#cineNOLA Weekly - Episode 2

On this, the second episode of #cineNOLA Weekly, I rundown some more film screenings and review one of the few movies to get New Orleans right, Flakes. The editorial segment will return next week.

If you have any comments or suggestions, feel free to write one below. Be sure to follow the conversation on twitter using the hashtag #cineNOLA:

#cineNOLA Weekly - Episode 1

Just a few weeks ago, I attended a meeting of local New Orleans cinema presenters and aficionados. It was fun, getting to meet those I've interviewed in the past in person. Many ideas were suggested, but the one that has carried over onto an email chain has been the creation of a twitter hashtag - #cineNOLA.

We've been pushing it pretty aggressively, mostly on posts that promote film events in town. In an effort to continue the conversation beyond the 140 character twitter limit, I took it upon myself to produce a new podcast, debuting here on the blog.

This first episode features reviews of Pro Wrestlers vs. Zombie, Curio Shop: A Post Apocalyptic Acid Western, an editorial and a rundown of some events for the week. This is a work in progress - please leave a comment if you have any suggestions for future episodes. Thanks, and enjoy!

Review: "The Purge"

One night of unrestrained, perfectly legal violence. For this future version of America, this Purge is a Holiday in the vein of the 4th of July. We faced the collapse of our country, and our leaders "solved" it all - by allowing us to bludgeon each other during a 12 hour period once a year. Low unemployment, low crime, no government debt. Clearly, this works.

The Purge is not about how this night came to be, who implemented it or how it should be taken down, but instead what could potentially happen during it. A well off white family attempts to go through the night, guarded with what has been billed as a tight security system, in peace. Unfortunately, the young son lets a poor black man, who is being chased by psychopathic hunters, in. The hunters threaten the family, causing them to confront the morality of the nights events directly.

Review: "Room 237"

On my DVD shelf sit two movies that I consider among the best I’ve ever seen: Pi and JFK. Both movies deal with lead characters obsessed with their current problems and slowly (but surely) becoming paranoid, seeing conspiracy in everything. Both are less about “the truth” or “the answer” and more about how one can lose oneself in the pursuit of their obsessions. Growing up with OCD, I certainly understand.

Room 237 joins in on the action, except it switches dramatized people and fictional characters for real ones - making what is shown more interesting and (believe it or not) more frustrating to watch. Not really a documentary and not really a “movie”, Room 237 is more like an essay in a style similar to F for Fake. Made up of a series of interviews from film buffs and scholars, we get a frame by frame deconstruction of the messages and meanings behind Stanley Kubrick’s The Shining.

Review: "Evil Dead"

It doesn’t take much to impress me, but it does take a lot to scare me - when it comes to movies, I mean. At my most recent outing, a colleague teased me a bit about my lack of interest in watching horror flicks. Then, just prior to the movie starting, a security woman yells at us all, “If we catch you with an electronic device, you WILL be escorted out by the police!” For me, real instances like this are much scarier than anything that flickers on a screen.

After being bombarded for years by trailers and DVD’s for movies that offer nothing but jump scares and familiar killers, I’m kinda lukewarm towards this genre. Reviewers like The Cine-Masochist make me feel a bit picky and unfair, but it’s just how I feel.

That being said, I should re-state that it doesn’t take much to impress me. All I need is something fairly clever, easy to follow and very fun to watch; if the cast and crew are having a blast, so am I (Troma is great at this).

And watching a demon vomit vibrant, non CGI blood on a woman, only to be chainsawed in half later on, is indeed “a blast” and “fun to watch”.

@MoviePass Reviews: "Disabled but Able to Rock" and "Spring Breakers"

Since the MoviePass blog is being phased out in favor of a Tumblr page (where my reviews will be shared), I decided it might be a good idea to post, in full, two exclusive reviews from that old site:

A Festival for "Steve Chong..."

The New Orleans Film Festival, run by the New Orleans Film Society, was recently listed as one of MovieMakers’ film festivals worth the entry fee for filmmakers. While I have never submitted a movie to the fest (I’m a critic), I can tell you that the NOLA audience appreciates indie cinema. And if you have an exceptional indie film, the benefits you receive will match the quality you give.

Like most fests, there is a submission process, where a plethora of films are whittled down to dozens. Competition is fierce on the festival circuit. The more organizations turn your movie down, the more youtube looks like a viable option. Good movies ought to be viewed on good screens.

To the people behind NOFS, allow me to recommend a good movie for this years fest, during this submission season - Steve Chong Finds Out That Suicide is a Bad Idea. 

