Holy shit folks! I dug this film. What happaned to this in theatres? I remember hearing about it, but then it disappeared.
Just the right mix of great characters, superb acting, great story and right on direction. This fim is dark as all hell. The three interweaving stories are depressing, shady and tragic. The acting is so well done. This director knows how to elicit great performances. He proved this true with Denzel in “TRAINING DAY.” Here he does it again with Don Cheadle, Ethan Hawke and Richard Gere. The fine line between right and wrong is relative. I can find only one problem, I wanted more of each story. If dark tone does not bother you, I implore you to go out and rent this today. I do not want to delve into the stories here. See it with a clean slate. Not knowing anything but it it is awesome is the way to go. RECOMMENDED!
An insanely funny and wickedly debaucherous new documentary about crime, sex, art, drugs, music and life in the Austin underground. This is a follow up to Russ’s original post which asks the question, Can Chad clean up his life? Hear the answer.
Not sure what happened. I wanted to love this film. Everything was set for gold: the director, the producer, the actors, the characters even the damn premise. LOOK AT THE POSTER, SOUNDS AWESOME RIGHT? Something happened with the execution of the storyline. Maybe there was no story. Ug…?>?
This film is the further adventures of characters created in “Forgetting Sarah Marshal.” I love that film and re-watch it often. Everything worked. Sure, it was a romcom (romantic comedy) but they fleshed out the characters so well that the humor was dead on. I really could feel for the main character’s dilemma. And that was the magic. How could they go wrong with this spin off , when the persona’s had already been created?
I’ll tell ya…
There was no real character substance or development to associate and connect with. There were plenty of conflicts, but if the front and center people don’t have substance, then who cares. For the first 45 minutes or so, I kept hoping for the main guys to develop substance beyond the premise, but it just didn’t happen.
I guess I have a problem with lowbrow humor. The jokes wear thin on me. And if the lines or situations involve cutouts that are just poster images, well, you can see why I didn’t dig this flick. A good character was the record exec played by Sean Combs. Puff Daddy stole every scene he was in.
I wanted this film to be great. I must say that the audience that was at the screening ate it up. They loved it. Maybe, I am too critical, but that’s my take.
Filmmaker Bob Ray shock bombs the screen with another tale of the Austin underground in his latest doc Total Badass. Ray will be in attendance at this week’s Alamo Ritz screening, along with Chad Holt, the star and subject of Total Badass. Holt is a modern day Texas punk rock version of a Kerouac character; speeding through life on whatever fuels him in a non-stop flurry of writing, drug dealing, singing, stage diving, love making, and guinea pig raising. Spend time with Chad and you’ll witness anything from admiration of wig shop models to philosophical thoughts on the distinct cultural aspects of grease. A hilarious yet complex character, Chad does really stupid things, yet is smart enough to know exactly how much he can get away with. Arrests and probation can’t slow Holt down, as he marches on proudly giving the finger to society. Total Badass takes a hard look at the casualties of partying and soldiering on despite them. Mired in a Read the rest of this entry »
The concept for gross-out indie horror film “The Human Centipede” started with a sick joke. Tom Six, The film’s writer, came up with the concept for the film because whenever he and his friends saw somebody evil on television, he would tell them that “they should stitch his mouth to the ass of a fat truck driver.”
The story starts out with two American girls on vacation in Europe. They have the misfortune of running across a brilliant doctor who is the world’s foremost expert on the separation of siamese twins. The evil doctor has plans for the two girls that are the opposite of what he’s known for. Use your imagination.
The doctor, played by German actor Dieter Laser, is brilliantly creepy, with a little bit of a resemblance to our own American creepy Christopher Walken. In spite of the subject matter, there are comedic moments inserted by the Japanese actor Akihiro Kitamura-Katsuro, abducted to become the first part of the human centipede sequence. You may recognize him from NBC’s “Heroes” as Tadashi, the Japanese businessman who tries to commit suicide after photocopying his butt during a New Year’s party.
The film’s pacing manages to keep your attention and keep you guessing…what in the world could be next? Director Six does a good job of circumventing the tried and true patterns that are expected from horror movies, and surprises with a few unexpected twists. The ending is my only complaint…it’s abrupt ending has no closure for the victims. But in the end, isn’t that like real life?
“The Human Centipede (First Sequence)” was winner for Best Horror Feature and Best Horror Actor in Fantastic Fest 2009, and Best Picture at Screamfest 2009. The film is available on demand with “IFC in Theaters” via Comcast, Cox, Cablevision, Time Warner, Bright House, Charter and Insight.
Sandra Dahdah caught up with Del Castillo on Cinco De Mayo and they told her a little bit about their involvement with the new Robert Rodriguez film “Machete.” Remember if this video loads slowly please click on the HD link in the upper right third of the box to make it SD…thanks.
