douglas IS a solitary man and for good reason. The narcissism flows like lava from an active volcano engulfing and consuming everybody that comes into his path. Hell bent on personal destruction, we witness several days in the downfall of this dude who once had it all: great wife (Susan Sarandon), promising career as car salesman "Honest Ben Kalman", beautiful family-a man with so much charisma & charm that he is able to seduce anything his little heart desires. And that's the problem. The man has no heart for anyone but himself. Although I'm describing a very despicable dude, Douglas makes us pity him and that is the beauty of his acting. Directed by Brian Koppelman, who co-wrote the script with David Levien, this (subtle) comedy/drama has some terrific supporting roles including Mary-Louise Parker as his current girlfriend; Imogene Poots as her daughter who is accompanied by Douglas to her college-to-be (he knows the dean and mom has the flu); Jenna Fisher as Ben's daughter; Jesse Eisenberg as the college student who gets a few life lessons from Honest Ben; and Danny Divito, Ben's old college buddy who runs a campus greasy spoon. All are, in different ways, seduced by Ben who just can't seem to finally grown up and get it. A spot-on character study and tour-de-force by one of Hollywood's finest actors who keeps getting better and better with age. The DVD release is scheduled for September 7.

"City Island" (****-104 mintues)-This is one of my favorite films of the year. The audience award winner at the 2009 Tribeca Film Festival (run by Robert DeNiro) is a wonderful human comedy that completely took me over with it's charm (hmmm-seems to be a running theme) about keeping secrets from those you love and dealing with the consequences. Andy Garcia gives a 4 star performance as Vince, the head of an Italian-American family whose members are each housing a secret. He's a prison guard who yeans to be an actor-so much so he secretly goes off every Wednesday to acting classes telling his wife (the wonderful Julianna Margulies-who previously paired up with Garcia in 2001's "The Man From Elysian Fields") he's playing poker. Not believing him, she secretly tries to start an affair with Tony (Steven Strait), a dude whom Vince rescues & brings home from prison after he recognizes him as the child he abandoned in a prior life. Of course, he keeps this fact a secret from Tony. Meanwhile, Vince's daughter (Dominik Garcio-Lorido) is visiting home from college-well, not really. She lost her scholarship & is trying to earn her way back in by working as a stripper. Teen-age son Vinnie (Ezra Miller) has a peculiar secret fetish: craving overweight females eating in their kitchen in front of a web-cam. And even the secrets have secrets: Vince's assignment in acting class (headed by the always winning Alan Arkin) is to share a secret with a fellow student in preparation of voicing a monologue in front of the class. He's paired with Emily Mortimer who, not surprisingly, has a secret of her own. Director/screenwriter Raymond De Felitta keeps the clever screenplay moving along at a brisk humorous pace and utilizes a brilliant score by Kim Oler and lyricist Allison Hubbard that is perfectly suited for the visuals. The pace and charm of the film reminded me of the wonderful Canadian film "Seducing Dr. Lewis" which won the 2004 Sundance Audience Award. (You should put that one your list as well.) "City Island" (which refers to the seaport community in the Bronx) is being released on DVD on August 31.

"The Secret in Their Eyes (El Secreto de Sus Ojos)" (****-156 minutes)-This year's Foreign Language Academy Award winner is, quite simply, a masterpiece. I was a bit miffed when "Sin Nombre" wasn't even nominated (an equally brilliant film), but, having seen this one, my feelings have been tempered. Director/screenwriter Juan José Campanella has crafted an intricate narrative that cuts back and forth over 25 years with 2 themes at its core: a senseless rape & murder of a young beautiful newlywed and an unrequited relationship between an attractive successful judge (Soledad Villamil) and her investigator (Ricardo Darin) who secretly loves her. The story, centered in Buenos Aires, begins in 2000 as the investigator, Benjamin, now retired and still haunted by the case, is struggling to write his memoirs about the crime. After he takes the manuscript to his former boss, Irene, for her critique, each story line begins its meticulous journey allowing you to savor, like fine wine, the beautiful tapestry of the plot. Campanella has populated the story with wonderful supporting characters-especially Guillermo Francella as Sandoval, Benjamin's alcoholic assistant who plays a prominent role in investigation, and Pablo Rago as Morales, the widower who spends his days waiting to spot the murderer in a train station. In addition, there is a chase sequence in a soccer stadium that is astounding in its execution. However, the quiet reflective moments are just as powerful as the action sequences and, by the end, you'll agree with Roger Ebert's assessment that, " This is a real movie, the kind they literally don't make very much anymore". The DVD is currently available.

"The Girl Who Played With Fire" (***-129 minutes)

2010-07-12T11:32:00.025-04:00

Sunday July 11, 2010

Wrapping up the 48th series of Cinema Sundays is the highly anticipated 2nd film in Stieg Larsson's best-selling trilogy. After the richly deserved phenomenal success of "The Girl With the Dragon Tattoo" (which has earned over $100 million worldwide), the advance screening drew a nearly sold out audience to The Charles (many of whom raised their hands when asked by moderator Jonathan Palevsky if they had read the book) and, although the film doesn't quite measure up to the first, the bottom line is it is worth seeing nonetheless.

Returning stars Noomi Rapace & Michael Nyqvist reprise their roles as the mysterious professional hacker Lizbeth Salander and investigative journalist Mikael Blomkvist, respectively. When we left her at the conclusion of the first film, Lizbeth had left Sweden and relocated to a tropical paradise in "exile" for the past year after successfully transferring a considerable sum from her latest target's bank account.

Back in Sweden, Mikael is putting together a team of players investigating a sex-trafficking ring that has inundated Sweden's highest political and social echelons. Meanwhile, Lizbeth is forced to return to Sweden to remind her government-assigned guardian that he wasn't living up to the bargain she laid out in the first film. (I won't expound on this if you haven't seen the first installment. And, by all means, you don't want to miss seeing it on the big screen. Folks, there is a reason it is still playing in many U.S. theaters months after its release, including The Charles here in Baltimore!)

After arriving, she discovers that her fingerprints are on the gun that was used to murder 3 people, including said guardian. Knowing who is behind the killings (a major plot point that differs in the first when the mystery is not resolved until the end), she starts the process to try to clear herself by trying to lead the cops, & Mikael, to the rightful killers. She again works with Mikael-albeit from afar this time around, leaving clues for him so as not to reveal her whereabouts while in hiding. And, unfortunately, that is one of the problems I had with the 2nd installment: their chemistry together in the first, never has a chance to reignite in the latest.

Several blanks about Lizbeth's past are filled in through the use of flashbacks, and included are several, literally, kick-ass encounters involving a hulking James Bondish-type nemesis (Micke Sprietz) who has been born with an unusual malady: he can't feel pain. And the use of computer technology, a prominent "character" in "Dragon", is utilized but it is not the main focus of this one-another disappointing component for me. And, of course, the ending is open ended, allowing for the continuation in "The Girl Who Kicked the Hornet's Nest" due to be released in October.

Although the leads are back, unfortunately, not the director. Daniel Alfredson, replaces Niels Arden Oplev for the last 2 films in the series, and here he has inserted, in my opinion, several Hollywood-type roll-your-eyes moments that were totally absent from the original. And if you haven't seen the first film or read the book, you might be somewhat lost for the first half hour trying to connect all of the dots while trying to keep up with action and characters that come in and out of the busy screenplay.

Despite these irritations, you will not be bored and the continued incredible presence of Rapace is worth the price of admission. She is certain to earn an Oscar nod.

The wonderful post-screening Q&A, led by Baltimore Magazine Managing Editor/Film Critic Max Weiss, was starkly different from the one following "Dragon". Where those who read the first book found little fault with the first film, despite its translation of over 800 printed pages(!), this audience did voice problems with this version.

The totally unnecessary Americanized version of "The Girl With the Dragon Tattoo" is being made next year and due to be released in 2012 with the great David Fincher ("The Curious Case of Benjamin Button"; "Zodiac") directing English actors (are you sitting down?!) Carey Mulligan ("An Education") and ex-Bond Daniel Craig. Thus proving, once again, the trouble Hollywood has coming up with original ideas, feeding upon brilliant works originating in a foreign land. Don't get me started!