Review: "President Wolfman"

There will always be a part of me that will love "Kung Pow: Enter the Fist". Don't look at my review like that... When I was in grade school, I would take the newspaper cartoons, cut out different characters and lines of dialogue and rearrange them to create a new strip that I called The Funnies. A boy can do wonders with a pair of scissors and a stick of glue.

And people can do similar feats with a foreign film and some editing software. "Kung Pow" was basically the movie version of The Funnies; you take old footage, shoot some new footage, do some voice overs and you've created a whole new flick! The final product hasn't exactly aged well, but I still appreciate its remix / re imagining attitude (and so did my cousins when I showed it to them).

It's that very attitude that makes me love this digital renaissance so much.

"President Wolfman" is not on the juvenile level of humor that "Kung Pow" lived on, but it does share a similar spirit. You see, the filmmakers took footage from public domain films - the majority of which coming from "Werewolf of Washington" - hired some voice actors, wrote a new script and put together what I can only best describe as a joyous romp. This new story follows President of the United States John Wolfman, as he deals with a popular piece of legislation that would sell America to China (marketed to the country as Chi-merica) in an effort to erase our debt. Oh, and he's also a werewolf.

Political satire can be hard to do without hitting the audience over the head with some kind of message, but "President Wolfman" is only interested in making you laugh at how ridiculous it all is. I once did a speech for public speaking class where I announced my candidacy for President. I laid out a goal, where not only would I stop the War in Iraq, but I would make it up to the country by offering a product placement with Pepsi; change the name of their capital to that of a soda, and you've got reparations. Of course, I was just being cheeky, but it also made a good point about where we were at as a country at the time - our ignorance towards a region of the world we didn't understand.

We see Chinese officials as classic racial stereotypes, tv commercials used as propaganda against its own people (us) and a congress that just likes to party. Sure, it's somewhat cartoonish in its presentation, but it really does nail certain things on the head; our national mindset towards other countries and races is still pretty tasteless, our government and media have no problem manipulating the voters into agreeing with anything they want and the only way a President can accomplish something is by morphing into a beast. This is my kind of political / social commentary. Through silliness, there is truth.


PW LocalScreen promo from Mike Davis on Vimeo.

The movie is also very aware at what it's doing. At one point, a sequence involving an emergency pregnancy is shown. This piece of footage has been circulated all over the internet, and really doesn't forward the story in any way. It's clearly meant to take the audience out of the film for a moment, and realize how much fun the filmmakers are having. One of the most obvious wink winks I've ever seen, in one of the most enjoyable projects I've seen in years.

I almost want to dust off my copy of "Kung Pow: Enter the Fist". Almost. Maybe I'll give "What's Up, Tiger Lily?" a view. Or maybe I should grab a newspaper (while I still can) and cut and paste away. Ought to be fun, no matter what I choose...

3/5 *'s

Review: "Zero Dark Thirty"

Just the other night, I watched the ending of "Inglourious Basterds". While it was a television edit, it was still pretty graphic: people burning to death, Hitler getting machine gunned to pieces, a movie theater exploding, etc. My dad channel surfed to it, but kept searching as he didn't like the violence in it (this coming from a guy who would go to sleep while watching "Red Dragon"). However, my father is in the minority, as most people really got a kick out of this rewriting of history. In real life, Hitler committed suicide, thus robbing the world of inflicting brutality on him. How unfair.

It's not enough that this monster is dead; he MUST be killed Charles Bronson style, and we MUST be able to experience that. I'm not suggesting that Tarantino made his film solely to cater to our lust for satisfying revenge, but we do eat up that kind of stuff, whether it's reality or a movie. It's like addictive fast food; catharsis on demand!

I got to see "Zero Dark Thirty" recently. You want to revel in some sweet payback? Wait for "Inglourious Basterds" to come back on.

Unlike what happened with Hitler, we actually got to kill bin Laden. And, of course, a movie would be made about the operation. I thought about a WWE Studios flick, where pro wrestlers would star in an 80's throwback men on a mission style story. Don't judge me for going primal... I know you wanted to see his death, even if its just a recreation. The movie Kathryn Bigelow gave us - a based on actual events style retelling of the hunt for the most wanted man in the world -  works as an indictment of us wanting to cum to a climax. Any climax. Wow, did I just type that? Yes, and I don't regret it.

