LA Asian Pacific Film Festival...Heartthrob Leehom Wang & "Love in Disguise" gala a blow-out! BANG BANG best first feature!

The atmosphere was electrically-charged at the CGV Theatre complex on Thursday evening as excited fans of Taiwan hearthrob Leehom Wang descended on the tony envrions at 1 Wilshire in Hollywood to catch the premiere of the his new romantic comedy-feature "Love in Disguise".

As the buzz in the lobby escalated to a fever pitch, Festival Officials scrambled to put the finishes touches on the glittering closing night Gala party in the spacious courtyard below as a local DJ began to spin sizzling hot upbeat platters sure to get the crowd hopping.

The 2011 Edition of the Los Angeles Asian Pacific Film Festival had been a huge success!

During the course of the week-long annual fest, excited film buffs stormed the venues and packed the houses, anxious to take in an eclectic program of flicks - short, experimental, highly original, feature-length, and documentary in style and nature.

Once the opening night kicked off with a premiere of "FAST FIV"E (which has since zoomed to a No. 1 spot at box offices around the country) there was no looking back.

Justin Lin, the director of the franchise film series - by the way - is an alumni of the LAAPFF.

One of his first celluloid offerings was unveiled at the fest about nine years ago.

As I noted in my feature on the Opening Night Celebrations, this year - according to Co-Director David Magdael - the LAAPFF was "bursting at the seams".

"In the first two days the opening and closing night galas were sold out," he beamed.

Indeed, on both occasions, I had to elbow my way through the swarms of excited ticket-holders in a bold-faced effort to snatch up a seat, and muzzle my way into the 'open bar" to secure thirst-quenching exotic cocktails on the house!

Last night, at the closing gala, thrilled upscale guests chatted each other up - as they nibbled on mouth-watering chicken wings and gobbled up delectable sweet treats that were simply divine.

Though normally a tea-totler, I jumped in with gay abandon, and tossed back a few potent drinkie-poohs.

By the end of the night, my head was swimming, and I was ready to boogie with all the other filmgoers hot-to-trot and at-the-ready to end this year's celebrated fest with a resounding BANG!

Meanwhile, earlier in the evening, the Fest Directors announced the winners of the coveted LAAPFF awards.

Here is a rundown:
2011 LOS ANGELES ASIAN PACIFIC FILM FESTIVAL AWARD WINNERS

Documentary Feature:

Grand Jury Award

Documentary

THE HOUSE OF SUH
Directed by IRIS K. SHIM
Produced by GERRY KIM

Special Jury Award
Outstanding Director

IRIS K. SHIM
THE HOUSE OF SUH

Special Jury Award
Outstanding Cinematography

JASON WOODFORD
ONE BIG HAPA FAMILY

Special Jury Award
Outstanding Editing

JEFF CHIBA STEARNS
ONE BIG HAPA FAMILY

Special Jury
Prize for Human Rights

FINDING FACE
Directed by Skye Fitzgerald and Patti Duncan

Narrative Feature:

Grand Jury Award

Narrative Feature

LIVING IN SEDUCED CIRCUMSTANCES
Directed by Ian Gamazon and Produced by Quynn Ton

Special Jury Award
Outstanding Director

IAN GAMAZON
LIVING IN SEDUCED CIRCUMSTANCES

Special Jury Award
Outstanding Screenplay

STEPHANE GAUGER
SAIGON ELECTRIC

Special Jury Award
Outstanding Cinematography

GAVIN KELLY
WHERE THE ROAD MEETS THE SUN

Special Jury Award
Best Ensemble Acting
ERIC MABIUS, FERNANDO NORIEGA
WILL YUN LEE & LUKE BRANDON FIELD
WHERE THE ROAD MEETS THE SUN

Special Jury Award
Best First Feature

BANG BANG
Directed by BYRON Q

Special Jury Award
Breakout Performance for New Actor

RYAN GREENE
ONE KINE DAY
Directed by Chuck Mitsui

Short Film:

Festival Golden Reel Award

TEAMWORK
Directed by HONG SEO YUN

Linda Mabalot New Directors/New Visions Award

FIRECRACKER
Directed by SOHAM MEHTA

AUDIENCE AWARDS:

NARRATIVE FILM

RAKENROL
Directed by QUARK HENARES

DOCUMENTARY FILM

AMONG B-BOYS
Directed by Christopher Woon

For film fans who missed original first screenings last week, there wlll be an encore performance of a few this weekend at the CGV Theatre Complex.

The schedule is as follows:

SATURDAY MAY 7TH

11:00 AM

ITSY BITSY SHORTS 20...

1:00 PM

WHERE THE ROAD MEETS...

3:30 PM

BANG BANG

6:00 PM

AMONG B-BOYS

8:30 PM

BOY

See 'ya there!

http://www.thetattler.biz

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Bernardo Bertolucci...receives honorary Palme d'or @ Cannes Film Festival!

 



Officials at the Cannes Film Festival have just announced that respected Italian film director - Bernardo Bertolucci - will be presented with an Honorary Palme d'or at the opening ceremonies on May 11th on the picturesque French Riviera in the south of France.

A handful of notable directors have received the coveted award in the past - Woody Allen (2002) and Clint Eastwood (2009) - for example.

The President of the prestigious Festival - Gilles Jacob - will head up the much-ballyhooed celebrations on behalf of the discerning Board of Directors.

The filmmaker has distinguished himself as a great auteur with a remarkable body of work - that includes masterpieces such as the Conformist (1970), the Last Tango in Paris (1978) and The Last Emperor (1982).

Bertolucci has been lauded over the course of his enviable film career - not only for his particular focus on political and social issues - but, also - for his unrelenting bold-faced efforts to elevate the realm of celluloid - and its artistry - to the heights of profound thought-provoking imagery and unique poetic lyricism.

"The quality of his work which appears today in all its uniqueness, and the extent of this work we perceive every day more vividly, the strength of his commitment to cinema, and the ties that bind him to Cannes, make Bernaldo Bertollucci the first legitimate recipient." Jacob was quick to gush to the media at a press conference.

The Honorary Palme d'or will be presented on May 11th, at the "Opening Night" of the 64th edition of the Festival.

Robert De Niro, who chaired the Jury, is expected to be present for the auspicious occasion.

The Palme d’Or is usually awarded to one of the filmmakers in competition.

But, the honorary Palme d’Or has also been bestowed upon important filmmakers, when their work has been deemed "authoritative”  - and the director - has failed to wrangle the prize during the fierce annual competition.

Bertolucci was born in the Italian city of Parma.

The visionary director was the elder son of Ninetta (a teacher) and Attilio Bertolucci (who was a poet, a reputed art historian, anthologist and film critic).

Bertolucci's childhood influences appeared to spell his fate from the get-go!

He began writing at the age of fifteen, and early on, won several prestigious literary prizes including the Premio Viareggio for his first book.

Bertolucci's films tend to put a searing spotlight on themes related to sex, politics and cinephilia.

I recall attending the premiere of the "Last Tango in Paris" in Vancouver (Canada) and being thoroughly shocked by the subject matter.

The voyeuristic flick approached the issue of sexuality in an extremely carnal and disturbing way.

Too erotic (perverted?) for mainstream North American audiences?

Needles to say, there was quite an uproar when the controversial feature was first released in Canada, and outraged filmgoers have never looked at butter the same way ever since!

"The Conformist" dealt with fascist Italy and was seen as both artistic and intellectual in nature.

"The Dreamers" (released a scant few years ago) was one Bertolucci favorite of mine that underscored to me the auteur was still capable of seducing an audience with themes that resonated with truth and conviction while ruffling their sensibilities to the core.

The tony Cannes Film festival  - which usually features a must-see roster of leading-edge films - is attended by noteworthy film critics from around the globe - and likewise - attracts a jet set elite in the realm of film who are drawn to the exotic fest like moth to flame each year

See 'ya there!

http://www.thetattler.biz





Directing smooth as Butter!

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Oliver Stone...honored with Director's Award! San Francisco International Film Festival!



Academy Award-Winner - Oliver Stone - is getting a nod from the long-running San Francisco International Film Festival.

Stone - who helmed blockbuster hits such as "Wall Street" and "JFK" - will be honored with a prestigious Festival Founder's Directing Award.