Noomi Rapace returns as Lizbeth, the girl with the dragon

tattoo

Michael Nyqvist returns as journalist Mikael Blomkvist

Micke Spreitz as the formidable villain enforcer

The nearly sold-out crowd at The Charles,

home of Cinema Sundays, anticipates the
next film in the trilogy

Baltimore Magazine Managing Editor/Film Critic

Max Weiss looks on as WBJC program director/
CSC host Jonathan Palevsky addresses the
audience prior to the screening

"Cyrus" OPENS 7/2 IN BALTIMORE

2010-07-02T09:21:00.003-04:00

One of the best films of the year. that screened at this year's Maryland Film Festival, opens at The Landmark (it already opened in D.C.). Here was my earlier review:

"Cyrus" (*** 1/2-92 minutes)-One of the best proponents of mumblecore, an American independent film movement that began in the early 2000's and noted for one-take improvised scripts, are the Duplass brothers Mark & Jay. Their initial film, "The Puffy Chair", was one of my favorites at the 2005 Sundance Film Festival. The brothers are going more and more big time. Their latest is produced by Ridley & Tony Scott and stars some great Hollywood A-list talent for a film that, I predict, will produce some acting nominations come Oscar time. Lovable loser John (John C. Reilly in a breakout role) is down in the dumps when he finds out that his ex-wife (Catherine Keener), who previously dumped him 7 years ago, is about to wed. After she convinces him to attend a party to try and meet a new lady, it starts disastrously when he proceeds to get disgustingly drunk. However, Molly (the wonderful Marisa Tomei), somehow, sees a sensitive soul who has lost his way and before too long they actually connect that night and begin a relationship. However, when Molly repeatedly and mysteriously leaves his pad in the middle of the night, John gets suspicious and decides to follow her home one night. Falling asleep in his car, he awakens the next day to inadvertently meets her peculiar son Cyrus (Jonah Hill who is sure to be nominated). I don't want to give too much away, but the script, acting, and execution of this wonderfully moving story is sure to put the Duplass brothers on the Hollywood map big-time. Great fun!

8th AFI SILVERDOCS Film Festival

2010-06-22T09:20:00.042-04:00

Below are quick daily updates. Expanded coverage, including information and photos from the Q&A's, will be provided after the conclusion of the festival.

Monday June 28, 2010-Day 7-Final Day

AFI Silver-Theater #1

AFI Silver-Theater #2

AFI Silver-Theater #3

"Men Who Swim" (***-58 minutes)-Swedish film maker Dylan Williams is turning 40 and decides to combat his impending mid-life crisis by, what else, forming a men's synchronized swimming team. The level is then raised when the team decides to compete for the unofficial All Male World Championship in Milan. Light and humorous, the audience award winner is a candid fun look at guys who ferverently try to prove that life, indeed, begins after 40.

"The Woman With the 5 Elephants" (** 1/2-93 minutes)-Interminably slow deliberate film about an 85 year old translator who just completed translating Russian novelist Dostoyevsky's 5 classic novels (elephants) into German. We accompany her as she returns for the first time to her Nazi-occupied Ukranian homeland after a 60 year hiatus. Interspersed is her commentary on her life and work as a translator as well as her philosophy of language. How this doc won the World Feature Award is completely baffling to me as the tedious task of watching this film would rival reading "Crime and Punishment" in a single sitting.

"Wo Ai Ni Mommy (I Love You Mommy)" (****-76 minutes)-And finally, a film that deserves the accolade of winning a major award. The winner of the U.S Feature Award, this heart warming story is a winner on many levels as it covers the trials and tribulations of transracial international adoption. A Long Island Jewish family is about to adopt an 8 year old from China. They had already adopted a Chinese girl when she was merely 14 months old. This time they must deal with language and cultural differences. Will the resulting culture clash be a success? We are along for the emotional roller coaster trip that all parties experienced during the 18 months of filming. A beautiful film on multiple levels. The film can be seen on PBS' P.O.V. series on August 31st.

Sunday June 27, 2010-Day 6-Audience Awards

The Audience Award for a feature goes to MEN WHO SWIM directed by Dylan Williams.
The Audience Award for a short went to BYE BYE NOW directed by Aideen O'Sullivan and Ross Whitaker.

"A Film Unfinished" (*** 1/2 87 minutes)-Yet another holocaust themed film that deals with the discovery of Nazi archive propaganda films that were recorded in 1942 inside the Warsaw Ghetto a couple of months before it was emptied. What is most powerful is the fact that we see the process they used to actually stage scenes in order to deceive the world as to what truly happening inside the walls. The commentary of several of the survivors who witness the actual filming give pertinent testimony while viewing the silent haunting reels.

Saturday June 26, 2010-Day 5-Awards & Closing Night

WO AI MI MOMMY (I LOVE YOU MOMMY) Wins Sterling US Feature Award
Special Jury Mentions went to THE KIDS GROW UP and MY PERESTROIKA
THE WOMAN WITH THE 5 ELEPHANTS Wins Sterling World Feature Award
Special Jury Mention went to STEAM OF LIFE
THIS CHAIR IS NOT ME Wins Sterling Short Award
Special Jury Mentions went to BETWEEN DREAMS and THE POODLE TRAINER
MARWENCOL Wins The Cinematic Vision Award
The WITNESS Award Goes to BUDRUS
Writers Guild of America Documentary Screenplay Award to A FILM UNFINISHED
(Note: This is a partial list. The audience awards will be announced on Sunday afternoon.)

"The Disappearance of McKinley Nolan" (*** 77 minutes)-A Vietnam vet disappears during the war and his family undertakes the journey 40 years later to determine his whereabouts. A thorough investigation that is both personal and methodical about the last missing foot soldier from the Vietnam War.

"The Tillman Story" (**** 94 minutes)-Superb film about the circumstances behind the death of the NFL player who decided to give up a lucrative career to fight for his country in the Afghanistan war-only to be killed a year later by friendly fire. A wonderful profile in courage and the efforts of his family to uncover yet another cover up by the U.S. military and the upper echelons of our government. Beautifully rendered and magnificently edited, this doc will bring about equal amounts of tears and outrage.

Friday June 25, 2010-Day 4

"The Devilles" (***56 minutes)-Fascinating look at a very unusual married suburbanite couple. She's a burlesque entertainer and he fronts an L.A. punk rock band and both have been married for 26 years. Kind of a documentary verite that gives an intimate look at what ultimately keeps people together and the effort it takes to have a successful relationship.

"Restrepo" (****-93 minutes)-This year's Sundance Documentary Award winner is a stunning realistic work, filmed over the course of a year, that will put you in the middle of the conflict in the most dangerous outpost in Afghanistan. Think "The Hurt Locker" with real bullets. An amazing achievement that will surely be nominated at this year's Oscars.

"Monica and David" (*** 1/2-68 minutes)-Another interesting profile of an unusual couple who married despite their possessing the intellectual disability condition of Down Syndrome. A marvelous heartwarming doc that will have you laughing & crying while bringing home the point that love will conquer all no matter the circumstances.

"Marwencol" (*** 1/2-83 minutes)-Unique documentary about New York native Mark Hogancamp who, after recovering from a savage beating, using doll-like figures, reconstructed a miniature WWII village and characters that looks amazingly real. A fascinating look into one man's psyche and how a tragic event totally changed how a man deals with life to find a new purpose.

Thursday June 24, 2010-Day 3

"As Lilith" (***-78 minutes)-Lilith, an Israeli resident, has decided to cremate her 14 year old daughter who had just committed suicide. As a result, she must fight the main religious organization, Zaka, as well as her community's staunch religious beliefs on the decision which fundamentally goes against the practice. Touching and powerful.

"La Isla-Archives of a Tragedy" (** 1/2-83 minutes)-Deals with the discovery of the Guatemalan police archives that details the atrocities that have occurred during years of oppression. An important discovery in the name of human rights but the film is tedious in its presentation.

"Barbershop Punk" (***-83 minutes)-An important film dealing with one man's discovery that his service provider, Comcast, was determining what he could or could not download. A comprehensive well done film dealing with censorship that is important to all of us in the INTERNET age.

2010 Guggenheim Symposium honoring Frederick Wiseman (****)-Wonderful event that will be detailed after the festival ends which honored one of the best and most influential name in documentary film making. Wonderfully moderated by the Davis Guggenheim, the son of Charles Guggenheim for which the honor is named.

Wednesday June 23, 2010-Day 2

Well, it appears seeing 5 films and arising after 3 hours sleep to get ready for day 3 finally caught up to me! Here is a quick look at the films I screened today with my rating. Full reviews after the fest-after some much needed sleep-so be sure to come back later for full reviews and pictorial coverage:

"The Invention Of Dr. Nakamats" (***-57 minutes)-Fun profile on the the guy who invented the floppy disc-and has over 3000 other inventions!