The story takes place over the course of a decade, following the character of Maya, a CIA agent promoted to this investigation. Played with a stone cold determination to close the case by Jessica Chastain, our protagonist is wanting that climax as much as us. But, as the movie progresses, I wonder if Maya is capable of achieving satisfaction. She is a pale skinned loner, with nothing known about her other than her job. A desktop wallpaper on her computer shows an image of her with a child, but it is so distorted and blurry. We never learn her last name, and it's possible she is working under an alias. Does she have a personal reason for finding bin Laden, like a family member who died in 9/11 or something? All we know is that this is her task, and she must complete it.

At one point, a superior tells her that she is "chasing a ghost". I think that Maya is, herself, a ghost. Not literally, but she certainly acts like a spirit doomed to walk the planet until her purpose is fulfilled. When her job is done, she boards a plane as the only passenger. When asked where she would like to go, she has no answer. With a moment to herself, she sheds a tear, but I don't think it is from exhaustion or happiness; she has no one left to chase, and is finished. The fact that she got her target isn't enough; what's next?

Now, our hero didn't get that tingling sensation from the conclusion - what about us?

The raid sequence is dark, quiet and full of unparalleled tension. But, much like the style of the film, it is presented with no fanfare. Don't expect slo mo shots of bin Laden getting shot or superimposed images of American flags; it goes off in a straight forward procedural manner. The highly anticipated moment comes and goes in a flash. The seals execute their job and leave, almost as if they weren't even around. Kinda like a ghost.

The protagonist, her investigation, the raid itself and even the torture bits - which are not shown in a positive light, but rather used to establish our governments' wanting of revenge as extended to interrogation tactics (quite a mouthful) - all point to exposing and questioning our individual and collective craving for catharsis, no matter the cost. To do such a thing through such a high profile movie is nothing short of bold.

I ought to get around to reviewing Tarantino's latest, "Django Unchained". In it, we get revenge on slave owners. "RoboCop" style blood spurts are plentiful. Did your pants just get tighter?

5/5 *'s

Review: "Cloud Atlas"

Cross posted from MoviePass:

During the AMC Theatres presentation of "The Dark Knight Trilogy", my friends and I took a quick trip to the nearest gas station, as my head was killing me and I needed some tylenol. In the car, one of them asked a pretty random question, regarding my relationship with god. I could've made a joke about him getting ready to kidnap us, but I decided to answer honestly; "I'm not christian, I'm just Bill."

Who are we, where are we going and what is the point of it all? Boiled down, my belief (I prefer idea) is that we have barely scratched the surface with understanding THIS reality - how can we possibly understand OTHER ones? Honestly, I feel more comfortable explaining myself in movie form. If you care to, check out "Groundhog Day", "Defending Your Life" and, now playing across the country, "Cloud Atlas".

Not sure about watching that last one? Think of it as "Magnolia" - one large story made up of multiple tales - but on an epic scale. Think of it as several different movies (a comedy, a sci fi thriller, a period piece, a drama, etc) told forward and sideways, bleeding into one another and making one massive film. Think of it as having the ambition of a D.W. Griffith or Abel Gance picture. Think of it as maybe...well, having to think afterwards. You still want to shell out money for that Rob Cohen "movie"?

It's amazing to me that such a chance could be taken on such an incredible story. Hollywood didn't have much faith in it, so the filmmakers had to go and raise the funds themselves! Making a movie in this manner, based on a book deemed unfilmmable, is either a sign of madness or courage. Perhaps both.

Some of the madness does show up on screen. We see Hugh Grant in warrior paint as some future scape headhunter, Tom Hanks as a bald British gangster/author and an Asian Hugo Weaving. At some point during production, I bet hesitation was felt by the producers.

But, all of the courage shows up as well. We get a wonderfully heartbreaking romance between two young men, a woman in the role of a messiah, a new language spoken, a lengthy duration and, most important, questions planted into the minds of the audience. At some point during production, I bet a sense of pride was felt by the crew.

Some people are dubbing this as some kind of a bomb, having cost so much, and making so little thus far. Some people are dubbing this as pretentious rubbish, and the worst thing everyone involved could've been part of. I will respond with one quote from the film:

When told that there is an order to the world, and that any attempts to shake it would just be a drop in an ocean, a character responds "What is an ocean but a multitude of drops?" This was probably made knowing that it wouldn't make much money, and with the hope that it will give pause to people who watch it.

The friend who asked me about god is an atheist. I'm still just Bill. To me, the universe is one long movie, made up of smaller storylines, leading to one big finish. It might not be presented in the most consumable of ways, it might shift in tone and it might be ridiculous at times, but trust me; it's all important, and it'll all make sense in the end.