In this segment Bree Perlman interviews the Co-Directing team from the Documentary, World’s Largest. Amy C. Elliot, and Elizabeth Donius are the creative force behind this fascinating film, and both were kind enough to take a moment out of their busy SXSW schedule to talk about the film’s journey. Go watch the film, but first take a moment to get know the directors. Edited by Aaron Weisinger
Jonah Hill along with fellow co-star John C. Reilly spent the week at SXSW making the rounds promoting their new film Cyrus. Such junkets on any given day are awkward, contrived affairs–group speed dating meets arranged marriage with the press playing the role of ugly suitor to the young resistant bride fondly known in professional circles as the “talent”. On this fine morning, after a two hour delay, I began to wonder if any potential talent match was worth it, particularly when there still five more to go after almost five days of well, doing them. And then I hear him–the booming rasp of an excited Jonah Hill, the voice pounding through the open doorway of our adjoining suite at the Four Seasons.
“I’m on a plane coming back from Australia…”
He tells an audience we can’t see next door.
“And who is sitting right in front of me, but Al Gore. No really.”
A colleague stairs down at his pen. We hear a few uncommitted chuckles from behind the wall.
“And he gets up to go the bathroom and he’s gone for 45 minutes. Seriously.”
Nervous laughter travels around the room like a stadium wave.
“And now I have to go and I’m thinking, that’s Inconvenient News.”
The joke, true or not, is funny. The command for which this young man delivers it, the timing, the control– is hilarious. Jonah Hill has entered the building.
The Duplass brothers, the festival-darling unit that is Mark and Jay (of Puffy Chair and Baghead cult status), were back at SXSW this year with their first official Hollywood film (Fox Searchlight put up the dough and John C. Reilly, Jonah Hill, Marisa Tomei star). Cyrus, is a continuation of what is becoming known as the Duplassian Method– unconventional film making like shooting the script in chronological order, never storyboarding, and allowing actors to develop their own dialogue and blocking in order to obtain the ultimate sense of realism.
The "realism" for the brothers is creating a world where hilarious, serious, vulnerable, and uncomfortable live together in any single moment–essentially bringing the complexity that is the human condition to the screen. This is ultimately done through relationships–any assortment of which can bring startling revelations about who we, the raw and fallible, human, are. This time, the Duplass brothers use the interdependency of three adults–Marisa Tomei (Molly), John C. Reilly (John) and Katherine Keener (Jamie), and one adult-child, the intense and arresting, Jonah Hill (Cyrus) to play it out.
Filmmakers and filmgoers alike are continually fascinated with the Duplass brothers’ work–from both a technical standpoint (how did they do that?) and the cut-to-the-bone (Wow, that made me feel weird) effect it has on their audiences. They were kind enough to sit down and let us pick their brain in the hopes of getting some insight into how it all goes down…
An odd little Brit film, a narrative piece that concerns a woefully maldjusted young man who, for all practical purposes, is a quiet unassuming git. That is… until he takes a dislike to you.
This could have been just another serial killer gone wrong movie, but the exception is the lead actor, Peter Ferdinando, who does a marvelous job at bringing to life this stange little man who craves some sort of social interaction, and it matters not what as he tried everything he comes in contact with during his daily travails, which are, for the most part, just mindless wandering.
When watching I was struck by the similarities to a movie I saw some time ago called Henry:Portrait of a Serial Killer. And that, too, was a good movie if you are into taking a peek inside the warped mind.
There is no flash and dash here. No hyperbole. Just a lonely young man who occasionally will kill when people enter his life whom he takes a sudden and swift dislike. No rage. Just swift and calculated murder.
Not for everyone, but eventually worked for me. A no frills, no muss no fuss monster movie.
Bree Perlman interviews director Jacob Hatley. Austin Daze all girl video crew is rockin’ the SXSW, baby. More postings coming soon…so much footage so few editors!
What can one say about a gentleman who bores his way through this life doing exactly what he wants in exactly the fashion he chooses? Though many might take issue with his mode of living, I, for one, cheered through this entire movie watching Lemmy unapologetically living his life, in the immortal words of Ol’ Blue Eyes, “his way”.
We get to basically travel and live with Lemmy on and off the road, seeing what makes the man tick, what he’s actually made of despite his reputation. As it turns out, he’s exactly what his legend portends.
He’s way deep into Nazi memorabilia and has an encyclopedic knowledge of weaponry and has a collection of knifes that isn’t to be believed. And what a blast it was watching him drive a WWII era tank and fire the big gun!
