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"The Bondage" distribution news

I have heard that Lions Gate has picked up "The Bondage" for distribution. Not only that, but word is that they plan to release it in theaters before the end of the year to qualify for Oscar season. That means within the next two months.
Those who have followed my reporting know that I saw the World Premiere of this film at the SXSW Film Festival in March and was blown away by it. My SXSW "Bondage" blog is located HERE.

Also, for the first time there is talk of a screening November 14, 15 or 16 possibly at the SoHo.

Of course, I don't speak for the film or Lions Gate and cannot confirm the above. But it's from a source that has never been wrong in the past.

I will post more information as I get it.

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October 23, 2006

Hamptons Film Festival -- My Picks

The 14th Hamptons International Film Festival has wrapped, and my first trip to this fun-filled event at the eastern end of Long Island left me with a great sense of accomplishment. Not only did the films I specifically chose to see turn out to be winners, but even those that I picked blindly simply to "fill gaps" in my schedule turned out to be gems as well. A schedule of 114 films to choose from is a lot, to be sure, but a much more selective group than the 352 screened at Toronto last month.

As I stated after I returned from Toronto, I attend film festivals to see indies, not Hollywood movies. These are "small" films, which often are low budget, though not necessarily, and play film festivals in hopes of getting "picked up" or "acquired" for distribution. These are films that aren't yet guaranteed to be shown in theaters. I can comment on them and root for their success. It gives a sense of investment and loyalty and passion. Of course, that's not the main reason I see them. It only describes what they are. I see them because, in my opinion, they are usually better than anything else out there. Indies are my passion. And unlike Toronto, there really weren't any "movies" on the schedule anyway. And I only saw one documentary at this festival versus the handful in Toronto.

The lineup was also quite heavy with foreign films, and unlike Toronto where about 25% of my list were foreign films, at the Hamptons exactly half were. Therefore, instead of separating those into 4 categories as I did in Toronto (Galas, Docs, Indies, and Foreign) I really only saw indies and foreign films. And when I added it all up, surprisingly, of the 5 best films I saw only one was English-speaking. The other 4 are foreign. So let's just put them all in one category: "films."

So here are, in my opinion, the best films which I saw at the 14th Hamptons International Film Festival:

Black Irish (US)
Northern Light (Netherlands)
1:1 (Denmark)
We Shall Overcome (Denmark)
The Red Cockatoo (Germany)

As it turned out, many others felt the same way. There were 4 categories in which the Golden Starfish was awarded: Narrative Feature, Documentary Feature, Short, and Films of Conflict & Resolution, which was the theme of the festival.

1:1 was given an Honorable Mention (2nd place) in the Films of Conflict and Resolution category. This was the first time this had ever been done -- in the past only one prize was awarded, but the judges were torn.

There were 3 Audience Awards, perhaps the most coveted since they are voted by the filmgoers: Narrative Feature, Documentary, and Short.

We Shall Overcome won the Audience Award for Narrative Feature which is, for all intents and purposes, "Best Picture" as voted by the public. It is also the #1 most seen film in Denmark in 2006 and won the coveted Golden Bear (Grand Prize) at the Berlin Film Festival early this year, which is arguably a better festival than Cannes for independent film. This makes it one of the world's best films of the year, if not the best.

Posted by phileysmiley at 09:08 PM | Comments (0) | TrackBack

Firms Defend MS Vista Security

While the two biggest security firms, Symantec and McAfee, have vigorously complained about the new security features in Windows Vista (see Vista Kernel – Security Companies Whine), Microsoft has a number of firms and individuals who are defending many of the changes to security in Windows Vista.

We reported earlier this week how a previous rootkit exploit in Windows Vista had been addressed (see Vista Rootkit Exploit Blocked, PatchGuard Explained), and now Microsoft seems to have pleased at least some security experts. While Symantec and McAfee are demanding access to the kernel in order to get their products to work on Vista x64, firms like Sophos and Deepnet have found working solutions by using Microsoft’s security guidelines.