In honor of the occasion, the film society is slated to screen clips of Stone's work on April 27th in the bay area during the course of this year's Festival (which runs April 21st to May 5th).

Mr. Stone is expected to be appear in person on the night of the award celebrations (April 28th) for an on-stage interview which is expected to sell-out to capacity.

Former honorees have been highly-ranked in their craft, as well, and include notables such as Akira Kurosawa, Francis Ford Coppola, Spike Lee, Werner Hertzog, Milos Forman, Warren Beatty, and Clint Eastwood (to name a few).

Founded in 1957, the International Film Festival is the longest-running one of its kind in the Americas, and held each spring over a two-week period.

The highly-respected fest showcases upwards of 200 films each year and usually attracts an annual audience of 80,000 film-goers.

According to their Mission Statement, San Francisco's International Film Festival is deeply rooted in the best and finest traditions of the appreciation of film - both as an art form - and as a meaningful agent for social change.

SFIFF features ground-breaking narrative feature films, live action and animated shorts, television and theatrical documentaries, experimental work and a variety of new digital media.

In addition, there is usually a smart lineup of industry panels and seminars, awards events, onstage tributes, retrospectives and the highly acclaimed Schools at the Festival program (which brings about 4,200 students in grades 1-12 into the festivities).

The offerings are screened at eight venues in the Bay Area.

In spite of its remarkable reach and scope, the much-anticipated Fest manages to remain intimate in many respects, while maintaining widespread appeal across the board in the community-at-large.

In sum, the fest combines a range of marquee premieres, international competitions, hard-hitting documentaries, digital media work and star-studded gala events - that ultimately - educate, enlighten, and inspire.

See 'ya there!

http://www.thetattler.biz



Charlie Sheen pot-boiler!

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L'AMOUR FOU...Documentary on Yves Saint Laurent & male lover! CAESAR Award-Winning Film!

 

L'AMOUR FOU was the winner of the FIPRESCI Prize at the prestigeous Toronto International Film Festival this past year, and consequently, has been causing quite a buzz on the Festival circuit since winning the CAESAR for Best Documentary.

The documentary, directed by Pierre Thoretton (slated for a release on May 13th in New York IFC Center and on May 20th in Los Angeles at the Laemmle Royale Theatre) L’AMOUR FOU documents Pierre Bergé’s personal coming-to-terms with the death of his lifelong partner - Yves Saint Laurent - through the objects they shared in life.

In 1958, the legendary couturier met and fell in love with industrialist (patron) Pierre Bergé, thus forging a relationship that would endure fifty years of extraordinary success, emotional turbulence and lingering devotion.

Following the death of Saint Laurent in 2008, Bergé opted to auction off all of the art objects that were collected during the course of their unique union which spanned several decades.

Both men shared a mutual passion for beauty in objects, places, people - and most of all - by virtue of their personal and professional loving relationship.

The documentary takes an over-the-shoulder peak, as Berge muses about his long-time lover (and the treasures snapped up during the course of their exotic travels around the globe) as he catalogues and prepares to auction off their fabulous collection of art deco vases, African sculptures, and remarkable paintings by famed artists such as Modigliani, Picasso, and Matisse.

Touching!

http://www.thetattler.biz

Yves St. Laurent a leader in fashion & style!

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Los Angeles Asian Pacific Film Festival...FAST FIVE premieres at Gala Opening Night! Directors Guild of America!

 

Fast Five to premiere @ Asian Pacific Festival!

One of the classiest cutting-edge film presentations in the country - the Los Angeles Asian Pacific Film Festival - kicks off  at the end of the month at the Directors Guild of America on Sunset Boulevard in Hollywood (CA) April 28th – May 7th.

PR Rep - David Magdael - excitedly informed me over the weekend that this years's offerings will feature World Premieres, Sneak Previews, a James Wong Howe Retrospective, a C3 Digital Conference, thought-provoking Documentaries, and Narratives focusing on the voices of Asian Americans and Asian Peoples from around the globe.

For instance, JUSTIN LIN’s Newest Action-Thriller  - "FAST FIVE” (starring Vin Diesel, Paul Walker, Jordana Brewster, Sung Kang and Dwayne Johnson - premieres on opening night at the ten-day festival.

“LOVE IN DISGUISE” - directed by Mando-Pop Star Leehom Wang (who also stars opposite respected actress Joan Chen) will premiere at the lavish closing night Gala.

In addition to the Director's Guild - other venues include - Laemmle's Sunset 5 Theatres and the CGV Cinemas (situated in culturally-rich Koreatown in downtown Los Angeles).

The prestigeous LAAPFF is also slated to launch the Asian Pacific Heritage Month  Festival which unveils and celebrates 180 films from both Asian Pacific American and Asian International Directors from over 20 countries.

“We are excited and proud to present the Los Angeles premiere of FAST FIVE as our Opening Night film,” enthused David Magdael (Film Festival Co-Director).

“Justin has been a part of our festival family since he was making short films back in his UCLA days. We remember when we premiered "BETTER LUCK TOMORROW" nine historic years ago and now to have his newest Hollywood action-thriller open the Fest is only fitting."

"Under Justin’s helm, 'The Fast and the Furious' franchise continues to make film history, as he continues to create some of the most ethnically diverse Hollywood blockbusters. This night will be a celebration of Justin as one of our directors who continues to excel through the industry and one who remains a true inspiration for our aspiring filmmakers.”

Lin and fellow bloggers from the web site - “You Offend Me You Offend My Family” - launched a film initiative (2010) to support aspiring Asian American filmmakers entitled “Interpretations".

“You Offend Me You Offend My Family” is the Fest's opening night community presenter.

INFO:

www.YOMYOMF.COM

Targeting the burgeoning online community of API filmmakers, “Interpretations” was designed to encourage and support this emerging talent pool, and give these artists a chance to share their unique perspectives and have their work seen by industry experts.

The response was phenomenal.

In fact, hundreds of films were submitted for consideration, of which - a handful were selected - for screening.

For opening night -YOMYOMF.com - will screen the premiere of “CAR TALK 2” (on a double-bill with FAST FIVE) which is a short film starring Sung Kang and R & B singing sensation Tyrese.

Danny Pudi, star of the hit NBC TV comedy - COMMUNITY - will host the opening night gala after the screenings. 

Another LAAPFF alum -  filmmaker Bertha Bay-Sa Pan (FACE) - offers up her latest hit romantic comedy (ALMOST PERFECT) as a Centerpiece Presentation (Saturday April 30 at the DGA).

 Director Pan-and her cast - Kelly Hu, Ivan Shaw, Edison Chen, Christina Chang and Kristy Wu - are expected to be in tow (schedules permitting).

“Bertha Bay-Sa Pan is a great example of the auteur who can write and direct and tell meaningful stories,” according to Abraham Ferrer, Festival Co-director.

“Her first feature - FACE - had its Los Angeles premiere with us after her Sundance breakthrough in 2002. She has since gone on to direct, write and produce features and at the same time establish her own production shingle – Slew Pictures," Ferrer noted fo the record.

"As our centerpiece film, we celebrate Bertha’s vision and her amazing talent.”

The Festival turns a spotlight on filmmakers - Wesley Chan, Ted Fu and Philip Wang (aka Wong Fu Productions) - and their own curated festival program.

WONG FU PRESENTS FAST FORWARD on Saturday April 30 at the DGA.

These filmmakers have been making viral videos since 2003 before You Tube existed.

Through the constant embracing of new methods of creating and distributing their work, these innovative artists have created their own path outside Hollywood's traditional means.

Wong Fu Productions has millions of followers from around the world and boasts of 600,000 subscribers on You Tube (where fans and filmmakers screen their work daily).

Other World Premieres include the following:

WEDDING PALACE

A romantic comedy directed by Christine Yoo
Written by Yoo and Robert Gardner
Starring Brian Tee, Margaret Cho, Hye-jeong Kang, and Steve Park.

