Showing posts with label Dallas International Film Festival. Show all posts
Showing posts with label Dallas International Film Festival. Show all posts

Friday, September 20, 2013

Netflix Instant TV and Movie Picks




We are taking a break from bring you all things Fantastic Fest for this brief Netflix Instant column. Currently, we are deep in the genre world in North Austin watching movies and drinking ridiculously good beer. I wish you could all be here with us. This week I've brought you two films that have currently played at festivals, and one lighthearted comedy.

Enjoy!


This was a film which showed at last year's Dallas International Film Festival, and one which my cohort overall enjoyed. The premise is about a couple who find a magic teapot that gives away money in exchange for them harming themselves. It sounds like an interesting tale of achieving the "American Dream", and the extent people will go to do that. 

I seem to have a knack missing fun little comedies. Maybe it's the marketing, but it's too easy for me to write films like this one off too early. Thankfully, my cohort, yet again, sat me down one day to watch this one. Could Paul Rudd be anymore charming? Though this film fits in the standard mold of a dysfunctional-type family comedy/drama, the performances make this film endearing. 


I love when festival films end up on streaming. It's a chance to not only relive favorites, but it's a chance to catch up on films not normally accessible. EARTHLING played at DIFF a few years ago. It's a Texas film about a young woman dealing with the grief of losing her child and learning about new "people" in her life. It's directed by local Clay Liford, who's love for sic-fi films is is evident from this film.



Monday, April 8, 2013

Dallas IFF 2013 Review: TERMS AND CONDITIONS MAY APPLY- Jonesy's Take

TERMS AND CONDITIONS MAY APPLY
Directed by Cullen Hoback
Synopsis: A documentary that takes a look about what it means when we click "agree" to companies terms and conditions and privacy policy statements. 


Friday, April 6, 2012

Most Anticipated DIFF Films of DIFF 2012- Jonesy Edition



Jonesy here with my highly anticipated films for the upcoming Dallas International Film Festival. Now I won't lie, there are many more movies I would love to add to this list, but Damon, Jessica, and Javi have them already on theirs. So needless to say there are some exciting films coming to Dallas in a few weeks. Surprisingly when putting together my list, I ended up with four documentaries. DIFF, for me, is always a place for me to see smaller docs that I wouldn't normally see.

So enough stalling...onto my list!

Wednesday, March 28, 2012

DIFF Announces Honorees, South Korea Spotlight, and More Movies!



The Dallas International Film Festival presented by
Boardwalk Auto Group Volkswagen Dealers Announces

Costume Designer Bernie Pollack to be Honored with the
Dallas Star Award

Academy Award Nominee Gabourey Sidibe to be Honored with the
Dallas Shining Star Award


Full Line Up of the Spotlight on South Korea

Additions to the Full Schedule

The Dallas International Film Festival presented by Boardwalk Auto Group Volkswagen Dealers announced today that a Dallas Star Award would be presented to one of the great legends of costume design, Mr. Bernie Pollack.  DIFF also announced that rising star, Ms. Gabourey Sidibe will be honored with the Dallas Shining Star Award for the contribution she has made to film in her short, yet impressive career to date.  Both Pollack and Sidibe will receive their awards at DIFF’s annual awards dinner, the Dallas Film Society Honors on Friday, April 20, 2012.  Other announcements include the full line-up for the South Korean International Spotlight and programming duo James Faust and Sarah Harris have announced the titles of additional films which will play in the Premiere Series, World Cinema and Deep Ellum Sounds categories.




Friday, March 16, 2012

Netflix Instant: Cool Movies & TV-Campy Fun Time!


Javi here. I have another trio of  Netflix movies for you to enjoy today. This week, I'm focusing on more campy movies this week since I figured most everyone will be too drunk to care!


Because I'm the type of dick that will recommend a LEPRECHAUN movie during St. Patty's Day weekend. Seriously, you will need lots of green ::shudder:: Bud Light to get through this one. 

This one I saw on a recommendation by Twitter's own @ReelDistraction, since we did not have our weekly Horror Movie Night. It's about a haunted train car where people are haunted when they have sex. It's got some shitty dialogue, the violence is laughable, but it was still a good time because of all of it. Plus, African-American Hitler is in it: 


ROBOCOP
I have not seen this one in a long time, but given that the Dallas International Film Festival will be honoring the 25th anniversary of this movie, I figured it'd be a great time to highlight it.

That's it for this week cat and kittens. I hope you enjoy! Jonesy will bring out some good stuff next week. 

Thursday, March 15, 2012

DIFF Releases Full Schedule of Films



It's finally here! The Dallas International Film Festival has released their schedule of films that will be presented April 12-22. I'm especially excited about some films on this list because it's a chance to see a few that I missed during Fantastic Fest. Keep an eye out here for all the upcoming news including our most anticipated films for the festival!

Tickets for opening night, passes, and vouchers are now on sale here. All other tickets will be available to purchase starting March 19th for Dallas Film Society members and March 22 to the general public at The Prekindle Main Box Office at 5331 E. Mockingbird Ln, Suite 105 in Mockingbird Station.

Check the full release after the break.

Thursday, March 8, 2012

DIFF 2012: Centerpiece Gala and Closing Night Festivities Announced! Plus Festival Dedications and Digital Initiatives!