"Bill Cunningham-New York" (****90 minutes) ==> Fantastic profile of one of the greatest & one of the most intriguing fashion photographers on the planet. Phenomenal doc that is the strongest film I've screened so far!

"South of The Border" (**-78 minutes) ==> Director Oliver Stone interviews 7 South American heads of state. The weakest film I've screened so far. Michael Moore would be proud.

"Waiting For Superman" (*** 1/2-102 minutes)-Davis Guggenheim's thorough look at the U.S. education system.

"Ride, Rise, Roar" *** 1/2-78 minutes)-Another musical doc on the great David Byrne (late of The Talking Heads) that is a fine compliment to one of the greatest concert films ever made Jonathan Demme's "Stop Making Sense".

Tuesday June 22, 2010-Day 1

Let the marathon begin! First up is a scathing report on anthropology: "Secrets of the Tribe" (** 1/2-96 minutes) . Director Jose Pabila's first doc in 2003 was the critically acclaimed "Bus 174". Here he presents a comprehensive look at the influence anthropologists may have had studying the indigenous population of the Yonomami Tribe nestled deep in the Amazon and, until the 1960's, was untouched by modern civilization. Much evidence is presented that raises moral and ethical questions as various scientists began living amongst the tribe to better understand their culture. An interesting subject that ultimately becomes tedious due to the inordinate amount of time spent with the talking heads throughout the running time. Also, it takes forever setting up the unconscionable goings-on-which included the coverage of a French anthropologist who turned out to be a resident pedophile. To its credit the film doesn't make judgments-leaving it up to the audience to decide the final verdict-that is, if they are still awake by the end.

We go from the jungles of South America studying a native culture to outer space (which sort of brings back memories of my all time favorite film "2001-A Space Odyssey"). Director Christian Frei's first film was the 2002 Oscar nominated "War Photographer". "Space Tourists" (****-98 minutes) is his fourth film and it is an absolute stunner! The film mainly covers the 2006 Soviet program that allows citizens to put up 20 million to hitch a ride to the International Space Station (now it's up to 30 mil-in case you were thinking about signing up). In 2006 Iranian-American businesswoman Anousheh Ansari finally fulfilled her lifelong dream of traveling into space and we are along for her glorious ride. The price of the ticket covers half of what it costs for the Soviets to launch into space and, therefore, is a cost effective way to keep the program going for the economically distressed country. The film also covers the folks who track the 4 booster rockets that land in mostly barren regions of Russia to salvage the valuable metals. Another section of the film deals with the X Prize program that offers 10 million to the first person who successfully puts a rocket in space. (Virgin president Sir Richard Branson won the prize in 2008) and now offers 30 million to anyone who lands a vehicle on the moon (it's still available). The documentary is superbly edited and the beautiful photography is breathtaking. The music by Jan Garbarek, Edward Artemyev, & Steve Reich is a wonderful complement to the visuals and story. You'll want to put up the money to venture to the ISS after experiencing one of the finest documentaries I've ever seen. Winner of this year's Sundance World Documentary Directing Award, "Space Tourists" has a second screening at SILVERDOCS, tomorrow 6/24 at 1:30 PM. Try and see if you plan to be there.

Next up is another outstanding film, "Presumed Guilty" (****-89 minutes), an absolutely devastating look at the Mexican judicial system. What seems like an extended "60 Minute" segment, the doc covers the trial of Tono Zuniga who was cleary targeted by the police and falsely accused of murder in 2005. Directors Roberto Hernandez & Geoffrey Smith were granted rare approval to record Tono's second appellate "trial". The outrageous accusations and blind justice up and down the Mexican legal system will have you enraged by the time the lights come up. An extraordinary look into the legal system of a country that is right beyond our borders.

The final film deals with a side topic of the recent conviction of convicted polygamist and child molester Jeff Wells, head of the Fundamentalist Church Of Jesus Christ of Latter Day Saints FDLS). "Sons of Perdition (*** 1/2-89 minutes) is an intimate look into 3 of the teenagers of FDLS members who saw the sect for what it was and decided to leave their families behind. Facing a lifetime of banishment, their decision was incredibly courageous as they face an uncertain future alone in a world they barely knew. Morman directors Tyler Measom & Jennilyn's first film is well crafted as they follow the trails and tribulation of the 3 lads as they try to find their identity, not to mention a place to live, as they attempt to understand their place away from their families. This is a very moving, but ultimately uplifting look at three extremely brave kids who recognized & escaped from the insanity of the cult.

Monday June 21, 2010-Opening Night

You couldn't ask for better weather to accompany this wonderful annual festival-considered to be one of the best showcases on the planet for documentary films. And to start things off in grand fashion is a movie that tries to accomplish the impossible: how do you entertain an audience on the subject of economics? First you take a best selling non-fiction book that combines pop culture and economics, you get 6 of the most success and accomplished documentary film maker to contribute, and using a barrage of cinematic techniques, VOILA! you have an entertaining and mostly successful take on human behavior, statistics, & analysis.

"Freakonomics" (***-85 minutes) was a 2003 New York Times article turned into a novel by University of Chicago economist Steven Levitt and New York Times journalist Stephen J. Dubner that has now sold over 4 million copies. The daunting task of converting, what essentially, is a series of articles dealing with non-traditional theories of economics into a feature film is a hit or miss affair-but mostly hits.

The hits: Oscar winner Alex Gibney ("Taxi to the Dark Side", "Enron: The Smartest Guys in the Room") does an eye-opening segment about how corruption has invaded even the sanctimonious realm of Sumo wrestling. Also, Rachel Grady and Heidi Ewing ("Jesus Camp") covers the world of education and how the incentive of money will stimulate 9th graders to achieve better grades-as opposed to just good parenting.
The near miss: Eugene Jarecki ("Why We Fight") does a piece offering the economic theories as to why crime rates sharply dropped in the early '90s.
The total miss: Morgan Spurlock ("Super Size Me") does an expose on the socioeconomic pattern of naming children that goes on way too long to make its point.

Putting it all together is Seth Gordon ("The King of Kong") who creatively melds the pieces while interspersing commentary by the authors. All sorts of techniques and styles are on display to keep it all successfully rolling along at a swift pace. If successful, you can be sure a sequel will be in the offering.

The Magnolia film will be distributed nationwide this October.

Panel discussion after the film with (l to r) "Freakonomics" producer
Chad Troutwine, directors Heidi Ewing, Rachel Grady, & Alex Gibney,
and moderator Alvin D. Hall

"Splice" ** 1/2 (107 minutes)

2010-06-18T09:43:00.013-04:00

Tuesday June 1, 2010

Having obtained my college degree in biology, I've always had a particular interest in science. So, it naturally followed that, hearing the positive buzz of a film about a genetic experiment gone (possibly) wrong interested me to no end. With cloning prominently in the news over the last decade, I thought, YES!, here is a film that will cover all of my cinematic bases: an independent film with quality Hollywood talent about a scientific experiment that could happen in reality. The bottom line for me? Mucho disappointment!

Director Vincenzo Natali made a well received interesting fantasy/sci-fi film, "Cube", in 1998 and recently struck pay dirt with 2007's "Paris, Je T'aime". Here, he's written, along with Antoinette Terry Bryant and Douglas Taylor, a story that never seems to know what it wants to be. What ends up on the screen is a little bit of everything-and ultimately nothing. Does it want to be a horror film, or a commentary on family dynamics? Does it want to comment about corporate vs. individual greed or give us a glimpse on what can go wrong when man tries to become God? Is it a plea for expanded scientific research in genetics or an allegory on human existence? This one is all over the map and the result is a hodge podge that never quite finds a focus.

Geneticists Clive (Academy Award winner Adrien Brody) & his girlfriend Elsa (talented writer/ director/actor Sarah Polley, "Away From Her" ) are unsatisfied working for their genetic research firm (Nucleic Exchange Research and Development or NERD for short), and decide to go rogue with their own genetic experiment to create a hybrid being using human DNA. The resulting creature (they name Dren which is "cleverly" created by spelling backward their employer's acronym) grows up quickly (can you say days?) and is hidden from everyone, at first in the firm's basement, and then in an abandoned barn owned by Elsa's family.

Initially, Dren appears to bond more with Elsa than Clive, who seems intent on ending the experiment as soon as possible. But in an interesting twist, the roles and lines established early on become more and more vague and the action in the last third brings moral and ethical questions into the mix that really come out of left field.