(Friday, April 29, 8:00 PM DGA)

THE LULU SESSIONS

A documentary directed by S. Casper Wong
Written by S. Casper Wong and Luara Minnear

(Saturday, April 30, 7:30 PM DGA)

ENFORCING THE SILENCE

A documentary directed and written by Tony Nguyen

(Saturday, April 30, 5:00 PM Sunset 5)

HEART BREAKS OPEN

Drama directed by Billie Rain
Written by Rain and Basil Shadid
Starring Maximillian Davis and Brian Peters

(Monday, May 2, 9:15 PM CGV)

BANG BANG

Drama directed and written by Byron Chan aka Byron
Starring David Hunyh, Jessika Van and Walter Wong

(Tuesday May 3, 9:00 PM CGV)

AMONG B-BOYS

A documentary directed by Christopher Woon

(Wednesday, May 4, 9:15 PM CGV)

LOVE IN DISGUISE

Directed by Leehom Wang and
Starring Leehom Wang, Joan Chen and Crystal Liu Yi-fei
(Director Leehom Wang & cast to attend a Q & A)

(Thursday, May 5 at 7 PM at the CGV Cinemas)

CELEBRATION OF JAMES WONG HOWE

A special retrospective tribute to the late great James Wong Howe (award-winning cinematographer).

The Festival will present two works from the visual genius on Sunday May 1st.

Special support for the retrospective tribute to James Wong Howe is provided by the Academy of Motion Picture Arts & Sciences; home movie footage courtesy of the Academy Film Archive and the James Wong Howe Estate

C3: THE CONFERENCE FOR CREATIVE CONTENT

Presented In partnership with The Coalition of Asian Pacifics in Entertainment (CAPE).

New Media has provided a playing field in which Asian-Americans are no longer the minority, but engaged at its forefront and often leading the charge.

With a market that has enthusiastically embraced digital platforms, the Asian-American audience has found a unified voice for visibility.

With leaders in the digital world as panelists and participants, C3 will shed light on the changing nature of media and allow audiences to connect with Asian American talent through an array of panels approaching new media from all angles.

C3 will run Saturday and Sunday.

(April 30 and May 1 at the DGA).

THE FLIP SIDE 10TH ANNIVERSARY

In 2001, Rod Pulido became the first Filipino-American writer/director to premiere at Sundance.

Pulido set up his own self-distribution of the film and went on to wake up audiences to new talent and new voices. The film will screen on April 30 at the Laemmle’s Sunset 5 preceded by a tribute to the late Faustino “Peping” Bacling (one of the film’s stars and a local community hero).

The 2011 documentary line-up includes the following projects:

THE BENGALI DETECTIVE
(Phil Cox)

THE HOUSE OF SUH
(Iris K. Shim)

ENFORCING THE SILENCE
(Tony Nguyen)

THE LULU SESSIONS
(S. Casper Wong)

WHERE ARE YOU TAKING ME?
(Kimi Takesue)

ONE BIG HAPA FAMILY
(Jeff Chiba Stearns)

WORKING GIRLS
(Sammaria Simanjuntak, Sally Anom Sari, Yosep Anggi Noen)

FINDING FACE
(Patti Duncan and Skye Fitzgerald)

RESILIENCE
(Tammy Chu)

AMONG B-BOYS
(Christopher Woon)

One of the ongoing objectives of the LAAPFF is to support and present the best

With that in mind, the Festival organizers hand-picked the following films to screen which were directed and/or prodced by filmmakers based in the US (filming both in the US and overseas).

FAST FIVE
Justin Lin

SAIGON ELECTRIC
Stephane Gauger

WEDDING PALACE
Christine Yoo

ALMOST PERFECT
Bertha Bay-Sa Pan

LIVING IN SEDUCED CIRCUMSTANCES
Ian Gamazon

WHERE THE ROAD MEETS THE SUN
Mun Chee Yong

ONE KINE DAY
Chuck Mitsui

HEART BREAKS OPEN
Billie Rain

BANG BANG
Byron Q

BOY
Taika Waititi

Sponsors of the 2011 LAAPPFF include:

PREMIERE
Directors Guild of America; CGV Theaters
PLATINUM
Coca-Cola; NBC Universal / Comcast; Wells Fargo; GOLD – Toyota; Solair;
SILVER
Verizon Wireless; Sony Pictures Entertainment
BRONZE
CBS Diversity; SAG; SAG Indie; STAR – Motion Pictures Editors Guild; Writers Guild of America, west; Morgan Stanley Smith Barney; Boeing; California Bank & Trust; Taipei Economic & Cultural Office; Ketel One; Shiftboard
AWARDS
Entertainment Partners
RECEPTION
Solair; Kyochon Chicken; Jinro; LA18 KSCI-TV; Stella Artois; Ketel One; Madang the Courtyard; Candy Chef
MEDIA SPONSORS
AngryAsianMan.com; LA 18 KSCI-TV; MNet; Glocal; LAWeekly
GOVERNMENT SUPPORT
National Endowment for the Arts; Los Angeles County Arts Commission; Department of Cultural Affairs/City of Los Angeles
FOUNDATION SUPPORT
California Community Foundation; James Irvine Foundation; Academy of Motion Picture Arts and Sciences
C3 SPONSORS
California Arts Council; SAG Producers-Industry Advancement & Cooperative Fund

ABOUT THE LOS ANGELES ASIAN PACIFIC FILM FESTIVAL

The Los Angeles Asian Pacific Film Festival presented by Visual Communications is the Southland’s premier showcase for the best and brightest of Asian Pacific cinema. Since 1983, the Film Festival has presented over 3400 films and videos by Asian international and Asian American artists, and additionally features seminars and panels, in-person guest appearances, and filmmaker awards.

ABOUT VISUAL COMMUNICATIONS

Visual Communications (VC), the nation's premier Asian Pacific American media arts center, was established in 1970. The organization has established a lengthy track record of pioneering achievements in producing, presenting, and preserving more honest and accurate representations of Asian and Pacific Islander communities in America. Visual Communications is also recognized as an incubator of emerging Asian Pacific American cinematic talent. The organization's works have been exhibited in numerous venues and broadcast outlets around the world. The mission of Visual Communications is to promote intercultural understanding through the creation, presentation, preservation and support of media works by and about Asian Pacific Americans.

See 'ya there!

http://www.thetattler.biz



A premiere screening!

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San Francisco Museum of Modern Art...Director Haskell Wexler hailed @ "Exposed" film series!



Film buffs warmly received filmmaker Haskell Wexler last night at the Castro Theater at a screening of his feature "Medium Cool".

"I got emotional just seeing my film again on screen," he confessed to the audience with a touch of sentiment in his distinctive speaking voice later in the evening when the lights went up and he trotted on to the stage to take a bow.

The screening was part of a film series running in tandem with a major exhibition at the San Francisco Museum of Modern Art titled:

Exposed: Voyeurism, Surveillance, and the Camera since 1870

According to the curators, the main thrust of the the provocative series is to cast a light on the - "shifting boundaries between seeing and spying, the private act, and the public image" - that challenge the viewer to consider how the camera has transformed the very nature of looking.

The series has attempted to accomplish this lofty feat by focusing on a collection of contemporary photographs, films, and video works (by both unknown photographers and internationally renowned artists) with the ultimate aim of examining the camera's most unsettling uses (including pornography, surveillance, stalking celebrity, and witnessing violence).

In a nutshell, the ambitious curators have sought to pose compelling questions about who is looking at whom and why.

The Wexler flick - which unfolded in a stream-of-consciousness documentary kind-of-style - turned an insightful lens on events leading up to the Chicago riots in the heady 60's.

The silver-haired auteur (a respected documentarian and cinematographer who worked Oscar award-winning films such as the drama "Who's Afraid of Virginia Woolf") fessed up at one point - during the informative Q & A session - that a handful of scenes (where a young mother searches for her son) were weak.

"The critics didn't like the end, either," he recalled to the rapt audience.

Of course, he was referring to a shot where a motorist takes a photograph of a tragic accident on the highway, as he drives by.

"We all end up in someone's film," he explained in his defense.

Wexler approached the project the way he did - in part - for economic reasons.

But, stressed bottom-line - that he blended fiction and reality in the storyline - for good reason.

"Everyone sees reality through their own lens."

Although, some of the footage is compelling, overall "Medium Cool" fails as a feature.

The drama is disjointed, sometimes lacks focus, and at times can't seem to decide what it wants to be in the final analysis.