Sophos has stated that its antivirus products will include full protection against malware threats on Vista, and recently the firm commented regarding the current whining by the big two by saying "Symantec and McAfee have recently made high-profile complaints that they are being locked out of the Vista kernel. They argue that this is preventing them from continuing to develop proactive protection against new malware, sometimes referred to as 'host intrusion prevention' or 'HIPS'. CTO of Sophos, Richard Jacobs explained, We've taken a different approach, by focusing on catching bad behaviour before it has a chance to occur. Additionally, we are building our technology by making use of supported Microsoft interfaces rather than by trying to subvert them. That's why we're ready for 64bit Vista, and others aren't"

A representative from Deepnet Security was recently quoted as saying We don’t touch the kernel but we've always had full cooperation from Microsoft regarding API’s. It appears as if Symantec and McAfee may well be driving customers not towards Microsoft, but rather their own competition, who in many eyes already have a superior product.

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Pictures from the Golden Starfish Awards at the Hamptons

One of the highlights of this year's Hamptons Film Festival was the "Rising Stars" program and its focus on emerging talent. According to festival organizers, "The Rising Stars program is the first major U.S. film festival program to focus on the generous and creative expression that emerging actors bring to the production of independent film."

These "Rising Stars" were guests of honor at a succession of luncheons, parties, receptions, roundtables, and personal appearances. They included Carmen Chaplin (Day on Fire), Matt Davis (Mentor), Dagmara Dominczyk (Mentor), Noah Fleiss (Day on Fire), Mido Hamada (The Situation), Sandra Hueller (Requiem), Robert Altman, and Ellen Burstyn.

Among other honors, this group was chosen to be presenters at the Golden Starfish Awards, Saturday night at Guild Hall. This star-studded event was only open to filmmakers and their "posses," as characterized by host Bob Balaban. I had the pleasure of meeting and chatting with them at several of the above events, and was seated next to Noah Fleiss at the Awards ceremony. Noah couldn't have been a nicer guy -- gracious, down-to-earth, and lighthearted. Here are a couple of pictures from the show.

Click the thumbnails to enlarge pictures

MC Bob Balaban, Noah Fleiss and me (grainy indie look and normal)

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"Black Irish"

I attended the World Premiere of "Black Irish" at the Hamptons International Film Festival. Initially, the blurb in the program guide suggested a fairly formulaic coming-of-age drama. But looks can be deceiving, and the synopsis just barely scratches the surface of what is, in reality, one of the most complex, rich, and heartwarming stories I've seen in quite some time. Remember those drawings in art class? The ones where the page is covered with black crayon and as you scrape off the outer layer you find multicolored wonders underneath? That's the most apt description that can be applied to "Black Irish." Because, as you'll discover, nothing is at it seems. And that is the singular achievement of Brad Gann, directing from his own script, with an ensemble cast that lends such passion to the material that I left the theater shaking my head in awe.

Webster's defines "hero" as, "one that shows great courage, an object of extreme admiration and devotion." It's hard to grow up without one, especially as a teenager in hardscrabble South Boston. Often the father possesses the traits a boy needs to survive those difficult years and prepare for the world he's about to enter. An older brother will usually suffice in cases where Dad is absent or unable or unwilling to fit the bill. Many coming-of-age stories place a teacher or clergyman in this position. But someone always appears, the boy grows up, he moves on, and they all live happily ever after. But what if all fail or don't show up to the table? "Black Irish" poses that question, and more. So much more.

Meet the McKays. Brendan Gleeson is Desmond, the father who doesn't quite qualify as hero due to years of heavy drinking and wallowing in self-pity, a legend in his own mind but not to his family. Tom Guiry is Terry, the older brother who's headed down a path of violence and self-destruction not unlike his father, giving up the hero role in the process. Sister Kathleen (Emily Van Camp), pregnant, wants little to do with the chaos around her. Amidst all this, Melissa Leo is Margaret, the mother who tries to hold it all together at the risk of losing her own somewhat sane self along the way. And our protagonist, 16 year-old Cole, is stunningly portrayed by Michael Angarano, as the boy who yearns for that moral compass that he needs to help guide the way into adulthood.

"Black Irish" takes us along on young Cole's search, and as we emotionally invest ourselves in his quest, we are at turns confused and occasionally amused, as is he, but mostly we hurt. To say that we feel his pain does not do justice to a story that is, as its heart, real life. And this is the true surprise of this film. These characters are far from one dimensional, the reality far from the cliched impression even the paragraph above might suggest. There were audible gasps at the numerous twists and turns that Gann has infused into this shockingly brilliant script, no less than 12 years in the making and 30 rewrites along the way, as he indicated in the Q&A following the screening. And just when you think you know these people, just as you relax when the film seems to enter territory in which we feel comfortable, something happens. We discover that those we thought were cold and distant have a heart, a vulnerability and tenderness conveyed by Gleeson and Guiry that left me dumbfounded. Those we thought were soft and sweet, innocent and vulnerable, have a soft, fuzzy animal inside ready to turn vicious when backed into a corner, as Leo, VanCamp, and Angarano all exhibit along the way.

