Monthly Archives: May 2013

Outtakes

Gateway’s Indie Film Showcase Cures the Blockbuster Blahs

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By Hope Madden

Already tired of blockbuster season? The Gateway Film Center has just the remedy. Their Independent Film Showcase launches this week, running May 9 to May 16. This edition of the semiannual event screens seventeen flicks you’d be hard pressed to find onscreen anywhere else.

Anchored by Brit filmmaker Ken Loach’s charming The Angels’ Share – the only film in the series to boast a full slate of showings – the program offers dramas, comedies, documentaries and thrillers, each one rotating through a handful of screenings across the week.

According to Gateway president Chris Hamel, programming a series like this takes quite a while.

“The May program contains 17 films, and I watched around 50 to decide on those,” he says. “We originally planned this as a quarterly series, but to be honest, I can’t program IFS at that speed. Too many films to consider. It’s fair to say about 100 – 150 hours of watching and planning went into this festival before the marketing team started working on it.”

Why make the effort? Gateway’s goal, according to an official press release, is to “bring a diverse, compelling selection of indie films to central Ohio while also giving patrons an opportunity to see tomorrow’s Hollywood stars and A-list directors.”

Hamel believes Gateway is an ideal fit for such a showcase. According to him, “Our audience is so diverse that IFS makes great sense here. While all of these films are very good, they have a hard time finding an audience. I believe that our central location, downtown sensibilities, technology and product mix make use a great place to see a film, and IFS is just one more opportunity for our patrons to be part of the independent film world.”

Highlights include film festival favorites such as Rebecca Thomas’s fanciful religious conundrum Electrick Children, Keith Miller’s gritty redemption drama Welcome to Pine Hill, and the dark drama Rubberneck – one of two featured films (alongside Red Flag) by prolific newcomer Alex Karpovsky.

Hamel has a couple of other favorites, though.

“I absolutely loved Ain’t In It For My Health: A Film about Levon Helm, The Silence, and Welcome to the Punch,” he says.

You’ll get the chance to see these and more beginning at 7pm Thursday with the screening of Michael Gondry’s The We and the I. From there, films rotate throughout the day until it all winds up with newcomer Marialy Rivas’s controversial Young and Wild at 11:45 pm on the 16th.

Says Hamel, “I hope audiences give these films the chance the deserve.”

 

The full schedule of events:

 

Thursday May 9

The We and the I                                              7:00 PM

Electrick Children                                             9:15 PM

Welcome to the Punch                                      11:15 PM

 

Friday May 10

Welcome to Pine Hill                                         12:00 PM

Rubberneck                                                      2:00 PM

Red Flag                                                          4:00 PM

Somebody Up There Likes Me                           6:00 PM

Aint In It for My Health:                                     7:45 PM

A Film about Levon Helm

Welcome to the Punch                                     9:45 PM

Young and Wild                                                12:00 AM

 

Saturday May 11

Patang                                                             12:00 PM

Bert Stern: Original Madman                             2:15 PM

Supporting Characters                                     4:15 PM

The Silence                                                      6:15 PM

The Happy House                                             8:45 PM

Tied                                                                 10:30 PM

 

Sunday May 12

Bert Stern: Original Madman                             11:00 AM

You Don’t Need Feet to Dance                           1:00 PM

Somebody Up There Likes Me                           3:00 PM

The We and the I                                              4:45 PM

He’s Way More Famous than You                      7:00 PM

Ain’t In It for My Health:                                    9:15 PM

A Film about Levon Helm

 

Monday May 13

The Happy House                                             1:00 PM

The We and the I                                              2:45 PM

The Silence                                                      5:00 PM

Electrick Children                                             7:30 PM

Welcome to the Punch                                      9:45 PM

 

Tuesday May 14

He’s Way More Famous than You                      1:00 PM

You Don’t Need Feet to Dance                           3:10 PM

Patang                                                             5:20 PM

Bert Stern: Original Madman                             7:30 PM

Rubberneck                                                      9:40 PM

 

Wednesday May 15

Rubberneck                                                      1:00 PM

Red Flag                                                          3:10 PM

Supporting Characters                                      5:20 PM

Welcome to Pine Hill                                         7:30 PM

Tied                                                                 9:40 PM

 

Thursday May 16

The We and the I                                              12:45 PM

Electrick Children                                             2:45 PM

The Silence                                                      5:00 PM

Welcome to the Punch                                      7:30 PM

Ain’t In It for My Health:                                                9:45 PM

A Film about Levon Helm

Young and Wild                                                11:45 PM

 

Regular ticket prices apply. For tickets and information, visit www.gatewayfilmcenter.com

 

This piece ran originally on Columbus Underground.

 

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Gatsby? What Gatsby?