The real gem of this film is the astounding acting done by Delphine Chaneac as the adult Dren which gives this one a half star higher than the 2 star rating it deserves. And, the special effects are top notch, especially for an independent film, making Dren totally believable in every part of her quickly evolving life cycle. However, I found myself chuckling throughout at the dialogue and acting by the 2 main characters who were never quite believable in their roles as scientists.

An interesting concept but a near miss in conception (excuse the pun).

Clive (Adrien Brody) & Elsa (Sarah Polley)

Dren

"Combine Demolition Derby" (***-77 minutes)

2010-06-17T13:50:00.004-04:00

Anyone who is familiar with this blog will know of my particular love for the documentary film genre. Local documentary film maker & educator Fil Sibley has lovingly put together a fun doc. For anyone who thought demolition derbies were only for cars, this is the perfect video to open your eyes! FSP Media Communications was there in Carroll County, MD to record the first ever Carroll County, Maryland 4H Fair Combine Demolition Derby and will provide you with a front row seat to the hilarious goings-on. You’ll go behind the scenes with the crew of “Lucille” as they feverishly prepare their enormous 1964 combine (which has been stored unused for 20 years in a shed!) for the crash-ups to come. Eleven teams (including The Pink Elephant, The Tin Man, & Haney The Holstein teams) competed in the multiple heats, including the pre-event Parade of Combines-which is a hoot in itself! Director Fil Sibley used 6 cameras to record the fun and also provides behind the scenes interviews with the participants. FSP will take you to the fair & the derby without ever having to leave your living room!! Great fun!!! If you'd like to purchase "Combine Demolition Derby", contact Fil at fspmedia@comcast.net. He has produced other films, including profiles of female race car drivers Sarah Fisher & Geneva "Gee Wiz" Williams, & various travelogues around the world. Additional information on these can be found at fspmedia.com.

12th Maryland Film Festival-Final Wrap with additional info & pics

2010-05-13T15:39:00.146-04:00

Below are expanded coverage & reviews, including information & photos from the Q&A's, of the 14 films I covered during the 3 day festival.

FINAL THOUGHTS
After a somewhat mediocre festival in 2008, Jed Dietz has put together outstanding back-to-back events the last 2 years. He served up a brilliant coup getting 2009's eventual Oscar winner"The Hurt Locker" to close the 2009 fest; and then followed that with the outstanding "Mother and Child" this year. Although it will probably not win Best Picture, Rodrigo Garcia's movie was a wonderful way to close out this year's proceedings. Jed & his staff continue to pluck fine offerings from the nations top festivals (including Sundance, Toronto, & SXSW) and the result are 3 days worth of selections that will amply fill the palate of most ardent movie goers. In fact, a common complaint is having to eliminate films of interest because it bumps up against another choice. My only gripe was an occasional delayed screening which affected getting to another film on time that immediately followed in another venue. However, the crowds, even on the usually slow first day on Friday afternoon, seemed more abundant than in years past. And the Charles Theater hub is the perfect setting for taking in the wonderful filmic ambiance this festival brings to Baltimore year after year. Bravo to the folks at The Maryland Film Festival for another glorious 3 days in May!

MY TOP 5 FILMS AT THE 12TH MARYLAND FILM FESTIVAL:
(1) "Mother and Child"
(2) "Cyrus"
(3) "Dogtooth"
(4) "Beautiful Darling"
(5) "Lovers of Hate"

Sunday May 9, 2010-DAY 3 & Closing Night

"Chang: A Drama of the Wilderness" (****-64 minutes)
The annual appearance by the world renowned Alloy Orchestra starts off the final day and this year they are providing the live music for the remarkable 1927 staged documentary which won an Academy Award for "Unique and Artistic Production" at the initial 1929 Oscar ceremony. Directors Merian C. Cooper and Ernest B. Schoedsack went on to make the classic "King Kong" in 1933 and much of the style and techniques they used here can be seen in their narrative masterpiece 4 years later. Filmed in what today is the Thai jungle the film makers used staged sets and real actors to tell their story of life for a family in the Siamese jungle and how they cope growing crops and dealing with the myriad of animals-tame and wild-that were part of their universe. The filmed action is breathtaking and the killing on screen, unfortunately, was real (yes, animals were harmed in the making of the movie) and unpredictable. The original score by the talented Alloy members, Terry Donahue, Ken Winokur, & Roger Miller (who seem to reinvent itself with every new film they score) was a perfect complement to the action. Equally exciting was the announcement that they would be returning to Baltimore later this year with the score for the latest version of the Fritz Lang 1927 classic "Metropolis" and that their music was being considered as an alternate version on the official DVD release. An amazing performance for a beautifully conceived classic silent.
During his introduction, film critic/author Michael Sragow mentioned Merian C. Cooper, who later went on to make the original "King Kong", had dropped out (or had been kicked out) from Annapolis and then became a legendary fighter pilot during WWI. He also mentioned that the original score used 6 thunder drums to produce a very percussive sound. After the film, Michael pointed out that the cinematographer was the first person to dig a pit to film under the elephant stampede, which, as Ken added, used 150 rented elephants.

The Alloy Orchestra (from l to r):

Terry Donahue (accordion, musical saw, vocals).
Roger Miller (keyboards), &
dir Ken Winokur (junk percussion, & clarinet

Film critic, author, & columnist

Michael Sragow introduces the film

To protect from the jungle predators, the Kru family mansion is built
on stilts

Chang

"Cold Weather" (**-90 minutes)
Another mumblecore production that, unfortunately, was virtually unwatchable. This is director Aaron Katz's tale of a loner (Chris Lankenau) who drops out of college and moves to Portland where his sister (Trieste Kelly Dune who appeared in "United 93") resides. He gets a job in an ice factory when his ex-girlfriend (Robyn Rikoon) comes to visit. He then befriends a co-worker (Raul Castillo) who takes an interest in the loner's obsession with Sherlock Holmes. When the ex-girlfriend suddenly disappears, the story is supposed to take on mystery (I get the Holmes connection). However, by that time, you couldn't care less about the disappearance, the suitcase full of money, the clues in a motel room, and all the other nonsense because the characters, as well as the plot, are as interesting as a watching paint dry. This one gives mumblecore a bad name.
After the screening, director Aaron Katz announced that the film had been picked up for distribution by IFC and that it was due to open in NY, Portland, and a 3rd city in the fall or early next year. It would also be made available on IFC On Demand.

Gail (Trieste Kelly Dunn), Doug (Cris Lankenau) &

Carlos (Raul Castillo) chum it up before the mystery begins

Director Aaron Katz

"Music By Prudence" (****-32 minutes)
What better way to rid myself of the 90 minutes that I'll never get back than with a film and event that, not only was it the highlight of this year's festival, but the most memorable event of the previous 11 years! The short documentary that won the category at this year's Academy Awards (if you saw the show, you'll recall the Kanye West moment when the angry red-haired ex-producer, Elinor Burkett, rudely interrupted director Roger Ross Williams' acceptance speech) is so inspirational and true, I'm getting chills just writing about it. The doc relates how the 23 year old Prudence, the Zimbabwe native stricken with the debilitating condition, arthrogyposis, rose to prominence as an accomplished singer, despite the tribal tradition of neglecting and even killing disabled children they think were the result of witchcraft. Abandoned by her birth parents, Prudence was saved and raised by her maternal grandmother and later entered the King George VI School, a private school for disabled children where she formed her own band, Liyana (which means "it's raining"). A truly inspirational film that will have you rethinking how important each of us are and the potential we all bring to this table called "life". Afterwards, the audience was then graced with the presence of Prudence who, along with Baltimore musicians Shodekeh and drummer Jason Baker, put on a 15+ minute performance that had the crowd literally dancing in the aisles by its conclusion. This lady has more beauty and charisma than any performer I have ever seen (and I've seen plenty!) making this event truly a once-in-a-lifetime happening. Producer Patrick Wright mentioned that the performance at some point will be available online. This beautiful documentary begins its run on Wednesday May 12th on HBO and on-demand. Make every effort to see it!
Prior to the screening, MFF director Jed Dietz pointed out the Baltimore connection: co-producer and assistant editor Patrick Wright runs the Video and Film Art Department at the Maryland Institute of College of Art (MICA), where the screening was being held. Then Patrick followed Jed stating that MICA threw their support behind the project that included a MICA grad, Erik Webber, as the cinematographer. Director Roger Ross Williams followed saying that the film would not have been made if it wasn't for MICA, supplying him the camera when he went to Africa the first time. Following the screening was that electrifying 15 minute concert by Prudence. Following the well deserved standing ovation, the charismatic subject of the Short Documentary Award winner answered questions from the enthusiastic admirers. When asked if she had reunited with her natural parents, who essentially abandoned her to be raised by her grandmother, she informed us that, after the Academy Awards, her parents came back. She revealed that they now realize that being disabled doesn't mean that "you're inhuman". She said they "talked & talked & talked"; then she poignantly added that "I forgave them". When asked by a little girl in the audience is it OK to be in a wheelchair, she replied that it was 50/50 as she gets to be lifted up everyday but yearns to be independent. When quizzed as to who her favorite musical artists were, she mentioned Mariah Carey, R Kelly, and, whispering and urging the audience not to tell, Eminem. Finally, in the film she is shown wearing a t-shirt that says "So What?".When asked what that means, she said that, in other words, "I'm disabled . . .so what!' After being in her presence, I could not have said it any better!