In the Q&A, Gann mentioned VanCamp's long-running portrayal of Amy on TV's "Everwood" as the inspiration for her being cast in this role. Fans will not be disappointed, and those unfamiliar with this actor's ability to bring nuance to what could otherwise be a stock performance will be wowed. Guiry lends the film some of the most heart wrenching surprises, as his ability to turn moods on a dime is unparalleled. Leo carves out new territory, again, in a role that could have been tired and worn in the hands of a lesser actor. She truly shines. And Gleeson does a star turn in a magnificent performance that, and I rarely use this term, is Oscar-worthy. Finally, Angarano is perfectly cast in the role of the quintessential underdog, in what I believe is the performance of his career. No young actor today has the ability to say so much with his eyes and facial expressions, and as the boy who becomes father to the man he sets a new standard for others who follow to live up to.

"Black Irish" carves a new benchmark in the coming-of-age genre. Because it is so much more than that. The audience cheered at the end of the screening here. It was a response I've not heard at any of the 70+ films I've seen at 7 festivals this year. It is deserving of your time, and will truly touch your heart as it did mine.

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October 20, 2006

Video of "Black Irish" World Premiere Q&A

Friday night I attended the World Premiere of "Black Irish." The venue where it was held was not actually a movie theater. It's called Guild Hall, and it's a museum auditorium with a screen. There is nothing like a World Premiere, since in most cases the cast and crew are sitting in the theater with you, often also seeing it for the very first time. It's a bit surreal, but there's nothing like it, and that is part of what makes film festivals so exciting. In addition to writer/director Brad Gann, Melissa Leo was there (she plays the mother of the McKay family). Kelly Crean and Todd Harris, the two main producers, were also present. Plus the editor and about a half dozen other producers. There are close to 20 producers, assistant producers, and executive producers, and many were there. They took up about 2 rows. After the film, Brad, Melissa, Kelly, and Todd went up to do the Q&A. I was able to film it, and you can watch it here now. Keep in mind that it is not the best quality, of course, and it is difficult to hear the questions. But you can basically figure out what was asked by the answers given.

You can watch the video below by clicking the play arrow, or you can view a much larger sized image by going HERE.

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Pictures of "Black Irish" writer/director Brad Gann

"Black Irish" is having its World Premiere here tomorrow night. The film stars Michael Angarano, Brendan Gleeson, Tom Guiry, Melissa Leo, Emily VanCamp, and Michael Rispoli. Shot in sweltering Boston in the summer of 2005, the blurb for the film says, "This tale chronicles the trials and tribulations of Cole McKay (Angarano), 15, an obedient son who yearns for the attentions of his emotionally remote father (Gleeson). Cole is by turns nurtured and abandoned by the rest of his family; his sister Kathleen (VanCamp), older derelict brother Jack (Guiry), and rigid mother Margaret (Leo). As the tale unfolds each family member undergoes a crisis of their own, their individual arcs interweaving until a heart-wrenching climax."

I'll be attending the screening tomorrow, of course, but tonight I had the pleasure of meeting and chatting with writer/director/producer Brad Gann.

Click the thumbnails to enlarge pictures

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Day One -- quick summary

What an amazing first day this was here at the Hamptons Film Festival. I attended four films in a row, including a comedy shorts program and two foreign films, one a U.S. Premiere and the other an East Coast Premiere. I attended two parties, one at the Wolffer Estate Vineyard and the other at the beachfront home of Judy Licht. No doubt you'll be seeing pictures of that one at all the major paparazzi sites and reading about it in the gossip columns. Many of the Festival Board Members were there, a number of whom are wealthy socialites and their equally wealthy husbands, multibillionaire entertainment industry executives, matrons and patrons of the arts, and, of course, movie stars. Filmmakers, actors, producers, publicists -- all made their way down the narrow winding rustic road to the palatial abode. If you've ever heard of "Hamptons parties," well, this was one of the biggest and best. It was also quite the hot ticket, and invitations were few and far between.

