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Source: www.moreover.com --- 24 days ago
There are filmmakers who show their true talents by making the best out of a limited budget and there are those who get a hefty sum and and completely waste it. ... Source: www.boxxet.com --- 48 days ago
CA - Apr 29, 2008 As is always the case with CG features like Terra, the voice cast is jam-packed with familiar chords: Evan Rachel Wood and Luke Wilson provide the voices of ... Original story at Cinematical . View our complete collection of news and blogs, plus related videos, photos and more at Boxxet for Evan Rachel Wood . ...
Source: manhattan.about.com --- 12 days ago
A Review of Tribeca restaurant Yaffa's. ...
Source: www.nerve.com --- 86 days ago
My Winnipeg , the latest from Canadian filmmaker and friend of the Screengrab Guy Maddin, was commissioned by the Documentary Channel, but as noted here recently , it's hardly the straight history-travelogue that the title might suggest. It's an impressionistic, semi-satitic tribute to the hometown of his fantasy life that Maddin's feelings about the city as a taking-off point, the way his recent "autobiographical" films Cowards Bend the Knee and Brand Upon the Brain! take off from his feelings about his memories from his early life. Those feelings, as they come through here, might best be described as affectionate but haunted. In Maddin's telling, the entire city is a folksy snowscape where people might yearn to get away but aren't awake enough to formulate an escape plan. "Guy", our hero and narrator (played by Darcy Fehr) recalls that for a hundred years, there was a yearly, day-long, city-wide treasure hunt, and the prize was a train ticket out of town, but nobody ever used their winnings because, after spending a day exploring the city, no winner could bear to leave. At the same time, Guy says, Winnipeg has ten times the number of sleepwalkers of any other city; at night, the sidewalks are clogged with folks who've gone to bed only to stagger outside and wander zombie-like through the cutting winds. It's as if their subconscious minds where sending their bodies a message that their brains don't want to hear. Guy, who himself ... Source: movies.monstersandcritics.com --- 75 days ago
A well meaning but ineffective coming-of-age story set on the surfing beaches of the industrial mining center of Newcastle, Australia. ... Source: movies.monstersandcritics.com --- 75 days ago
Director Daniel Myrick has taken his excellent work from the ultra-low-budget Blair Witch Hunt, added some modest resources as befits ... Source: www.nerve.com --- 83 days ago
James Marsh's documentary Man on Wire may not be the best movie in the Tribeca Film Festival--it feels a little drawn-out at 94 minutes, and it includes "dramatic reconstructions" that, mixed in with home movies and news footage, create confusion about whether what we're seeing is real or staged--but it's easy to see why it belongs in the Tribeca Film Festival. As everyone knows, the festival was created in the wake of, and as a response to, the destruction of the twin towers of the World Trade Center, and the movie is about one of the few moments in the WTC's history that can only be called likable: the day of August 7, 1974, when Philippe Petit, a self-taught wire walker and master of other carny skills, such as picking pockets, managed to hang a wire between the two towers and perform on it, some 1300 feet above the ground. Interviewed in the movie along with his various accomplices, Petit, who couldn't be more elfinly French if he were played by Dominique Pinon, says that he knew that he had to do it when he first learned of the WTC's construction, years before the buildings were finished; while he was working the kinks out of his plan, he warmed up by performing similar illegal wire walks above Notre Dame Cathedral and Australia's Sydney Harbour Bridge. Marsh's film, which is an entertaining curio, builds up to the triumphant big moment by letting the principles lay out how the scheme came together. (For Petit, getting out on ... Source: movies.monstersandcritics.com --- 75 days ago
Half road trip and half learning how to make a home, Trucker gives Michelle Monaghan a chance to show what ... Source: www.nerve.com --- 86 days ago
The animator Bill Plympton doesn't make cartoons for kids; kids wouldn't stand for this stuff. Plympton's hand-drawn, independently produced features depend on the kind of tolerance that adult audiences, especially those who love animation, can be counted on to extend to something when they know how much tedious hard work when into its making. Plympton is basically a gagman with a drawing board. He started making noise in animation festivals more than twenty years ago with a string of punchy short films ( Your Face; 25 Ways to Quit Smoking; How to Kiss ) that were boiled down to nothing but their visual jokes. The best of them were combustibly funny, especially if you saw them slotted in between a few "poetic" animated shorts, and their handmade roughness was part of their charm. But then Plympton started turning out feature films (beginning with the 1992 The Tune , which cannibalized a number of his early shorts), and they've been padded-out, deflated non-events, with vast acreage of undecorated blank space on the screen; Plympton has so little compositional sense that his bare backgrounds make you feel as if you're not getting a lot of movie for your money. He doesn't even give you much to look at while you're killing time during the long wait for the next joke to show up and bomb. His latest, Idiots & Angels , shows a little more care for what's in the frame, but in a self-negating way: parts of it look cross-hatched to death. ...