The Dallas Film Society Announces

Exclusive Southwest Premiere of MY WAY to be Centerpiece Gala at the Dallas International Film Festival with celebrated
South Korean Director, Kang Je-Gyu


25th Anniversary Celebration of ROBOCOP with cast and crew reunion to mark Closing Night festivities

DIFF 2012 to be dedicated to Cinemark’s film industry visionaries,
Lee Roy and Tandy Mitchell

Groundbreaking digital initiatives will launch the Festival to a new audience through live streaming and exclusive online content

The Dallas International Film Festival presented by Boardwalk Auto Group Volkswagen Dealers announced today that the South Korean epic, MY WAY (2011) will be featured in one of the coveted Centerpiece screening slots with director, Kang Je-Gyu in attendance. 


 The Closing Night festivities will be marked by a special cast and crew reunion to celebrate the 25th anniversary of the Sci-Fi classic ROBOCOP, which was shot in Dallas.  

DIFF also announced that the 2012 Festival will be dedicated to Cinemark’s Lee Roy and Tandy Mitchell.  Additionally, groundbreaking digital initiatives will launch the Festival to a new audience through live streaming and exclusive online content.

For the 2012 DIFF, artistic director, James Faust is featuring South Korean films and filmmaking as its international spotlight.  As one of the biggest productions in South Korean history, the WWII epic, MY WAY (courtesy of Well Go USA Entertainment and CJ Entertainment) will be featured as the Festival’s Tuesday night Centerpiece on April 17.  Famed South Korean director, Kang Je-gyu (TAE GUK GI: THE BROTHERHOOD OF WAR (2004); SWIRI (1999)) from Seoul, South Korea will present the film in Dallas for the first time to a Southwest audience.  “There is a very strong Korean community in Dallas and a real interest in its film industry,” said James Faust. “MY WAY and Kang Je-gyu will thrill our audience.  Inspired by a true story, the imagery and cinematography in this film is breathtaking but it’s also a classic story about friendship, dedication and sacrifice.  As MY WAY features the international star power of Dong-gun Jang, Jo Odagiri and Fan BingBing, we have a truly compelling Tuesday night Centerpiece that showcases the breadth of South Korean filmmaking.  This is exactly what I hoped for when creating this International Spotlight category.”

Wrapping the 2012 Festival on Saturday, April 21 will be the 25th anniversary celebration of ROBOCOP.  Presented in partnership with the Dallas Film Commission, the historic Texas Theatre will host many of the cast and crew that worked on the film for the film’s first official reunion since it was shot in Dallas 25 years ago.

Lynn McBee, Chairman of the Dallas Film Society Board of Directors announced that the 2012 Dallas International Film Festival presented by Boardwalk Auto Group Volkswagen Dealers will be dedicated to Texas natives and Cinemark visionaries, Lee Roy and Tandy Mitchell, who founded Cinemark USA, Inc in 1987. Cinemark is now the highest attended theatre circuit in the world and operates the second largest number of screens for worldwide theatre exhibitors with 456 theatres and 5,152 screens in 39 States and 13 Latin American countries.  “I am so proud to be dedicating the 2012 Festival to Lee Roy and Tandy Mitchell.  They are extremely deserving of this accolade,” said Lynn McBee. “What they have achieved in the last 25 years at Cinemark is an inspiration.  Over 247 million guests across the world attended the Cinemark theatre circuit in 2011. They help put film on a pedestal by offering breakthrough technologies, comfort, and maximum entertainment value at each of their Cinemark theatres.  It is important to us at the Dallas Film Society that we recognize the exceptional achievements of trailblazers within the film industry and there is no better example than Lee Roy and Tandy. Lee Roy, Cinemark’s Chairman, famously says ““Eventually you have to go out on a limb, because that’s where the fruit is.” We want to honor that passion and vision at our festival.”

For the first time, DIFF is launching digital initiatives that promise to offer the Festival experience to a worldwide audience.  Partnering with San Antonio-based NewTek and cloud-based video platform Livestream, DIFF will use NewTek’s TriCaster system to deliver the fest experience live online, in hi-definition, as well as create video content for instant playback. Live and recorded events will be streamed at http://ctsp0.vresp.com/c/?DallasFilmSociety/f72278bb8b/fc19b76fdc/7541ed6fe4 throughout the Festival’s run from the star-studded opening night red carpet, to one-on-one interviews with filmmakers, to capturing Q&A’s with cast and crew and special guests, to the final awards ceremony, the Dallas Film Society Honors. “Each year the Festival is attended by more than 30,000 people, all here to see some of the year’s highly-anticipated independent films,” said Lee Papert, president and CEO of the Dallas Film Society. “Online video coverage of our events can offer this extraordinary content to a larger audience and introduce film lovers to films and filmmakers that they might not otherwise have the opportunity to see. This takes DIFF to a whole new level for us and by expanding our virtual audience it means we can touch many more film lovers across the world.  That is exhilarating for us.”

In preparation for the Festival, DIFF is launching a new, state-of-the-art website developed by Pencilneck Software, a Dallas and Canadian company dedicated to the development of new web technology.  The festival’s site http://ctsp0.vresp.com/c/?DallasFilmSociety/f72278bb8b/fc19b76fdc/b85a153dd3 will feature a responsive design that allows the site to instantly adapt to any platform — desktop, tablet or mobile device and it will bring the excitement of the Festival to its homepage in April with news, live video, Festival information and social interaction.