This is just a quick update, since it's late and I need to turn in momentarily. I will, as soon as time allows, fill in some of the details surrounding all the above events. I'll also post pictures of some of the folks I met, including John Waters, New Line Cinema co-Chairman and co-CEO Michael Lynne, and legendary actor Harris Yulin, just to name a few. I was also particularly pleased to have chance to chat at length with Brad Gann, writer of "Invincible" and director of "Black Irish," which is having its World Premiere here tomorrow night.

Most importantly, of course, you can expect my comments on the films -- after all, that's really why I'm here.

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October 19, 2006

Vista Kernel - Security Companies Whine

With improved security being one of the biggest goals for Windows, Microsoft developed PatchGuard to protect the operating system kernel in it's 64 bit edition of Windows Vista. PatchGuard was designed to provide another strong layer of security for it's operating system, but now Symantec and Mcafee, two of the larger security vendors, have complained that it isn't fair because they want access to the kernel for their own security products, and that Microsoft is hurting the competition and creating and unfair advantage for its own products.

It seems as if these companies really want a less secure operating system, so that they will be able to sell their products. As both Symantec and Mcafee have had issues in the past with their own products being compromised, this means that Windows Vista's security will become dependent on the integrity of these third party solutions. Instead of working with Microsoft to find a better way to ensure security for Windows, it seems it is easier for these companies to whine to the European Commision and use the word 'antitrust' in order for them to get what they want.

Many power users of Windows refuse to use Symantec or Mcafee products because of their tendency to be resource hogs and the fact that they seem to cause conflicts with other Windows programs, yet these two companies certainly seem to have the corner on the security market when it comes to their products being preinstalled by so many OEM vendors. As a result, it is becoming more commonplace that many independent computer service companies will routinely uninstall Symantec and Mcafee products as a matter of course when setting up new systems for their customers. Maybe if they made a better product to begin with, they wouldn't feel so threatened by Microsoft!

Many of the other complaints leveled against Microsoft lately have been groundless, such as saying that Microsoft is cutting out third party vendors by promoting their own security products in Vista's new Welcome Center - this simply is not true. It has been well known for quite a while that OEM's will have the ability to customize parts of the Welcome Center and promote any third party vendors that they want to. Yet accusations such as these are just more fuel to the 'antitrust' fire which has been fanned by the media.

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October 18, 2006

Live from the Hamptons International Film Festival

I had only a precious few days to unpack and take a breath following ten days at the 2006 Toronto International Film Festival when I headed up to New York for the Woodstock Film Festival this past weekend. After a stop for a Rivertown Film Society screening in Nyack, New York on the way home, I arrived back in Philly on Monday. But this time I didn't even bother to unpack, for it's Wednesday the 18th of October and time for the kickoff of the 2006 Hamptons International Film Festival. We are in East Hampton, at the far eastern end of Long Island, New York.

It was a pleasant trip out. Just about four hours, and unlike some previous festivals I managed to arrive without getting a speeding ticket. Once I reached Suffolk County on the famed Long Island Expressway, there was very little traffic and it was absolutely beautiful. The road heads through the Pine Barrens, a vast landscape of nothing but wilderness. It certainly rivals the stunning setting of the Catskill Mountains where I spent last weekend. I arrived at my hotel to find an empty parking lot. Actually, I couldn't find the lot at first because there were no cars in it. I'm the only one here. There are just ten units, and the office wasn't even open. They left the room key in an envelope by the door. The grounds are huge with lots of greenery, and I have a wooden deck overlooking a beautiful big tree-lined lawn. The room is quaint, with ceilings fan and skylights like a country cottage (which is basically what it is). Best of all, I have high speed internet, which is really all I need. There's a cat, too, but I haven't seen it in awhile.

I headed into town to register. I'm six miles from Main Street in East Hampton where the Press Office, Box Office, United Artists 6 Theater (where most of the films are), and Guild Hall (where some other films will screen), and they are all within walking distance of each other. So once I get into town I can just park and walk. Some events are in nearby towns like Montauk, Southampton, and Sag Harbor, and there is a free jitney that takes you there. So transportation should be a breeze.

Registration was like organized chaos. I did get everything I needed: badge, press kit, tickets, program guide, etc. but I had to go back and forth from one place to another and back again and deal with about a dozen people, albeit helpful and friendly volunteers all, before I had everything I was supposed to get. Fortunately, though, it wasn't too crowded since I think most people have yet to arrive.

