Brighton Rock, a British Thriller Revitalizes the Noir

Posted on August 27, 2011 by admin

If you want to experience filmmaking as it used to be at the height of the Golden Age of Hollywood, then you’ve got to see Brighton Rock. With its palpable atmosphere and impeccably nuanced mise-en-cine, Brighton Rock may well be the most authentic Noir since the Big Studios reigned supreme.

There was a time when the Noir held a place of distinction within the film world. However, over the years the moody and atmospheric genre has fallen out of favor. Some could say it’s because audience’s tastes have changed, but I would have to disagree and place the blame on the filmmakers. After all, it has been proven time and again that if a movie is good, regardless of the genre, people will see it.

Such was the case with the Western, Dances with Wolves, and the Musical, Chicago. Both films bore the stigma of genres that were long considered box office poison, and both films went on to win the Academy Award for Best Picture of the Year. And now the Noir receives its well-deserved resurrection care of the gritty and stylish Brighton Rock. Not only is it a damn good film that people will want to see, it rejuvenates the genre long considered beyond reviving.

Brighton Rock’s well-crafted world rings true to the aesthetic required of the genre. The film, an update of a 1946 film based on a Graham Greene novel, is set in a picturesque seaside resort full of shady characters and nefarious activities. The year is now 1964, a time when Britain’s Mods and Rockers were often found rioting in the streets. A young punk named Pinkie (newcomer Sam Riley) is entrenched in the world of organized crime, longing to become top man.

When his mentor is suddenly killed Pinkie’s darkest ambitions rise to the surface. And it is a sad twist of fate when a naïve young woman (Andrea Riseborough) ends up an unknowing witness to his act of violence. Easily seduced by Pinkie’s attentions, she falls in love with the mysterious young man, not realizing his motives are sinister at best. As Pinkie becomes more and more ensnared in his web of deceit, he must avoid the police, calm his disgruntled crew, and contend with the mob’s kingpin, while playing cat and mouse with two local proprietors (Helen Mirren and John Hurt) looking for revenge of their own.

Riley (Control, On the Road) gives a stunning performance as the intense and cunning Pinkie. His brooding good looks bring to mind a young Johnny Depp, but darker and edgier, void of any boyishness (other than the kind you might find in Damien from The Omen). Likewise, Riseborough (Made in Dagenham, Never Let Me Go) is thoroughly convincing as the misguided waif whose sincere devotion will make your heart ache as she withstands degradation after degradation, all in the name of love. And with true female bravado,, Helen Mirren serves up one of the juiciest performances ever devised for a mature woman of the screen. Already designated Body of the Year, the 60-plus diva may very well end up actress of the year, reinforcing her title of “The Queen”.

As impressive as Brighton Rock is, what’s particularly noteworthy is the fact that this is director Rowan Joffe’s first feature film. Faced with the temptation of comparing Joffe’s own exceptional debut with that of Orson Welles’, I refuse to claim that Brighton Rock is akin to Citizen Kane. However, this perfectly realized Noir is certainly one of the best examples of its genre, in this or any decade. Its quality and execution hold up to the high standards established by the two most celebrated masters of the genre, Billy Wilder (Double Indemnity) and the previously mentioned Welles (Touch of Evil). Not only is Brighton Rock the best film I’ve seen all summer, it may be the best I’ll see all year.

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Battle for Brooklyn: A Fascinating Documentary that Examines the Power of Big Business and the Rights of the Individual

Posted on August 21, 2011 by admin

The documentary Battle for Brooklyn is a true David and Goliath story reshaped for the modern age of capitalism. The David in this case is a young man, Daniel Goldstein who at the beginning of the film has recently purchased an apartment in Brooklyn with the intent of starting a family. The Goliath is a huge development company with plans to build a massive sporting facility and surrounding buildings right where Goldstein’s apartment building (as well as many other buildings and businesses) already exist. With the promise of thousands of jobs for the community and armed with the weapon of “eminent domain” the development company takes advantage of the law and public opinion to push their project through.

However, according to the dictionary “eminent domain” is a law that gives a government or its agent the right to expropriate private property for public use. You know, like for highways or parks and such. Since the project in this case was being developed for private use, by a private company it appeared to Goldstein that the intent of “eminent domain” was being misused, regardless of the supposed benefit to the community. So the young graphic designer spearheads a campaign to oppose the development, and sticks with the fight for more than 7 years!