A final addition to the DIFF digital line-up comes through partnering with highly respected ticketing solution provider Prekindle to handle its most crucial customer-service areas: the Box Office and the Online Festival Guide.  Prekindle’s expertise will be seen at the 2012 DIFF Box Office at the Festival Village in Mockingbird Station and in their complex, custom Internet software that gives the Festival the ability to publish its first ever online Festival Guide. The guide gives attendees unique scheduling and purchasing options, allows DIFF to fully describe its films and events, and gives films and filmmakers more online exposure and promotional capabilities.

Passes are currently for sale and range from $100 for a Festival Lounge Pass to $750 for an all-access Star Pass.  Tickets go on sale at the Prekindle Box Office and online to the public on March 22. The Prekindle Box Office will be featured as part of the Festival Village at Mockingbird Station. For further information on pass levels and how to purchase passes visit: www.dallasfilm.org or telephone 214.720.0555.

Wednesday, February 15, 2012

Dallas IFF 2012 Announces First 15 Titles and Honoree



Javi here. Just a quick post regarding some exciting announcements regarding the 2012 Dallas International Film Festival. We will be returning to cover the festival again this year. Thanks to the fact that the one and only Damon will be helping us during the festival, we will have even more reviews than in the previous years. Because of the extra help (and if our work schedule permits) we will be scheduling actor and director interviews this time around as well. Just a little info on Damon: he has a beard, so that's cool, and he also bangs on drums for some reason. He is also former contributing writer over the Gordon and the Whale(R.I.P), and now he primarily writes for Horror's Not Dead. You can see some of his work here.

We also just got the first press release detailing some of the upcoming films you can look forward to. Hit the jump for more information.

Monday, April 18, 2011

Post DIFF thoughts- He said/She said

Jonesy:  It's been about a week since The Dallas International Film Festival has come to a close, and I feel I still haven't fully recovered from that ten day of complete movie fun and madness.  With this being our second time around, I felt more confident going into the festival knowing more of "the ropes". 


What I learned and did differently this time around:

Tickets: Last year, I thought I had to stand in line to get a ticket for every movie I wanted to see.  Nope!  Pass holders get into a special line and enter the movie first!  (Yes, this seems common sense, but hey, I was a rookie back then.) 

Parking: I also learned where NOT to park when seeing movies at The Magnolia in Dallas.  Did you know they have a parking garage?  I didn't last year.  I parked in a random parking lot during the day and didn't have a problem.  However, when I returned for a 10pm show, I parked in the same area, and when I came out at midnight, low and behold, no car!  Now, no one would steal my car because it looks like it has leprosy, so I knew it had been towed.  I called the cops and was given the address of the impound.  Then, my phone died, so I went into Blockbuster, sobbing, and they let me charge my phone.  I called a cab to go to the towing company, which ended up being a 20 minute drive away in a what can only be described as a glorified alley, paid too much to get my car out, and got home at 3:30am.  Lesson learned.  This year have a charger, which I do, and park in the correct area, which I did. 

Utilizing the Lounge: Also, last year the festival lounge was within walking distance from the Angelika Dallas theatre.  We didn't realize last year that it was open to press the whole festival (we thought it was just open to filmmakers), so we never frequented the lounge to hang out between showings.  So, we were dead set on taking full advantage this year.  However, they switched the location to the Joule Hotel in downtown Dallas, which was gorgeous but a pretty inconvenient location not anywhere close to any of the theatres.  Unfortunately, we only made it down there once. 

The movies:
Favorites:
1) GREATEST MOVIE EVER SOLD
2) MOST VALUABLE PLAYERS
3) MIDNIGHT SHORTS

Disappointments:
1) WUSS
2) BURKE AND HARE
3) SOUL SURFER

Things I wish I had seen:
1) Parked
2) Five Time Champion
3) Wild Horse, Wild Ride

What I plan on doing different next year:

Hydration:  The first Saturday of the festival is the busiest.  If the schedule works out, you could see up to five movies that day.  I saw four, which was fantastic; however, I forgot an important aspect that I needed while traveling from venue to venue living off popcorn...water.  For most of the day, I forgot to drink water.  I didn't realize how dehydrated I was until Javi and I were in line for WUSS, and I felt lightheaded.  Thankfully, he had a bottle of water with him that he kept refilling all day and that woke me up.

Snacks:  Between gas, drinks, and food, a festival can get expensive.  Next year I am planning on keeping snacks with me so I can cut costs wherever I can.  Plus an apple or trail mix is a whole lot better than junior mints or popcorn.

Networking:  Talking to random people I sit next to in the theater or in line isn't particularly easy for me, yet I know, in this field, networking is key.  I plan to step out of my comfort zone more next year and meet more people.  Also, always find out if people have a twitter because if anything, you two at least have the festival in common. 

Final Thoughts:
The overall experience of the festival is something I wouldn't trade for the world.  Sure, I was exhausted by the end of it, but that's all part of festing.  There are always tweaks needing to be worked out in a big event like this, but I have a feeling the DIFF crew will work out the bugs from this year, which means there will be new bugs that'll show up next year. 

The experience of seeing a movie with people who love movies as much as we do is always the best part.  My favorite moment is when the audience irrupted in applause in the middle of GREATEST MOVIE because we were so engrossed at what was happening on screen.  Seriously...who cheers at a documentary except movie fanatics??

I just got to work on somehow making time for a normal sleep schedule next year.