So tomorrow is Day One. I'm seeing four films back-to-back, all in the same multiplex, so I'll basically be in one theater from about 12 noon to 9 PM. Of course, I'll be posting my comments about the films, as well as pictures of any of the cast and crew who make appearances. Then there is a party from 9-11 PM: "Board Member Judy Licht will be holding a reception in her Beachfront home for new members of the HIFF and celebrity guests." I'm invited as press, but I'm also one of those "new members" so I got invited as a guest. Maybe I'll have to interview myself. Hopefully the "celebrity guests" will be of more interest.

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October 17, 2006

"Swedish Auto"

I attended the East Coast premiere of "Swedish Auto" at the Woodstock Film Festival. I knew precious little about this film going in, and that's often best, because it means that one can be surprised but never disappointed. And what a sweet surprise this was. Carter (Lukas Haas) spends day after monotonous day as a mechanic in a local Swedish auto repair shop. Every 24 hours are the same, as are the faces which he sees from morning until night. Leroy (Lee Weaver) and his son Bobby (Chris Williams) run the shop. Darla (January Jones) serves up lunch at the local sandwich shop. And there's Ann (Brianne Davis), the gifted young violinist whom Carter stalks nightly. Hmm...was that a double take on your part? Well, perhaps "stalks" is a bit harsh, but there's really no other word for it. After all, Carter lives on the other side of the tracks (literally -- he has to step over them to get past his door) and fair maidens don't often cross his path. Meanwhile, Darla is secretly watching him in his nightly travels. This voyeuristic setup is the stuff of which mysteries are made. But this is far from it. Love triangle? Not quite. For this is truly an original film that has indie written all over it, in both style and substance, and has elements of drama and comedy and wonder and twists and turns galore. In short, life itself.

If you love indies you'll smile as the opening credits roll. Shot in 1.85:1, you know this will be a character-driven film all the way. No widescreen pretensions here. Using mostly natural lighting and a grainy film stock, "Swedish Auto" has the look of a home movie, in only the most complimentary sense. The characters are always softly lit to allow the acting to shine through. The sweet violin-based score is just sparse enough, yet always just appropriate enough, to know when to stay out of the way. Dialogue is kept to a minimum, especially in the early character development. Those three elements force a focus on these young folks' faces, and so much of this script is told through Haas and Jones' incredibly expressive eyes. What a casting coup all around.

As the characters become voyeurs, so do we, with the occasional handheld shot. But this is a simple story at its heart, and needs no hi-tech, no special effects or whiz bang edits, no provocative camera angles so favored by many indie filmmakers. The Virginia countryside that serves as the setting is breathtaking, while the gritty, unhurried blue collar town in which the protagonists live and work reflects the unhurried nature of the film itself.

It's hard to go wrong with these brilliant actors, in such carefully-chosen locations, with such a nuanced, emotional score, and Derek Sieg's story brings it all together. In the Q&A after the film, Sieg revealed that Jones was originally under consideration for Ann, the blonde of Carter's desires. But as Darla she so at ease in the skin of the lost, lonely girl who just may need an equally lost, lonely boy to show her what love is. January Jones is someone to watch for. A true veteran just barely out of his 20's, Haas is well-known to most film-goers. From his stunning performance at the tender age of 8 in "Witness" to his gritty portrayal of Buzz in the upcoming "Alpha Dog" (I saw it at Sundance and it's not to be missed) Haas has firmly planted his flag on the landscape of American cinema and his brilliant performance here shouldn't surprise those who've seen his work. If you haven't, he will hook you and reel you in. Derek Sieg's "Swedish Auto" is a sweet little gem, a delightful surprise that warmed my heart as it will yours.

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Pictures from "Swedish Auto" East Coast premiere

Writer/Director Derek Sieg introduced the film and returned for a fun Q&A afterward along with producer Tyler Davidson and composer Josh Robertson. The audience was taken by some of the symbolism in the film ("Is there something sexual about the use of the Saab?") as well as the pieces of the plot puzzle which are left to the viewer's imagination.