5/5 *'s

@NOFS Review: "Dead Man's Burden"

Cross posted from MoviePass:

For most of New Orleans, Quentin Tarantino's "Django Unchained" will be THE western film event of the year. While I don't doubt that it will be an event, to call it a western is way too simple. I think it's obvious that Tarantino's works - especially since "Kill Bill" - have been beyond traditional notions of genre, and fit more under the term remix. I will most certainly be in line for that movie, but what flick should local (or any) western fans catch? What would I pick as a must see?

I would not only recommend "Dead Man's Burden" - which will be playing at this years New Orleans Film Festival - as a great western, but also as one of the best films of 2012. I'm not sure where it would be ranked exactly, but I would bet it'd be in my top 5.

The story is about a young married couple. The wife has just buried her father, and is ready to sell the land she lives on to an opportunistic mining company rep. Just before finishing business, her long thought dead brother shows up, wanting to catch up on time lost. Secrets are unearthed, justice is had and bonds dissolve. A real American tragedy unfolds.

There were two scenes in this movie that represent for me why this was extraordinary. In the first example, the mining company rep appears as the only person in the shot. No score, just the man. Suddenly, the brother moves from into the shot, and the score kicks in. I paused this moment and recorded the timecode - 00:49:50. While this bit might seem too silly (and maybe lame) as an example of a movie's great attributes, I assure you it is THAT GOOD, and just ONE OF MANY similar shots/edits. It's wonderful how a modern first time feature filmmaker has a knowledge and execution mastery of such filmmaking techniques. Too often will I see independent films that are just the screenplay on camera. Use ALL THE TOOLS at your disposal, and you will amaze!

The second example shows the level of tension. In the scene, the wife, husband and mining company rep are about to enjoy a drink and make their deal official. Before a drink could be enjoyed, the brother comes into the room, and drops a bullet into the reps drink. While he doesn't say it, we know - and the characters know - that he dug it out of his father's corpse(!). The mood is thick here. This is western storytelling at it's most hardcore. Emotions run as high as the heat in New Mexico...

"Django Unchained" comes out just before the year ends, but "Dead Man's Burden" is already making the festival rounds. The jury is still out on Tarantino's latest, but Director Jared Moshe's first is an expertly crafted cut of cinema. It is what I would pick as a must see.

5/5 *'s

@NOFS Review: "Now, Forager"

Cross posted from MoviePass:

There is a scene in the independent film “Now, Forager” that deserved not only some more time, but its own movie. It features a meeting of sorts between one of our protagonists and two Eastern European men. The two foreigners rob our main character with a machete and some vague dialogue. The loot? A bundle of mushrooms.

Yes, you read that correctly – this is a movie that has mushroom bandits in it. Well, briefly has them in it, as they are only on screen for a few minutes, and never return. Had those two thieves been in this more, my enjoyment would’ve been greater.

We follow Lucien and Regina, a married couple who live off of selling exotic mushrooms they find in the wilderness. They sell these items to New York restaurants, but barely make enough income to put gas in their car. Lucien would rather continue what they are doing, as it makes him happy, but Regina wants more stability; she wants to make cooking a career. Their individual passions lead both of them on different paths, which will ultimately test the strength of their relationship.

It’s hard to pick a side with this couple. You got Lucien, who is easily annoyed by people and is deliciously passive aggressive – scenes between him and an upperclass woman write themselves – and Regina, who is warm and a bit naive. I suppose both have personalities to agree with, but in the end, they are too idealistic to last with each other, and with others – namely the audience.

Now, I’m not saying that the main characters are unlikable, but I am saying that there isn’t much to like. They’re smart and their job is interesting, but that’s about it. The majority of the story, they talk about food and mumble about their relationship. This would’ve worked much better as a short.

Wouldn’t a sequel starring the mushroom bandits be amazing? Two thieves who’ve decided to ONLY rob mushroom foragers; something interesting has GOT to be found in that somewhere. Well, as long as they don’t spend their screen time wasting my time.

2/5 *'s

You can follow the movie @NowForager and catch a screening of it at the New Orleans Film Festival on October 13th and again on the 18th. Get your tickets here and follow @NOFS for more festival info.

Review: "Looper"

What I'm about to describe is one of the creepiest scenes I've witnessed at the movies this year:

In order to bring a man from the future out of hiding, a mafia syndicate captures his present self, and slowly tortures him. First, a message appears carved into the future man's arm, telling him to meet at a specific place and time. Then, fingers go missing. Soon, his tongue is gone. His feet next. Eventually, he is crawling to the location, where he is then executed. The present self is on a hospital bed, with blood everywhere.