Prudence before her performance at the screening

Prudence performs after the screening with Baltimore
musicians Shodekeh (l) & Jason Baker (r)

Director Roger Ross Williams (l) & co-producer/assistant
editor Patrick Wright

"Mother and Child" (*** 1/2-126 minutes)
My high from Prudence didn't diminish in the least with this absolutely outstanding film which is the latest from writer/director Rodrigo Garcia. It would be hard to top last year's closing night film which just happened to be "The Hurt Locker"-screened months before its release. However, MFF Director Jed Dietz has nearly come close with this magnificent film. Garcia (whose father just happens to be the 20th century literary giant, Gabriel José de la Concordia "Gabo" García Márquez) took 10 years to construct and finalize a script that features the incredible acting of Hollywood standouts Annette Bening, Naomi Watts, Kerry Washington, & Samuel L. Jackson-to name but a few, in this sensitive portrait of 3 characters whose lives as mother &/or child intersect in ways that are unexpected but true. The overall theme is adoption but there also is an undercurrent of family and marriage that will hit home to most as the story unfolds on the screen. Garcia explored this dramatic style of intersecting story lines in one of my favorite films of 2001: "Things You Can Tell Just by Looking at Her". And, as in that film starring Glenn Close & Cameron Diaz, he's assembled a group of actors that will astound you by their acting chops here in so many ways. Add in a glorious score by veteran Edward Shearmur, who also scored Rodrigo's previous 2 films. Garcia's talents as writer & director have now been honed to such a degree that by year's end, I predict, this work will be listed on many top 10 lists-including the Academy Awards. A splendid way to wrap up the 12th annual!
On introducing Rodrigo prior to the screening, MFF Director Jed Dietz mentioned that this film, as well as Rodrigo's first effort, 2001's wonderful "Things You Can Tell By Looking At Her", both were recipients of the Maryland Film Makers Fellowship award. In partnership with The Sundance Labs, the award gives a film maker a $10,000 grant for pre-production and the stipulation that it would be brought to Maryland. (Tanya Hamilton also won this award for "Night Catches Us" which was screened earlier at the festival & reviewed below.) After premiering at this year's Sundance, it was later included at Cannes. Rodrigo followed the screening stating that The Maryland Fellowship award was his first distinction and that it was the 3rd time he was back in Maryland with a film (2005's "9 Lives" was the other film). His career first began as a Director of Photography (including Angelina Jolie's 1998's "Gia"). When asked how he received the extraordinary performances from the ensemble, he revealed that, as a director, he doesn't believe in rehearsing his actors but, instead, prefers to see what's in front of him and then react to it. He added that he agonizes over the casting and that he holds conversations with each actor to make certain that "they're both making the same movie." Adding, "You don't want your voice in their head." Interestingly, he said that he thought the movie was beyond the subject of mother & child and even adoption-that the movie was more about separation and how people live with an absent person. When queried as to how long it took to create the intricate script, Rodrigo revealed it took 10 years to get it right. When Jed pointed out that the actors were playing characters outside their usual persona, Rodrigo said that he initially didn't think about casting Jimmy Smits or Samuel L. Jackson until he saw and admired them in "Dexter" & "Changing Lanes", respectively. Rodrigo, who seems to have a special talent for nailing female sensibilities in his script writing, was then told by a female audience member how amazed she was that the actors "sounded so much like how women talk together." He amusingly responded that it comes naturally since he was "a junkie for female behavior". The Sony Classics film, which is excutive produced by Alejandro González Iñárritu ("Amores Perros", "21 Grams", & "Babel"), began its limited release on May 7th.

Paul (Samuel L. Jackson) & Elizabeth (Naomi Watts)
on their first date

Karen (Annette Bening) & Paco (Jimmy Smits)

Ray (Shareeka Epps) interviews Joseph (David Ramsey),
& Lucy (Kerry Washington) who are vying for her
unborn child

Director Rodrigo Garcia

________________________________________________

Saturday May 8, 2010-DAY 2

"Casino Jack and the United States of Money" (***-120 minutes)
Day 2 brought another sunny, but EXTREMELY windy day at the fest. No matter, though, if you are hunkered down in a seat inside a movie theater for most of the day. First up was the latest documentary from Alex Gibney, who won an AA for his doc "Taxi to the Dark Side" in 2008. As in his 2005 "Enron: The Smartest Guys in the Room", the doc is thorough (maybe a little too much so) & entertaining in delivering a complex in-your-face look at illegal/immoral Capitol Hill lobbyists, in general, and convicted lobbyist Jack Abramoff, in particular. Very slick and using a multitude of effective techniques in telling his story, Alex may have had too much information to convey in the end as its 2 hour running length requires the viewer to give complete attention to a subject. The film will leave you outraged, but not surprised, when you see the extent of the corruptness of some of the elected officials that we voted into office. Worth seeing but not nearly as strong as Gibney's previous efforts.

"Casino" Jack Abramoff

Director Alex Gibney

"William S. Burroughs: A Man Within" (***-87 minutes)
An impressive first effort by 25 year Yony Leser who actually was kicked out of a Chicago high school. Originally conceived as a short film, Yony instead turned this into a full blown comprehensive look at the literary icon who is best known for "Naked Lunch" (made into a movie by David Cronenberg) and introducing into our language such terms as "beatnik", "heavy metal" & "punk rock" music. Harvard educated Burroughs,who hung out with Allan Ginsberg & Jack Kerouac, was a homosexual (who actually married and shot and killed his wife!) who was also a junkie. Burroughs was an enigma who is explained here using interviews with Peter Weller (who also narrates), Patty Smith, John Waters, & Iggy Pop, among other notables. Music by Smith & Sonic Youth adds to this fascinating profile of one of 20th century's most important figures. The film is close to a distribution deal and is expected to be released theatrically by the end of the year.

William S. Burroughs

Director Yony Leyser (l) is joined
by John Waters during the Q&A

"And Everything Is Going Fine" (***-89 minutes)
Yet another doc-this one from accomplished Hollywood director Steven Soderbergh ("Traffic") on Spalding Gray. Gray was a live theater genius who is best noted for his monologue performances (one was made into a film by the great Jonathan Demme in 1987: "Swimming to Cambodia")-but he tragically is believed to have committed suicide in 2004 at the age of 62 after a traffic accident in Ireland . Soderbergh culled over 120 hours of material to produce to homage to a man who used the stage as his personal therapeutic couch to entertain theater goers with his unique style and talent (he had an uncanny ability to string together nonstop streams of consciousness). Unfortunately, I feel the film will suffer for those who are not familiar with him as the clips really do not give his talent full justice. However, for those who give their time to explore the genius, you will be awarded with this intimate look into a unique artist. His 17 year old son, Forrest, created the soundtrack. The film will be released later this year.

Spalding Gray

Kathleen Russo, Spalding's
widow and producer of the film

"Cyrus" (*** 1/2-92 minutes)
One of the best proponents of mumblecore, an American independent film movement that began in the early 2000's and noted for one-take improvised scripts, are the Duplass brothers Mark & Jay. Their initial film, "The Puffy Chair", was one of my favorites at the 2005 Sundance Film Festival. The brothers are going more and more big time and now have made a film starring some great Hollywood A-list talent on a film that will produce some acting nominations come Oscar time. Lovable loser John (John C. Reilly in a breakout role) is down in the dumps when he finds out that his ex-wife (Catherine Keener), who previously dumped him 7 years ago, is about to wed. After she convinces him to attend a party to try and meet a new lady, it starts disastrously when he proceeds to get disgustingly drunk. However, Molly (the wonderful Marisa Tomei), somehow, sees a sensitive soul who has lost his way and before too long they actually connect that night and begin a relationship. However, when Molly repeatedly and mysteriously leaves his pad in the middle of the night, John gets suspicious and decides to follow her home one night. Falling asleep in his car, he awakens the next day to inadvertently meets her peculiar son Cyrus (Jonah Hill who is sure to be nominated). I don't want to give too much away, but the script, acting, and execution of this wonderfully moving story is sure to put the Duplass brothers on the Hollywood map big-time. Great fun! The Fox Searchlight Sundance hit is being platformed on June 18th.