First of all, I found it compelling that any documentary filmmaker would stick with a subject for seven years. You’d think they’d get bored with it. However, once you’re in this story it’s easy to become engrossed, and the filmmakers were very clever about pulling the audience in as quickly as possible. Using the camera almost like Goldstein’s conjoined twin, empathy is developed virtually instantly as the audience experiences his life, the triumphs and the set backs, first hand. And because Goldstein is constantly talking to the camera, the audience is seamlessly pulled into the narrative as a trusted confidant. Therefore, within a short time it is no longer just Goldstein’s cause, but “our” cause he’s fighting for.

Which is exactly the point the filmmakers are successfully making. If the law can be so easily misused, then this exact same thing could happen to any individual property owner, even you. With that in mind, it’s pretty damn compelling to see how a big corporation can come along and literally procure property it finds desirable for its own needs. To be fair, adequate, if not extravagant, compensation was part of the equation, but the scary part is that no one is given the option to decline. Is that legal in America?

The story of Battle for Brooklyn reminds me of another documentary I saw not too long ago at the Los Angeles Film Festival called Paraiso for Sale. It too focuses on the property and homes of individuals being snatched up by big development companies while the government stands by and does nothing. But Paraiso for Sale was set in Panama! I distinctly remember thinking this could never happen in America. Regardless of the potential benefits to a community, and the limited number of people negatively affected, I believed our government would never stand by and let such unfair practices take place. As evidenced here, I was apparently very wrong.

Holding true to Goldstein’s motto, “Develop… Don’t Destroy”, Battle for Brooklyn stands as a fine example of true documentary filmmaking by presenting the facts (albeit from one perspective) as they appear. There is no overt “demonization” of the corporate entity or the people who represent it. Their actions speak for themselves, and one is left with the sense that the developers and their supporters truly believe that what they are doing is for the greater good. But that does not make the ends justify the means. Perhaps, in future, those purposing to take a same tact in development projects should watch Paraiso for Sale and Battle for Brooklyn back to back, and then remember we are not a third world country, so let’s not behave like one.

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Amigo, John Sayles’ First Film in Four Years was Worth the Wait

Posted on August 19, 2011 by admin

John Sayles’ latest film, Amigo, is the tale of a small Filipino village and its struggles during the Philippine-American War. This beautifully realized historical drama is classic Sayles filmmaking at its best. It satisfies the devoted art house fan by remaining socially minded, while providing the commercial audience an extremely satisfying emotional experience.

I don’t want to give too much away since much of the pleasure of Amigo derives from the suspenseful intrigue that unfolds. I will tell you that like many a taut political thriller, Amigo begins with the depiction of an idyllic day in a quiet little community. However, this community is in the middle of a Filipino Island around the turn of the 20th century. The picturesque scene appears to be a paradise until a small contingent of Rough Riders charges into town and seizes command for no apparent reason except the fact that this place stands between two other points of interest. After a small but chaotic scuffle, the foreigners enforce their authority upon the local leader, Rafael, who vehemently pronounces himself as a friend, or “amigo”. Thus the title, and the central conflict are established.

Despite sincere efforts of cooperation by both Rafael and a disenchanted American Lieutenant (a very compassionate Garret Dillahunt), the situation grows beyond their control. In addition to the inhabitants’ desire to self-govern, peaceful coexistence is obstructed by several other factors including a hostile priest deserted by the Spanish, a band of rebels led by Rafael’s brother, and an overly aggressive Colonel bent on dominating, if not destroying, the indigenous people. Amigo stays true to the authenticity of the historical conflict, ending with a viscerally unsettling and harrowing depiction of the casualties of political unrest.

Like many of his past films (Matewan, Men with Guns) Sayles has created a powerhouse of a film that achieves an admirable task, that of conveying a complicated political scenario in a manner that any audience can comprehend. Case in point: me. Going into the movie, I was concerned that I might not understand it, because (to state it bluntly) I don’t know a damn thing about this specific episode in American history. As it turns out, it doesn’t matter, because the story focuses on the immediate conflicts at hand for Rafael, rather than to the grander objectives of a military commander, a society, or a nation. If only more films of a political nature could be expressed in such basic terms, they’d find wider acceptance and a bigger audience.

