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Dance of the Dead was my #1 Top Pick from this year's SXSW Film Festival. We attended the World Premiere on March 9 and have been covering the progress of the film ever since. I've described Dance of the Dead as a groundbreaking combination of high school mayhem and zombies -- think John Hughes meets John Carpenter meets George Romero.
Bleiberg Entertainment, whose Ehud Bleiberg produced the film along with writer/director Gregg Bishop through Compound B, brought the film to the Marche du Film (Cannes Film Market) in hopes of getting distribution. It didn't take long. Several major players teamed up for the deal. First, Ghost House Pictures, led by a team including legendary filmmaker Sam Raimi, joined with Grindstone, a leader in direct-to-video, to form Ghost House Underground. This new venture then teamed up with indie king Lionsgate to distribute 12-20 genre titles annually through their home entertainment division. The inaugural slate of films, scheduled to be released in North America this fall, will feature Bishop's Dance of the Dead.
"Between Sam Raimi and Rob Tapert at Ghost House, the experience of Barry and Stan at Grindstone, and Lionsgate, who is the king of genre marketing and distribution...Dance of the Dead has found the perfect home," said director Gregg Bishop. "I am thrilled to be working with them both and I know they will do a fantastic job bringing the movie to audiences everywhere."
"It will be a major US DVD release through Lionsgate and Ghost House," according to production designer James Jarrett. When asked if he was disappointed that the film won't make it to movie houses, Jarrett noted, "I am just glad we have a release and with a name like Sam Raimi attached, that poses a very bright future indeed! I am quite satisfied with this news personally. It is encouraging based on who noticed and that it will be released as part of a fall lineup."
I can only echo their remarks. This is a film that has so much to like it's bound to cross genres and please audiences of all types. Earlier on this blog you can find my review, pictures from the Q&A following the screening, a video interview with lead actor Jared Kusnitz, and an interview with Kusnitz and co-star Greyson Chadwick.
Look for Dance of the Dead to hit store shelves this October.
Posted by phileysmiley at 03:31 PM | Comments (0) | TrackBack
Somers Town is one of the sweetest little films of any festival this year. Shane Meadows (This Is England), directing from a strikingly authentic Paul Fraser script, has crafted a winner with so much to like that it's hard to know where to begin.
The film takes its name from a town just outside London where the landscape is dominated by monstrous natural gas tanks and the construction of a station for a Channel Tunnel rail link. Marek (Piotr Jagiello) lives in the shadow of the humongous structure and spends his days shooting photographs of the area and trying to stay occupied as his father toils away at the construction site. Like many in the town, they are Polish immigrants who came looking for work and stayed. One day Tomo (Thomas Turgoose) appears out of nowhere, a boy Marek's age who is little more than a street urchin from the East Midlands to the locals. A fortuitous meeting between the two boys forges an unlikely friendship. Tomo is a tough punk (or thinks he is) and Marek is introspective and sensitive -- it's the basis for a character arc which is classic in the coming-of-age genre. We know where they're going -- how they get there is at the heart of Somers Town.
The outstanding supporting cast includes a sweetly understated Elisa Lasowski as Maria, the local girl who they both fall for, and the hilarious Perry Benson as Graham, who provides much of the film's comic relief (not that it needs any more than the boys already provide) as an eccentric neighbor who is literally indescribable. But it's the onscreen chemistry between the boys which makes Somers Town the gem that it is. In a wise casting move, Turgoose and Jagiello, both 15, are the same age as their characters. In one scene where the two party a little too hearty, Meadows simply directed them to have fun and let the cameras roll. The result is one of the best scenes in any film I saw here this year.
Somers Town surprises at every turn. The film is shot completely in black and white save for the final sequence. It's a rarely used technique which, although unfamiliar at first, quickly falls away as the viewer focuses on the budding relationship between Tomo and Marek. After awhile we don't even notice the absence of color, for the story itself provides a rainbow of feelings. This device also makes lighting somewhat irrelevant, which allows a focus more on the characters rather than the look of the film. The soundtrack is simply a perfect match, with a playlist of tender acoustic songs that seems tailor-made for the narrative.
Everything about this film says "gentle and tender," from the friendship between the two boys -- what could almost be described as a platonic love story, to the longing the two have for Maria -- the object of affection who is always just out of reach, if only by age and maturity, and even to the father's tentative but loving relationship to his son -- in stark contrast to typical American films where the two would be constantly butting heads.
More than anything, though, there is no doubt that Turgoose and Jagiello carry this film on their young shoulders. Never have two young teens needed each other at this point in their lives as much as Tomo and Marek, and their relationship is so incredibly funny and touching that it had audiences in stitches and had me smiling from ear to ear from start to finish. It's no wonder that Turgoose and Jagiello each received the jury award for Best Actor here at the 2008 Tribeca Film Festival, where Somers Town had its North American Premiere. Somers Town is a charming and funny gem with a heart of gold.