For me, it isn't the fact that the future self wasted away in moments that I find frightening; it's that the present self must still live his life - dismembered and broken - for these events to happen.

Time travel as a weapon. Did you really think we'd use it for anything else?

"Looper" may not officially be a horror film, but it features some scary sequences and themes, as good sci fi should. It is mostly set in 2042 Kansas, where it appears that gangland violence and poverty have only gotten worse - at least we finally get hovering motorcycles. We follow Joe, a gangster known as a looper; someone who eliminates targets sent from the mob of the future, to his present. When his newest target - his future self - escapes, Joe gets in trouble with his boss, and must hunt himself to make things right. But, is it as simple as that?

With time travel, nothing is "simple". You see, there's the "12 Monkeys" (time cannot be changed) way of presenting time travel, and the "Back to the Future" (time can be changed, and multiple possibilities exist) method. "Looper" kind of has a variation closer to - believe it or not - "Bill & Ted's Excellent Adventure". In that movie, characters will tell themselves to go back in time and grab an object, and BOOM - the object appears in their hand, negating the need to go back in time. While that scenario doesn't play out in our story, similar paradoxical situations are offered. If you're not careful, your egg could fry like a brain.

The arc(s) of Joe (both of them) and how it is presented may be the best aspect of the story. There's a beautiful symmetry of personality happening here, as the two versions of the same man occupy the same space and time, and a wonderful irony when we see how the conflicts change both the present and future selves. A nomination for best screenplay is not out of the question, I say. 

If given the opportunity, would you kill child Hitler in order to prevent atrocities? What if you fail, and end up being the reason for the creation of the monster you tried to destroy? Could you live with that? Could you stop that? Can the chain be broken and the loop cut? I thought about this on the ride home after the screening.

It's chaotic, it's dark, and it's what I want out of sci fi. Characters are forced to make impossible choices in an almost impossible to grasp universe. The consequences of these choices reverberate backwards and forwards in time. Through such a nightmarish landscape, errors will be corrected and humanity will be revealed.

Great story, great acting, great effects, really great music and a perfect atmosphere make for one of the best films of the year. Go see it; your future self will thank you.

5/5 *'s

Review: "The Unspeakable Act"

Earlier this year, I was asked to watch "Mirror Mirror". There was a scene in that movie where Armie Hammer's character is given a puppy love potion, which turns him into a devoted and even obsessive love slave for the queen. When separated from her, all he does is cry and demand to be near her again. Snow White is able to break the spell with a kiss, and all becomes well again.

Jackie Kimball's situation involves no potions, but she is certainly under a spell. In "The Unspeakable Act", we witness a very difficult period of time for her. See, she's in love with her brother Matthew. Now, he doesn't share her feelings, but remains close to her anyways. Most family members would probably be uncomfortable with this knowledge, but Matthew seems to understand that it's all rather harmless.

She meets his girlfriend with a smile and a friendly conversation, but dismisses her as soon as Matthew breaks the relationship off. She sometimes smokes, but when Matthew recommends they quit, she obeys immediately (though she does smoke a little pot later). She accepts answers and advice from him with little to no counter. She even picks his college as her first choice for higher education.

Now, this dependence is a bit unhealthy, but is it really any different than most first love's for teenage girls? The belief that the first love is the only love, that you can't live without the other, etc. She even glows in certain scenes when with her brother. When her therapist asks Jackie is she shares similar feelings for her other brother, she dismisses that idea as disgusting. In her mind, Matthew is more of a lifelong friend than a sibling.

These therapy sessions may provide some answers as to why she acts the way she does, but the movie isn't really concerned with this, and neither am I; WHO is Jackie is more important than WHY is Jackie. She is a very powerful character with a personality that is both naive and wise; always analyzing herself and others, but still stubbornly holding on to her own hangup. She's my favorite teenage girl in a movie since the lead in "Juno".

In the end, this is no fairy tale; a kiss won't break the magic that possesses her. This case of puppy love may never quite be understood (even by her) or even something that she fully gets over - who forgets their first love? - but I have a feeling that she'll be ok. There are lots of fish in the sea, and lots of seas in the world; once she moves out, she'll understand.

4/5 *'s

Review: "Southland Tales"

[The original script] was more about making fun of Hollywood. But now it's about, I hope, creating a piece of science fiction that's about a really important problem we're facing, about civil liberties and homeland security and needing to sustain both those things and balance them.

a tapestry of ideas all related to some of the biggest issues that I think we're facing right now . . . alternative fuel or the increasing obsession with celebrity and how celebrity now intertwines with politics.