Rafael’s responsibilities to his fellow villagers don’t change; it’s just that the scope of his decisions graduate from settling petty differences in the beginning of the film to shaping the course of his people by the end of the film. The stakes are higher and the ramifications are significantly more complicated. So, naturally, the numbers of dissenting voices are greater as well. For Rafael and his fellow villagers, life is no longer a simple matter of black and white, but an increasing array of grays. This painful transition is beautifully conveyed through the expressive face of Rafael, played to great effect by the exceedingly likable Joel Torre.

Torre is a very popular Filipino Soap Opera star who is likely to be seen a lot more on the American screen after Amigo. I wouldn’t be surprised if his heartfelt performance earns Torre some serious Oscar consideration. Likewise, the entire cast is worthy of exceeding praise. Whether it’s the always-exceptional Chris Cooper putting a human face on an extremely unlikable Colonel, or a relatively unknown Ronnie Lazaro as Rafael’s brother and leader of the local guerillas who passionately personifies the communal anguish, the actors in Amigo bring a vitality and strength to their roles that is rarely seen in historical films without sliding into melodrama.

With all its political machinations, human rights issues and astute observations on war and its effect upon the human soul, the most lasting impression Amigo will leave you with is its amazing relevance to the modern world. Because even though the story may be set in another time and another place, the same basic conflicts are being played out today. And therein lies John Sayles’ greatest talent – the ability to hold a mirror to the world and present a palatable reflection. Audiences tend to reject entertainment if a lesson is to be learned, and yet many lessons can be learned if they are engaging. John Sayles has mastered this skill and once again manages to entertain regardless of the worthy message. Lesson learned.

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Why the Final Harry Potter Film Failed

Posted on August 11, 2011 by admin

I know that current popular opinion holds Harry Potter and the Deathly Hallows Part 2 in high regard. However, I cannot subscribe to that assessment. In fact, I find the final installment to the highly successful fantasy series to be hugely disappointing. And I say that as a loving and devoted fan. One who is utterly shocked that there hasn’t been an abundant outpouring of likeminded reactions from fans everywhere. Have people seen the same film I saw? I suspect that fans and critics alike are being far too forgiving toward a beloved franchise either due to loyalty or fear of displeasing the masses with an opinion that, however different from the standard, may actually reveal some sad truths. Let’s face it folks, Deathly Hallows 2 was not the film it should have been, or could have been and there’s just no reason for the filmmakers to have made that egregious error.

Some people will inevitably say that there’s no pleasing everyone, but that’s too easy an excuse. My argument has little to do with faithfulness to the book and a lot more to do with production value. Admittedly, I may be harder to please than the average moviegoer, as I have spent a lot of time on film sets and have an extensive background in film studies, but so what? In this day and age I don’t think that really matters any more. Today’s film fan has a vast amount of ‘insider” access and practical knowledge available to them through various avenues of the media. Which is why I get so annoyed with films that seem to have been produced with the attitude of “oh well, that’s good enough”.

I blame the director, David Yates for all of the film’s shortcomings. Yates has been the director for the last four Harry Potter films, and the many faults of the latest installment have slowly infiltrated the otherwise well-developed franchise while under his watch. When it comes to today’s multi-million dollar productions you shouldn’t be able to get away with diluted story lines, brushed over plot points, second-rate set designs, truncated performances, uninspired cinematography and the reliance of the fan base to get you through. No, you shouldn’t, but Deathly Hallows did.

I guess my greatest complaint is that I feel cheated. We all know that Harry Potter movies are given the time and money to do things right, and yet it didn’t show on the screen in Deathly Hallows. Too often the sets looked cheap, as if they had been built in segments isolated from one another. Most of the scenes are shot in close up, seldom giving any sense of a place in its entirety. Makes you wonder if the producers had difficulty in getting all of the big name British actors in one place as needed, and had to film coverage hodge-podge as people became available. Either way, the result is that the film has a very stagy feeling, which of course dilutes any illusion to a fantasy world.