The talented artist (with a knack for a celluloid language which consists primarily of images that often resonate profoundly) appeared to be making a commentary on the role of the news media one moment, while issuing up a cautionary tale about the horrors of "War" the next.

"Anyone who was anti-war was anti-establishment. And, the media was in on it," he asserted to the audience.

Some anecdotes caused the fans to roar.

"I wish I could remember some of the comments censors made about the nudity. The genitals bobbing up and down and that sort-of-thing," he wicked laughed in amusement.

The filmgoers - consisting of movie buffs and budding movie-makers - reacted with knee-jerk enthusiasm when he recalled being treated as the "enemy" by officials and Law Enforcement personnel on location in Chicago during the shoot.

"Because I wore blue jeans, I was the enemy."

I recall when I caught sight of the first promos for "Medium Cool" a few weeks ago at the Castro Theater, that they were so melodramatic in nature, when compared to today's standards.

How did Wexler come to name his project "Medium Cool"?

"One of the actors in the militant scene suggested it. He recommended that I also read Marshall McLuhan. But, I didn't understand McLulan's writing. I thought the title was great, though."

Some of the scenes in the flick are so darn jarring and out-of-whack.

The project is pretty dated now, too, and doesn't hold up in my humble opinion.

In contrast, "Blow Up" (Michelangelo Antonioni)  - a second feature on the bill - was still timely.

Too bad Wexler left the theater before the screening, he may have learned something about excellence in filmmaking.

Over the weekend, a smattering of films are slated for the SFMOMA event, too, including "Streetwise", "Pretty Baby", "Lost Highway", and "Deep End".

Check the programs at the Castro Theatre or the San Francisco Museum of Modern Art for details.

See 'ya there!

http://www.thetattler.biz



http://www.thetattler.biz

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Oscar Night America...@ California Film Institute! February 27th!

Hosts James Franco & Anne Hathaway



Many of the locals in San Francisco are plunking down $55.00 to celebrate all the glitz and glamour that the 83rd Annual Academy Award celebration has to offer on February 27th at Oscar Night America celebrations.

The Bay Area Oscar Theatre soirees are sanctioned by the Academy of Motion Picture Arts & Sciences and expected to sell out!

Each guest will receive an Official Academy Awards program similar to the ones give out at the Kodak Theatre in Hollywood just beyond the frenetic Red Carpet festivities on the star-studded strip.

In addition to the handful of HD state-of-the-art telecasts in San Rafael Theatres, there will be a silent auction with some pretty spectacular raffle items ready to be scooped up for a song.

*2 tickets to a World Series Champion San Francisco Giants baseball game
*2 tickets to the dazzling MTV Movie Awards & the after-party

The Oscar Night extravaganza includes scrumptious finger food (appetizers), a Gourmet Box Dinner, coffee beverages, and mouth-watering desserts.

The much-anticipated event benefits CFI Education and Outreach programs!

Tickets

www.cafilm.org

San Rafael Box Office
1118 Fourth Street
San Rafael

See 'ya there!

http://www.thetattler.biz



Black Swan nominated flick!

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AFI Fest...whimpers to a close! Rinky-dink film par-tay a joke!

At the end of last week, the AFI's circuit offering, limped to a sorry close in Los Angeles!

What was the general consensus of film-goers - who attended the much-anticipated red carpet previews - in the end scenario?

The annual oft-ballyhooed event lacked - oomphf! - in the final analysis.

And, it was in large part due to the hit-and-miss attitude of the organizers, who failed to recognize that the medium of film  is capable of - not only entertaining - but, uplifting the human spirit, as well.

In a nutshell, the AFI Fest staff didn't know "snuff" about the Hollywood film industry, its in's-and-out's, who the players were, or how to put on a quality show under the big top!

In fact, their idea of the Hollywood "Dream" factory was a nightmare, from the get-go!

For example - one piece of celluloid trash the AFI staff screened (which was conjured up by a demented first-time-out Danish filmmaker) - couldn't help but stir up a nasty controversy.

Post:  11/11/10

http://fraudphishing-financialmisdees.blogspot.com/2010/11/afi-festscreens-sick-debauched-danish.html

"Smut masquerading as Art," was the way I put it - and, believe me - most who attended the preview of the sick flick wholeheartedly agreed!

Bob Gazzale - "doesn't know his a** from a hole in the ground" - some loudly lamented about the current disreputable President & CEO (as I rubbed my hands with glee on the sidelines).

The assessment was bang on, if 'ya ask me!

And, the Fest suffered miserably as a result, in the final analysis.

Of course, the program was plagued with bad omens, from the very start.

At one panel discussion (focusing on young up-and-coming rising superstars in the film industry today) - mics persistently sputtered beneath washed out film clips - in the midst of incompetent staffers who attempted to steer the derailed program back-on-track with little success.

Post:  11/06/10

http://fraudphishing-financialmisdees.blogspot.com/2010/11/la-times-actors-panelcarrie-mulligan.html

Actually, the fest's problems first festered up, when film buffs attempted to book tickets on the AFI web site which was ill-equipped to handle ticket reservations for the ten-day event to be held at a handful of prestigious venues such as Manns Chinese, the Egyptian, and-so-forth-and-so-on.

I was personally taken aback when tickets I reserved for - "The Black Swan", "Love & Other Drugs", and "The King's Speech" - were not forthcoming.

In fact, the ticket reservations vanished into thin air.

What a fiasco!

In the end scenario, I ended up with four tickets to Circus Kids, in spite of the fact I just ordered one lone ticket for the early morning screening at the Egyptian Theatre in Hollywood.

And, there were other snafus to contend with, as well.

For instance, I was issued double the tickets I requested for Mon Oncle, Hour of the Wolf, Amigo, an Industry Panel Discussion featuring up-and-coming stars (aforementioned), a Sony Seminar on 3D filmmaking, etc. etc.

Whew!

Talk about a rinky-dink outfit, eh?

Film buffs who turned up later at the box office in person to sort out the snafus - like moi! - wondered aloud where the celebrated guest Artistic Director - David Lynch - was in their hour of need.

Certainly not at the helm, that's for sure!

Judging by the AFI promos that sputtered to life at a handful of screenings - then, off again - he was obviously off on a drunk somewhere!

Post: 11/06/10

http://fraudphishing-financialmisdees.blogspot.com/2010/11/david-lynchaudiences-laugh-washed-up.html


Next year I'll pass, thank you very much, Mr. Gazale!

http://www.thetattler.biz/

Mann's Chinese Theatre an AFI venue in 2010

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AFI Fest....screens sick debauched Danish film! Filmgoers shocked!

Last night I attended a screening of "Nothing's All Bad" at the AFI Fest - an Independent Foreign Film - that was directed by Mikkel Munch-Fals.

For the first time ever - I half-expected the Vice Squad to break down the Theatre door at Mann's Chinese Theatre, confiscate the reels of film, and haul all the filmgoers off to jail for participating in a screening of vile lewd material that was disgustingly pornographic in nature.

But, because the sick debauched tale about a handful of sexually-depraved degenerates was screening at an alleged prestigious film festival, the authorities must have assumed that the Danish flick was "high brow" or at least one of the Artsy-fartsy variety.

Wrong!

Everything about "Nothing's All Bad" was "bad".

For example, in one scene - a teenager is standing at a urinal chewing gum and taking a whiz - when a forty-something piece of rough trade strolls into the men's room and stares him down.

"Can't you do something better with those pretty lips," he snarled at the sexy young dude.

Without batting-an-eyelid, the hustler plucks the gum out of his mouth - and sticks it to the gritty wall - as he drops to his knees to give the pervert a nasty bl** job.

In another vignette (!) a woman loses a breast to cancer. 

Shortly after the operation, she sinks to the depths of depression when she suffers rejection from the men all around her in social settings, who can't deal with her physical abnormality.

One day, she strolls into a porn shop and stumbles on a couple of DVD's, which feature amputees and individuals who have been mutilated.

To satisfy her yearning for acceptance (and love ?!), she agrees to act in one of the low-budget sex flicks.

When she arrives on the set the day of the shoot, she is forced to squat on all fours - with a rubber bit stuffed in her mouth - as a young male mounts her from behind and fu**s her up the ass!

And, it gets worse!

