Posts by Brian «
Ebertfest Day 3: LL Cool P Rules This Thing
Coffee mug w/ unlimited refills, commemorative hats, bookworms. (photo courtesy of Thompson McClellan/Ebertfest)
Having kept a low profile thus far due to a recent fall, Roger Ebert started day 3 with a brief and very welcome onstage appearance to read (via his laptop’s soothing, otherworldly voice) the introduction he had written for his good friend Paul Cox, who was in attendance (heck, the whole festival was dedicated to him) to accompany the 2011 feature documentary by David Bradbury about Cox’s recent health struggles, On Borrowed Time. After only a minute or two standing at the podium, Ebert had to step down and content himself with sitting next to his wife and fest host, Chaz Ebert, who finished reading his introduction. Read more »
Ebertfest Day 2: Indie Dramas and Tiny Hats
Inside the Virginia Theatre, Googling "champaign county tent."
While everyone was disappointed that comedian-turned-actor Patton Oswalt had to last-minute cancel his multiple scheduled Ebertfest appearances—per fest host Chaz Ebert, weather trouble on the NYC set of The Secret Life of Walter Mitty required reshoots that kept the actor on set—Oswalt sent/posted an extremely lengthy message of apology that resulted in an admiring tweet from Roger Ebert himself, describing the apology as “Transcendently graceful,“ and saying of the actor, “This is a very nice man.” It was with this development, all warm and fuzzy feelings decidedly intact, that Ebertfest Day Two audiences generously embraced Oswalt’s dark 2009 indie drama Big Fan, the story of Paul, a loner New York Giants fanatic (the kind that spends his shifts in a mostly deserted parking garage painstakingly creating the detailed scripts he uses when calling into his favorite late night sports talk radio show) who is left hospitalized and somewhat broken after a chance encounter with one of his football heroes turns slightly (though innocently) stalker-ish, and then into a brutal assault. In his first leading role, Oswalt is a revelation as Paul, creating a deeply sympathetic character that is at the same time growing darkly, and possibly violently, unmoored. In the revealing Q & A following the screening, Big Fan director Robert Siegel (also known for writing Darren Aronofsky’s Oscar nominated The Wrestler, as well as being a former editor-in-chief of satirical newspaper The Onion) said that he was for the most part unable to take advantage of Oswalt’s natural talent for improv due to the actor’s extreme lack of sports specific knowledge. And when he did get some great topic-appropriate improv, he often had to tell the sharply intelligent Oswald “dial it back a little” and dumb up his dialogue a bit. Siegel also mentioned that he didn’t audition Oswalt for the role, hiring the untested dramatic actor on “a hunch” that he could pull off this seriously dark dramatic role. As for Big Fan’s muted, grainy look and feel, Siegel said it was mostly inspired by ‘70s films like Saturday Night Fever, and he admitted a soft spot for actresses from the same decade like Karen Black and Marcia Jean Kurtz—he cast the latter in the crucial role of Oswalt’s nonplussed mother. Read more »
Ebertfest Day 1: Champaign’s Favorite Son Returns With More Overlooked Gems
It is cold here! Send mittens!
While Ebertfest 2012 started out with a disappointing announcement—one of this year’s big name guests, comedian/actor Patton Oswalt, cancelled his fest appearances only minutes before opening night remarks by producer/co-host Chaz Ebert—the capacity crowd’s unbridled enthusiasm in Champaign, Illinois’ gloriously shabby chic Virginia Theatre was in no way diminished.
While SML wasn’t initially super excited about revisiting opening night feature Joe Versus the Volcano, the quirky fantasy was enthusiastically received, and won our hearts with its surreal staging, quirky, absurd dialogue, and top notch comic performances–Tom Hanks, his mullet wig, and Meg Ryan, a comedy knockout playing three very different and well defined characters. In the following Q&A with Joe Director of Photography Stephen Goldblatt, when panelist Christy Lemire mentioned that Goldblatt’s most recent works were Julie & Julia and The Help, the people sitting behind SML cried out, “Wow!” and “Oh my God!” for altogether different reasons than had SML upon discovering this info weeks before.
A comedic short film preceded the next feature, entertaining internet personality spoof The Truth About Beauty & Blogs, amounts to a fun homemade actor’s reel, which is pretty much what it was, according to very smartly dressed writer/co-producer/actor Kelechie Ezie in the Q&A.