Regardless of how the performances were captured they seemed rushed. Again, I place the fault with Yates. After all, these are experienced actors, many of whom are Shakespearian trained. All you need to do is let them go and they’ll be great, if not spectacular. That is, unless you mess up their hard work with insufficient coverage and bad editing, both determined by the director. Academy Award winning actress Maggie Smith is given the best consideration, but even her McGonagall is hardly allowed the screen presence her character deserved (no dénouement moment with Harry after the final battle? Really!). It’s bad enough that many of the pivotal characters we’ve come to cherish have been reduced to hardly more than glorified extras (Remus, Mr. & Mrs. Weasley, Fred & George, Slughorn, Trelawney), but to deny Alan Rickman the opportunity of fully conveying a performance that may very well have been Oscar worthy is an absolute injustice. His Professor Snape always possessed the gravitas necessary to impart what was to be a major revelation in an epic journey, one that has taken a decade to tell. But by clipping a shot here, and not lingering a moment longer there, Yates has literally stolen the well-deserved nomination from Rickman’s hands. I consider this to be gross negligence.

As I said before, I feel cheated. But it’s more than that. There is sadness in knowing that this is it, and there will be no other attempt at getting it right. Harry Potter is not like Tarzan or Sherlock Holmes where various attempts will be made through the ages to create a definitive representation. There will be no re-boots or re-imaginings here. This was it, and when it came down to the finale it fell short of achieving its fullest potential. I know that as the years pass, others will feel the same. Because, regardless of the oft-misused declaration of a film being an “instant” classic, it requires the passage of time to truly evaluate the accomplishments of any given film. In this case I think that’s certainly so. Only time will tell.

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Agora – An Historical Picture without Much to Offer Besides a Pretty Leading Lady

Posted on July 15, 2011 by admin

Spanish-Chilean director Alejandro Amenabar (The Others) takes a less than impressive turn with the historical drama, Agora staring Rachel Weisz as an atheist philosopher in 391AD.

Set in Roman Egypt, Agora (according to its own description) is about an inquisitive slave who turns to the new religion of Christianity while longing for freedom and falling in love with his master’s daughter, the famous female professor Hypatia of Alexandria. But after seeing the premier at Cannes, I wonder who wrote that account and if they saw the film in its entirety, since the movie only peripherally covers these plot points and instead spends a whole lot of time superficially dabbing at other topics.

Although Agora attempts to cover a lot of ground, the film doesn’t satisfactorily address any of the plot lines. Legendary philosopher Hypatia, (Rachel Weisz) we are told, is seeking the secret to the Earth’s true orbit, but few scenes demonstrate this, and those that do repeat the same question again and again. The constant religious rioting among the people of fourth century Alexandria is much talked about, but is presented as repetitive base retaliations with no explanation other than “my religion is better than yours”. And a pair of flatulent attempts to gain Hypatia’s romantic attention falls flat, as the adoration resembles superficial school-boyish admiration, lacking any emotional depth. Even Hypatia’s rebuke of the advances of one of her suitor’s is meant to enlighten the audience to her character, but instead comes across as a mean-spirited gesture, and a poor attempt at making a profound statement about the nature of a woman’s place in Roman times.

Additionally, the writing is a bit sporadic. There are some wonderfully dynamic moments of personal detail such as the ritual of the master’s bath, but then in the middle of the film the story suddenly skips years forward with no explanation, omitting what one can only be imagined as important information on how everyone has elevated to opposing positions of power. Even more confusing is how Hypatia has come to reside in the home of the would-be lover she formerly rejected. This lack of explanation justifies the taunts of “whore” aimed at Hypatia and her role in this unexamined relationship.

The production value is also lacking. There are plenty of sweeping computer generated overviews of ancient Alexandria, as well as some overused “God’s eye” views that zoom in from outer space, but coupled with the obvious set pieces used for the interior scenes, the overall effect is that of a movie of the week or miniseries, not a mega million dollar epic. The costumes, on the other hand, are exceptional, but the hair design on most of the men distracts from this quality. Synesius (Rupert Evans) goes from a bowl hair cut in his youth to what can only be described as a Christ-like surfer dude look in later years.

The only other notable qualities to Agora are the performances of the exceptional cast, particularly of the two leads. Rachel Weisz gives an as-usual fine performance, but the role is not fully fleshed out to allow any truly memorable moments that would make this a stand out performance in an already impressive resume. It is Max Minghella, however, as the slave Davus, who really shines. Although his role suffers from the same underwriting as the others, Minghella brings a powerful presence to the screen that imparts volumes to his many silent moments as he observes the actions and events unraveling around him.