(l to r) Molly (Marisa Tomei), Cyrus (Jonah Hill),
John (John C. Reilly) & Jamie (Catherine Keener)
enjoy a Kodak moment

"Lovers of Hate" (***-93 minutes)
Another fine narrative feature wraps up the day in this offbeat relationship comedy/drama by writer/director Bryan Poyser. Sibling rivalry, mixed with a romantic triangle, is the subject matter. Rudy (Chris Doubek) is living in his car after being dumped by his wife (Heather Kafka). Unbeknownst to him, his successful literary brother Paul (Alex Karpovsky) is about to move in on Rudy's wife. When Rudy gets suspicious, he decides to visit Paul when he sets up shop for a weekend getaway in Utah. However, while in the condo, and before he makes his presence known, he is surprised when Diana shows up at the house. Meanwhile, although he is hiding in the spacious home, he gets to hear all of the romantic goings on-much to his dismay. A touching sensitive subject given credence by a group of competent actors, makes this one a great way to end the day. The film is currently available on-demand over the Comcast network.

Paul (Alex Karpovsky) & Diana (Heather Kafka)

Rudy (Chris Doubek) hides from Paul
& his wife Diana in Paul's resort condo ________________________________________________

Friday May 7, 2010-DAY 1

"Beautiful Darling" (***-86 minutes)
It's another beautiful day in 'ol Balmer & what a fitting way to kick things off with a wonderful doc about one of underground cinema's most glamorous divas: Candy Darling. Born James Lawrence Slattery in, what is generally believed 1944, Candy was a woman in a man's body who yearned to be a famous Hollywood bombshell in the footstep of her idol Kim Novak. A staple in Andy Warhol's Factory, she made 2 of his films, "Flesh" (1968) & "Woman in Revolt" and even was cast by Tennessee Williams in his play "Small Craft Warnings". Appropriate interviews with Fran Lebowitz & John Waters (who seems to be everywhere nowadays) are provided but mainly focuses on the recollections of producer Jeremiah Newton, Candy's longtime friend, confidante, & executor of her estate. Director James Resin has crafted a loving portrait of an intriguing personality, who died way before her time of cancer before she turned 30.
At the Q&A, Jeremiah had stated Candy started making a lot of money doing cabaret, entertaining offers to do the same in Europe around 1973 and had even opened a famous disco in New York in the early 70's. He also mentioned her agent, unfortunately, had nixed an idea from Tennessee Williams to write a play for her. He elaborated on a point in the film that transgenders were severely persecuted in New York and were even thrown in jail for their appearance. Although not specified during the film, he mentioned that the hormones Candy was taking, known as the Swedish pill, more than likely caused her cancer.

Candy Darling

Director James Rasin

Producer & Candy's close friend

Jeremiah Newton

"Night Catches Us" (***-90 minutes)
Jamaica born Tanya Hamilton took nearly 10 years to make this film that won high praise at this year's Sundance Film Festival after initially being created in the Sundance Labs. Taking place in 1976 Philadelphia, the story concerns ex-Black Panthers who have moved on from their political beliefs but must deal with them years after their activism has ended. Marcus Washington has returned home for his father's funeral and must confront his past including an ex-girl friend he abruptly abandoned, and those who hold him responsible for events in the past that he thought he had left behind. Tanya has assembled an exquisite ensemble of actors who have given credence to the quiet, but powerful script. Superb acting from Kerry Washington ("Ray"), who is appearing in the closing night film :"Mother & Child"), Anthonie Mackie ("The Hurt Locker"), and from HBO's "The Wire", Wendell Pierce and Jamie Hector, including an effective soundtrack from The Roots, help make the earnest 90 minutes worthwhile.
Tanya revealed during the Q&A that watching the film she had 2 regrets wishing she had given her favorite character, the rebellious Jimmy, more depth, and to humanize the police more than she did. Her intent was to make a human drama about a group who's political & social beliefs are not fully understood & appreciated by mainstream America. However, even though I feel its marketing appeal is limited, it has been picked up by Magnolia for distribution in the fall.

Marcus (Anthony Mackie) & Patricia (Kerry Washington)
in a quiet moment

Director Tanya Hamilton & moderator, professor & radio
host Mark Steiner

"Dogtooth:" (*** 1/2-96 minutes)
If you click on my blog profile and read a list of my favorite films, you'll notice one entitled "Irreversible". I saw this astounding movie, directed by Gasper Noe, at the 2005 Sundance Film Festival and, it remains one of the most amazing cinematic works I have ever seen. However, that film, as this film, is also one that is quite polarizing: one either "likes" it or abhors it-there are no inbetweeners. Here is another one that occupies the exact same polarizing territory. At the screening I attended, clearly 25% of the nearly full audience walked out before the final credits rolled. Afterwards, I heard such comments as "Brilliant", "disgusting", "great", "awful". You can put me in the "brilliant" category. Greek director Yorgos Lanthimos' 2nd feature is a dark "comedy" that is simple in execution but disturbing on so many levels. The basic premise: a father and mother have theoretically imprisoned their 3 children, who, when the film opens are older teenagers, behind the walls of their mansion for their entire lives. Everything the children do are under complete control of the parents. They are taught incorrect meanings of words ("zombie" is a small yellow flower) and are even led to believe the planes that fly overhead are actually miniature toys that will someday fall onto their lawn for them to find. Although there is humor in some of this (you can hear nervous audience laughter/chuckles throughout), there is also a lot of surprising darkness that will startle &, for some, disgust. The screenplay is surprisingly quiet but the acting, especially by the teens, are nothing short of incredible and are totally believable in projecting how they would react to a life of total seclusion. The film has won numerous awards, including the top prize from the 2009 Un Certain Regard section at Cannes, and picked up for distribution by Kino. Devoid of any soundtrack, this haunting film will stay with you long after the lights come up.

The 3 secluded teenagers perform for their parents during
a birthday party

"Family Affair" (***-80 Minutes)
Another startling film about a family but, this time, it's real life. Film maker Chico Colvard's first film, which premiered at this year's Sundance, is a doozy, as he focuses on his dysfunctional family. Chico begins telling the story of how he, at the age of 10 in 1978, acting out TV's "The Rifleman", actually shoots & wounds his sister in the leg. However, the story is not about that incident but about the dark secrets of his family. What seemed like a horrible accident at the time, turned out to be a blessing in disguise when it led to revelations of years of familial abuse. Elijah, an African-American soldier who wed a Jewish German woman he met while in the service, continually sexually abused Chico's 3 sisters, Paula, Angelika, & Chiquita, for years. This revelation begins his 9 year journey to uncover the secrets that, unfortunately, are way too prevalent in our society. Told mainly through the words of the victims, instead of the usual psychoanalytic talking heads, makes this film that much more powerful. The film was produced by award winning Liz Garbus ("The Execution of Wanda Jean") and includes music by Grammy nominee Miriam Cutter and is an impressive first effort by the director who has a law degree and currently teaches at University of Massachusetts. At the Q&A, Chico revealed HBO was interested but ultimately wanted more professionals quoted in the film. He decided not to go in that direction & wanted to make it more a personal document instead-a decision that makes the doc even more effective. I couldn't help wondering how different his life might have been had he been born a female. The film will debut in 2011 on OWN, Oprah Winfrey's network and is the first film for her Documentary Film Club.
Colvin admitted after the film that he had no intention of making a film but, as a lawyer, started filming his sisters as a means to gather evidence to try and make sense of what their father had done. Despite interviewing a lot of talking heads for the film, he made the decision to exclude them so not to "silence his sisters"-which he admitted ultimately cost him an HBO deal . (HBO informed they wanted him to "cloak his film in a veil of expertise".)