Click the thumbnails to enlarge pictures

Writer/director Derek Sieg and producer Tyler Davidson

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Pictures of Woodstock -- between films

The Woodstock Film Festival was held in one of the most beautiful settings imaginable. Fortunately, I did have a little bit of time to photograph some of the wonders of the town and its environs. Situated in the heart of New York's Catskill Mountains, one can often see them rising in the distance. Most of the venues within the town of Woodstock were converted churches or other public buildings. There were no "movie theaters" in the traditional sense. For example, Town Hall was one of the venues. It's normally where you'd take care of municipal affairs. The citizens take pride in their "hippie" heritage, and many shops along the main street hawk tie-dye shirts and similar merchandise. Of course, being October, bright orange pumpkins abound. Bearsville Theater was outside of town and is normally used for concerts. It was the most modern and beautiful venue of the festival. I wished I had more time to sightsee, but I can definitely see myself returning for some rest and relaxation.

Click the thumbnails to enlarge pictures

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October 16, 2006

"Alpha Dog"

This is a repost of a review I wrote earlier this year on a previous blog. It is actually a much shorter version of what was originally over 2000 words.

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I attended the World Premiere of "Alpha Dog" at the Sundance Film Festival. This is a tough review to write because I certainly don't want to spoil it. Someone said, "The film was amazing, heart wrenching towards the end, and very very well done," I agree with that 100%. Especially the heart wrenching description. I'll say this right now. Nothing, NOTHING prepares you for the climax of the film. And what's absolutely amazing is that, being based on a true story, we already know going in how it ends. Can you imagine what an amazing feat of filmmaking that is? To make a movie, where everyone (well, most people who read about it) KNOW the ending going in, and yet walk away feeling so emotionally devastated and drained that it's hard to talk about afterwards? I have tears in my eyes as I am writing this.

I was blown away. Absolutely blown away. Even knowing all that I knew, the story, the actors, the characters, even knowing all that, the emotional wave that takes over and propels the film through its last act is just beyond any words. I can truly say that I will remember the ending of this film for the rest of my life. Throw away everything you THINK this film is about. Because it is not. I had absolutely no idea what was going to happen to me emotionally and I was absolutely devastated. This film MUST be seen.

My biggest fear is that people won't go to see this film because of preconceived notions about what it involves. The other is that they won't stay with it long enough to see the real story develop. In my opinion, this is not about drug dealers or white suburban kids acting tough or sex or drugs or a gang that lived lives of excessive behavior. This is not an R-rated Afterschool Special on the dangers of spoiled youth running wild. Or a bunch of kids who went bad. Yes, all these elements are there and play a part. But anyone who thinks that's the essence of the story, and doesn't give it a chance, will miss out on what I believe is one of the most moving and powerful sequences ever captured on film.

I'll tell you right now that I was not expecting this film to turn out the way it did. I don't want to give too much away, but director Nick Cassavetes has described it as an ensemble cast, and I agree somewhat. Nobody is really "the star" of the film. If we break it down into 3 acts, here is how I would describe it, if I absolutely had to answer that question.

ACT 1: Emile Hirsch -- the story centers on him, to some extent. He "maybe" has the most lines and screen time but don't hold me to that.

ACT 2: Justin Timberlake -- the story moves to his character, I believe. I was actually surprised at how his role begins to grow as Emile's "diminishes." Although remember, these are just very rough opinions on my part.

ACT 3: And THIS was the big surprise for me -- Anton Yelchin. At one point I actually heard myself saying in my head that he is the star of this movie, if there is one.

I could go on...Ben Foster, Shawn Hatosy, Chris Marquette, Sharon Stone, Amanda Seyfried, Dominique Swain, Olivia Wilde, Bruce Willis...I put them in alphabetical order because it wouldn't be fair to rank them. All turn in shockingly powerful performances. But the story is not about Emile's character. It's not about Justin's character. It is about Anton's character. That was the biggest surprise for me and I was not prepared for how emotional the film would get towards the end. As director Nick Cassavetes himself said in the Q&A after the screening, Anton is "the heart and soul of the film."

Just a warning...it is very hard to watch in parts. The bottom line is this: the first act of the film sets the scene for what these guys' lives were like. The language, the violence, the drugs, the sex, they were all a part of their lifestyle and it is not sugarcoated. But more importantly, it is an assault on the senses because without it, the rest of the film -- and the emotional impact it has -- wouldn't be as believable. You have to experience how sick these guys' behavior was on a daily basis to appreciate and understand how sick were the actions they take later in the film. And it's the actions that they take later in the film that are at the heart of what the movie is about.