Because of Minghella, Davus is the only character you can really get a sense about and care for. And this is the film’s greatest fault – we just don’t care enough. So what if Hypatia was an independent woman in a time when such things were unheard of? It’s difficult to give a damn when she is shown living in luxury experiencing academic fulfillment while the world outside is tearing itself apart. Hypatia is virtually a Marie-Antoinette, a spoiled aristocrat of her time enjoying her privileges while the masses fight. The same can be said of the subordinate characters, all of whom are given so little screen time that it’s impossible to dislike anyone strongly enough to justify the title of Antagonist. Add to that the fact that the film lacks a solid protagonist, Agora is merely a reasonably good film with an under utilized cast with very little to do.

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“A Better Life”: A Better Summer Film if You Like Good Stories

Posted on July 3, 2011 by admin

 

A father and son go on a journey in "A Better Life"

“A Better Life” tells the tale of an illegal immigrant father and his American born teenage son. The father is a sincere and honest man who works exhausting hours as a landscaper so his fourteen year old can live a better life than what would have been available to him back in Mexico. Their relationship is a strained one, as the boy is at an age of natural rebellion and is embarrassed by his father’s profession. But the father quietly endures, not minding the subtle indignations as long as his son stays out of trouble and gets an education. He even buys the truck from his retiring employer so he can carry on his work without standing on the corner waiting to be selected as a day laborer. Unfortunately, the truck is stolen, and the father and son go on a near impossible journey to get it back. Through the course of their search together the son gains a better understanding of his dad and learns what it means to be a father, and an American.

 

The father sees a beautiful view just before seeing something shocking.

The story of “A Better Life” is a simple one, but don’t let that put you off. As this well executed tale will prove, simple is sweet. The very first thing you notice about “A Better Life” is the stillness and quite beauty of the cinematography and acting. Unlike other summer releases, this one is not loaded down with a bunch of fancy camera tricks or any kind of special effects other than those provided by the subtle and heartfelt performances so lovingly caught on film. And I do mean film, for this production used an old fashioned camera, providing a warm and intimate feel one can only get when shooting with actual film stock. The choice seems poignantly fitting. An old fashioned feel for an old fashioned film that offers something you rarely get from a Hollywood product anymore; a well-constructed story that entertains and satisfies.

This rare achievement is particularly impressive considering that Chris Weitz’s first two films as a solo director include the fantasy extravaganza  “The Golden Compass” and the second installment of the Twilight films, “New Moon” (Weitz’s other directing credits are shared with his brother, Paul). That’s a huge swing of the pendulum; one few would expect from someone use to hundred million dollar budgets. Of course the budgets may have been very large, but the decisions were not always his to make. With a smaller budget the director gets to make more of the decisions, and in this case it appears to have paid off. One of the decisions was to shoot on real locations in Los Angeles with a bilingual cast and crew, even though Weitz himself could not speak Spanish before shooting began. It was a choice he made in order to pay honor to the cohesive intent of the film, a conscious nod to the coming together of different worlds. This thematic homage really shows through, lending the film an added depth of authenticity in every single frame.

 

Although seemingly impossible, the father must try to find his stolen truck.

I will not spoil the experience of this film by giving away its ending, or even mentioning one of the most thrilling moments of the film that prompted the audience I watched it with to explode in to applause. I will tell you that the film has similarities to the classic film “The Bicycle Thieves”, which is not surprising since Weitz has mentioned watching a lot of Italian neo-realism and De Sica before beginning production. That being said there is no neat, happy ending. The conclusion is a complicated and realistic one that leaves room for possibilities. But I think intelligent audiences will appreciate the opportunity to think for themselves. Better yet, intelligent audiences will appreciate a good film without a bunch of fancy frills and post-production sweetening. Without a doubt, “A Better Life” is the best bang for the buck so far this summer. With filmmaking this clean and simple, how can you go wrong?

 

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LAFF Succeeds with Thought Provoking Documentaries

Posted on June 21, 2011 by admin

 

Even though I’ve made LA my home for the past thirteen years, like most people who live here, there are many annual events that take place that I’ve never gotten around to experiencing. The LA Film Festival is one of them. But this year is different. After living in San Francisco and never visiting Alcatraz, and living in New York City and never going to the top of the Empire State Building I’ve decided it’s about time I enjoy my surroundings. And so far in regards to the LAFF, I’m really glad I’ve made the effort.