Source: www.cinematical.com --- 85 days ago
Filed under: Documentary , Foreign Language , Tribeca , Theatrical Reviews , HBO Films The HBO-produced documentary film Baghdad High offers a fairly basic yet intriguing enough premise: The filmmakers gave video cameras to four Iraqi high school students and asked them to simply record as much of their "normal life" as possible. (I'm of the opinion that any time you give a teenager a camera, you're getting everything BUT "normal life," but obviously I'm not the first to claim that the act of recording something instantly obliterates "normalcy.") The point here seems to be that ... hey, you know what? Aside from the fact that they live very far away in a country that's going through some terrible problems these days, these teenagers are a whole lot like ... our teenagers! Wow, how shocking is that?!?!? What's most interesting about these kids is that, despite the fact that they all live in Iraq, is that they all have different religious backgrounds -- and yet they're still friends! (Hope for the future sometimes comes in small packages, I suppose.) All four of the boys are perfectly charming and entirely typical: They whine about homework, they stress over studies, they gripe about being bored, they argue with their parents, and they do all the stuff that your favorite teens do: Video games, pop music, sports, rough-housing, etc. So far all its admirable intentions, the simple truth is that Baghdad High makes a ver ...
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New York Times 'Finding Amanda' is a lost cause New York Daily News - 36 minutes ago When "Finding Amanda" premiered at the Tribeca Film Festival, director Peter Tolan confessed that, like his hero, he's an inveterate gambler. 'Finding Amanda': Writer/director needed to hand off his 2nd job Chicago Tribune Review: 'Finding Amanda' with Matthew Broderick Newsday Washington Post - San Francisco Chronicle - Seattle Post Intelligencer - New York Times all 26 news articles ...
Frank Bruni is pissed! The New York Times' omnipotent restaurant critic (pictured) today reviews a new Tribeca restaurant named Ago, which is owned in part by actor Robert De Niro. And Bruni's experience there is proof for the entire restaurant business that no matter how popular, expensive, or exclusive your place is, it is still quite possible to receive a terrible Review if you act like an idiot. Please: Learn some lessons from Ago's fiasco. Here is what not to do when your restaurant is being reviewed: Be late with the reviewer's reservation. He returned at 9:02 with something less than disaster relief. Our table, he said, should be ready in 10 minutes. Never mind that we'd been told at 8:45 that we had five minutes to go. Never mind that Ago has some 110 seats, giving it more flexibility than many restaurants have. We waited. And waited. One of the hostesses finally fetched us at 9:22. I'll do the math: that's 52 minutes after our reservation. Spill wine on the reviewer or his friends. I'm talking about the "Poseidon Adventure" of wine spills. Shelley Winters could have done the backstroke in it. I'm not sure how the bartender set it in motion, and neither was he. He kept marveling at its fury and aftermath: my friend's wine-splashed chin, her wine-soaked skirt, her wine-sopped entirety. Put the reviewer at the worst table in the house. She led us to a round table little bigger than a bike wheel. When our four appetizers lat ...
Glory days. Photo: Justin Black Radar notes today that the Odeon , while not quite back to the glory that landed it on the cover of Bright Lights, Big City , is still quite the little lunch spot, per a spot check that turned up Seth Lipsky of the New York Sun , Philip Gourevitch of the Paris Review , and our own John Homans. This excerpt from an advance copy of Observer critic Moira Hodgson’s memoir, It Seemed Like A Good Idea At The Time , might shed some light as to why. She reviewed the restaurant as a critic at the Times . Odeon was more than just a scene: it was a real restaurant, and that’s why it has lasted so long. It was a hangout not only for artists, but also for the new breed of workers that was moving into the neighborhood: bankers and stockbrokers. Odeon set a trend and helped to open up Tribeca, a role that Keith [McNally]’s bistro Pastis was to play in the meatpacking district some years later. And Odeon made restaurants so cool, it often seemed to be cooler to work in one than to be a customer. Then again, it might just be the new ice-cream cart . Is The Odeon The New Michael’s? [Eater] ...
Filed under: Drama , Independent , Tribeca , Theatrical Reviews , Festival Reports , Cinematical Indie
Life in Flight should prove to any aspiring screenwriter that you don't necessarily have to have an original story in order to get a screenplay made. In the film, which debuted at Tribeca on Sunday, first-time writer / director Tracey Hecht tells the tale of a man who's supposedly living the good life, but it's not the one he wants. And it takes meeting a young, vivacious woman for him to fully realize it. Heard that story before? Sure you have, probably dozens of times. You've seen it in goofy romantic comedies from The Seven-Year Itch to Joe Versus the Volcano as well as "indie" dramas like Garden State . But good writing and acting always trumps originality of story, and Life in Flight has both, though there's still room for improvement. Continue reading Tribeca Review: Life in Flight Permalink | Email this | Comments ...