The first half of the film is hard to sit through. But the second half makes it all worth it. You cannot get the goose bumps and feel the emotions and the heartbreak of their crime without knowing how depraved these guys were. It is a film with one of those moments -- about halfway through the film, just when you think you know what it's about, just when maybe you're starting to wonder if it's really going to be worth watching, that feeling begins to come over you. That feeling that says, "ohhh wait a minute. NOW I see what's going on here." Then the tears start to well up as you begin to realize what this is really all about.

Once the real story starts to unfold, you forget about the language and the violence and the drugs and the sex. Because now you have now entered their world, and the emotional impact of what comes later is just heart wrenching. This is one of those rare films that deserve the label "important." It is polarizing, to be sure. It's not everyone's cup of tea. But if you keep an open mind and are willing to suspend disbelief for a couple of hours (although, ironically, this is based on a true story) you will be moved, you will be affected, and you will be changed. "Alpha Dog" will do that, and that's a rare feat of filmmaking.

Posted by phileysmiley at 11:13 PM | Comments (0) | TrackBack

"Fierce People"

I attended a screening of "Fierce People" at the 2006 Woodstock Film Festival. I hesitate to label it a "premiere" of any sort, since it was shot in the spring of 2004 and had its world premiere at Tribeca in 2005. It played several festivals that year. Release seemed imminent, then it disappeared. Poof. Vanished. Or so it appeared to the film-going public. Rumors of a theatrical or DVD release have popped up now and then, but all proved unfounded. Then this screening was announced. Perhaps one can call it a "re-premiere?" It certainly felt as if I was witness to a buried treasure. And what a treasure it was.

I suppose one could characterize "Fierce People" as a coming-of-age drama. But it also has elements of comedy and tragedy, as well as mystery. And a bit of farce thrown in. In short, real life. That makes it hard to pigeonhole, which puts it more into the category of an indie as opposed to a Hollywood movie. But its high production values, big budget feel, and star caliber cast seem at odds with the indie label. So let's call it a hybrid. And, perhaps, that's why it's been "lost." It defies categorization.

Meet Finn Earl (Anton Yelchin), 15, whose father is absent. In fact, Finn has never known him. But he sees him and hears him via the collection of home movies sent from South America. Dad is a renowned anthropologist, and has made a name for himself by setting up shop with the Yanomani, the tribe of "Fierce People" who live to kill and, well, procreate. All their activities are built around those two "tasks," and Finn is captivated by it. Mom Liz (Diane Lane) is also somewhat absent. Although present physically, she is lost in a world of cocaine and alcohol. So Finn becomes an adult in his little solitary world with his reels of film.

One summer, Mom decides to drag Finn along with her into the wilds of New Jersey. A massage therapist, Mom has catered to a wealthy client, Ogden C. Osborne (Donald Sutherland, in a tour de force performance) and he has invited her for an extended house call at his palatial estate. Osborne's "tribe" includes an assortment of eccentric rich kids, servants, and village idiots among whom Finn will find himself part of his own anthropological study. Will his experience with Dad's films help him survive life as a visitor to this tribe? Will he be accepted? Or will he be seen as an outsider, concurrently struggling with his own identity as an adolescent? Such is the stuff of fairy tales, and I suppose this would be if not for the dark underbelly which director Griffin Dunne and writer Dirk Wittenborn have infused into this magnificent story.

With Anton Yelchin's voiceover, intercutting pieces of Dad's home movies, Finn must learn to go back to being the teenager he never really had a chance to be, stop being the parent to his Mom, allow newly-sober Mom to be parent to him, and learn responsibility on the way to adulthood the way it should have taken place all along. Yet he needs to make this transformation in a dangerous, dark world where playing with fire is folly to this fractured family.

This is, first and foremost, a story-driven film and Griffin Dunne emphasized as much in the intro to the film. He bought the rights to Wittenborn's novel even as it was being written, and Wittenborn's own screenplay comes to life in the hands of the masterful Dunne in a way that's a work of wonder.

This is also largely a character-driven film, and Sutherland has never been better. His star turn as Osborne stunned those around me and will likely leave you amazed as well. Diane Lane's character ultimately exhibits so many personalities that it's hard to imagine another actor pulling it off so well. She is breathtaking. But more than anything, "Fierce People" is Anton Yelchin's film. He has a long resume as a child actor but preciously little as a teen. Other than the little-known "House of D" (also a gem), he is best known as Byrd on TV's "Huff." In January, he will be seen in "Alpha Dog" (also sitting on the shelf since 2004, a film I saw at Sundance this year and in which he is the "heart and soul"). His performance here goes far beyond what one would expect from someone so young, and is nothing short of spectacular.