Closing out opening night was Phunny Business: A Black Comedy, a laugh a minute, but often too slick by half documentary about entrepreneur Raymond Lambert’s famous Chicago comedy club All Jokes Aside, a spectacular crossroads of black comedy partly responsible for helping launch heavyweights like Steve Harvey, Dave Chappelle, Bernie Mac, and Cedric the Entertainer. While there are plenty of laughs throughout, the onscreen narration by subject/writer/producer Lambert felt forced and oversold, and exactly like the talking heads in today’s crop of “unscripted” reality shows. The result felt self-aggrandizing and a little phony. But luckily, with so many interesting, funny interviews and consistently hilarious clips from the club’s early ’90s heyday, this can only be a very minor complaint.
In the following Q&A, director John Davies told a funny story about when he worked as a Production Assistant for “Sneak Previews” back in its early public television days and once rewrote part of an Ebert review while transcribing it for the teleprompter. When Ebert reached the new lines he called over Davies and gave him a few stern words, followed by the christening of a new nickname: Functional Illiterate.
Stay tuned for recaps of Days 2 through 5, featuring the Alloy Orchestra, momentary eye contact with Doug Benson of “Doug Loves Movies,” and an all-strings version of “Smooth Criminal”!
On Our Radar: Chimpanzee
We cannot start crying already!
Anybody who has exchanged more than a sentence or two with me recently has surely gotten an earful of excitement regarding the upcoming release of DisneyNature’s latest natural world doc, Chimpanzee, which follows a 3-year-old chimp named Oscar (well, named by the filmmakers) as he is orphaned in the jungle and eventually adopted and raised by a grown male chimp, which is apparently some rare shit in the jungle. Watch the trailer HERE and try not to cry. In DisneyNature’s consistently exceptional output (including 2007′s Earth, 2009′s Oceans, and 2011′s African Cats) the filmmakers don’t pull any emotional punches to keep from upsetting the kids–the life or death, kill or be killed, eat or be eaten realities of the wild are very much in the forefront of these harrowing adventures, but they very rarely veer into animal torture porn territory. Unlike say, National Geographic Society Films, which regularly produces phenomenal natural history docs as well, but can be a bit more ruthless about showing the audience the worst possible image they would ever hope to see…and then continue showing it until the viewer is left drained and emotionally exhausted. There’s a particular scene in NGSF’s The Last Lions that is the saddest, most heartbreaking depiction of animal suffering I’ve ever seen–and the scene’s final “money shot” is lingered on just a bit too much. (I cannot go into specifics without making Kimberly cry FOREVER.) It is brutally honest. Well, brutal, anyway. NG is also known for creating narratives out of a random collection of footage, like in their also excellent, harrowing 2007 Arctic Tale, where you are introduced to walrus and polar bear families, following them over the first year of raising new babies. (YES THEY ARE BABIES, PEOPLE.) It isn’t till the end credits that the filmmakers admit that, yes, this was actually just a collection of several different animals, and the footage was just masterfully shaped into a story. But, it’s SO well done, and its super ecofriendly message is SO wonderfully pushy, that it’s difficult for me to fault them for some creative editing.
So this is a must-see, particularly if you need the type of good, cleansing cry that only an orphaned animal with big glassy eyes can bring. Tickets sold in the first week (April 20 through 26) benefit the Jane Goodall Institute, which is one of our favorite institutes. (Goodall is also the subject of an excellent 2010 documentary, Jane’s Journey, which features some captivating stories about raising a small child in Gombe around a bunch of sexually mature chimpanzees. Spoiler alert: The child doesn’t like it!)
Champaign-Urbana or Bust: A Preview of Ebertfest 2012
Image by Kagan McLeod, courtesy of Ebertfest.com
To a certain breed of film nerd (myself included), the yearly unveiling of the Ebertfest lineup is a time of great excitement and just a little chin scratching. And, true to form, the newly revealed list of films/guests scheduled for this April’s Ebertfest is sure to raise plenty of yays and maybe only a couple ehs. Such is the spice and homespun charm of this very unusual film festival. Beyond a couple of E-fest programming staples, say, including at least one classic and one or two Africa-related VERY SERIOUS dramas (this year, Citizen Kane and Kinyarwanda, respectively), there’s really no way of guessing what will turn up. These are films Ebert digs, period, and this festival in his hometown of Champaign, IL is his equivalent of the cool grad student deejaying for a party of adoring underclassmen.