Posted by phileysmiley at 04:38 PM | Comments (0) | TrackBack
Our lives are ruled by technology. Particularly for the generation of young people who came of age in a world of webcams, instant messaging, and multiplayer online gaming, the lines between virtuality and reality have become blurred. Where does the computer screen leave off and flesh and blood begin? That's the question posed by first-time writer/director Delphine Kreuter in 57,000 Kilometers Between Us, which had its North American Premiere here at the 2008 Tribeca Film Festival. Themes of loneliness, alienation, and connecting with others are classic subjects for film, and they are elegantly updated here in the context of life in a cyberworld.
14-year-old Nat lives in a home which doubles as a set for an online reality show starring her parents. She reluctantly tolerates this intrusion of strangers into her life while, at the same time, existing in her own computer-based world where her only companions are identified by the names with which they log on. The only boy she knows, Adrien, bonds with her electronically from his hospital bed. The adults in their lives are similarly disconnected and disaffected.
An ensemble cast of teenagers, transsexuals, exhibitionists, and fetishists all turn in frighteningly real performances. None are more affecting, though, than Marie Burgun and Hadrien Bouvier as Nat and Adrien, and it is their friendship which is at the heart of 57,000 Kilometers Between Us. Their "onscreen" relationship (literally) is spent in the world of webcams and online gaming. It's almost surreal to accept the notion that cyberspace might be a better place to live, yet the viewer may entertain that thought as family and personal secrets are revealed. But what would happen if these two young would-be lovers actually met face-to-face?
The look, feel, and sound of 57,000 Kilometers Between Us are perfectly appropriate for a film that's all about the conflict between participation and voyeurism, and succeeding confluence of same -- the use of mostly natural and single-point lighting, along with shaky handheld camera almost exclusively, puts the viewer just inches away from the film's subjects. We also see the characters through the lenses of the webcams with which they view each other. The result gives the film a home video, cinema verite look. There is no soundtrack whatsoever with the exception of a heartbreaking Dolly Parton cover of the 1971 classic If by Bread.
57,000 Kilometers Between Us takes a bit of patience on the part of the viewer. Much like today's multitasking teen, there's a lot going on at first. I couldn't wait for the film to jump to the next reel. But the way in which the seemingly disconnected fragments of narrative come together at the film's conclusion is hauntingly beautiful. By the time the credits rolled, I didn't want it to end.
Posted by phileysmiley at 05:21 PM | Comments (0) | TrackBack
Let the Right One In is, at its heart, a sweet coming-of-age story which is so unique and different that it simply defies categorization. In this Swedish film, adapted from John Ajvide Lindqvist's bestselling book, director Tomas Alfredson dares to mix pleasure and pain in a way that is both horrifying and tender.
Let the Right One In has a storyline which, although it reveals some secrets early on, is best left as a surprise. So this will necessarily be one of those rare reviews in which the less said about the plot the better. 12-year-olds Oskar (Kare Hedebrant) and Eli (Lina Leandersson) meet one snowy afternoon at a jungle gym in the courtyard of Oskar's housing complex outside Stockholm. Their young, tender attraction for each other is apparent right from the start and we think we know where their relationship is headed. But there is a deep dark secret to be discovered here and when it's revealed the audience is both repulsed and curiously fascinated at the same time, in a similar fashion as when yellow crime scene tape brings us closer rather than warning us away.
The supporting cast is completely beholden to the narrative as it revolves around the adorable young couple, whose performances rival the best I've ever seen for actors of that age. The innocence and vulnerability of Hedebrant's Oskar is simply a tour-de-force and he admirably carries the film on his little shoulders. Leandersson matches him scene by scene, line by line, and the result literally gave me chills.
Production values are stellar, with all technical aspects -- lighting, original music by Johan Soderqvist, and Hoyte Van Hoytema's cinematography -- combining in perfect synchronization to produce a Hitchockian tale that somehow brings love and light into what could have been the darkest drama imaginable.
Let the Right One In was the overwhelming choice for Best Narrative Feature after its North American Premiere here at the 2008 Tribeca Film Festival. It is a truly well-deserved honor. Tomas Alfredson has crafted a brilliant work of art that left me shaking my head with wonder.