Javi: This was a big deal, as I'm sure everyone who follows us on Twitter and Facebook knows, because it was the first time we were in a festival as press. Plus, we got totally awesome and stylish T-shirts made thanks to the beautifully talented Julie Fitzgerald! I'd say I can't wait for the next super long and draining festival.  Hopefully you guys enjoyed our rather speedy reviews!

What I learned and did differently this time around:


Food: As ridiculous as it sounds, I made sure to pack various snacks and bought an aluminum water bottle to keep me going. I packed raw almonds, Clif bars, some dried fruits water, and a 5 Hour Energy that I never used. You'd be amazed how draining it is to watch 5 movies in one day. All of the snacks I had were high on protein and were meant to keep your energy up. Oh...and some delicious chocolate covered almonds ;-)



Notes: I have always heard of people taking notes during movies. I never understood this because I can usually remember most of the things that happened. Given that my schedule was going to be pretty packed before I got around to writing reviews, I took to taking notes in my Moleskine Movie Journal. It was such a life saver, and considering how the days started to blend together, I was forgetting details like crazy. Thank goodness for all of my notes.



Breaks: Since it would just be Jonesy and I, we worked it to have some days off. I had a Monday and Tuesday off, and she had a Wednesday and Thursday off. This was good for a few reasons. First, to get our minds together and to get a chance to catch up on our writing. Second, since we're not comfortable enough doing interviews yet, our focus was solely on movie reviews, so we tried to get as many as we could out. This is also good so our lives didn't get too messy. We're not as lucky as some and have day jobs (unfortunately).


 
The movies:
Faves:
4) PARKED/ THE RUNWAY (they're both Irish, it's OK) 

Dissapointments:
2) WUSS
3) IRONCLAD (I walked out of this movie out of sheer boredom)

Regrets(didn't see):
1) SURROGATE VALENTINE
2) ANIMATION SHORTS



What I plan on doing different next year:

Plan enough time between screenings: This year I made the mistake of scheduling a movie at NorthPark mall, then the Magnolia, and then the Angelika.  Considering there were scheduling problems that delayed things across the board, it was not as bad as it could have been, but 30 minutes between very popular venues with bars and shopping surrounding them sure makes for a stressful time.

Make time for interviews:  This goes along with getting more exposure, but I would have liked to do interviews, but lack of preparation, nerves, and a packed schedule prevented me from doing so.  Trust me, I'll do some next year.


Final Thoughts:


First, I'd like to thank the press office of the Dallas International Film Festival for letting us cover this festival.  Tanya Wright and Emily Hardgrove were of amazing help, and I can't thank them enough for putting up with my ridiculously naive questions. I loved the variety of the venues, from Highland Park Village, to the Texas Theatre, and the Plano Angelika.

Now for the bad(sorry!). Vittorio Verre. I'm not sure what happened with this year's bumpers, but they were not of the same quality as the ones from last year.  I'm not sure who thought it was a good idea to put a pompous, moronic, and self-centered character such as Vittorio in front of the movies, but it was completely off putting.  What I don't understand is what the message of the bumper was.  I figured you'd want to promote the magic and greatness of film, not some guy that personifies "style over substance".  At least last year there were two different bumpers which made for good variety.  Kudos to the You Plus Media crew for their bumper involving Metro Diner (RIP) and the Texas Theatre.  That bumper actually made more sense to put in a film festival as it showed the simple, and almost literal, love for movies that was endearing.

Another huge complain I had, which probably has a lot of political and logistic reasons behind it, but man what a drag to go downtown to get passes and screeners and just to be able to try to connect and network with other festival goers.  The Palomar was such a great central location, and I just couldn't imagine how they could have topped it.  This year... they did not.  The lounge was actually great to look at it, and it had a really cool and modern feel for it.  But we could only really enjoy it once.  The location also kept us from getting screeners at the Press Suite which closed at 4 PM, and neither of us could get to because of work.
For the first weekend, there was something wrong where all of the movies were starting late.  Add in Q&A's and there seemed to be a complete mess trying to follow a set schedule.  Apparently, when the schedule was made, the bumpers, which took about 15 minutes, were not taken into account which was the cause for some of these delays.  I just know that the people running this festival know how to rock it, so I'm confused as to how this happened.

Regardless, the experience became a rather enjoyable one, and apart from the time where we tried going to the Lounge one last time and got turned away because it was a VIP event (which we were unaware of), it was such a good time, and we hope to come back again.  Seeing the amount of people out of town coming in to cover this, and the talent involved gave me something which I never get often, which is a bit of pride being from Dallas.


Thursday, April 14, 2011

DIFF Review Midnight Shorts - He Said


ALL FLOWERS IN TIME
Directed by: Jonathan Caouette
The director is definitely a David Lynch fan. I missed the first 3 minutes of this short and, I felt completely lost until I asked Jonesy and Crystal if I missed a crucial plot point.  Turns out I didn't, but this did not keep me from enjoying this macabre and unsettling short.  The editing is masterful as is the imagination and the style that went into creating this short. Highly recommended, and I'll be watching out for the director's next work.


COLD SORE
Directed by: Matt Bird
This charming short is the definition of a horror comedy.  I won't spoil it, but suffice to say that I found the clever use of a very familiar situation, such as a young couple meeting and wanting to hook up, as a way to unexpectedly turn to a completely different movie in the second half.  The two leads are charming, but more so the girl here. She's really spunky and gives off such a nice presence on screen, and you can't help but like her character as she deals with getting a cold sore after a hook up.