Screenings generating the most buzz so far are 2011′s fabulously unsettling Take Shelter, with actor Michael Shannon and director Jeff Nichols in the house for a Q&A (although I tend to think of Ebertfest Q&A more as Kn’A) and 2009′s indie Big Fan featuring a Q&A with star actor/comedian Patton Oswalt. Oswalt’s pulling double duty at the fest, also hosting a separate, free late night screening (at the nearby university’s Foellinger Auditorium) of a film he handpicked: the 1949 Alec Guinness comedic gem Kind Hearts and Coronets. According to Ebert, when Oswalt agreed to attend with Big Fan, “he went one additional step (saying): ‘I’d like to personally choose a film to show to the students, and discuss it.’” Ebert, forever a film professor at heart, was quick to comply. Read more »
Ebertfest, Day 3: Linklater Charms, a Q&A Disappoints
The nattily scarved titular host. (photo courtesy of Ebertfest)
A surprisingly blustery Champaign, IL, morning started Ebertfest 2011 Day 3 fittingly with the lighter than air 45365, a free-form 2010 doc that takes its name from the zip code of sibling co-directors Bill and Turner Ross’ small Ohio hometown. Eschewing interviews and defined character studies, the first-time directors instead float their cameras voyeuristically from subject to subject, letting the audience glean what they can about the subjects—and in turn, the town—via candid, overheard snippets of conversation. Keep your eyes peeled for the as yet unannounced DVD/BluRay release date—this compelling slice of small-town America is definitely worth a visit…though you wouldn’t want to live there.
Next up was Richard Linklater’s delightfully lighthearted 2009 coming-of-age romp Me & Orson Welles, a mostly fictionalized account of the pre-Citizen Kane titular director’s legendary 1937 modern-dress off Broadway re-staging of “Julius Caesar” as seen through the eyes of a young bit player (played likably here by Zac Efron) who, with no theatrical experience, bluffs his way into a part and under the flamboyant director’s wing. Shining brightest is actor Christian McKay, whose authentic turn as the young Welles feels completely without caricature or artifice–from the voice to the baby-face, McKay is THE definitive Welles. Somebody should use this guy to capture more of Welles’ famously rocky life and career, stat. McKay’s tour-de-force performance alone makes this joyfully crafted comedy worthy of a spot in your Netflix queue, pronto. The laid-back Q&A following the screening touched on how Linklater discovered McKay (the latter was performing in a one man show as a much older and heavier Welles) and how/why the film was shot on location on the Isle of Man (the tiny country’s film bureau’s fiscal incentives, a sweet old theater there fit the bill perfectly). As a fun bonus, Linklater conducted a Welles trivia quiz throughout his Q&A, with special handmade prizes–a few personally redesigned M&OW posters and a few self-burned CDs of a Linklater-approved version of the M&OW soundtrack. Whatta guy. Read more »
A Trip to Ebertfest, Days 1 & 2
After a few short welcoming remarks from a white-scarf-adorned Ebert, via his laptop’s robotic voice, Ebertfest 2011 was officially underway in downtown Champaign, IL’s gorgeous Virginia Theater with one hell of an opening night feature: the beautifully restored and artfully reconstructed original cut of noted German a-hole/genius director Fritz Lang’s magnificent 1927 silent masterpiece Metropolis, accompanied by the always amazing Alloy Orchestra. Featuring 30 minutes of previously lost footage found in a Buenos Aires private collection in 2008, this version of Metropolis clocks in at a staggering 150 minutes that manages to delight, unnerve, and downright creep out more than ever. (Check your cable listings for Metropolis Refound, a short doc making the rounds on basic cable detailing this amazing reconstruction.) And while you’re online—stream the reconstructed version of Metropolis in HD on Netflix.) While this version was released in 2010 on DVD/BluRay (and streaming in HD via Netflix), the one thing you won’t get at home is the transcendent experience of the Alloy Orchestra’s genius (and often very loud) original score, a stunning bombast of various synthetic yet naturalistic orchestral strings and organs, weird metal springs that make weirder noises, chimes, low-tuned cello, and, heh, a rain stick. One of the most exciting and entertaining moments these viewers have ever experienced in a theater. Thanks, Eb! Read more »
SLIFF: 127 Hours (& About a Thousand Crappy Decibels)
127 HOURS (2010/SLIFF: PREVIEW) Oh, Danny Boy(le)! What has that horrible destroyer of quality cinema “Oscar” done to you? It certainly hasn’t dampened your relatively newfound affection for manipulative cheezeball OTT synth-rock score, or for your new fave composer and Slumdog Millionaire alum A.R. Rahman, who seems to have been under the impression that this was indeed a sequel to that misguided, overrated, Oscar-sweeping crapsterpiece with this samey collection of bombastic beats. Exhibit A: Your soon-to-be released and much buzzed about Oscar bait grossout adventure 127 Hours. It’s source material is a true story, however slight: Our oddball (read: dumbass) fitness adventure nut hero goes run-hiking ALONE through treacherous canyons in Utah when he suddenly finds himself trapped under a boulder in a remote crevasse. He struggles in vain for 127 hours or theareabouts, eventually freeing himself (SPOILER, SORTA) via chopping off his arm just under the elbow with a dull pocketknife. But while you succeeded in stretching this 20 minute, tops, story into an engaging full-length feature—much to the credit of a game and funny James Franco in the challenging role of the self-amputee—what ultimately knocked your film down a couple of letter grades for me was your Slumdog-esqe ham-fisted, overcooked visuals (Oh, split screens of office drones scored by Coldplay-in-overdrive-type tunes, etc, go fuck yourselves) and the aforementioned crap score. MIND YOU: This film will be a huge audience-pleasing hit, let there be no doubt about that. And it will likely be a Best Picture contender. *Sigh* I do hope that this is just the inevitable keep-making-what-the-people-want phase of your post-Oscar career that will eventually run its course, allowing you to tone down your current 30 Seconds to Mars music video treatment M.O. and move your focus from the flash-pots and blood bags into creating something a little subtler and hopefully a bit more resonant. Something more like your creepy sci-fi masterpiece Sunshine.