Posted by phileysmiley at 02:21 PM | Comments (0) | TrackBack
One advantage (or disadvantage, as the case may be) of attending film festivals is that trends become readily apparent. Within one 24-hour period here at the 2008 Tribeca Film Festival I saw three road films -- all involving two guys and a girl. Within that same 24-hour period I also saw three films with suicide as a central plot point -- two in a row, in fact. One was The 27 Club, and it combines both -- it's a road movie, with two guys and a girl, with suicide at its core. And even that's not totally original. In fact, one of my Top Picks of the past couple of years was Wristcutters: A Love Story, which was -- you guessed it -- a road movie with suicide as a central theme. Yet The 27 Club is a moving, poignant film which stands out among the rest.
The 27 Club takes its title from a quip by Kurt Cobain's mother after his death in 1994, noting that, in addition to her son, Jimi Hendrix, Janis Joplin, Brian Jones, Jim Morrison, and a host of other musicians had all taken their own lives at the age of 27. The film opens with one half of the fictional band The Finns, 27-year-old Tom Wallace (played admirably by James Forgey, mostly in flashbacks, of course), dying by his own hand. The bandmate he left behind, Elliot Kerrigan (Joe Anderson), sets out on the road with a grocery bag boy as his enlisted driver (David Emrich) along with Irish student Stella (Bono's daughter Eve Hewson) as a travel companion. The purpose of the trip and ultimate goal involve several mysteries, enough to keep the viewer guessing along the way.
While the three are certainly unlikely travel mates, always making for good drama, The 27 Club is really a one-man show with lead actor Joe Anderson (Becoming Jane, Across the Universe) carrying the film from start to finish. His tortured soul of a rock star is frighteningly brilliant and totally believable. Still, The 27 Club is mainly story-driven and writer/director Erica Dunton has penned a clever script with just enough gallows humor to keep the movie from becoming too depressing. After all, how do you laugh when someone has just offed themselves? Through the use of flashbacks, the film often reverts to a non-linear narrative. Rather than confuse the viewer, though, it actually gives the film a heightened sense of urgency which only deepens the mysteries at the heart of the film.
Cinematographer Stephen Thompson elegantly captures the beauty and lush landscape of the American west, with its sweeping vistas and stunning sunsets. The 27 Club has a true indie feel, with copious use of natural lighting and an original rock soundtrack that adds and connects to the film like few others do -- the songs are actually written and performed by The Finns, the fictional band featured in the story itself. This apparent contradiction is resolved when one learns that the movie itself created the musical act, as life truly imitates art.
If The 27 Club seems heavy, well, it can be depending on one's own experience. The obvious caveat to anyone who has suffered a loss, especially to suicide: the film may either salt old wounds or be cathartic, depending on the individual. There are messages here but they are muted, not in-your-face with words of wisdom spouting forth from scene to scene. Despite its familiar themes, the story is ultimately unpredictable, with surprising payoffs at every turn. The 27 Club has enough originality and heart to make it worth the trip.
Posted by phileysmiley at 11:35 AM | Comments (0) | TrackBack
Poland has the unique distinction of being situated between two powerful nations: Russia to the east and Germany to the west. When the Soviets and Nazis began to converge in 1939, 15,000 men in Poland's officer corps mysteriously disappeared. Who was responsible for their deaths and how this crime was allowed to take place is the mystery at the heart of Katyn. Famed Polish director Andrzej Wajda was determined to bring that story to the world, which remained a secret until the fall of the Soviet Union in the 1980s. Katyn is an emotionally moving experience which left me stunned in silent disbelief.
Told through the use of actual diaries and letters, the film focuses on four officers and their families in order to tell the larger tale. A frighteningly brilliant ensemble cast brings the story to life (and death). Individual performances are just understated enough that it is the reality of what took place which stays in the mind of the viewer long after the end credits have rolled. The settings and costumes, along with Pawel Edelman's stark cinematography, were lovingly recreated by a generation of Poles aching to let the world know about the tragedies which took place and how, and why, they were hushed up and unknown to most of the world until recently.
Movies based on actual events have been some of the most dramatic and powerful of all time. The term "truth is stranger than fiction" applies here, and nothing is quite as chilling as a horrific story that's never been told or is known to so few. Such is the case with Katyn which, like Schindler's List and Sophie's Choice before it, reveals some of the heartwrenching internal conflicts with which families wrestled when faced with the unspeakable horrors of the Second World War. The result is simply a remarkable work which is worthy of the label "important."
Posted by phileysmiley at 03:39 PM | Comments (0) | TrackBack
Let it be said right from the start. Yes, Tennessee is a road movie with two guys and a girl. It's been done many times before. In fact, it was the third such film I saw in a 24-hour period here at the 2008 Tribeca Film Festival, where Tennessee had its World Premiere. And, yes, the girl is superstar diva Mariah Carey. But there's a big difference between what the film appears to be and what it actually is, which is a surprisingly sweet film that was totally satisfying.