[Southland Tales] will only be a musical in a post-modern sense of the word in that it is a hybrid of several genres. There will be some dancing and singing, but it will be incorporated into the story in very logical scenarios as well as fantasy dream environments.

                                                                                               - Richard Kelly

The director of "Donnie Darko" certainly can't be called someone with a lack of vision. But, what exactly are his eyes trained on? And, is he seeing the world through a kaleidoscope?

Southland Tales (Photo credit: Wikipedia)

When I first read the synopsis for "Southland Tales", I got really excited with what could've potentially been the best comedy since "Dr. Strangelove". Basically, the epicenter of the end of days is Hollywood and our hero is an amnesiac action star trying to get a screenplay that he co wrote with a porn star made. This could've been SO much fun.

Instead, what I (and the studio) got was the equivalent of witnessing a first year film student burning money in a trashcan for over 2 hours.

I should note that even though I own this movie on DVD, I am not re watching it for this review. Instead, I'll be going on memory - sad, frustrated, disappointed memory:

A few years after a nuclear attack on Texas, the U.S. has become a full blown police state, keeping it's citizens under constant surveillance. Yet, this invasion of privacy is unable to track the most famous movie star in the world (who walks around in broad daylight), who has been shacked up with a porn star, who has ties with an underground organization bent on overthrowing the government, who also has vague ties with a mad scientist that has created a new energy, which may also be responsible for a rip in the fabric of space time, which threatens to...

...convolute everything. Man, was it hard to sit through this. Kelly crafted such an awesome story in "Donnie Darko", I thought he could pull it off in his second time out. That film - though with a smaller budget - similarly dealt with very unique personalities part of a larger story. Both stories are about mysterious situations and how the characters weave in and out of them. But, where DD succeeded, ST failed miserably. It lacked a certain focus, and seemed to confuse ambiguity with brilliance.

You know the phrase "your eyes are bigger than your stomach" in reference to a kid who can't finish his meal? That sums up this production. The ambitions are grand - taking on such political and even religious themes - but it's handled as if it'll just work itself out in the end. With a budget under $20 million and some higher profile stars to deal with, I suspect that Kelly was too busy carrying everything on his shoulders, that he let some important things fall to the wayside. What a shame.

This is the only explanation that makes sense to me. His feature after this one was "The Box", which was pretty entertaining and weird. And "Domino" - which he only wrote - was constructed very well despite it's big story. So, Kelly is certainly capable of excellent work, he just was in over his head a bit.

I've read in interviews that he's quite proud of "Southland Tales". No, for real. Hopefully, it's because he learned something from the experience. If not, then he's just lying to us and himself.

This review was requested by a friend on my blog's facebook page (look to the right of this page). If you have anything you'd like me to watch and criticize, feel free to suggest something. And if Richard Kelly happens to be reading this, please take no offense - I honestly can't wait for your next movie.

1/5 *'s

Solo Thoughts Episode 1

Some late night thoughts on "The Dark Knight Rises". Hey - be glad I chose not to do a videocast...

Expect more episodes on a regular basis. Feel free to leave me some thoughts/comments either here or on twitter.

Review: "I Need A Hero"

 "There are no gay characters in the Marvel Universe." - Jim Shooter

The above quote punctuates a story about one of the first appearances of gay characters in a major comic; two stereotypical gay men raping Bruce Banner in a YMCA. Such a statement would be enough to make anyone go green with rage.

"I Need A Hero" - a short documentary now touring the festival circuit - offers a glimpse into the culture of LGBT (lesbian, gay, bi sexual and transgender) comics and its representation in popular issues. When I say (or write) glimpse, I really mean just that. Clocking in at under 14 minutes, the short is made up mostly of interviews with comic book writers, featuring amusing anecdotes, interesting stories and frustrations about releasing "queer comics". While it's been a while since I bought a comic, these guys show an enthusiasm for their work that makes me want to read again. Though, I can't say that I was ever an Archie fan...

There are breaks in the documentary that feature super hero quotes that, in the context of the subject, are quite inspiring, and work as a rallying cry for progression within the industry. This is where the short shines; showing us the irony of forward thinking characters that are published and exploited by stubborn organizations.

The only thing holding this back is the length. So much to cover, with not enough time. And what it does cover is stuck in modern times - not much info about past comics. But, it does work really well as a teaser for a future feature length doc, which, if I understand correctly, is the goal. That will be something to catch once completed.