SASQUATCH BIRTH JOURNAL 2
Directed by: Zellner Bros

Can't say much, expect this was the funniest thing I've seen in a while.  Find a way to get a hold of this now!


THE PACT
Directed by: Nicholas McCarthy
This is the most polished of the shorts.  It stars the oh-so-cute Jewel Staite, of FIREFLY and SERENITY fame, as a woman dealing with her mother's recent death.  Her and her brother talk about their dark past and how strange it is to be back in their old house.  They both chose different ways of dealing with their childhood, and in the end, we see how hard it is to confront one's demons.  This movie would've benefited from more time in getting to know the characters and a bit more visual flare. Interestingly, this movie is being shopped around as a feature film, which interests me as the subject matter has really great potential that feels unrealized here.


8 BITS
Directed by: Valere Amirault, Sarah Lauger, Jean Delauny, Benjamin Mattern
This short was the reason I wanted to check out the Midnight Shorts program, and yet this was the most disappointing.  The premise was that an 8 bit video game character was going to fight a more advanced 64 bit video game character.  The result was so underwhelming from what I originally imagined.  The designs were a bit off for my taste. The style is barely reminiscent of video games save for some parts, and frankly, I couldn't tell what was going on for the most part.  A good concept that was mired by a bad execution.


THE LEGEND OF BEAVER DAM
Directed by: Jerome Sable
Probably one of my favorite shorts of the whole festival. This is a story of a nerdy kid with his group of campers telling stories of the ghost of the Beaver Dam.  The kid is constantly getting picked on until he becomes the hero of the day, or does he?  This is the best horror/musical hybrid, and director Jerome Sable needs to do something similar to this.  The production values, the music, and the humor are all top-notch here.  It actually ended up winning the Best Short Film award at this year's Dallas International Film Festival.

Tuesday, April 12, 2011

Sunday, April 10, 2011

DIFF review PROSECUTOR- She said


Directed by Barry Stevens
Featuring: Luis Moreno-Ocampo

The International Criminal Court has only been in existence for about ten years.  It's charged with bringing people to justice who commit genocide, crimes against humanity, war crimes, and/or crimes of aggression when the country's national court is unable or unwilling to prosecute, just as it's predecessor, The Nuremberg Trials, did.   Currently, there are three separate trials underway; all having to do with crimes committed in Africa.  Behind these investigations is Luis Moreno-Ocampo, head prosecutor for the ICC.

At the heart of the ICC is Moreno-Ocampo who wholeheartedly believes in justice and the rule of law.  However, the problem he is facing with the nations is the ICC doesn't have an army, so when a leader or criminal is indited by the ICC, they have to rely on neighboring countries to arrest the criminal.  Like the United Nations, the idea of the ICC is appears more idyllic than the actual process.  For the ICC to work, the nations of the world would have to give up some sovereignty, so when crimes against humanity are committed, the perpetrators go straight to trial.  However, asking the big wigs like China, Russia, India and the United States to give that kind of power to a court they don't control will probably never happen.  Also, the prosecutor has to convince the people that bringing this criminal to trial is the right decision.  The three individuals who are standing trial right now all come from war-torn African countries where many citizens are pleased justice is being brought, but many still support these individuals, and usually the supporters have weapons and take out their frustration on the people. All in a day's work for Moreno-Ocampo.

So, his job isn't easy, yet his persistence for justice is astounding.  Even though he is defending humanity, he is met with criticism after criticism.  There are leaders who say the ICC is targeting African countries because they're not western enough, and this is the international community's way of making them fall into step.  Others want him to investigate the Gaza Strip area where hundreds of Palestinians were killed by Israelis because of a Hamas attack on Israel.  One problem though, Palestine isn't considered a state as far as the world is labeled, but the atrocity happened.  So, now there's international pressure to bring Israel to trial, and international pressure, especially from the United States, to leave them alone.  Then, there's the criticism that the ICC would never go after the bigger countries, such as the United States because the ICC is scared of them.  Moreno-Ocampo has stated that it doesn't matter what country; the ICC would investigate anybody.


Director Barry Stevens is given incredible glimpses of remote areas of the world.  We following Moreno-Ocampo to the Congo where he talks to tribe about an upcoming trial gathering their support.  We also follow Mike, a former ICC employee who left because he felt that he needed to make a difference and the ICC wasn't powerful enough, as he tries to free military personnel (from the good side of the Congo war) from the rebels in the jungle.  Mike, who is now employed through the UN, is the symbol of being able to take action to make a difference. 

If you were to ask someone about the idea of having an international court of law, I would predict many would agree with the idea.  Then, if you were going to go into detail about what that would mean to their country, such as giving up part of their sovereignty, then people become hesitant.  The idea of the ICC, on the surface, is one of striving of equality, justice, and standing up for the voiceless victims.  However, the road to such an idyllic court is arduous and a political nightmare.  PROSECUTOR shows us the other side, with faces beyond all the politics and policies. 