It’s not even that much of an effort really. Now that the Festival is in its second year at LA Live downtown it’s very easy for me to take the Metro from Hollywood for a $3 roundtrip. Granted, finding a place to eat between screenings can be tough when an event at the Staple Center is happening, but the Regal Cinema has turned out to be a real discovery for me. I don’t know about the popcorn, but the screenings I’ve been to so far have all been in great theaters with impressively large screens and incredibly comfortable seats that rival those at the Arclight.

The films themselves have ranged from the well-financed, star-studded, heist job gone terribly wrong, “Drive” to the low budget, lackluster independents attempting to be kooky (I’ll spare giving a title). However, I’ve found that the truly dependable tickets for this year’s fest are the ones for the many thought provoking documentaries, particularly “Once I was a Champion”, “Salaam Dunk” and “Paraiso for Sale” (which screens for the last time tonight at 9:50pm).

Still from from "Once I was a Champion"

“Once I was a Champion” is the story of ultimate fighting champion, Evan Tanner. Many people are familiar with this story, but I was not and do not wish to spoil the many surprises in store for any one who might think this is just another sports bio. It is most certainly not. Granted the title does suggest that this film might just be about the spectacular raise and ignoble fall of an athlete who now bemoans what was and could have been. But there is so much more to this film and its subject than you could possibly imagine.

The thing that interested me the most was the in-depth and personal perspectives the filmmakers were able to obtain from the conflicting accounts of many of Tanner’s closest friends and fellow athletes. In an interview with director Gerard Roxburgh and producer Kirk Porter they made it clear that they wanted to approach the film as a narrative with a clear beginning, middle and end, establishing plot points where the audience would fall in love with the hero, come to dislike him, and fall in love with him all over again, and they succeeded. I fully expect to see Roxburgh at many more festivals in the future with narrative films and look forward to see what his distinctive voice will bring us in the future. “I Once was A Champion” screens two more times during the festival, Thursday the 23rd at 5:30pm and Saturday the 25th at 7:20pm.

Still from "Salaam Dunk"

Likewise, “Salaam Dunk” is another documentary well worth catching on the big screen. All though it also involves a sport, “Salaam Dunk” is most certainly not a sports film. It’s mostly about female empowerment. The YWCA and Girl Scouts of America have been saying it for years, and now “Salaam Dunk” demonstrates how sports can offer young women so much more than just the opportunity to develop athletic skills. Especially if the team is composed of young women who live in a society where playing a game like basketball can provoke violent acts upon the participants. The college students in this film live in a progressive area of Iraq where women are allowed to play sports under certain restrictions. And because it’s unlike anything these women have ever experienced they find new strength in themselves and the multi-ethnic friends they never thought they could have before. Ladies bring your friends, and dads bring your daughters. You’ll be delightfully surprised with the warmth and joy this film inspires. “Salaam Dunk” screens Tuesday the 21st at 7:10pm, Wednesday the 22nd at 4:00pm, and finally on Friday the 24th at 7:40pm.

Still from "Paraiso for Sale"

“Paraiso for Sale” was another well-executed film that had me leaving the theater with my mind reeling a mile a minute. This documentary tells the ongoing tale of an isolated area in Panama which was once an unknown paradise. But now this paradise is under threat from developers as well as individuals who have taken advantage of the near non-existent government in order to participate in what amounts to a land grab. What is particularly maddening is that the natives who have lived on land for generations are being forcibly removed from their homes. Even ex-pats with titled land they bought in good faith are facing an un-winnable battle against corporate giants who wish to build gigantic developments.

It seems almost unfathomable that this could happen and that no one is doing anything about, least of all the local government. Granted, this is an issue as old as time when one thinks of the history of the US, or even Europe. But what is most astonishing and even heartbreakingly demonstrated in this fair and balanced documentary is that we, as humans, haven’t learned our lesson yet, on either side of the battle lines. Come on out tonight and catch “Paraiso for Sale” for its last LAFF screening at 9:50pm. No doubt you will leave the theater discussing the film with fellow audience members whether you know them or not. This film will make you think, and wonder if the rest of the world is right – that there’s just no fighting the guys with the most money.

Whether you catch a documentary or not, there’s plenty to see at this year’s LAFF. And you’ve got practically five whole more days to do it. So no more excuses get out of the house and begin enjoying the many blessings an LA summer has to offer. This could be the beginning of a whole new tradition.