Filed under: Drama , Independent , Tribeca , Theatrical Reviews , Festival Reports , Cinematical Indie Something about Yonkers Joe bugged me. Don't get me wrong; it was a very well-made and well-acted film, with a very touching story about fathers, sons, and the difficulties of raising special needs kids. It's got two stars, Chazz Palminteri and Christine Lahti , that give their usual solid performances. And it even has a story that's got some nice tension and is emotionally satisfying. But something bugged me. And I couldn't put my finger on why until the very end, but when I did, it made my discomfort crystal clear: This guy's a crook. Why should I care about him at all? Continue reading Tribeca Review: Yonkers Joe Permalink | Email this | Comments ...
Filed under: Independent , Tribeca , Theatrical Reviews , Festival Reports , Cinematical Indie Ah, the road film. The formula is tried-and-true: usually two people, taking to the back roads of America in order to get somewhere by a certain time or for a particular reason. Along the way, cars break down, trains are jumped, and quirky characters are encountered. It can be funny, sweet, or darkly dramatic. But the formula rarely strays. Because of this, the key to a good road film is what happens during the journey. You want to see lessons learned, growth, and bonding. But you also want to see interesting characters and maybe a good car chase thrown in, too. Tribeca seems to have at least one of these films every year. Last year it was Chasing 3000 . This year, it's Tennessee , a slow-moving but sweet story of two brothers who go back home to find their abusive father; what they find, though is that there's more than one reason to go home. Continue reading Tribeca Review: Tennessee Permalink | Email this | Comments ...
Filed under: Animation , Classics , Comedy , Drama , Foreign Language , Gay & Lesbian , Independent , Exhibition , Columns , Cinematical Indie , The (Mostly) Indie Film Calendar A bit of math tells me that after this weekend, 2008 will be halfway over. But here at The (Mostly) Indie Film Calendar , we prefer to think that 2008 has only halfway begun . There are still six months left to participate in the many cool film-related events that happen every week outside the nation's multiplexes! If you know of something coming up -- special screenings, retrospectives, mini-festivals, etc. -- send me a link! My e-mail is Eric.Snider (at) Weblogsinc (dot) com. This week, even if WALL-E is what you've always Wanted , try to make room in your life for these... INDIE THEATRICAL RELEASES Gunnin' for That #1 Spot is a doc about the nation's top high school basketball players competing in a tournament -- and the film was directed by Beastie Boy Adam Yauch, so you know it's hip. Cinematical 's Scott Weinberg gave it a rave Review at Tribeca. It opens today in places where basketball is big, just in time for the NBA draft: New York, L.A., Phoenix, Portland, Philadelphia, Baltimore, and Washington D.C. Finding Amanda stars Matthew Broderick as a TV producer who goes to Las Vegas to convince his niece (Brittany Snow) to enter rehab. Our Erik Davis tried to find something nice to say about it at Tribeca but was unsuccessful . Opens today in NYC, L. ...
Filed under: Comedy , Drama , Independent , New Releases , Theatrical Reviews (Note: We're re-posting the following Review of The Wackness from The Tribeca Film Festival to coincide with the film's theatrical release this weekend.) Finally, a film for kids of the 90's! This is a hard Review to write because it feels as if The Wackness was tailor-made for people like me: a male who grew up in New York City and graduated high school in 1994; the year this film was set. (Actually, I graduated in 1995, but it doesn't matter much: same kids, same lingo, same music, same surroundings). How do you Review your childhood? These were all kids I hung out with, this was the music we listened to, these were the mix tapes we made and these were the girls we tried to hook up with ... but didn't. And, to some extent, it actually surprises me that so many people have loved The Wackness -- not because it's a terrible movie, mind you, but because kids who grew up in New York City during the '90s were annoying as all hell, with their "Yo, that was mad good" and their "He's got da skillz, kid!" Trust me, I know -- I was one of them. Continue reading Review: The Wackness Permalink | Email this | Comments ...
Filed under: Comedy , Horror , Tribeca , Sony , Theatrical Reviews Broad comedy and splattery horror are a pretty tough combo to pull off, but if anyone can do it ... the British can. There's no denying that the British are masters of comedy, and they also have a lot of skill with the scary stuff ... most of the time. One need only take another look at a flick like Shaun of the Dead to see how rare and how satisfying a great "horror comedy combo" can be. Which brings us to The Cottage , an enjoyably but fairly schizophrenic genre experiment that does a fine job with the horror and comedy as separate components -- but, as is usually the case, the combination of the two proves to be a very difficult feat to pull off. Similar in tone and delivery to Chistopher Smith's Severance , The Cottage tells the story of two astoundingly different brothers who (stupidly) decide to kidnap a crime boss' daughter and hold the buxom blonde for ransom, only to discover that their forest hideout is the home of a typically horrific and mutated murderer. In a fashion that may prove familiar to fans of Robert Rodriguez's From Dusk Till Dawn , The Cottage spends about 45 minutes as a dark-hued kidnapping comedy -- and then it quickly changes speed before evolving into a rather energetic horror-fest. The tonal shift creates a flick that doesn't always work well as a whole, but definitely succeeds on the backs of a few strong performa ...