Saturday, April 9, 2011

2011 Dallas International Film Festival Award Winners

The 2011 DALLAS International Film Festival Announces
Award Winners

JESS + MOSS receives the $25,000 Target Filmmaker Award for Best Narrative Feature

ELEVATE receives the $25,000 Target Filmmaker Award for Best Documentary Feature

FIVE TIME CHAMPION receives the $20,000 in Cash, Goods and Services for the MPS Studios Texas Filmmaker Award

IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT receives the Environmental Visions Award

ZERO PERCENT receives the $10,000 Embrey Family Foundation Silver Heart Award

THE LEGEND OF BEAVER DAM, THE ROBBERY and PATHS OF HATE are named winners for Best Short Film, Student Short and Animated Short

Audience Awards go to SNOWMEN for Narrative Feature, WILD HORSE WILD RIDE for Documentary and THE LEGEND OF BEAVER DAM for Short

Friday, April 8, 2011

DIFF Review THE LAST CIRCUS - He Said/She Said




THE LAST CIRCUS
Directed by: Alex De La Iglesia 
Written by: Alex De La Iglesia
Starring: Carlos Areces, Carolina Bang, and Antonio De La Torre


Jonesy: I thought it looked very pretty with really great production values.  Everything looks authentic with part of the story taking place in 1930’s Spain and the other half taking place in the 1970’s.  I enjoyed the first 30 minutes, but then I ended up not liking it and checked out of it mentally with probably an hour to go. 

Javi: This is probably one of the best-looking Spanish movies I’ve ever seen.  I don’t blame someone for not liking this movie, but at the same time I enjoyed the crap out of it.  Even when it got just beyond insane, I was so into it. I think this just fed into my most weird and dark aspects of my personality.

Jonesy: You hit the nail on the head; it’s a very specific movie for certain people.

Javi: So what did you think of the characters?

Jonesy: Well I liked all three of the main characters like Javier…

Javi: I Know!! Why did he have to be chubby :0(?  It’s weird because he looks like fat Jared Lento when he plays John Lennon’s killer.

Jonesy: I thought the 3 main ones, Javier, Natalia, and Sergio, were fantastic.  They gave you enough pieces of their life that you could put together and create their own motives.  They all fit into a specific character niche we’ve seen before.  And then when Javier joins a circus troupe, all the members are all very memorable; they weren’t just background faces.

Javi: I had a good feeling that Natalia, was just supposed to play a truly messed up Manic Pixie Dream Girl type. She was the best thing about this film because you could believe that this girl was downright messed up enough to think and put up with what she did.  In terms of the circus people, I think they fulfilled the Greek Chorus role in the movie..  Funny side note under IMDB, the movie is classified as a comedy and war drama. 

Jonesy:  My big problem with this movie is the story.  In the past year of watching movies, I’ve learned if the story doesn’t engage me, it’s almost guaranteed that I won’t like it.  That’s my issue with this one.  There were so many random elements thrown in there.  The first part of the movie is set during world war II (ed.note: actually it’s the Spanish Civil War) Javier’s dad get recruited to fight in the war, then gets captured and becomes a POW working to build a huge cross.  He then tells his son to get revenge, which I thought that’s where the movie was going, but then the son grows up to be a clown like his dad and his grandfather, and then gets involved in a love triangle, and you think that’s where it’s going, and then more crazy random stuff happens. After the love triangle scenario gets established, the movie just shows random events just happening with all of these characters and events come back in the end in a very convenient and unconvincing sort of way. Just seemed very lazy.

Javi: There’s a lot of stuff that gets set up early in the movie that you just wish had a bigger pay off.

Jonesy: There’s a big 20-minute section in the middle where they reference Javier’s past.  That was just such a waste because you could very well have cut out the scene, and still have had Javier’s character be complete.  It’s almost as if someone else started writing the last half of the movie, or they were just smoking weed.

Javi: For me, the whole story makes sense, and I agree some stuff could be cut, but since it is part of this movie I still enjoyed it.  You were saying that this was crazy and weird, but not in a good way, but I’m saying that it’s crazy in a very good way because that’s what you come to expect from this movie.  This sort of insanity is set up very early in the movie. The first scene dealing with a crazy machete-wielding clown, well where do you go from there? In terms of you complaining about the crazy aspects to me makes no sense, but this was the only place where it could have gone logically. And I know that there are some points where it gets so ridiculous it’s goofy. 

Jonesy: Him eating a deer isn’t out left field??!?

Javi: Not really, mean that was the thing that grossed me out the most in terms of violence, but it makes sense. 

Jonesy: You were talking about the machete clown, it’s goofy and silly but it is better incorporated into the plot of the movie.  Where they had to fight right away and they had no time to do anything but fight. The father even had to ask the general if he could change.

Javi: And the general said that a clown with a machete would be much scarier. 

Jonesy: and that’s fine, I’m agreeing with you, it made “crazy sense”.  There’s a lot of craziness towards the end of the movie.  Then you have the fact that there is no sense of time at all.

Javi: You could make the argument of the “unreliable narrator” for Javier.  If we assume he has gone crazy then how can we really trust anything that he is experiencing? 

Jonesy: Well and then there’s when Javier and Natalia start their relationship.  I felt that their relationship got started off way too quickly, and the danger was really amplified too quickly in terms of them sneaking around. I don’t like that excuse. I would agree with you about the unreliable narrator if they had stayed with Javier throughout the whole movie, but there were a lot of scenes without him. 

Javi: I’m not sure what the rules for this type of storytelling, but I feel that with the time issue; it could be that time shrinks when we focus on Javier, and then we move away from him, time goes back to normal.  For example, there’s a point that Sergio and Natalia have another business, that should have taken at least a few weeks to get together, and it was just one scene. I will say that the final climactic confrontation has a lot of set up that is not explained very well.  It’s as if Batman got his Batcave in one day. 