Aaron Woodley's Tennessee, directing from a Russell Schaumberg script, is one of those films with a plot that's difficult to even briefly summarize without revealing spoilers. Due to a tragic turn of events, brothers Carter (Adam Rothenberg) and Ellis Armstrong (Ethan Peck) embark on a journey from their trailer home outside Albuquerque, New Mexico to their hometown in Tennessee. In so doing, they must face a past they'd rather avoid. Along the way they meet up with a young would-be singer-songwriter (Carey) whose own dreams need some inspiration and support. The Tribeca Film Festival has a comprehensive synopsis at their official site.
Although three people dominate the film, it's the young men who are the focus of the story, not the Mariah Carey character, a fact which will likely be lost on many who see the cast of the film without giving it a chance. Adam Rothenberg and Ethan Peck are the actors who carry this film with their powerful personalities. Carter (Rothenberg) is gruff, rough, tough, and downright dirty. He drinks and swears up a storm. In perfect contrast, younger brother Ellis (Ethan) is soft, sensitive, sweet, and tender, with his creativity demonstrated in his love for photography. It's hard to imagine anyone with a sibling, or even a close friend, who won't be able to relate to one or the other (or both).
The landscape of Texas, Oklahoma, New Mexico, and Tennessee is so stunning that even the most inexperienced cinematographer would have had a hard time avoiding the beautiful vistas which help give the film its lush look. Here, in the hands of David Greene, Tennessee becomes a true travelogue, filled with jaw-dropping sunsets and breathtaking peaks. Of course, the fact that the film's protagonist is a photographer makes the visual style that much more appropriate. Natural and single-point lighting give the film a soft appearance. What Mariah Carey adds most to the storyline is her music, and the country soundtrack is perfectly in tune with the towns through which they travel.
The biggest surprise for me was that Tennessee is not as comedic as many films with even darker themes. The recent trend towards gallows humor, provoking nervous laughter in similar stories, isn't apparent here. There are more tears than laughter, and even when the film is trying to be light the result is more often a smile than a chuckle. It's touching nonetheless and not as depressing as the storyline would indicate.
It's a road movie that's poignant and touching with overplaying the genre to the point of sugary sweetness, as many do. There are enough twists and turns along the way to retain viewer interest even beyond the initial concept. The setup comes early but surprises abound. Tennessee is that sweet little American indie which is the elusive holy grail of film festivals.
Posted by phileysmiley at 01:55 PM | Comments (0) | TrackBack
The 2008 Tribeca Film Festival has come to an end and it's time to take stock of the experience.
I attended a total of 50 screenings, including 47 feature films, one shorts program, and two special screenings. 27 films, more than half, were from outside the U.S. Of the 47, there were 20 World Premieres, four International Premieres (first time seen outside their country of origin), 15 North American Premieres, two U.S. Premieres, and six New York Premieres.
As I do following every film festival (25 since the start of 2006), I'll wrap up by selecting my favorites. Since there were so many to choose from, I picked ten.
Here is my list of Top Picks from the 2008 Tribeca Film Festival. Titles are linked to their respective reviews. Countries of origin are listed in parentheses.
(in alphabetical order)
The 27 Club (USA)
57,000 Kilometers Between Us (France)
Boy A (UK)
Charly (France)
From Within (USA)
Katyn (Poland)
Let the Right One In (Sweden)
Newcastle (Australia)
Somers Town (UK)
Tennessee (USA)
There were two films on my list which went on to win jury awards. Let the Right One In was chosen as Best Narrative Feature and the Best Actor Award went to both Thomas Turgoose and Piotr Jagiello of Somers Town.
Posted by phileysmiley at 10:40 PM | Comments (0) | TrackBack
War Child
In War Child we meet Emmanuel Jal, a successful hip-hop artist in his 20s whose music tells the story of a young life in exile from the ravages of civil war. First-time filmmaker C. Karim Chrobog's documentary is both frightening and inspiring at the same time.
To many Americans, for whom names like Darfur and Sudan are mere locations in Africa with tragedies attached to them, War Child is a history lesson quite profound. I sat in stunned silence as the origins of the humanitarian crisis there were made real through the words in Jal's songs as well as the recounting of his childhood in the Sudan, subsequent escape, and return 18 years later to be reunited with the family he left behind. We travel with him on this journey, literally, and the emotions flow forth. War Child is, on one hand, a music documentary for lovers of hip-hop. But, more than anything, it is a history lesson which will leave you with a new sense of what the crisis in Darfur and Sudan are all about.
War Child went on to win the 2008 Tribeca Film Festival's Cadillac Audience Award, the only prize voted on by the moviegoers themselves.