The last time I reacted so negatively to a film was on the occasion when I took in a double-bill of two features - that turned out to be basic snuff films - at the New Beverly Cinema a couple of years ago.

Post: 08/07/08

http://fraudphishing-financialmisdees.blogspot.com/2008/08/chaos-and-murder-set-pieces-shocking.html

What shocked me the most about this AFI fest celluloid offering?

For starters, the fact that the film was not rated (restricted or otherwise), and was given the seal of approval for screening (in spite of the fact the Film Fest is supported by the Los Angeles Board of Supervisors, a handful of Government Arts Councils, and a mainstream auto-dealer - AUDI - with a moral responsibility to the community).

I am thoroughly incensed that the aforementioned agencies (and individuals who acted on their behalf)agreed to screen this filth - which ultimately - degrades the body and demoralizes the human spirit.

Today, we need films that inspire a civilized society, not trash it!

The film should be - banned, burned, or confiscated by the local police - to prevent this kind of smut from seeping into the community at large in the future.

News at 11!

http://www.thetattler.biz

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Rabbit Hole...Aaron Eckhart & Director John Cameron Mitchell dazzle @ screening!

 

If Nicole Kidman and I had not become friends recently on MySpace, it is doubtful I would have attended the premiere of "Rabbit Hole" in Hollywood last night.

After all, I was unfamiliar with the project (which was low on my radar screen) and the original stage production which inspired the adaptation for the big screen.

I am glad that I hot-footed it down to the exotic Egyptian Theatre to catch the flick - which was nurtured into development by Nicole Kidman - who acted as a producer on the insightful drama.

The evening turned out to be a very enlightening entertaining one.

A half-hour before curtain, anxious fans queued up outside the historic theatre (built in 1922 in the golden heyday of Hollywood) bent on nabbing a coveted seat for the much-anticipated event.

Quite a few fans of the director - John Cameron Mitchell (Hedwig & The Angry Inch) - were in attendance hanging on his every word.

I was surprised at how young Mitchell was when he sauntered up to the mic to launch the screening.

Just before ringing the curtain down, rhough, he caught sight of a few empty seats in the orchestra area that were being held for no-show celebrities.

"These actors and their reserved seats," he huffed, somewhat annoyed.

He was about to make a comment, then caught himself, and moved on.

"See you after the screening," he muttered, or something to that effect.

By the way, Aaron Eckhart - who plays the lead opposite Nicole Kidman in the family potboiler - attracted a posse of loyal fans, too, who - no doubt - find the actor's strong virile presence on-camera appealing (judging from the response he received from the audience when he was first introduced).

Meanwhile, the well-produced feature moved a long at a decent clip.

Frankly, I was impressed with Ms. Kidman's producing debut!

In response to a query from the audience - in the Q & A after the screening - the soft-spoken director noted that he was drawn to the project partly because of the death of his own brother a few years ago.

"I could relate to the characters," he underscored, at one point during the informative interview process.

"In the 70's, if you were Catholic, you didn't question such things. There was no such thing as therapy. It was God's will, according to my parents. Consequently, there wasn't any healing. The family exploded because of it. It nearly destroyed us."

In "Rabbit Hole", a couple (portrayed by Kidman & Eckhart) struggle with the loss of a child, which threatens to tear them apart because of their inability to cope.

"Nicole is alone. In a way, her grief is narcissistic. Essentially, she implodes."

Efforts to "heal" by way of a therapy group fail, and so, the young parents are forced to gingerly make their own way along a slippery slope that threatens to destroy their happy home and basic mental and emotional sanity.

Mr. Mitchell admits that he fell in love with the project, in spite of the fact he never caught the stage play.

In the film version, a few scenes (one at the park and another at a therapy session) were judiciously scripted in - to flesh out the characters - with the specific aim of breathing greater emotional depth ino the material.

"The art of it is, that you go through the Rabbit Hole, and come back into the light."

As much as possible, the young auteur gave the actors free rein on the set.

"I avoided set-ups and dolly shots as much as possible. In one scene, I used two cameras to shoot each character in sync with the other as the characters went full force. In this way, they could build the scene without stopping the flow or the need for additional coverage."

As a result, the acting is seamless and convincing.

"I have worked with great talents in the business" Eckhart noted, at one point in the interview, "And, Nicole is one of the best."

"She was always prepared when she turned up on the set and ready to do the material.  And, she was always making adjustments, each time there was another take."

He drew attention to one scene -  in particular - where Ms. Kidman was rolling dough in the kitchen.

"Each shot was different."

I was particularly enthralled with "Rabbit Hole" because the storyline was allowed to unfold naturally during the course of the run-of-the film.

Although relevant details were not revealed right away - oftentimes leaving the audience in the dark during the interim - the director did not rush to reveal or try to manipulate the audience.

In due time - all the in's-and-out's of the plot - made sense.

And, eventually - "Rabbit Hole" - glided on to a triumphant satisfying end.

Kudos, Nicole!

3 1/2 Stars

http://www.thetattler.biz

John Cameron Mitchell

(bares all!)

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John Sayles...wows fans @ Amigo premiere in Hollywood! Chris Cooper acting superb!

Fans were blown away when respected Director - John Sayles - strode up impromptu at Mann's Chinese Theatre last night to launch his latest piece (Amigo) and stayed on later to respond to queries from the audience in an informative Q & A session.

Mr. Sayles is a tall imposing man - who exudes a boyish quality - that defies the classic image of directors that filmgoers tend to conjure up.

With his new release, Sayles stressed to filmgoers that he hopes to "reclaim history" by virtue of a little-known skirmish around the turn-of-the-century known to a handful of historians as the Philippine-American War.

"Filipino's are under the false impression that their country was under Spanish rule for approximately 300 years before the country was sold lock-stock-and-barrel to the U.S. for $20 million," asserted the director to a rapt audience who descended on the Hollywood Movie Theatre to catch his latest flick (which he shot and got in the can for a mere one-million five-hundred-thousand Philippine pesos).

The feat triggered a roar of applause from the guests in attendance, so I expect a larger percentage of the film enthusiasts were either filmmakers themselves or creative individuals involved in some aspect of the industry.

Sayles was pretty open (and informative) when it came to describing his approach to the process of filmmaking.

The "Amigo" script was written about fifteen years ago, but later shelved, when it dawned on the visionary auteur that funding might be difficult to rustle up for the project.

However, he recognized that if he took one-third of the story - and developed that into a tighter script - that he could produce a decent film for less money in the alternative.

Amigo - like other productions - started off with the specifics in respect to the finer points of script-writing.

"Was the action taking place before Freud, or after?  Before the powerful woman's movement, or later?"

Once those questions were answered, Sayles asserted he was better equipped to develop and flesh out the characters, storyline, etc.

When I queried Mr. Sayles about the necessity of using the "n" word in a couple of scenes, his response was pretty honest and straightforward.

"The word nigger was descriptive here and not pejorative. That was part of the character's background.  He was raised in South Carolina and that was part of who he was."

Sayles went on to note that it wasn't considered racist in that period around the early 1900's to refer to blacks as niggers.

"Even blacks wrote 'coon songs' because they were popular. In fact, they were the rage of the day," he argued.

"Sailors and soldiers also used salty language routinely in their conversations. Words such as fu** and sh** were commonplace and indicative of their class," he explained in so many words.

At this juncture, the talented director noted that during the Philippine-American War - subject matter of this film - commentators of the day took a view that would obviously spark controversy and outrage today.

"One well-known writer insisted in one article that there was a need to civilize the bastards," Sayles noted matter-of-fact, with no bones about it.

Chris Cooper's character was actually based on a notorious character - a Military man - by the name of "Hell Roaring Jake Smith"

"Smith actually recommended that a percentage of the male population be decimated."

To prepare for the shoot, Sayles drafted thumb-nail sketches of each character.

"I put out a call for three actors to audition for each Filipino role."

The task-master strove for authenticity as much as possible.

Although he speaks and writes Spanish fluently, Sayles was not familiar with dialects prevalent in those regions of the Philippines at the turn-of-the-century.

So, Sayles relied on Cantonese interpreters, to help in that selection process.

When it came to the actual acting, he relied on body rhythm, to assess the performance.