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FREE Screening of Important Documentary on Child Bullying

Posted on June 18, 2011 by admin

Still Photo from the Documentary "The Bully Project"

“The Bully Project” directed by Lee Hirsch is presented as part of the Free Community Screenings at the Los Angeles Film Festival on Sunday, June 19th at 4:20pm.  The Weinstein Company will open the film to mass release later this year on November 11th, but here’s your chance to come out and see it early. There are no tickets or badges necessary for this free community screening, so bring as many people as you like, just come and see this important film. If you have children, or work with children this film is the must see of the festival.

Forgive me for relying heavily on the press release, but in this case I find the statements made by the filmmakers to be abundantly true. Directed by Sundance and Emmy-award winning filmmaker, Lee Hirsch, “The Bully Project” is a beautifully cinematic, character-driven documentary. At its heart are those with huge stakes in this issue whose stories each represent a different facet of America’s child bullying crisis.

The Bully Project follows five kids and families over the course of a school year. The stories include two families who have already lost children to suicide and a mother awaiting the fate of her 14-year-old daughter who was incarcerated for bringing a gun on to a school bus. The film provides an intimate glimpse into homes, classrooms, cafeterias and principals’ offices, offering a privileged insight into the often-cruel world of the lives of bullied children.

Bullying has always been a part of growing up, but sadly, the latest generation is experiencing a surge in bullying incidences. As teachers, administrators, kids and parents struggle to find answers, “The Bully Project” examines the dire consequences of bullying through the testimony of strong and courageous youth. Through the power of their stories, the film aims to be a catalyst for change in the way we deal with bullying as parents, teachers, children and society as a whole.

The film is showing at the Regal Cinemas at LA Live located at 1000 W Olympic Blvd. in downtown Los Angeles. You can come by Metro and get off at the Pico stop on the Red or Purple lines. Or if you plan on coming with a number of people you’re most economical bet is the inexpensive parking available for $8 for the day in the West Parking Garage. You’ll want to go through Gate B, which has an entrance off of Chick Hearn Ct. It doesn’t matter how you decide to get there, just get there. This is a compelling film with an issue that is important to all those who touch the lives of children. You’ll be very glad you made the effort, and likely to encourage others to do the same once you’ve seen “The Bully Project”.

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“Super 8”: All the Best of Spielberg’s 70s and 80s Films Rolled into One, and Yet…

Posted on June 10, 2011 by admin

Young friends get caught up in the strange happenings in their town.

From the very beginning of JJ Abrams’ latest film, “Super 8” you are instantly overwhelmed with a terrific sense and feel of the 1970s. The music soundtrack is simply sensational; loaded with so many classic tunes of the era one would almost think this was a Cameron Crowe film. And the wardrobe and production design are just as impressive, never once giving the impression of being anything less than organic. With such genuine surroundings the film does not in the least feel like a period piece, but rather like a film conceived and produced in that culturally precarious time between 1975 and ‘85, just like all the films it seems to be so obviously emulating.

For anyone who is old enough to have experienced the arrival of the first ordained summer blockbuster, “Jaws” (directed by Steven Spielberg) and then have seen for the first time in theaters “Close Encounters of the Third Kind” (also directed by Spielberg), “E.T.” (once again, directed by Spielberg), “Poltergeist” (produced and written by Spielberg) and “Goonies” (produced and written by Spielberg), this film will provide a tremendous feeling of nostalgia.

The look and feel of the picture is very Spielberg-ian, with a tremendous use of lens flare and extreme close ups (“Close Encounters of the Third Kind”, “Poltergeist”). The story keeps you in suspense wondering just what the creature looks like (“Jaws”, “E.T.”). The world in which we are placed is set in a small isolated town (“Jaws”, “Goonies”), in a neighborhood sprawling with look-a-like houses (“E.T.”, “Poltergeist”), with a bunch of kids on a secret search (“E.T.”, “Goonies”) the government is trying to prevent them from accomplishing (“Close Encounters of the Third Kind”, “E.T.”).

This constant sense of being in another time watching an earlier film by an iconic filmmaker is in no way a bad thing. It’s pretty damn smart actually. By evoking the memories of previous movie watching experiences the audience can’t help but feel as if they are experiencing the same sensations all over again. I did. And as for younger moviegoers who have never seen the early works of the man who is quite possibly the greatest living American film auteur, they’re just going to like “Super 8” for what it is: a terrific summer movie. But one they’re likely to forget about the second they leave the theater. For without the background and history of the older viewer sitting next to them, “Super 8” is not likely to have any sticking power with the younger theater patron.