Baghdad High
Four high school students are handed digital cameras with which they will record their senior year of high school. This documentary sounds pretty familiar, on the face of it. It's been done many times before. The twist here is that the high school is in Baghdad, one of the most violent and war-ravaged cities in the world, and the four (all boys) would appear to be enemies to the outside world -- they and their classmates are Muslims, Christians, Sunnis, Shiites, and Kurds. What they have in common, though, is that they are all teenagers, and we know where this is going right from the start -- the message here is that kids are the same all over the world.
The premise of Baghdad High is not a novel idea by any means. In fact, I saw two similar films at the previous festival I attended. The challenge here is to make it work in an original way, not just to pick four cool kids who can make the viewer laugh and cry, but to touch the heart by showing the adult world just how immune "ordinary" teens can be in the face of war. They have the same desires, hopes, and dreams as high school kids everywhere -- they just want to get good grades and have fun. The difference here is that they might be blown up by a roadside bomb on the way home from school.
One of the biggest surprises of Baghdad High is that the boys are more curiously endearing and their friendships much sweeter than similar documentaries shot in U.S. high schools. Their displays of affection for each other and absence of talk about girls and sex is probably a bit more accurate than what American teenage boys would like others to believe about themselves, especially when cameras are pointed at them. There is little of the typical bravado and macho posturing we see with teens in America.
Another surprise is how little discussion of politics takes place in these homes (or in the film itself). Even then, the kids never mention it at all. When the subject is brought up, it's the parents who are asked how they feel about the U.S. presence there. With a shrug, they actually blame both governments. They don't even take sides. They just want the violence to end.
Baghdad High debuts August 4 on HBO.
Posted by phileysmiley at 06:12 PM | Comments (0) | TrackBack
Narrative features make up the majority of the lineup at all film festivals. Tribeca is no exception. While I saw nine documentaries at this year's festival, documented earlier, the number of narratives I saw total 38. These scripted, fictional films (although some are based on true stories) form the bulk of the independent films around which my life revolves.
The 2008 Tribeca Film Festival was jam-packed with World Premieres, including the following 18 films I saw. All were US films except the four indicated (links connect to previously posted reviews):
The Auteur
The Caller
Idiots and Angels
Newcastle (Australia)
The Wild Man of the Navidad
Trucker
The Objective
Bart Got a Room
Love, Pain, & Vice Versa (Mexico)
Ramchand Pakistani (Pakistan)
From Within
Lake City
Tennessee
The 27 Club
Life in Flight
Speed Racer
Killer Movie
Bitter & Twisted (Australia)
One, Idiots and Angels, was animated. The Caller went on to win the "Made in N.Y." Award.
The remaining 20 narrative features I saw were all International Premieres (first time seen outside their country of origin), North American Premieres, US Premieres, or New York Premieres. Only two were from the United States. Countries of origin are indicated in parentheses:
Let the Right One In (Sweden)
Katyn (Poland)
Toby Dammit (France, Italy)
My Winnipeg Canada)
Sita Sings the Blues (USA)
Fermat's Room (Spain)
Seven Days Sunday (Germany)
57,000 km Between Us (France)
The Secret of the Grain (France)
Elite Squad (Brazil)
Somers Town (UK)
Charly (France)
Strangers (Israel)
Lost Indulgence (China)
Eden (Ireland)
Baghead (USA)
Worlds Apart (Denmark)
Boy A (UK)
Days in Sintra (Brazil)
The Cottage (UK)
One, Sita Sings the Blues, was animated. Toby Dammit was a newly restored 1968 film. There were several films on my list which went on to win jury awards. Let the Right One In was chosen as Best Narrative Feature, the Best Actor Award went to both Thomas Turgoose and Piotr Jagiello of Somers Town, and Eileen Walsh of Eden was awarded Best Actress.
I'll continue to post reviews of my Top Picks from among the 38 narrative features I saw during the festival (several are already published).
Posted by phileysmiley at 03:41 PM | Comments (0) | TrackBack
While I attend film festivals primarily for narrative features, works of fiction, I'm certainly not averse to seeking out quality documentaries. In fact, docs have often shown up on my lists of Top Picks from the various festivals I've attended. The U.S. vs. John Lennon, Billy the Kid, and Nanking all wowed me in the past couple of years and were among my 5 Top Picks from Toronto 2006, SXSW 2007, and Tribeca 2007, respectively. At this year's SXSW Film Festival, Body of War, FrontRunners, andThe Wrecking Crew all impressed me so much that I had to split my Top Picks into three narratives and three docs.
Among the 50 films I saw at the just-completed Tribeca Film Festival were nine documentaries. There was also at least one "pseudo-doc," that is, a film which would appear to be a doc but is actually a fictional, scripted narrative. Of course, being listed in the festival's program guide under "narrative features" and not "documentaries" should be a tipoff to the viewer but folks are still fooled. For that reason, I won't reveal them here.