Elijah Colvard, the patriarch

Director Chico Colvard

"Saturday Night" (** 1/2-96 minutes)
Actor James Franco (who also has 2 short films at this year's fest: "The Feast of Stephen" & Herbert White-both based on poems) gives us an up close and personal look into the inner makings of NBC's Saturday Night Live" giving us an inside look at what it takes to put on a weekly episode. Franco, who twice hosted the show, turned his NYU graduate film school project into this feature length doc which would have been more successful as a short documentary. From the first day on Monday (Pitch Day) to the last dress rehearsal just hours before the live broadcast, we are given a detailed (and I do mean detailed) fly-on-the-wall view of the proceedings. Each day is given a thorough going over as cast members are shown presenting ideas, and interacting with each other, SNL producer Lorne Michaels , the host, etc., ad infinitum, until the jokes and story lines of each skit become more and more monotonous & tedious to us in the audience. Tuesday appears to be the more strenuous day when the writers put in such long hours creating ideas they end up using their office as a bedroom. Everything involved with the weekly show is included, including set construction. We see decisions being made to include & exclude skits (one involving an ad for Empire Carpet was cut almost right up until show time) depending on the rehearsal audience response. In the end, only 9 of the 50 initially submitted skits make the final cut to air on Saturday night. The show was originally broadcasted on December 6th 2008 and hosted by John Malkovich. Although a fascinating look into the process, this one needs extensive editing as much of it is repetitive and goes on way too long. A 45-60 minute concise version would have made it much more watchable.

______________________________________________

Thursday May 6, 2010-OPENING NIGHT

Glorious 80 degree weather greeted the crowd that nearly filled the Brown Center Auditorium ready & anxious to get the annual festival underway. And following a winter that brought a record 2 blizzards to the Baltimore area in 5 days, and dumped another record 80+ inches of snow only a scant 3 months ago, it was a welcome relief!

Jed Dietz opened the festival, and, after individually thanking his tireless staff, he turned the microphone over to Director of Programming, Eric Hatch & Programming Administrator, Scott Braid. They in turn introduced the film makers responsible for the shorts that have become an annual opening night tradition.

Getting the program underway was directors Andrew Blackwell's (who was present) & Andrew Goldman's short"Bikini Lighters:" (** 1/2- 9 minutes), a small drama filmed in Howard County outside of Baltimore, about 3 kids who shoplift a bag of lighter. When they head to the woods to explode them, they encounter a couple of older teens who complicates their plans.

Next was :"Voice on the Line (***-7 minutes). Director Kelly Sears is a collector of media artifacts and has created a interesting matted collage to present an environment of fear around the visuals.

Director Sol Friedman's :"Junko Shamisen:" (***-10 minutes). has combined "the aesthetic traditions of kabuki, contemporary manga illustration, and through the use of cell, stop-motion and computer animation" to produce mesmerizing visuals around this story of revenge in feudal Japan.

Next was director Mark Cummin's "Slow Pitch in Relief:" (*** 1/2-15 minutes), my personal favorite. Over the years, I have found that shorts produced by USC students are amazing in the quality of their story telling and production. Mark's contribution was no exception in this homage to films of the past. Set in 1957, a weary traveling salesman yearns to settle down and meets a mother with a young son that might be the answer to his prayers. However, to impress the son, he concocts a story about himself and then must find a way to wriggle out of his predicament when it appears he has been caught. Beautifully conceived.

Next was Kenneth Price's "The Late Mr. Mokun Williams:" (*** 1/2-6 minutes), a humorous concept that poses the question :"What if one of those spam letters we are inundated with were actually true?

Durier Ryan;'s "Monroe Street" (** 1/2-10 minutes) about a boy from Bed-Stuy Brooklyn who borrows a video cam from school and turns it on the inhabitants of his neighborhood.

Finally was "Loop Loop" (***-5 minutes), an interesting use of sound and over 1000 images moving forward and backward by director Patrick Bergeron. Mesmerizing in the way we view and process images.

Following a quick Q&A with the directors, the crowd was treated to post-screening grub in the lobby and most quickly spilled outside to enjoy the beautiful May evening-anticipating the excitement of the next 3 days.

The Brown Center at Maryland Institute College of Art

Maryland Film Festival Director, Jed Dietz

Director of Programming, Eric Hatch

Programming Administrator Scott Braid

The film makers (from l to r): Scott Blackwell, Mark Cummins,

Durier Ryan, Kenneth Price, MFF dir Jed Dietz, Patrick Bergeron,
Sol Friedman, & Kelly Sears

The after screening party

2 Documentaries worth seeing!

2010-05-06T09:19:00.036-04:00

Thursday April 29, 2010

Next up was a preview of the film that premiered, and was the hottest ticket, at this year's Sundance: "Exit Through the Gift Shop" (***-87 minutes). The film is shrouded in mystery, which only adds to its appeal. In fact, the credits say "Film by Banksy" but there are no director credits to be seen.

Bansky is the elusive British street graffiti artist whose works have mysteriously appeared all over the world. In fact, he is interviewed on screen in darkness and wearing a hoodie to keep from being identified from those who would love to prosecute the dude. But, curiously, this filmic work is not about Banksy but more about a strange Frenchman, Thierry Guetta, who goes about videotaping his life and, more recently, graffiti artists.

The film begins by giving background on this strange character who seems to be quite the entrepreneur-setting up a successful clothing shop in L.A. However, most of the film documents his main activity as a rogue videographer of these artists (such as Invader, Shepard Fairey, Neckface and Swoon) who stealthily display their work on buildings, walls, and any available outdoor structure visible to all who pass by. Banksy is the #1 guy, however, who is the person whom Thierry meets and videos to know end-constantly following him in the shadows while documenting his work.

When Banksy suggests that Thierry should edit the hundreds and hundreds of tapes, the results are disastrous. So, Banksy takes over the project and, supposedly, this is the film that is created. And when Banksy suggests that Thierry (or "Mr Brainwash" as he aptly names himself) put together an art show of his own, the results, in June of 2008 in L.A. are startling.

The film is ably narrated by actor Rhys Ifans and the editing is fast paced and never bores while raising a multitude of questions, not the least of which is: Is this really art? And, as a friend, who was personally appalled, pointed out after the screening: Is it morally acceptable to deface private property in the name of art? The bottom line for me, however, was that this was an entertaining, humorous take on a subject that was previously in the background but is now a little more front and center.

At the screening hosted by Maryland Film Festival Director Jed Dietz (gearing up for the 11th annual Maryland Film Festival on May 6th) was Bart Walker, a movie vet associated with award winning films, including last year's "PRECIOUS". He's one of the partners of Cinetic Media, (prominent in the independent film world) which controls the new company distributing this film. At the Q&A, Bart said he has never met Banksy (someone in the audience asked him if he was actually the allusive street artist), but he has met Thierry. Although there were rumors coming out of Sunday that Thierry is not a real person and that the film is a total hoax, he confirmed that the Frenchman, a couple of weeks ago, put on a wildly successful show in New York (complete with lines of people that snaked around the block). And, as the film pointed out, he did design the cover of Madonna's latest album.

Banksy??

Thierry Guetta

Graffiti art by Banksy

Director of Maryland Film Festival Jed Dietz (l) and Cinetic Media
partner Bart Walker lead the post-screening Q&A

Sunday May 2, 2010

Back-to-back docs with another great offering by The Cinema Sunday folks. Time to leave the world of graffiti artists to artists who are at the forefront of another genre: the world of underground films.

67 year old Bronx-born twin brothers George & Mike Kuchar have created over 200 films since they graduated from N.Y.'s High School of Industrial Arts. And if you ever meet anybody more eccentric then these guys, I'd like to know. You may not have heard their names before, but after you see "It Came from Kuchar" (****-86 minutes), written and directed by Jennifer M. Kroot, you'll know full well why these 2 guys are considered icons & influential by such notables film makers & celebrities as Atom Egoyan ("The Sweet Hereafter"), Buck Henry, Guy Maddin ("My Winnipeg") , Wayne Wang ("The Joy Luck Club"), Baltimore's own John Waters, and countless others.

This is a sweet, loving, hilarious doc that gives a terrific profile of 2 guys who refused to sell out to Hollywood. To this day they continue to make movies, both together & separately, using their own creativity for special effects while at the same time avoiding casting agents and agencies by employing their friends & acquaintances as actors.

In documentaries such as this, you have the usual time spent with talking heads. But what really makes these 86 minutes worth its weight in gold are the numerous clips presented from such Kuchar classics like “Corruption of the Damned,” “Sins of the Fleshapoids” & “Hold Me While I’m Naked (which was ranked 52nd in the Critics' Poll of the 100 best films of the 20th century, appearing originally in the January 4, 2000 edition of The Village Voice).