In fact, “Super 8” hardly had any sticking power with me, let alone the other people with whom I saw it. We left the theater feeling pretty pumped up and shared an overall high level of satisfaction with the film. But we hadn’t gotten very far when we realized we weren’t talking about it any more, mostly because there wasn’t much more to say. “Super 8” is great fun and exactly what a summer film should be, but would we see it again? The answer is not very likely. Will it become one of the all time classic summer blockbusters? Absolutely not. But then again, who cares? If you want to have a good time in a theater this summer you can count on “Super 8”. Just don’t expect too much from it and you’ll be satisfied. After all, it’s not the 1970s. “Super 8” has the distinct disadvantage of having been made in the age of big budgets and computer generated special effects. Let’s not hold that against it.

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Beauty Culture at The Annenberg Space for Photography is for Every Woman

Posted on May 27, 2011 by admin

Annenberg Space for Photography

The first thing you want to see when visiting the Annenberg Space housing the current instillation, Beauty Culture is the short, but impressive film made by documentary filmmaker, Lauren Greenfield. Without this introduction the true meaning of the exhibit will certainly be lost on the uninformed. Without the multifaceted observations (good, bad and otherwise) provided by the film the photos hanging in the gallery lose their significance, being nothing more than representations of the exultation of beauty in Western culture.

With few exceptions most of the photos are merely reproductions of iconic magazine covers or layouts, mostly from the ‘80s on up, resulting in what would appear to be a salute to fashion photography. By experiencing the documentary first the photos take on a far more significant and deeper meaning. Seeing the photos after the film the observer can’t help but wonder about the stories behind the images, and the history of the women within in them, let alone question the intentions of the photographer.

I don’t get out to Art exhibits much. It’s the kind of thing I always want to do, but never end up doing. And I’m certainly not the type of woman who thinks too much about beauty; mine, yours or anyone else’s for that matter. I don’t obsess about fashion and I take the minimalist approach when it comes to makeup. So when I first heard (I should say ‘saw’) promotions about Beauty Culture I wasn’t all that interested. I’ve seen many of the banners swinging from light poles around town promoting the latest installation at the Annenberg Space for Photography, but had a completely different idea of what I might see if I actually made the effort to go. Fortunately for me a friend suggested the museum for a long overdue meet up and I came away convinced that every woman, form preteen on up aught to see this important work.

One of the many images on display at The Beauty Culture exhibit.

What impressed me the most about the short film was the variety of viewpoints represented. Surely the filmmaker, Greenfield, wants us to examine our perceptions of beauty, but it is never dictated as to what is right or what is wrong about the American obsession with appearance. Doctors, models, photographers, agents, icons and idols all have their say as well as a group of unknown teenage girls, and self-image enthusiast, Jamie Lee Curtis. Images of the sublime are mixed with the grotesque to provide support or counterpoint to the opinions expressed, often resulting in humor and thought provoking reactions from the audience.

The experience most definitely effected the conversation I had with my friend as we left the exhibit. We both work within the entertainment industry so we understand a lot about the pressures of perceived beauty, especially within the world of film and television. Even so-called “reality” falls by the wayside when it comes to pleasing a viewing audience. But it certainly doesn’t always rub well against our consciences. I have no children, but my friend has a very young daughter who some day will face the same dilemmas we did as she grows up and discovers the sometimes-ridiculous expectations of a culture obsessed with beauty.

I know my friend has a very good head on her shoulders and will guide her daughter the best she can. But I hope that all women, especially those lacking the example of a strong role model, experience this exhibit in its entirety, and ideally with a friend. You will be moved and inspired, and I guarantee you’ll have one of the best discussions you ever had with another woman. I would recommend men see the Beauty Culture as well, especially fathers, but I just can’t see them really getting it. Sorry, guys, but it’s a girl thing. But do encourage every woman you know to see it. They’ll love you for it.

The Annenberg Space for Photography is located in Century City at 2000 Avenue of the Stars. Entrance is free, and parking is only $3.50 with validation. Beauty Culture will be on exhibit through November 27th.

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