Of the nine documentaries I saw, two were World Premieres:
A President to Remember: In the Company of John F. Kennedy (USA)
Squeezebox (USA)
The others were all International Premieres (first time seen outside their country of origin), North American Premieres, or New York Premieres. Those films were:
Warchild (USA)
Baghdad High (UK, Iraq)
Man on Wire (UK)
A Portrait of Diego: The Revolutionary Gaze (Mexico)
Old Man Bebo (Spain)
Head Wind (Iran)
Lou Reed's Berlin (USA)
Warchild went on to win the festival's Cadillac Audience Award. Director Carlos Carcas of Old Man Bebo won the jury award for Best New Documentary Filmmaker.
I'll be posting capsule reviews of these documentaries as I continue to post full-length reviews of my Top Picks from among the 38 narrative features I saw during the festival.
Posted by phileysmiley at 05:34 PM | Comments (0) | TrackBack
On Saturday, May 3, I attended the World Premiere of Speed Racer at the 2008 Tribeca Film Festival. It's a nonstop thrill ride from opening title to closing credits.
Earlier, I posted my review.
Producer Joel Silver introduced the screening along with cast members Kick Gurry (Sparky), Christian Oliver (Snake Oiler), Paulie Litt (Spritle), John Goodman (Pops Racer), Susan Sarandon (Mom), Christina Ricci (Trixie), and Emile Hirsch (Speed Racer).
Click thumbnails to enlarge
(L to R) Cast members Kick Gurry, Christian Oliver, Paulie Litt, Producer Joel Silver, John Goodman, Susan Sarandon, Christina Ricci, and Emile Hirsch
Posted by phileysmiley at 09:51 PM | Comments (0) | TrackBack
The official Closing Night Gala of the 2008 Tribeca Film Festival was the World Premiere of Speed Racer, brothers Larry and Andy Wachowski's long-awaited big screen adaptation of the classic 60s cartoon. Directing from their own script, The Wachowski Brothers (as they are officially credited) have crafted a mind-numbing, stomach-turning experience which rivals those of the best theme parks in the world.
Emile Hirsch (Alpha Dog, Into the Wild) takes on the title role of the iconic bad boy behind the wheel. Speed Racer's life has been shaped by the legacy of his older brother Rex and the guiding hand of his parents (John Goodman and Susan Sarandon). Pops runs a racing business and it's the only life Speed has ever known. Following in his brother's footsteps, making a name for himself, and fighting corruption in the business all bring Speed to a final showdown which will turn the racing world upside down, literally. With girlfriend Trixie (Christina Ricci), brother Spritle (Paulie Litt), and Spritle's trusted chimp Chim Chim by his side, he will cross paths with rival Racer X (Matthew Fox) and the diabolically twisted corporate mogul Royalton (Roger Allam) in ways he never imagined.
Shot almost entirely using green screen, the performers rarely saw the settings in which they were acting and often didn't even interact with the other actors in their own scenes. That's quite daunting and all are to be saluted for rising to the challenge.
Emile Hirsch is unsurpassed in all his work but almost seems out of place here. There is something jarring about a moving dramatic performance surrounded by cartoonish characters and settings. Still, the story, such as it is, would not be nearly as effective without his infusion of life into Speed. Christina Ricci, John Goodman, Susan Sarandon, and Matthew Fox likewise give it all they've got. Litt steals the show with every scene he's in and was an audience favorite -- the kids will absolutely adore him. Allam also surprises here, turning in a deliciously decadent Austin Powers-like performance which was perfectly in tune with the tone of the film. But the acting, however on point, is secondary to the action here.
Production values, lighting, cinematography, and other technical aspects are somewhat moot as the film is really a CGI-based animated adventure more than a filmed narrative. There is no lighting or camerawork to speak of, per se. The apparent look, however, is lush and vibrant with bright pre-school colors and virtually continuous motion.
Despite it's star-studded cast, Speed Racer might as well be an animated film which happens to have live people in the picture. But it is a nonstop thrill ride from opening title to closing credits. Rarely have I seen a film with such continuous action -- it literally leaves the viewer breathless at times. It's often difficult to follow that action, however, as it's mostly animated with such a rapid-fire pace and sense of relentless motion that the onscreen images simply become a blur. But it's a true family-oriented film that both adults and kids will enjoy, and not a bad way to spend two hours on a weekend afternoon. Just be careful driving out of the parking lot.
Posted by phileysmiley at 03:34 PM | Comments (0) | TrackBack
Discovering sweet little gems is what makes film festivals so exciting to attend. Unfortunately, they are few and far between. Here, at the 2008 Tribeca Film Festival, I found one from France in Isild De Besco's Charly.