Here’s a guy who is 65 years, drinking copious amounts of Jack Daniels and Coke everyday, and is never without a cigarette in his mouth, playing the loudest, most raucous rock and roll on the planet. And the beauty of it, he’s got a band and crew that have done exactly what they want, too, with Lemmy as their fearless leader. Who knew this was going to be a family tale, too?!?!
There were numerous anecdotal tales told by some of /rock’s elite, and almost all brought down the house each time.
Probably not as good as a Motorhead concert, this film chronicles the life and times of the legend, Lemmy in an uncompromising unflinching way, and that’s the way it should have been told.
Sig Heil, Lemmy! A must see….
Who’s the best singer-songwriter from the early 70s? You know the genre: one man, his guitar, and songs with a focus on thoughtful lyrics. In this town full of acoustic guitar slingers, lots will chime in and say Townes Van Zandt or Guy Clark. No one can argue Townes or Guy shouldn’t be mentioned, but lots will overlook Bill Withers. You may ask, Bill Withers the soul guy was a singer-songwriter? Heck yeah he was! The man got his start writing songs on his acoustic guitar. When he played live, it was just Bill sitting still, singing and strumming guitar. Listen to “Ain’t No Sunshine”, it starts with acoustic string picking and tapping foot. His songs are great character stories, it can be the story of his “Grandma’s Hands”, or a neighborhood like “Harlem”. Want a folky anti-war song? Listen to “I Can’t Write Left Handed”. Granted, by his second album, Bill was touring with one of the most energetic backing bands in the business, complete with funky bass and clavinet, and making hits with danceable music like “Use Me”. Underneath all that production and instrumentation still lies a well written song.
Shutter Island has taken the top spot at the box office for two weeks in a row now, racking up over $110 million. The film has even topped all other opening weekend records for Mr. Martin Marcantonio Luciano Scorsese. This success is a little surprising, because mass audiences can stay away from stories that aren’t “happily ever after” stories. After the obligatory post-screening “what did you think of the movie” talks, I knew I loved it, but predicted most audiences would be creeped out by it, killing the word of mouth buzz. To be fair, I guess people know up front that a story set in an insane asylum will be grim. The poster for Shutter Island gives fair warning too. When else have you seen Leo DiCaprio reduced to a grimacing face clouded in shadows?
Intense. Marty did it again. Closing in on the big 70 and he is making films that are awesome. And this was that. A mindfuck to say the least. I saw this on Wednesday and have been thnking about it ever since. It rather disturbed me. Even upset me. I was not sure I liked it, but I couldn’t shake it. You know what that is? That is mastery. Scorcese has been creating amazing and affecting films for 40 plus years. He just hits his prime again. I feel with this one he is paying homage to Polanski’s “Chinatown.” Maybe some Kubrick tossed in for good measure. The film is set for a journey down a famliar road but takes a detour. To say anymore would be criminal.I do wish to see this a 2nd time. This film was set for release in November but was pushed back. The performances are all top notch. I recommend this. Sure it’s not gonna be for everyone. The way this film resonated in my mind pushed me. This is the magic of film making and to be able to do this still and be in big budgets is incredible.
“YOU HAVE ALWAYS BEEN HERE MR.TORRENCE”
-THE SHINING
I so wanted this to be awesome. Unfortunately it was undercooked and underdeveloped. The characters had no substance, the story was full of holes and the cgi and scare tactics were just annoying. By now, everyone knows that this flick was in development hell for a long time. The original director walked right before the first day of shooting. Never a good sign. Rick Baker’s effects were turned down for cgi (computer graphics something). Ultimately, giving this classic tale a “Music Video” feel. This film did not end up the classic that I was hoping for and became merely watchable.
I have a deep affinity for werewolf pictures. The story is awesome. The tragic once bitten tale has so many interesting avenues to embark on. Even the elements and devices (full moons and silver bullits, etc) are interesting. Foolproof. One would think. They are just never very good. Like a junkie, searching for that unatainable fix of ultimate bliss, I alwaze flock to the theater when a new werewolf picture is released. Hoping for that gem like AMERICAN WEREWOLF IN LONDON. Most of the releases never come close. The best I have seen in a long time has been GINGER SNAPS. One day, they will realize what can be done with this tale. I will keep sifting through the trials in hopes of that rush.
The movie is full of kookiness like a dwarf for a boss, a maverick insurance fraud investigator, a stripper in a wheelchair, a carnival sideshow act always engulfed in flames, gun-toting male nudists, mobsters running a junk yard, and a creepy girlfriend with a yellow smiley-face fetish. Steve Buscemi stars, Sara Silverman gives comedic relief, and Spike Lee executive produces. The pitch for this movie must have practically sold itself because it sounds amazing. But is it?