"Even though I did not understand the dialogue - or was aware if there had been any flubs in the acting out of the written word from the scripted material - I could tell from the emotions flowing through in the body language if I had what I needed to convey their feelings."

On set, Sayles made a deliberate effort not to discuss character development, or specifics in that regard.

"I basically gave direction to move right or left. Or, turn up the energy, perhaps."

Early on, Sayles felt that the location - in-of-itself - was a character in some respects.

For this reason, and to capture an ensemble feel to the project, he elected to shoot with wide lenses.

By using a Frameworks 3D software program during pre-production, he was able to fathom how to shoot without crew, lighting, and equipment getting in the way.

Two hand-held cameras were used at one point - and as a result - Sayles was able to boast one shot that caught a 360 degree panoramic view that is a stunning achievement.

The crew was mostly Filipino which worked to his advantage in a couple of ways.

For starters, the film was less expensive to shoot, since the actors and crews were non-union.

Also, he found out by accident on the set, that the crews there tended to work together and overlap into other areas of production with griping.

Unlike an American production - where there were small teams of lighting folks, grips, and sound people in individual creative pockets on the set - here there was one large production family working together for the better good of the entire project collectively.

Surprisingly, Sayles does not have distribution deal just yet for "Amigo" Internationally.

"Distributors are being tight now with their money. In the 70's and 80's they could make money on video rentals and sales. Today, with free downloads on the Internet - and an industry undergoing major transformations - it is tougher to land a deal.  A lot of films will be made, but fewer will be shown".

In one sense, he lamented the turn-of-events.

"Today, the business is geared towards an opening weekend where the cash is raked in quickly through wide release over a three-day period."

However, Mr. Sayles lucked out with the Board of Education in the Philippines.

The Secretary of State screened Amigo in recent months - and was so thrilled with the historical reference - that they elected to make Sayles' film mandatory viewing in middle schools and high schools in the Philippines.

Also, a Philippine Distributor will start screenings sometime after July of this year.

Bottom line?

John Sayles is sitting pretty, and has righted History, in the process.

Kudos!

http://www.thetattler.biz/

0 comments

AFI FEST 2010...David Lynch presents World Cinema! Midnight features! Breakthrough flicks! Stars galore!

 

AFI FEST 2010 (presented by Audi) issued a press release today to inform me that - in addition to the special presentations I penned a post on last week (8 Red Carpet Galas) - there will be an additional five (5) eclectic segments included in the Film Festival screening mix that runs Nov. 4th thru Nov. 11th.

Post:  10/13/2010

http://fraudphishing-financialmisdees.blogspot.com/2010/10/afi-fest-2010presented-by-audi.html

The exciting line-up includes World Cinema (new works by renowned filmmakers); Midnight (showcasing midnight screenings of comedy and horror films); Alt/Art (which presents films about art, artists and the artistic struggle for freedom of expression); Breakthrough (a new section to AFI FEST which highlights films discovered solely through the submission process); and Shorts (with films in this section eligible for Academy Award consideration).

The six films selected by AFI FEST 2010 Guest Artistic Director David Lynch will be announced by festival organizers in the near future.

This year, AFI FEST boasts 97 films presentations (66 features & 31 shorts) selected from 3,000 submissions across 31 countries with UK (11), France (9) and South Korea (7) topping the international selections.

The breakdown by section is:

*Gala/Tribute (8)
*Special Screening (4)
*Young Americans (6)
*New Auteurs (8)
*World Cinema (23)
*Midnight (3)
*Alt/Art (3)
*Breakthrough (5)
*Short Film (31)

The films in the Gala/Tribute, Special Screening, Young Americans and New Auteurs sections were previously announced in a prior post as aforementioned.

To refresh your memory they include the following features:

Post: 10/06/10

http://fraudphishing-financialmisdees.blogspot.com/2010/10/afi-festivaldavid-lynch-guest-artistic.html

AFI FEST runs Nov. 4th thru Nov. 11th (2010) due to the generous sponsorship of AUDI.

The plush theatrical venues chosen to screen the films include the historic Grauman’s Chinese Theatre, the Mann Chinese 6 theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel.

WORLD CINEMA SELECTIONS

This section presents new work by many of the world’s most renowned filmmakers.

The films in competition for the World Cinema Audience Award are:

*13 ASSASSINS:
(DIR Takashi Miike)
SCR Daisuke Tengan. Japan

*BOY:
(DIR/SCR Taika Waititi. New Zealand)

*CARANCHO:
(DIR Pablo Trapero)
SCR Alejandro Fadel, Martín Mauregui. Argentina/France/Chile)

*CERTIFIED COPY (COPIE CONFORME):
(DIR/SCR Abbas Kiarostami. France/Italy/Iran)

*CHICO & RITA:
(DIR Fernando Trueba, Javier Mariscal, Tono Errando)
SCR Fernando Trueba, Ignacio Martínez de Pisón. Spain/UK

*FILM SOCIALISM (FILM SOCIALISME):
(DIR/SCR Jean-Luc Goddard. Switzerland)

*HAHAHA:
(DIR/SCR Hong Sangsoo. South Korea)

*HIS & HERS:
(DIR Ken Wardrop. Ireland)

*THE HOUSEMAID (1960):
(DIR/SCR Kim Ki-young. South Korea)
THE HOUSEMAID (2010):

(DIR Im Sang-soo)
SCR Kim Ki-young, Im Sang-soo. South Korea

*THE HUMAN RESOURCES MANAGER:
(DIR Eran Riklis)
 SCR Noah Stollman. Israel/Germany/France/Romania

*I SAW THE DEVIL:
(DIR Kim Jee-woon)
SCR Park Hoon-jung. South Korea

*KARAMAY:
(DIR Xu Xin. China)

*OKI’S MOVIE:
(DIR/SCR Hong Sangsoo. South Korea)

*OUTRAGE:
(DIR/SCR: Takeshi Kitano. Japan)

*PINK SARIS:
(DIR Kim Longinotto. UK)

*POETRY:
(DIR/SCR Lee Chang-dong. South Korea)

*PRECIOUS LIFE:
(Dir: Shlomi Eldar. Israel)

*THE PRINCESS OF MONTPENSIER:
( DIR Bertrand Tavernier)
SCR Jean Cosmos, François Olivier Rousseau, Bertrand Tavernier. France

*RUBBER:
(DIR/SCR Quentin Dupieux. USA).

*A SCREAMING MAN (HOMME QUE CRIE):
(DIR/SCR Mahamat-Saleh Haroun. France/Belgium/Chad)

*SUBMARINO:
(DIR/SCR Thomas Vinterberg. Denmark)

*UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (LUNG BOONMEE RALUEK CHAT): (DIR/SCR Apichatpong Weerasethakul. UK/Thailand/France/Germany/Spain)

MIDNIGHT SELECTIONS

This new section showcases comedy & horror programming worthy of midnight viewings.

*CARGO:
(DIR Ivan Engler, Ralph Etter)
SCR Arnold Bucher, Ivan Engler, Patrik Steinmann, Thilo Röscheisen. Switzerland

*JULIA’S EYES (LOS OJOS DE JULIA):
(DIR Guillem Morales)
SCR Guillem Morales, Oriol Paulo. Spain

*NORWEGIAN NINJA
(KOMMANDER TREHOLT & NINJATROPPEN):
(DIR/SCR Thomas Cappelen Malling. Norway)

ALT/ART SELECTIONS

This section presents films about art, artists &  artistic struggle for freedom of expression.

*BARBERSHOP PUNK:
(DIR Georgia Archer, Kristin Armfield. USA)

*BLANK CITY:
(DIR Celine Danhier. USA)

*FREE RADICALS:
(DIR Pip Chodorov. France . U.S. Premiere)

BREAKTHROUGH SELECTIONS

This section ¾ new to AFI FEST ¾ highlights films discovered solely through the submissions process.

The films in this section are in competition for the Breakthrough Audience Award and its accompanying $5,000 cash prize.