Nicolas is a listless, awkward 14-year-old whose life is a totally blank canvas. There's simply nothing there. After embarking on a journey to an island he's only seen on a postcard, he runs into Charly, a young woman who lives in a trailer, working at night and spending her days performing obsessive-compulsive homemaking rituals. The two forge a most unlikely friendship, although it takes quite some time for Nicolas to wake up from his stupor. When he finally smiles the audience breathes a sigh of relief -- yes, there is life after all.
Nicolas and Charly are not just at the heart of the film -- they are the film. It exists solely for the relationship between these two unlikely roommates and the ability of Kolia Litscher and Julie-Marie Parmentier to make them believable. One or both are onscreen from start to finish and very few characters appear at any other time. So it is theirs to make or break, and their performances feel so real it's hard to imagine that Charly is scripted at all.
That said, although the film is titled Charly, it would much more accurately be titled Nicolas, as it's ultimately the boy whose journey dominates the film from opening title to closing credits. Charly enters the film after the first act but, while she may brighten his life and give it a sense of purpose, it is Nicolas' coming-of-age which is truly the focus of the film and makes it so heartwarming. The film succeeds, more than anything, because Litscher's Nicolas is so innocent, vulnerable, and endearing. He is a joy to watch.
Cinematographer Jowan Le Besco uses available light almost exclusively along with organic sound. Handheld camera dominates with numerous closeups. The result is a cinema verite look that turns the viewer into more of a voyeur than moviegoer. Charly has the feel of a Gus Vant Sant film with its young, attractive characters, long takes with little or no dialogue, and copious use of tracking shots. It also felt a bit like Bertolucci's The Dreamers without the explicit sex and nudity, although there is a fleeting bit of that as well.
While it takes quite some time for the story to gel, and although we never know where it's going, we don't really care because their relationship is just so odd and tender. There is so little action onscreen but so much inside these characters which oozes out. Look up "sweet little film" in the dictionary and you just might see Charly as a definition.
Posted by phileysmiley at 03:19 PM | Comments (0) | TrackBack
Few films wowed audiences at the 2008 Tribeca Film Festival as much as John Crowley's Boy A. Scripted by Mark O'Rowe from a Jonathan Trigell novel, Boy A is a story-driven mystery which is carried on the shoulders of newcomer Andrew Garfield, in a tour de force performance that dominates the film from opening title to closing credits.
Jack Burridge is leaving prison after a 14-year sentence for a crime he committed as a child. His mentor Terry has been working to gain his release and help him transition into the new world in which he'll live and work under a new identity. It's up to Jack to determine who he wants to be, but it's up to those around him to determine whether or not he will be allowed to do so. It's that challenge which is at the heart of Boy A.
Andrew Garfield (Doctor Who, Lions for Lambs) is frighteningly brilliant as Jack. It's his movie to make or break, and this role is sure to be singled out as the launching pad for what is destined to be a notable career. The viewer sees a sweet, sensitive, puppy dog of a young man while his secret past indicates something completely different. We wrestle with that concept as he does himself, and it's an emotional, moving piece of work. As his counselor Terry, Peter Mullan (Trainspotting, Children of Men) is the father figure who provides a foundation for Terry's wandering existence. His attempts to keep Jack alive and well are both heartening and heartbreaking.
Boy A is visually stunning. The interplay of light and shadow through the use of diffusion filters and silhouette gave me chills. The dramatic manipulation of white light is a seemingly simple device but cuts to the bone. Cinematographer Rob Hardy demonstrates true artistry with camerawork that is often a character in itself. A recurring visual theme using tunnels, alleyways, hallways, and bridges stands out even to the untrained eye. Paddy Cunneen's score makes it clear that this is, at its heart, a tale of intrigue.
Told in flashback, the secrets of Boy A are revealed in bits and pieces. The reality of who Jack is becomes more powerful and painful as the film progresses. Garfield is so charismatic, and his Jack so incredibly sympathetic, that this film easily rises to the top of those screened at this year's festival. John Crowley's Boy A is a master class in the art of filmmaking.
Posted by phileysmiley at 04:52 PM | Comments (0) | TrackBack
There are a number of shorts programs here at the 2008 Tribeca Film Festival, and one, titled Cold Feet, was a standout mainly due to the stunning Irish Twins. Rider Strong (Cabin Fever, Borderland) and his brother Shiloh (CSI: Crime Scene Investigation, The Mirror) wrote, directed, and star in this brilliant tale of familial loss and revenge.
Brothers Michael Sullivan (Rider) and Seamus Sullivan (Shiloh) are planted firmly on their barstools, contemplating what to do with their father's ashes and recounting past wrongs. "Irish Twins" is a generally pejorative term which refers to brothers born less than a year apart -- you do the math. How each brother views the label and to what extent they embrace it is at the heart of their fractured relationship. Told through flashbacks, the story takes shape slowly at first, winding up with a shocker ending that is totally unexpected.