Jonesy: I’m not sure where that came from.  It seemed one last attempt at creating a circus, like holding on to a dream from childhood.  Also, the title is not fitting at all. I like the Spanish title better. (The Sad Trumpet Ballad) That relates more to Javier’s journey as a sad clown than just a circus.

Javi: I feel like I need to rewatch it again, because I feel that there are lots of instances of symbolism that I’m not sure I got.

Jonesy: You know, considering that this was supposed to be a war drama, I thought that some of the craziness would really come to symbolize or be allegorical to something relating to the culture, but I don’t know enough Spanish history. 

Jonesy: In the end this is a very specific taste of movie.  I’m not sure why I didn’t enjoy it because I usually like crazy films.

Javi: For me if I could gather my friends that appreciate movies, and then cut it down to people that like weird movies, then cut it down to the extreme types, then I could recommend it.  I feel like you’d have to be like ReelDistraction and ZombieFreak who understand exploitation movies and the seedier side of film.  


SIDE NOTE: So this is a conversation recorded at 2:30 AM the night we watched it. Later in the week I met a gentleman named Tom, who I chatted with after the Documentary Shorts Competition.  Apparently, we had seen a lot of the same movies, THE LAST CIRCUS being one of them.  Turns out that he was a Spanish History professor for a longtime and loved Spain. He was able to offer some insights on the movie. Turns out that the movie WAS an allegory to the Spanish Civil War, and the effect that it had culturally and psychologically speaking on the country in subsequent generations.  Seems Javier represents the aftermath and deep psychological scars of those most affected by the war.

At the time of the war, there wasa total division of ideology, between the people that supported the rebels, the Nationalists, and the Republican government. The victory of the rebels devasted and reconfigured Spain in an extreme way, with complete families and clans were wiped out in the aftermath in Francisco Franco’s regime. The artistic and philosophical way of thinking was changed to a more romantic and introscpective sense due to the harsh oppression experienced after the war.

Knowing this, the movie is more powerful and more disturbing in showing, in an allegorical way, the way that war affect us beyond just politics.  I’m pretty moved that such a war that is nowhere near as infamous as any of the World Wars has had such a deeply saddening effect on a countries psyche. 

THE LAST CIRCUS screens Friday, April 8th at 10:30 PM during the Dallas International Film Festival  


Thursday, April 7, 2011

DIFF Review ARTHUR - He Said



ARTHUR
Directed by: Jason Winer
Written by: Peter Bayhan, Steve Gordon
Starring: Russell Brand, Helen Mirren, Greta Gerwig, and Jennifer Garner

So Russell Brand, for better or worse, seems to be the male version of Megan Fox, in that there's so much whining from the Internet whenever he gets cast in movies. I totally get why people would not dig the guy: he looks half like a super feminine hipster/dude-bro covered in leather, he married Katy Perry, and his humor might not even be considered funny at all! Regardless, maybe it was my first impression of him in FORGETTING SARAH MARSHALL, but the guy doesn't bother me, plus I don't watch MTV or any of that nonsense where he usually appears. So needless to say, I was not negatively biased towards this movie as much as some other people, and take into account I haven't seen the original ARTHUR in such a long time, I might as well never have seen it, plus Helen Mirren is in it, so I was pretty OK watching this. So how does this remake about a selfish, frivolous, alcoholic millionaire man-boy do? Surprisingly well, if your expectations are well grounded.

As I stated above, I can't quite remember the original movie. Given this, I was still surprised that "in this economy" someone would dare release a movie starring a highly polarizing dude playing basically a drunken asshole throwing money around. I think not even director, Winer, seems to know. Early in the movie, a reporter asks him that question, Arthur (Brand) exclaims "What recession?" and gives a crowd about $100,000 in cash. Ok, so I can get past this. Once we get into the story, you see that fortune has warped Arthur's perception of the world in a very tragic way. He literally is a little kid trapped in a horny, booze-loving body. He parties recklessly, he seems to sleep with whoever, his behavior seems downright psychotic given his lack of normal and healthy social skills. I must say though, half of the time I was jealous of this character, between the BATMAN FOREVER Batmobile and the floating magnetic bed, I don't see how anyone couldn't be. Arthur relies too much on his nanny Hobson (Mirren) to get around, yet she is always there trying to protect him all the while being frustrated at the apparently stunted growth he has experienced.

The story starts with Arthur embarrassing his Lucille Buth-type mother, Vivianne, during fundraiser after crashing his Batmobile. His mother gives him the ultimatum of marrying a respectable woman such as Susan (Garner) to help him get his life together, or be cut off his $980,000 inheritance. Not quite ready to give that up, he is willing. That is until he meets the whimsical Naomi, a poor illegal tour guide with an eye for making the world beautiful, who he is immediately attracted to for some reason. After bailing her out of going to jail, Arthur becomes pretty obsessed with her, maybe because she is one of the few women that seems to not put up with him, or maybe she is just that magical.