*HAMILL:
(DIR Oren Kaplan)
SCR Joseph McKelheer, Eben Kostbar. USA

*I WILL FOLLOW:
(DIR/SCR Ava DuVernay. USA)

*REMOVAL:
(DIR Nick Simon)
SCR Daniel Meersand, Nick Simon, Oz Perkins. USA . World Premiere

*THE WEATHER STATION (PRYACHSYA):
(DIR Johnny O’Reilly)
SCR Aleksei Kolmogorov, Johnny O'Reilly. Russia . World Premiere

*WIN/WIN:
(DIR/SCR Jaap van Heusden. Netherlands)

SHORT FILM SELECTIONS

The films in this section are in competition for the Grand Jury Prize for Live Action Short Film and Animated Short Film ¾ both recognized by the Academy of Motion Picture Arts and Sciences as qualifiers for the annual Academy Awards®.

*52 TAKES OF THE SAME THING THEN BOOBS:
(DIR/SCR T. Arthur Cottam. USA)

*THE ABYSS BOYS:
(DIR/SCR Jan-Hendrik Beetge. South African)

*THE ACCORDION:
(DIR/SCR Jafar Panahi. Iran)
*BERIK:
(DIR/SCR Daniel Borgman. Denmark)

*BOTTLE:
(DIR/SCR Kirsten Lepore. USA)

*DELMER BUILDS A MACHINE:
( DIR/SCR Landon Zakheim. USA)

*EXCUSE ME:
(DIR/SCR Duncan Birmingham. USA)

*FEEDER:
(DIR Joseph Ernst)
SCR Joseph Ernst, Dean Wei. Netherlands/UK

*THE HIGH LEVEL BRIDGE:
(DIR/SCR Trevor Anderson. Canada)

*I LOVE LUCI:
(DIR/SCR Colin Kennedy. UK)

*I MISS:
(DIR/SCR Annie Dorsen. USA)

*IF YOU DRIVE AT NIGHT, TRY TO HAVE COMPANY:
(DIR/SCR Isabel Muñoz. Mexico)

*KIDS MIGHT FLY:
(DIR/SCR Alex Taylor. UK)

*LONG LIVE THE NEW FLESH:
(DIR Nicolas Provost. Belgium)

*MARCEL THE SHELL WITH SHOES ON:
(DIR Dean Fleischer-Camp)
SCR Jenny Slate, Dean Fleischer-Camp. USA

*MARY LAST SEEN:
(DIR/SCR T. Sean Durkin. USA)

*ON LEAVE:
(DIR/SCR Asaf Saban. Israel)

*PHOTOGRAPH OF JESUS:
(DIR Laurie Hill. UK)
*PIXELS:

(DIR/SCR Paul Emile Boucher. France)

*QUADRANGLE:
( DIR Amy Grappell. USA)

*THE RESPONSE:
(DIR Andrew Spieler)
SCR Samantha Manahan. USA

*SACRAMENTO: A FAMILY FABLE:
(DIR/SCR Michael Bodie. USA)

*THE SANDPIT:
(DIR Sam O’Hare. USA)

*THE SAVAGE CANVAS:
( DIR Tim Hope)
SCR Tim Hope, Susanna Kleeman. UK

*SOME BOYS DON’T LEAVE:
(DIR Maggie Kiley)
SCR Maggie Kiley, Matthew Mullen. USA

*STRIPS:
(DIR Felix Dufour-Laperriere. Canada)

*SUCCESSFUL ALCOHOLICS:
(DIR Jordan Vogt-Roberts)
SCR T.J. Miller, Jordan Vogt-Roberts. USA

*TELEPHONEME:
(DIR/SCR MK12. USA)

*TIME FREAK:
(DIR/SCR Andrew Bowler. USA)

*TUB:
(DIR/SCR Bobby Miller. USA)

*VOICE ON THE LINE:
(DIR Kelly Sears. USA)

SPECIAL PRESENTATIONS

*3D BOOTCAMP

PRESENTED BY THE SONY 3D TECHNOLOGY CENTER:

A special seminar led by Buzz Hays, Senior Vice President of the Sony 3D Technology Center, on the making of 3D entertainment, with an emphasis on the importance of storytelling in the third dimension.

THE LOS ANGELES TIMES YOUNG HOLLYWOOD ROUNDTABLE:

A conversation with some of Hollywood ’s brightest young talent including Academy Award nominee Carey Mulligan (NEVER LET ME GO), Jesse Eisenberg and Andrew Garfield (THE SOCIAL NETWORK).
http://www.thetattler.biz

 

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Andrew & Matt...offbeat film reviews! Cruise on over to ultra-cool site!

Last night I spied an invite on Facebook which stirred up my curiosity.

Although a thumbnail photo of Siskel &  Ebert beamed back at me from the notice, two unfamiliar names were posted alongside the intriguing post.

Who the heck were Alex & Matt?

Fool that I am (perhaps?) I clicked on the link  and was suddenly transported to a cool well-designed film-oriented site.

Ah, a promo for a couple of off-the-wall newbie movie reviewers - 'ya got it - "Andrew" & Matt!

Here's how they describe how they function on the world-wide-web:

"Each week three unemployed men, drink beer, chat and review films. Neither is really qualified for the task, however the podcast is undertaken with gusto. If you add us as a friend your life will get better."

Okie Dokie (who quipped that little ditty in a popular cult classic?).

My life could always stand some improvement, so I took the plunge.

Sign me up, dudes!

Check 'em out @

http://joblessfilmreviews.blogspot.com/

Meanwhile, check out my movie reviews for the best in critical film analysis!

http://fraudphishing-financialmisdees.blogspot.com/2010/03/movies.html

http://www.thetattler.biz/

0 comments

Death...releases the spirit! But, the footprints remain...

Out-of-the-blue, now and then, a screwball comment glides into my e-mail box which causes me to scratch my head in disbelief.

Some folks are so ignorant about subtle Noble truths and glaring realities on this mortal plain of existence, that it boggles the sensibilities.

Yes, life is like a box of chocolates, rife with both treacherous land mines and awesome treasures.
.
The nerve of a pushy handfull is downright disconcerting, though.

For instance, over the weekend, two individuals (unknown to me 'til now) zipped off e-mails urging me to delete a post which contained negative comments about a pal of theirs who met an untimely death in a traffic accident recently.

One of the blustery characters tried a bit of psychology to bully me into zapping the offending post into oblivion on the grounds that "allowing" negative comments about a person - in this instant case, quite a despicable one - was disrespecful to the dead.

In a nutshell, the publication of the disparaging post was initially triggered because of shocking abusive conduct levelled at me during the course of a local film festival (all to my damage).

I was attending festival circuit screenings in my capacity as a Film Critic in the Los Angeles area, and in the nerve-wracking midst of zipping off upbeat posts for publication on the Tattler (from a make-shift Press Room hastily thrown together by the organizers at a local Mall), when the wiry little know-it-all strode up and chastized me for allegedly "hogging" a laptop.

What a heapload of BS!

Instead of being grateful for the thouands of dollars of free publicity - and flattering posts which triggered quite a few ticket sales at the box office - the demented gal continued to gun for me thereafter.

At every turn, she pestered and annoyed me whenever possible, in fact.

At this juncture, her snotty unprofessional conduct - and a gross lack  of organization at the Festival - inspired the idea for an expose on the film festival circuit.

For example, I tossed  the glare of the spotlight on disturbing behind the scenes screw-ups, a lack of organization on the red carpet which caused film honchos to groan and mumble, and the shoddy way festival officials and inexperienced "could-care-less" volunteers dealt with crowd control, celebrity guests, and so forth and so on.

The neurotic little whiff of a thing must have been sitting on her computer to catch my posts fresh off the laptop - because seconds after the article was published on line - she bolted  through the press room doors and made a bee-line for me, crouched down, and hissed:

"I want you to leave right now!"

"Okie Dokie," I mumbled, or something to that effect.

As I started to exif, she suddenly screamed at me in a nails-on-the-blackboard tone of voice:

"Why would you do that (post the nasty article)," she angrily demanded, as festival-goers lolling about nearby snapped to attention all ears.

"Because you're an asshole," I retorted.

She glared at me in shock and - for once  - was totally speechess.

"And," I quipped - almost as an afterthought - "You know what? I never used to think a woman could be an asshole. But, you are definitely an exception to the rule, obviously."

In a sincere effort to avoid any further altercations, I plucked up my briefcase, and headed toward the glass doors for a quick exit.