At first you'll think "Ed Wood", but after a while you'll realize that these guys know exactly what they're doing and don't give a hoot if there isn't a CGI frame within a universe of their film. In the end, you'll understand that there is 100% talent and commitment behind all the camp, sexual innuendo, cheesy science fiction/horror effects, and overdone melodrama they create in film after film.

George ended up in San Francisco in the early '70's and, as the film shows, was an accomplished cartoonist; working, in fact, with the great Robert Crumb & Art Spiegelman . And, cartoonist Bill Griffith confessed that his "Zippy the Pinhead" was based on George. You can see that talent translated on the screen, which resemble in many ways the outlandish & outrageous visuals they create on the page. And George still resided in San Fran working, since 1971, as a film department teacher at the San Francisco Art Institute where he is revered by his students-past and present. All the while, he continues to spool out those underground movies.

The best interviews on screens are with the brothers themselves-even though Mike, who never fixates on the camera or interviewer, appears, as someone suggested during the Q&A afterwards, to suffering from asperger's syndrome.

The brothers have been honored at the 2007 Telluride Film Festival and in 2000 here at the 2nd Maryland Film Festival where they appeared along with many of their works. It was therefore fitting that Jed Dietz do the introductory honors & lead the post-screening Q&A. To prepare up for what we were about to see, he shared a hilarious quote written by George in 1989 reminiscing about his Bronx childhood; which perfectly explains the minds of these brilliant artists who are as eccentric as the movies they make:

"Going to elementary school in the Bronx was a series of humiliations which featured Wagnerian women in an endless chorus of: ‘Keep your mouth shut,’ ‘Where’s your homework?’, and ‘Spit that gum out!’ The male teachers were much shorter than the females and whatever masculine apparatus they possessed was well concealed amid the folds of oversized trousers. After school my twin brother and I would escape to the cinema, fleeing from our classmates; urban urchins who belched up egg creams and clouds of nicotine. In the safety of the theater we’d sit through hour upon hour of Indian squaws being eaten alive by fire ants, debauched pagans coughing up blood as the temples of God crashed down on their intestines, and naked monstrosities made from rubber lumbering out of radiation-poisoned waters to claw the flesh off women who had just lost their virginity.

"When three hours were up we would leave the theater refreshed and elated, having seen a world molded by adults, a world we would eventually mature into. At home, supper simmered on the stove, smoking, bubbling, and making plopping sounds as blisters of nutritious gruel burst just like the volcanic lava in those motion pictures. Oh how I wanted to grow up real fast and be one of the adults who sacrificed half-naked natives to Krakatoa or dripped hot wax on a nude body that resembled Marie Antoinette."

The film has been placed in limited release since April 9th.

Mike (l) & George Kuchar

On the set with The Kuchars

Jed Dietz (Director of The Maryland Film Festival) leads the Q&A

"The Square" **** (116 minutes)

2010-05-02T18:55:00.024-04:00

Thursday April 22, 2010

Although not a Buddhist, I am somewhat a believer in Karma. That if you do something bad or good, somehow, someway, that act or deed will come back to either reward you or bite you in the posterior. I couldn't help thinking about that watching Australian director/screenwriter/actor/stuntman (more or that later) Nash Edgerton’s brilliantly conceived modern film noir “The Square”. The main protagonist, Ray, has so much coming to him that, watching it, I almost felt like I had to duck to get out of the way!

Off to another exiting event at the AFI Silver Theater to attend the advanced screening along with a Q&A with the director. The film is set in a small Australian town in New South Wales where we quickly observe married 40ish Ray (wonderfully played by virtual unknown actor David Roberts, who appeared in 1999’s “Me Myself I” with Rachel Griffiths) involved first in a kickback scheme as a housing supervisor in a housing development, and then having an affair with his married next door neighbor, young attractive Carla (newcomer Claire van der Boom).

Despite all of this, he seems like a pleasant enough bloke, but things start to get a tad more difficult when Carla discovers a hidden suitcase full of money in the attic, and gets the great idea that maybe Ray can take care of her seedy hubby Smithy (Anthony Hayes) so that both could live happily ever after.

In the vein of such noirs as “Blood Simple” & 1998’s great “A Simple Plan”, things (and I do mean lots and lots of things) start to go horribly wrong. I won’t spoil the fun in any way. Just be certain you don’t have to leave your seat for a minute because so much is happening that you’ll be lost trying to figure out the plot lines.

Screenwriters Joel Edgerton (Nash’s younger sibling) & Matthew Dabner have created a brilliant noir that moves at a deliberate but steady pace. And the plot is always plausible and even possible-despite the incredible amount of that bad karma that ensues.

Preceding the screening we were treated to Nash’s 2007 mischievous 9 minute short film “Spider” (which he co-wrote, directed, & starred) which will help to prepare you to no end for the upcoming shenanigans in “The Square”. Although the practice of showing shorts was once a staple in movie houses in the past, and is only carried on today by the brilliant folks over at Pixar, I wish that most films go back to presenting the short film as an appetizer to the main course, instead of the endless ads and/or trailers we are now subjected to. I’m certain that after you experience these 2 gems, you’ll be hankering for the same. And, if you plan to go, be sure to arrive on time because Nash revealed that “Spider” will be offered at every screening of “The Square” throughout the country. You don’t want to miss it!

Both films, released by Apparition, have begun a platform release around the country. Their first appearance is scheduled for the Baltimore/DC area May 7th at The Landmark. Be certain to look for it!

___________________________________________________

After the film, AFI film programmer Todd Hitchcock sat down with Nash for a quick interview followed by an informative Q&A. Here were some of the interesting facts revealed by the director:

-Nash began his career in the early 90’s as a stuntman and he still performs falling down stairs, getting hit by cars, getting shot, etc.-although, understandably, insurance regulations in place by the producers prevented him from participating in that capacity during the filming of “The Square”. He has nearly 100 stunt credits including “The Matrix”, “The Thin Red Line”, “Mission Impossible”, & “Star Wars.
-The film actually premiered 2 years ago and has been playing the festival circuit ever since. The founder of the newly created Apparition Films (which specializes in independents) actually saw it a couple of years ago and had it in mind all along to distribute it once he had his own company.
-Although he keeps hearing comparisons of the film to “Blood Simple”, the director admitted that he never saw the film so he didn't reference it in any way.
-Brother Joel was supposed to be at the screening but was caught in Norway while filming a prequel to “The Thing” during the Icelandic volcanic eruption and he couldn't get a flight out. Joel wanted to return to DC after spending 7 or 8 weeks there last year acting in “A Streetcar Named Desire” playing the part of Stanley.
-Nash spent some time talking about the fabulous casting. He said he was adamant that Ray be played by an unknown and that he look like an ordinary/ everyman guy. He didn't want the audience in any way to be influenced by someone they recognized. As Nash put it, David Roberts, “just had a look on his face that he’s in trouble”. He then went on to talk about, what he called, his best find when he cast the part of 16-year-old Lily, who plays the girlfriend of the hit man hired by Ray to kill Smithy. He said the part was originally written for someone in her late 20’s or early 30’s. Nash worked on a friend’s short film and in it was a 16 year old actress who was unknown at the time, Mia Wasikowska, who reminded him of Sissy Spacek in “Badlands”. It seemed perfect sense to him to instead cast the part as a teenager. Unfortunately, Mia’s career had taken off in between and she has since been cast in “Alice in Wonderland” and the current “The Kids are All Rights". Now that Mia was unavailable, Nash suggested Hanna Mangan Lawrence whom he had worked with at age 12 but would now have been the right age. Coincidentally, the same actress had just worked with Joel on a short film. As it turns out, Hanna gives an understated naive persona that perfectly fits the role making her a great choice.
-Although not usually revealed by film makers, when asked, Nash divulged that the film cost 2 million to make-not unusual for an Independent.
-Regarding his short films, Nash stated he practiced his chops making shorts-making them mainly for himself. As for why he is including “Spider” in the screenings, he humorously stated that the short lets people know “what’s wrong with me, what kind of sense of humor I have, let’s you know what you're in, for in a way, when the film starts, and makes you really ready for it-or not”.
-His current project is a film he and Joel are writing which is a road movie with, not surprisingly, a dark sense of humor.

Ray (David Roberts)

Carla (Claire van der Boom)

Smithy (Anthony Hayes)

AFI film programmer Todd Hitchcock (l) & director Nash Edgerton