I'd like to think that America has moved forward when it comes to representing LGBT themes and characters in pop culture, but I know that there's still an uphill battle in fighting ignorance and horrible stereotypes (same when it comes to people with disabilities). We could certainly use a hero to help out. Good thing for us, the (Marvel) Universe is an awfully big place. Right, Mr. Shooter?

3/5 *'s

He Said, I Said Review: "Abraham Lincoln: Vampire Hunter"

Part of my blog's new design and new domain name is also a new commitment to posting more content on a weekly, then perhaps daily, basis. To do this, I have to come up with new things to write about, and in interesting ways.

In June, I finally got to meet the Times Picayune film critic Mike Scott during the recording of the first #TeamNOLAFilm podcast. He's a real cool guy, with his own take on movies. A few weeks ago, he posted a fairly negative review of "Abraham Lincoln: Vampire Hunter" - a movie which I actually kinda enjoyed.

The following review will be the first in a series called 'He Said, I Said', where I take quotes from another criticism, and offer a counter (or similar) opinion. Yes, this does mean that I will be somewhat defending a story about an axe wielding, vampire killing American President. Enjoy:

This is a movie that re-imagines our 16th president as a secret, ax-wielding slayer of bloodsuckers. It isn't meant to be a documentary. It's not intended to be scholarly... Rather, it's meant to be bloody, butt-kicking fun, as the Great Emancipator becomes the Great Decapitator.

I couldn't agree more. AL:VH is supposed to be historical revisionism at its most fun. And, with a title so ridiculous, it HAS to deliver on what it advertises. Much like "Snakes on a Plane" before it, this film is, indeed, about what its title says - Abraham Lincoln killing vampires. Nuff said.

But here's the thing about movies rooted in such a fantastical premise as this one: While it's OK for a filmmaker to ask that we suspend our disbelief, that filmmaker has to help us do it. In "Abraham Lincoln: Vampire Hunter," Bekmambetov doesn't come even close to keeping up his end of the bargain.

 Could you give an example?

In a later scene, a particularly nasty vampire -- being pursued by Walker's Lincoln, who has been hell-bent on ridding the world of bloodsuckers since his mother was killed by one when he was but a boy -- throws a horse at the future president. Lincoln catches it. And then rides it.

Thanks. Well, yes, that sequence was pretty hard to swallow. To be fair, the color, lighting and cg made it hard to tell what was going on in the first place... Lincoln showing agile super powers outside of swinging an axe was definitely a misstep, but not that big of one. In the grand scheme of this movie, it was more of a nitpicky oversight; like the use of parsecs in "Star Wars: A New Hope" (though, AL:VH is no SW). My disbelief - and keep in mind that I too can be easily annoyed - was suspended from the opening titles. All notions of reality were thrown out a moving car.

That said (or written), there are some problems with the film, like the pace. Abe learns to kill with an axe in ONE SCENE! He swings, hits a tree a few times, and is able to destroy it moments later. In "Kill Bill Volume 2", when The Bride is training to punch a hole through a block of wood. We see her struggling to accomplish this over an extended montage, before finally doing it in the present time. Lincoln gets maybe a minute before he heads out for the hunt. Let us see his training! Let us get to know him better! We go from angry young man to idealist to President in no time.

Another casualty, and an unforgivable one, is the central metaphor from the Seth Grahame-Smith book on which it's based, in which Lincoln's fight against the parasitism of vampires is equated with his fight against the parasitism of slavery...

...those who had read the book knew that - aside from the whole vampire-hunting thing - it was a surprisingly well-researched Lincoln biography. You could revel in the guilty-pleasure aspect of it, but you could also learn a thing or two about our 16th president. That added a satisfying weight to Grahame-Smith's yarn. For Bekmambetov -- who co-wrote the screenplay with Grahame-Smith -- all that goes out the window.

This is the second main problem. We do get historical figures in cameo wink wink appearances, and, with the revisionist tone, major events in Lincolns life are closely tied to vampires (like the death of his son). But, for me at least, a certain amount of weight was missing. For example, the civil war battles. We see Union soldiers violently stabbing Confederates and vampires (one even gets a knife crowned on the top of his head) with Lincoln giving a speech in a voice over. This made me chuckle, when it shouldn't have. The schlocky nature of the story suddenly turned against itself.

Ridiculous is OK -- but this is beyond ridiculous. Rather, it is a schlocky, poorly made, B-movie mess.

Beyond ridiculous is just as good, if not better at times. Problems acknowledged, this still works as a fun goof of a film. Just be sure you at least use wikipedia in your essay on the Civil War.

3/5 *'s

Feel free to offer suggestions and comments regarding this new series.