Just as I was about to step through the opening that beckoned, the looney co-ordinator suddenly grabbed the handle, and tried to slam the door in my face.

As I was about half-way through the exit, the screwball loser grabbed my body, and tried to physically prevent me from going my way.

Gosh!

One moment, the dizzy broad was demanding I leave the festival grounds - in the next - she was trying to prevent me from departing the press room in one piece.

As I dashed down the walk to get as far away as possible from the mentally-disturbed young lady, she proceeded to scream out at the top of her lungs:

"Security! Stop that man."

Huh?

I continued on in a bold-faced effort to escape her bizarre clutches.

However, as I started to trot across the parking lot, she came from the rear (spunky little spitfire!) and  yelled at shoppers in the Mall parking lot to detain me.

When I spied security about to cross my path, I came to a stop out-of-breath, and asked for his kind assistance.

"Some wacho festival employee is trying to hold me against my will," I managed to utter.

Almost on cue, she dashed up to the security guard, and demanded that he prevent me from driving off until her boss arrived on-the-scene.

The security guard, an intelligent thoughtful man, scolded her.

"Miss, you can't physically hold this man against his will. He hasn't done anything."

So, with a nod from the Mall employee, I headed off to my car.

That was the last night I ever saw Miss goody two-shoes alive!

Then, as aforementioned herein above, I learned a couple of days ago that the power-hungry festival nut lost her life during the course of a traffic accident recently.

For this reason, and "out of respect for her", a couple of friends asked that I delete the original post.

On the contrary, it shall remain in its published state on the world wide web, until the sorry day the Internet falls down and goes boom all around us.

For the record, I take the position that while death "releases" the spirit from this mortal coil, the footsteps of the individual (DNA, too) remain etched in space and mark their place in time (whether good, bad or indifferent).

The notion that the young woman's untimely demise should be worthy cause to delete the post - which reported on her shocking abusive conduct -  is sheer lunacy.

When Hitler died, was there a cry for an expungement of all documents and papers and things Hitler, and his gang of murderous thugs?

No, of course not!

If I am not mistaken, while obit authors handle the "dead" with kid gloves generally, it is not beyond History buffs to give a brief run-down on scandals and/or associations which may have plagued their sorry individual lives, which resulted in a fall from Grace, and so forth and so on.

The attainment of " Death" does not bestow great honors on the dearly departed.

So, why should life's chroniclers take a stab at polishing up flawed personalities on the world stage, after the last gasp has finally sealed their fate?

http:/www.julianayrs.com

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Tom Cruise...He's back! Knight & Day quirky thriller that entertains!

Far and wide, fans and critics alike, have been poohing-poohing the notion that Tom Cruise's - "Knight and Day" - will restore his flaggng career and propel him over the top into the glare of the spotlight as a full-fledged A-list star once again.

Actually, from the prospective of  a romantic/thriller/comedy - mixing genres is generally risky business by the way - the quirky little engine that could has succeeded as a fast-paced funny feature with a lot of original material that resonates in the ticket-holder.

Personally, I was surprised at how fresh some of the schtick  was.

Sight gags took fans by surprise, playful moments with dialogue caused the audience to roar, and unexpcted sidesteps jolted folks enough to pull them effectively into the one-note storyline.

Although the script was not Oscar material, it managed to provide a solid framework, so that the actors were able to flesh out meaty characters.

Cameron Diaz is amazing in this movie!

The pretty blond handles drama equally as well as comedy (a requirement here).

Of all her performances, this is the one gem that stretched her creative muscles, to her advantage.

Tom, in some respects, goes backwards in time to roles like Jerry McQuire and Risky Business in a desperate effort to conjure up the ingredients of a persona that once worked well for him on the silver screen.

However, in "Knight and Day", he is adventurous enough to take some risks (which pay off).

I loved Mr. Cruise's performance.

Kudos!

This film - though not totally dark - is a borderline black comedy piece.

In the final analysis, the right (twisted) mindset may be required to fully appreciate this 3 Star film.

http://www.julianayrs.com

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Sex in the City...Liza Minnelli dazzles in cameo! Miley Cyrus surprise! Wild desert romp!

 

Liza Minnelli presides over a chi chi over-the-top gay wedding in Connecticut, Penelope Cruz makes a play for "big" at a New York premiere after-party, and a tempting night on the beach with a stranger (and a clash of cultures) lands Samantha under house arrrest.

For fans of the show, it was another chapter of side-splitting fun with the girls (with "girls") - who end up in an exotic midde-eastern luxury oasis that delights, tempts, forbids, spoils - and ultimately issues- an ultimatum:

Get out of town by high noon (or at least by Hotel check-out time).

Uh-huh!

As as our gaggle of giggling  gorgeous gals tear up the United Arab Emirates terrain - and shatter the mores of an ancient culture that is quick to suppress  a woman's voice - the hapless gals nonetheless end up at a Karoke bar belting out their theme song with bang-on sensibility:

"I am woman!"

It appears that the Muslim woman can't be far behind in a Nation that now considers itself the new Middle East.

In fact in one hilarious scene, it is a bevy of "modern Muslim babes" who save our plucky heroines from a fate too awful to fathom.

A flogging in the public marketplace, perhaps?

In addition to the usual round of snappy (at times outrageously naughty) rounds of quips and amusing banter, there are unexpected surprises that trigger spontaneous gales of laughter from the rapt audience.

For example, when Samantha is invited to a Hollywood-style premiere in NYC, it's an golden opportunity to dash off and pluck up a revealing sexy designer gown to flaunt in the glare of the spotlight.

After being advised by a fashionista at an upscale designer boutique that her selection was a bit "young" (you'll get your ti*s slapped, missy) she boldly throws caution to the wind and snaps up the racy outfit anyway.

When Samantha steps onto the red carpet to be photographed - eghads! - Miley Cyrus shows up moments later (playing herself) in an exact copy of the same designer gown.

Do they both crawl under the carpet embarrassed?

No.

 Miley senses the humor of the moment - and thus - reaches out to the over-sexed cougar.

The winsome twosome end up posing for the frenzied paparazzi arm-in-arm.

Early on, in the opening scenes, Liza Minnelli officiates at a gay wedding and the moment turns out to be a wild hoot.

In view of her own disasterous trek to the altar, Ms. Minnelli appears to be taking a poke at herself!

"Whenever there is a high concentration of gay energy, Liza Minnelli manifests," one character joked from the sideliness.

A short while later, Liza dazzles with a show-stopping glitzy number (accompanied by two energetic back-up dancers) that underscores the trooper is still in top form.

If you're into show tunes - and the Gay Men's chorus - this movie is for you

At the heart of the story is a message about marriage, and monogomous relationships, which is so cleverly woven into the undercurrent of the plot line (sometimes in a tedius long-winded way) that it doesn't sound preachy.

Carrie & "Big" come to realize, that exercising their freedom in the relationship, can surely add sparkle the childless union cries out for to ensure its longevity.

As usual, the girls each go through new personal dramas.

Of course - at a coffee clatch, spa, or in a quiet heart-to-heart - each crisis is handled one by one.

Yes, happy endings all.

The film is big and splashy and over-the-top - and essentially a blown-up version of the TV series - but with a higher dose of verve and style and panache.

"Sex in the City" was a trifle too long, unfortunately (the gay wedding could have been "cut" a smidgen instead of letting it run wild and willy-nilly "uncut" on the wide-screen to the film's detriment)).

Some judicious editing in the "Ishtar" scenes (fortunately "sex" didn't go that route and was thus saved from potential disaster) may have tightened up the  long sprawling out-of-control script so that it was more palpable.

But for fans, it is solid gold entertainment, without doubt.

And, what a curious breed they are.

In the lobby of the theatre, I was astounded by the eclectic mix that is the "Sex in the City" filmgoer.

The devotees have a distinctive "look".

The mostly female crowd (sprinkled with a handful of gay couples celebrating girl's night out) carried designer clutch bags, wore elegant (funky) heels, and squeezed their precious bods into gowns that ranged from floor-length body-fitting styles to short-short sun dresses that were chic and simple (punched up with a riot of  beads, baubles, and eye-catching bangles).

The "do's" were of all persuasion - and often adorned and highlighted - with fashion flourishes.

 http://www.thetattler.biz/

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