This complex, quirky film has remained out of sight long enough. "Fierce People" is a treasure filled with light and shadow, comedy and tragedy, joy and pathos, but mostly wonder.

NOTE: Following the screening, I learned that "Fierce People" will be released in theaters this coming February.

Posted by phileysmiley at 01:42 PM | Comments (0) | TrackBack

October 15, 2006

Windows Vista - An Inside View

Last week I had the pleasure of visiting the Microsoft Corporate Campus in Redmond Washington as part of the Windows Vista Tech Beta Testers Tour (see PROnetworks At The Windows Vista Beta Tour.) The tour itself was incredible, and although all the participants had to sign strict NDA's concerning the technology we were shown, I can say without a doubt that when Vista is released, it will have some suprises in store, including some things not seen in the Beta and RC releases. During the tour we met with product teams for both Windows Vista and Longhorn Server, and got a great behind the scenes look at the development of Windows Vista.

The group which was invited to Microsoft for this special tour included beta testers from all over the US, Canada, as well as a few people who flew all the way from the U.K. There were quite a lot of interesting stories regarding experiences with beta testing Vista, and I must say that the Vista product teams listened closely to all of feedback and provided answers to all the questions we asked. Although the tour was only for 2 days, we were there from 8am to 7pm each day, and we met with an incredible number of Microsoft staff who were all extremely appreciative for all the hard work done by the beta testers.

Our welcoming keynote was delivered by none other than Jim Allchin, who is one of Microsoft's senior management staff. Jim impressed everyone there with his easy going manner, and his keynote was more of a discussion with all of us where he both answered our questions and asked our opinions. After the keynote, we were split into 2 groups and then treated to presentations from various Windows Vista development teams. These presentations were given by program managers, developers, and support personnel, and included in-depth looks at some of the new features which will be included in Windows Vista. At each presentation, our questions were answered by the development teams, who all took a lot of interest in our suggestions and comments.

At the end of the tour, Microsoft hosted a special reception for the attendees which included a fantastic spread of food and beverages (for anyone wondering, Windows Vista soda is actually flavored sparkling water), and inside the reception were numerous tables hosted by development teams and Microsoft partners whom we could talk one-on-one with. We were all given special Microsoft bags and each product group had some great swag for us - everything from t-shirts to media center remote controls. This tour provided not only a wealth of inside information, but allowed me to meet and make friends with fellow beta testers and Microsoft employees. One of the most important things that I learned from this experience is that our feedback does matter, and many of the features of Windows Vista, and the changes made throughout the development cycle, are a direct result of the bug reporting and suggestions given by beta testers.

Posted by jrfree1 at 08:32 AM | Comments (0) | TrackBack

October 14, 2006

Pictures from "Fierce People" screening

Here I am with "Fierce People" director Griffin Dunne. We got together for some good conversation prior to his introduction of the screening.

He was extremely gracious and friendly. He really is a legend, having both acted and directed many feature films in his long career.

See more about the film in the previous post.

Click the thumbnails to enlarge pictures

Posted by phileysmiley at 10:49 PM | Comments (0) | TrackBack

"Fierce People" EXCLUSIVE Release News

I have some exciting and EXCLUSIVE news. I just attended a screening of "Fierce People" here at the Woodstock Film Festival. The theater was packed with many who have been waiting quite awhile to see this "lost" film. Director Griffin Dunne was in attendance and introduced it.

I will be writing more about it and posting my comments about the film, but first...some exciting news:

"Fierce People" WILL be released in February. Once thought to be coming out, later disappearing, followed by rumors of a possible DVD release, then nothing, it has been a frustrating and confusing time for those who have wanted to see this film. It was actually shot in the Spring of 2004. It was originally supposed to be released by the end of that year. It played a few film festivals in 2005 but was not released. Rumors that it would go straight to DVD began to circulate. It is, in fact, available on DVD overseas. But there was no word on either a theatrical release or DVD release here in the States.

Star Anton Yelchin was 15 at the time and is now 17. He will be almost 18 by the time of the film's release. Ironically, he also stars in "Alpha Dog," which was shot towards the end of 2004 and is also about to be released in January. For his career, it can only be a good thing for one film to come out right after the other.

So mark your calendars...no specific date yet,