Review: "Hot Cakes"

Cross posted from InvadeNola, where this will be appearing on June 16:

On the first episode of the #TeamNOLAFilm podcast, we discussed the need for a real investment in local filmmakers and their projects. We have so many out of town productions coming IN to the area which is great, but not enough local projects coming OUT. Do producers need a good example of what New Orleans talent can make?

"I have been waiting all morning for a man with half a heart."

Marty, fresh out of prison, visits his regular post jail release diner.  His body language says he's yearning for a calmer future, but the scars on his face suggest something different; something deeper. Two other ex cons see this as well, and soon the three men are conversing over plates of pancakes. But there is more to their encounter than just short stacks...

Described as a sort of neo noir / urban western, "Hot Cakes" has a surreal nature to it; at times like Lynch, other times like Aronofsky. The appropriately timed music, the cryptic at times dialogue, the interesting framing (there is a Knight suit behind Marty in some shots) and even the setting - which comes off like a purgatory type meeting place for these characters - all makes the audience ask "what's this all leading to?" and "what does this all mean?".

Well, what DOES it all mean? What IS it leading to? A fortune teller in the diner is drawn to Marty, and makes a startling prediction for him; will it turn out to be correct? Will Marty be forced into a compromising position? His new friends certainly wish to pull him back into his harsh past. Will they succeed? The film's aesthetic gives everything - including eating breakfast - a sense of impending doom. And by the time the end credits roll, this sense still lingers; things just don't look good for Marty, in OR out of the diner. Is he in trouble no matter what? I absolutely loved this.

"No one should ever come here. I had teeth when I came here."

My only complaint is that it ended. I would like to see what the director Jo Custer could do with a feature length script. She's an example of the kind of local talent who deserve a shot. For Hollywood South to move forward, out of town producers bringing projects to the area need to make a meaningful investment in local filmmakers. Is an example of good local work needed? I just provided one.

4/5 *'s

Contributions Part 2

Hello! My Name is Bill...

On May 10th the first ever Tugg event was held in New Orleans. Hosted by The Theatres at Canal Place, the screening was a sold out blast featuring a Sergio Leone classic and fellow film enthusiasts.

Man, I wish I knew any of them. Read more...

Fleur De Flicks - June 2012

Tired of watching “The Avengers” these past few weeks? Don’t worry; with a new month, comes a new slate of movies. These are some of  my ticket buying suggestions for June. Read more...

A Spaghetti Superhero Flick?

After seeing The Avengers I wondered if we’ve seen the best that comic book movies have to offer. To clarify, I think that comic book movies are different from superhero movies. This is just my opinion, and I could be wrong, but it has to do with how the movie treats the subject. For example; Spiderman 2 is a superhero movie, Captain America: The First Avenger is a comic book movie. One deals more with the main characters’ plight and conflict, while the other is just about telling a fun story. I’m not trying to suggest that one is better than the other – it’s just how I feel.

So, let me change my original question up; have we seen the best that superhero movies have to offer? Read more...

Trailer: 'The Perks of Being a Wallflower'

Being Mr. Obvious over here, I say that high school sucks. But, what sucks even more is finding a good high school movie. Read more...

Review: 'The Avengers'

I used to collect comic books. Yes, I admit it. I got swept up in the fantasy of characters with unique abilities beyond those of normal people, fighting over exaggerated villains in an effort to save their hometown, and in some cases, the world. I mostly focused on the Superman comics – during the period of time when he became pure energy (I was probably one of the few that liked that story arc) – but I certainly hadn’t chosen a side in the DC vs. Marvel fight. Why pigeonhole yourself to just one brand? Read more...

NOLA's First Tugg Event

Read more about the event

 Movie buff wants to give The Joy a Tugg

After registering with the site, I was asked by a representative what theater in my area I was interested in. I thought of a few: The Prytania, Chalmette Movies, Zeitgeist, even The Alamo Underground. I feel pretty confident that any of these venues could play host. Shortly after responding to the rep, however, I realized I had forgotten one very important location – The Joy. Read more...

#TeamNOLAFilm Podcast - Episode 1

Hosted by local bloggers (myself and Chris Henson), local filmmakers (Chris Brown and Ashley Charbonnet), local crewmen (Casey Moore), local critics (Mike Scott), and open to any/all others who are involved in local film, this project has one main goal; to provide insight into the Hollywood South community FROM the Hollywood South community. Any suggestions, questions, comments or concerns are greatly appreciated. Feel free to embed and share this. And, if you download or listen to this, you too are part of #TeamNOLAFilm:

 Music courtesy of Tuba Skinny.