Don’t get me wrong here—127 Hours isn’t a terrible movie. And the scene with Franco taking his arm off will indeed stick with you. As for the rest, it’s certainly just as rousing as any other energy-drink-infused popcorn thriller. Aw, Danny. You break my heart.
My grade: C+
SLIFF 2010: An Evening with Harry Shearer
Eeeeeexcellent!
The 19th Annual Stella Artois St Louis International Film Festival (but still SLIFF, because SASLIFF just looks silly) kicked off on a more somber note than had originally been intended, with the sudden death last week of St. Louis-born filmmaker George Hickenlooper turning the opening gala screening/reception featuring his new buzzy film Casino Jack into a makeshift memorial ceremony. (Of course, I missed this reportedly moving tribute, due to a sneak preview of Burlesque playing across town in Chesterfield. There are priorities, people!) The film’s star, Kevin Spacey, was respectfully in attendance and, according to a SLIFF rep, later closed several bars and, eventually, sidewalks, in and around the Loop. Friendly!) After such gravitas, I think a laugh or two was definitely in order. Funny songs about priests molesting deaf boys, anyone?
An evening with this guy.
Well, if that sounds fun to you (and it surprisingly was!), you likely (wish you had) caught the following night’s packed but surprisingly not sold out SLIFF coup, An Evening With Harry Shearer, a fun and revealing two hour live interview/career retrospective of the comic actor/writer/director, already in town to promote his Hurricane Katrina exposé doc, The Big Uneasy, which was screening the following afternoon in the same venue, the gloriously unfashionable time machine known as the Hi-Pointe theater. Read more »
Gofobo.com: The Full Scoop on Your New Best Friend, or Making Crappy Lives Sweeter One Free Movie at a Time
Bad movies suck way less when they're free.
Movie fans on a budget will appreciate the service provided by the good people of Gofobo.com, a movie info site known mostly for providing free sneak previews of upcoming Hollywood fare. While some similar sites offer screenings in only a few select cities, or in one particular region, Gofobo is pretty much nationwide, so be sure to check regularly for screenings in your area. After a few months using the site fairly regularly, I have amassed some choice intel for you lucky, freewheelin’ hippies, so sit tight and take notes.
Once you create a free Gofobo account, check the SCREENINGS page for upcoming events in your town. Occasionally you will click on an upcoming screening and they will automatically allow you to reserve passes, EASY PEASY, but more often it will ask for an RSVP code to be entered for that particular screening. If you have that RSVP code (obtainable through radio/TV stations and pretty much any business giving them away as a promotion of some sort; TIP: a well-chosen Google Alert will help you discover some of these as they pop up), just enter it on that screening’s page, or on the home page. BOOM. Then you’re on that particular screening’s processing page, where you request either one or two passes. Next, you’ll download a PDF file which contains two separate printable passes, one saying your name and one saying GUEST OF your name (although they give you an option to only reserve one pass, good news for the sad, lonely bastards out there). You’ll need to print them out—HELLO, printer at work—and that’s pretty much it. Just be sure to show up at least an hour before show time (usually scheduled for 7pm, but with the occasional 10am or 9pm screening), because free movies draw people like crazy, and as with all sneak previews these shows are overbooked to ensure the fullest possible house. Also good to know: most screenings start seating a full 40-45 minutes before show time. Read more »