Upfront, Saint John of Las Vegas is not a good movie. I have to root for it anyway because it gives Buscemi a leading part instead of making him a sidekick or supporting role. The man is one of the greats and rarely gets to show it in starring role. It also has a quirky plot that stays away from the predictable Hollywood format. This is the first film released from IndieVest, a new LA based company that finances films, and I’m all for new paths to distribution outside the normal big studio channels.
David Bates since 1982: From the Everyday to the Epic
David Bates, a Texan by birth and still a Texan by choice, makes art. In a way, Bates’ art is like the city of New Orleans: both can mean different things to different people. You may find it modern, yet others like the folksy charm, some enjoy its natural beauty, while others are drawn to its human emotions. Bates’ art is shown in New Orleans a lot, so much that I assumed he was from Louisiana at first. For New Orleans, a place rich in local culture, to welcome a foreigner like Bates into their museums and galleries speaks highly of the man’s work. Accolades also come from his home state, as seen in the Austin Museum of Art’s exhibition David Bates Since 1982: From the Everyday to the Epic. AMOA’s downtown gallery is filled with the different sides of Bates: folk art renderings of musicians, landscapes of nature preserves, still life magnolia blossoms, and cubist forms of cigarettes and Corona bottles. Bates’ brushstrokes have a signature style, and the same unique angular lines he puts down on canvas show up in his sculptures. In The Woodsman, Bates paints a life-size five-foot tall woodpile, no two logs alike, each one painted with subtle differences in color and pattern. The relationship between Bates and New Orleans comes as no surprise; the city is a famous haven for roots music, and Bates exalts this music on canvas via the imagery of musicians Clifton Chenier and Lightning Hopkins. People are the soul of any city, and Bates’ work shows a connection with the people of New Orleans. In the Katrina aftermath, Bates painted flooded landscapes and the faces of the citizens deluged by the federal levee failure. This recent Katrina series is worth seeking out. The AMOA exhibition is a sure bet, and the Ogden Museum of Southern Art in New Orleans has Bates on view in their permanent collection. The Ogden features The Storm, a series of three large panels, each one filled with a dozen life-size faces of flood survivors.
Jesus, what a waste of time. I was actually giving the bird to the screen, midway through. It started off pretty cool but it soon became a rehash of revenge pictures. Where are the original ideas? Along the same lines and well done was a film called “TAKEN.” Save your money and time and skip this. Mel was sleepwalking through this. Some folks actually applauded when the credits rolled. I was grateful also. The talent and money wasted could have done better. Maybe I’m harsh, my friend that was there didn’t feel negative about it. Maybe I missed something? Ray Winstone was awesome and saves what he can of the film. As it stands, the story was a rehash and poorly executed. I just did not give a toss……………………. I’m owed a few hours of my life back.
Holy shit folks! I dug this film. What happaned to this in theatres? I remember hearing about it, but then it disappeared.
Not sure what happened. I wanted to love this film. Everything was set for gold: the director, the producer, the actors, the characters even the damn premise. LOOK AT THE POSTER, SOUNDS AWESOME RIGHT? Something happened with the execution of the storyline. Maybe there was no story. Ug…?>?
Who’s the best singer-songwriter from the early 70s? You know the genre: one man, his guitar, and songs with a focus on thoughtful lyrics. In this town full of acoustic guitar slingers, lots will chime in and say Townes Van Zandt or Guy Clark. No one can argue Townes or Guy shouldn’t be mentioned, but lots will overlook Bill Withers. You may ask, Bill Withers the soul guy was a singer-songwriter? Heck yeah he was! The man got his start writing songs on his acoustic guitar. When he played live, it was just Bill sitting still, singing and strumming guitar. Listen to “Ain’t No Sunshine”, it starts with acoustic string picking and tapping foot. His songs are great character stories, it can be the story of his “Grandma’s Hands”, or a neighborhood like “Harlem”. Want a folky anti-war song? Listen to “I Can’t Write Left Handed”. Granted, by his second album, Bill was touring with one of the most energetic backing bands in the business, complete with funky bass and clavinet, and making hits with danceable music like “Use Me”. Underneath all that production and instrumentation still lies a well written song.
Jesus, what a waste of time. I was actually giving the bird to the screen, midway through. It started off pretty cool but it soon became a rehash of revenge pictures. Where are the original ideas? Along the same lines and well done was a film called “TAKEN.” Save your money and time and skip this. Mel was sleepwalking through this. Some folks actually applauded when the credits rolled. I was grateful also. The talent and money wasted could have done better. Maybe I’m harsh, my friend that was there didn’t feel negative about it. Maybe I missed something? Ray Winstone was awesome and saves what he can of the film. As it stands, the story was a rehash and poorly executed. I just did not give a toss……………………. I’m owed a few hours of my life back.
Awesome interview!