The film clearly depends on the performances of the two young men and, as brothers in real life, it's obvious from the start that the Strongs are certainly up to the task. Irish Twins looks like a labor of love from the opening title to closing credits, with emotions that jump out of the screen and grab the viewer by the throat.
One of the the biggest surprises is that Irish Twins, if not for its short length, has the technical quality of a major motion picture. The widescreen format and cinematography are second to none. Stunning visuals wowed me from the start, with glowing neon and angelic white lights surrounding the lead characters. Watch for the long take in the first bar scene -- it took my breath away.
The smart script is filled with clever quips. Seamus' weak attempt at an Irish accent is described as more of an "autistic pirate" by brother Michael. The Strongs prove that actors can not only direct but they can write, too. Irish Twins is an auspicious directorial debut and calling card for Rider and Shiloh Strong which leaves the audience nodding their heads with appreciation for work well done.
Posted by phileysmiley at 03:04 PM | Comments (0) | TrackBack
Imagine if the award-winning cinematographer of the 2007 epic 3:10 to Yuma decided to direct his own film. With over 40 titles under his belt, Phedon Papamichael is one of the industry's icons. Well, imagine no more. In the Brad Keene-penned From Within, which had its World Premiere here at the 2008 Tribeca Film Festival, Papamichael takes his considerable expertise behind the camera and crafts an auspicious directorial debut in the Hitchcock tradition.
Something is amiss in Grovetown. The suicide in the opening scene triggers a mystery which will bring teenagers Lindsay (Elizabeth Rice) and Aiden (Thomas Dekker) together in a quest for the truth, both about the occurrences which plague the town as well as about themselves. To say much more would reveal spoilers -- a synopsis is posted at the Tribeca Film Festival website.
The performances of Thomas Dekker (Heroes, Terminator: The Sarah Connor Chronicles) and Elizabeth Rice (Mad Men) are at the heart of the movie and it's their believability which makes this film so emotional and poignant. Dekker's frightening gaze and enigmatic demeanor never lets up, in perfect contrast to Rice's innocence and vulnerability. Veteran Adam Goldberg (Roy), Rumer Willis (Natalie), and Kelly Blatz (Dylan) are also standouts.
From Within is technically brilliant. The use of single-point lighting and color palette of blues and grays in interior scenes are especially effective in enhancing the shadowy nature of the story, with sunset shots that would likely have been scuttled in a typical Hollywood movie. Here, the dim light works to the film's advantage. The sound effects, along with the Jason Cooper and Oliver Kraus score, also play a particularly distinct role here and are a major plus. As in any film of this genre, visual effects are key and they are top-notch. Most of all, though, the camerawork is simply breathtaking. Shot in widescreen 2.35:1 aspect ratio, the chilling locations and copious use of POV shots enhance the Hitchcockian feel of From Within -- no surprise given the director's background.
Although the film's first act leans toward horror, it soon becomes apparent that From Within is a story-driven psychological thriller more than anything and doesn't need to rely on blood and gore, although there's enough to please fans of the genre. The film's many twists and turns will hold audiences' interest right up to the closing credits. A creepy tale with a strong message about religious extremism and tolerance make From Within more than just another gorefest. From Within is a solid thriller with enough suspense to keep the viewer guessing until the end.
Posted by phileysmiley at 12:15 PM | Comments (0) | TrackBack
Your intrepid film festival and indie reporter has emerged bleary-eyed but unscathed from the 2008 Tribeca Film Festival. Not all film festivals are created equal, and Tribeca is one where it helps to have significant lung capacity. There weren't many opportunities to come up for air and file reports as I'd been able to do elsewhere.
Santa Barbara was a blast and I was able to file reports each night with capsule reviews of all the films I'd seen that day. It's a much lighter schedule and all events were within walking distance of each other, with films starting late and ending early, allowing me to be in constant contact from my room just a five minute walk from the theater where most films were screened. At SXSW I wasn't able to post every day but the trip was a mere five days and I was able to write 16 reviews in the week following my return. But the Tribeca Film Festival is in a whole other league. I attended screenings from morning to night, literally, for close to two weeks with several hours of travel time each day. So, the bad news is, I was in the belly of the beast and unable to post (save for one review) over the past couple of weeks in New York. The good news is, I saw 50 films and am very excited to begin talking about them.
Over the next several days I hope to post as many capsule reviews as I can, choose my Top Picks, and write more extensive reviews or those films. Of course, as always, there will be some exciting pictures from the red carpet, intros to films, and Q&As which took place afterward. Stay tuned!
Posted by phileysmiley at 08:34 PM | Comments (0) | TrackBack
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