I found that the privileged guy with demons seems to be Brand’s go-to role; he basically plays the same guy in GET HIM TO THE GREEK. Yet for all of the praise that movie got, I feel he plays that type of character better in this movie. There’s a bit more subtlety to his acting here which I enjoyed. That’s not to say that all of the sudden he is an amazing actor, but at least he’s getting better. I think that his relationship with Hobson is really amusing but ultimately familiar, with Hobson being the strict one with a sarcastic tone and Arthur making some funny remark towards her when he doesn’t get his way. Helen Mirren has done better comedic acting in RED, but I’m not sure if she’s to blame because I would like to bet she could only do as good as what she got from the script. As good as all of this is, I have to say Gerwig steals the show; every time she steps on camera you cant help but focus on her 100%. Her character is very self-aware which leads to some of the best lines in the movies. It’d be easy to once again use the Manic Pixie Dream Girl title to her, but that seems to fall short of the charm her character exudes. Yes, she inspires Arthur in an almost magical way, but she also challenges him and doesn’t put up with his shit. For the majority of the movie she’s actually a very strong character.


The big issue with this movie is the writing. There are a lot of jokes that fall flat in an almost uncomfortable way. I get where they tried to go with those jokes, but it just doesn’t work. Then the characterization of Arthur is insanely uneven. He is characterized as a man-child with no knowledge of how to make even a simple cup of tea or Spaghetti-os, and yet his dialogue is very clever and referential in a way that would lead you to believe he keeps up with the news or at least reads. It seems that the writers just turned on one aspect of Arthur to suit the situation without much thought to consistency. This is beyond frustrating. The alcoholism subplot is something that I think was handled decently, with a few very tragic scenes relating to it. I'm not sure if that would have drastically changed the movie, but there was a point where I felt it would have been really appropriate to deal with the subject, but instead that moment gets pushed back 20 minutes.

The story itself goes through many of the same plot points you would come to expect from this sort of movie, which is fine and you can tell that they were trying to go for something deeper from this comedy in the veins of Judd Apatow movies, and yet once again, it fails because of the unnecessary situations the characters are put in that start conflict and give them something to overcome. A big example is when Susan puts bigger strain in Arthur and Naomi’s relationship, where she reveals that Arthur might be using his money to sneakily help Naomi. That would have been fine and dandy and cemented Susan as evil, but there is absolutely no reason why she should have known that information prior to this scene. Other big issue is Jennifer Garner; she is given nothing to do in this movie but play an even bitchier version other character from JUNO. Her character is not developed at all and just shows up randomly to mess stuff up. Her biggest scene where she shows up drunk at Arthur’s place to show she’s spontaneous is so out of character, for what little we know about it, that it could have been cut out completely and the movie would’ve been better for it.

Overall, this movie is ambitious in where it is trying to go, in terms of a comedy, but I think that adhering to the constructs of a comedy with romance and some downright awful dialogue seem to kill the chances of this movie, which is a shame because any movie with Helen Mirren in a Darth Vader helmet should be Oscar material. What’s worse is that the ending is so safe it almost belittles the journey Arthur goes through. If you see this movie, you will laugh, and Brand, Mirren and Gerwig are pretty funny here, but don’t expect a comedic revelation here. I couldn’t tell anyone to spend his or her $10 at the theater for this movie, but it would be a great matinee or Netflix rent.


DIFF review THE DISAPPEARANCE OF MCKINLEY NOLAN- She said


Directed by Henry Corra



In the most haunting documentary I've seen in a while, THE DISAPPEARANCE OF MCKINLEY NOLAN follows McKinley Nolan's family as they search for answers about his disappearance during the Vietnam War.  There's mystery surrounding his disappearance, from possible sightings of him in 2005 to classified government documents. 

His family lives in a little town just outside of Houston.  Nothing fancy; very simple life.  His brother talks about how they all grew up working in the cotton fields to make a living, and after 20 years of that, you get sick of it.  So, McKinley joined the army.  He goes to Vietnam, leaving his wife and kids at home, and realizes he was fighting a war that he didn't really believe in.  That's when the letters home stopped...in 1967.  Ever since then, his family has wanted to know something or anything about what happened to him.

Then, in 2005, Lt. Dan Smith, who was revisiting the battlefields of his Vietnam days, ran into an African American man who said he was from Texas.  After some research, Smith thinks this could be McKinley Nolan.  He visits the family, tells him his story, which becomes the catalyst for the McKinley's brother, Michael, to travel to Vietnam and find answers.  As they travel, they're met with some dead ends and some glimpses of hope.  Michael meets McKinley's other son.  Together they begin to unravel some clues as to the whereabouts of McKinley and his second wife. 

The story goes that McKinley was a deserter and joined the Viet Cong, or was an American operative, or he killed two guards and then joined the other side.  Many different stories surrounding his life.  During which he met his Vietnam wife, had a son, and decided to stay, that part is true.  However, when Vietnam's infrastructure began to crumble, McKinley and his wife escaped to Cambodia.  Soon after, the Khmer Rouge began their mass genocide against its own people.  At this point, many of us would have given up hope and assumed him dead, but not Michael.  Michael's love and determination keeps him going until he finds solid proof of what happened. 

Throughout their investigation, the filmmakers were able to get unprecedented interviews with old members of the Viet Cong and Khmer Rouge.  (Most of the Khmer Rouge members, who are still alive, are on trial for crimes against humanity).  Even though these seem like breaks in their case, many of the men wouldn't divulge too much information because it puts their own livelihood at risk.  No real answers, just more questions.

In the end, the movie becomes less about McKinley, and more about Michael's spirit, love and determination.  It seems that after McKinley disappeared and the family wasn't getting much help from the government, they gave up trying.  Then when Smith showed up, all those feelings got swirled back to the surface.  A new determination was sparked, and answers were needed.  The documentary will leave you talking and discussing what really happened, what would you do, and how far you would go for answers.