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The Great Gatsby

By Hope Madden

A Moulin Rouge spin on F. Scott Fitzgerald’s tale of decadence, longing, and the brutal carelessness of the wealthy could have been awesome. Isn’t that what we kind of expected when Rouge helmsman Baz Luhrmann signed on to direct The Great Gatsby, especially when he unveiled his hip hop and jazz soundtrack? What better way to bridge the gap between eras, to help today’s audience fathom the indulgent lifestyle of the filthy rich in the roaring Twenties?

Somehow, though, Luhrmann can’t quite pull it off.

It isn’t his cast. A more perfect actor-to-character match is hard to imagine. Though some may miss Robert Redford’s stiff, humorless Gatsby, Leo DiCaprio fills the screen with the vulnerability, flash and charm that made the character leap off Fitzgerald’s page. Likewise, the ever wide-eyed Tobey Maguire wanders amiably through Gatsby’s world as though he was born into Nick Carraway’s life.

Not surprisingly, it’s the great Carey Mulligan who almost effortlessly steals the film. Her voice full of money, her languid flirtations both lovely and sad, Mulligan’s marvelous Daisy Buchanan becomes so human, she’s probably more sympathetic than the character deserves to be.

Even with a strong concept, brilliant source material and a perfect cast, Luhrmann stumbles. He just tries too hard. One of the most efficiently written, perfectly crafted novels ever penned, clocking in at barely 300 pages, morphs in to a 143 minute film? Why? Needless complications.

For instance, co-writing the adaptation with frequent collaborator Craig Pearce (Strictly Ballroom, Romeo + Juliet, Moulin Rouge), Lurhmann opens the film on a depressed, alcoholic, insomniac Nick Carraway telling the sad tale of his neighbor Jay Gatsby to his shrink at the sanitarium.

What?

Lame.

But the film’s greatest misstep is probably the overwrought, surprisingly lifeless style. Luhrmann aims to mirror the gaudy, hopelessly shallow glamour of the era. He succeeds in spurts, but his approach is so heavy handed it overwhelms the film. Gimmicky and uninspired, the directorial vision serves mostly to draw your attention away from all that’s right about his picture.

It doesn’t kill the effort so much as undermine it. Luhrmann had something really remarkable to start with. He just needed to be a little more trusting of his cast and source material and a little less self-indulgent.

So, The Great Gatsby remains a lesson in the evils of self indulgence. Too bad, because it could have been a good movie instead.

http://www.youtube.com/watch?v=vuQhprtLJ3k

 

Verdict-2-5-Stars

 

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I Predict Drunken Angels

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The Angels’ Share

by Hope Madden

How does a young Scottish thug turn his life around to become the father his infant son needs? He relies on national resources: a kilt, some good Scotch, and the music of the Proclaimers. Done.

The Angels’ Share follows Robbie (Paul Brannigan), a wayward youth facing charges of beating and disfiguring several other young Scots. The judge chooses leniency because of the positive influence of Robbie’s girlfriend and his impending fatherhood, so he’s facing community service rather than prison time. Too bad the judge’s good nature won’t help him with his girlfriend’s dad or those same disfigured toughs.

Working again with longtime collaborator, screenwriter Paul Laverty, filmmaker Ken Loach’s eye for social commentary twinkles a bit. Like many of the duo’s films, The Angels’ Share situates us within the generations-deep custom of poverty and criminality in the UK’s lower classes. Loach’s trademark spontaneous realism is on display, but this film offers more cheek and charm, possibly less social relevance than his more famous works.

Loach’s efforts are aided by generous, naturalistic performances from a cast heavy with newcomers. (How novice and natural? Expect accents so thick you’ll be grateful for the subtitles.) But it’s veteran character actor John Henshaw who provides the spark that turns the film from grim street crime tragedy to buoyant tale of resilience. His role could easily have fallen into the realm of cliché, but the seasoned performer keeps the characterization honest. Anything else would have felt wildly out of place.

In his film debut, Paul Brannigan anchors the adventure with an understated turn that realizes the burden of self loathing and the fire of a man’s determination to change his destiny. His performance is tender and charming, not to mention terribly impressive for a novice.

He’s flanked on all sides by fresh and endearing comic foils. The supporting characters are edgy enough to broaden the image of not-quite-working-class Scotland, but Loach, Laverty and a talented supporting cast give each an individual struggle and a clear personality.

What the film lacks, finally, in social relevance it makes up for with unexpectedly joyous adventure.

 

Verdict-3-5-Stars

 

 

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Spooky Kids for Your Queue

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Slim pickins in new release this week, but if you’re looking for something spooky, Jessica Chastain’s spectral thriller Mama is your best bet.  Thanks to the impressive performances of its youngest cast members, this supernatural tale of feral orphans generates true dread. Heartbreaking, pensive and convincingly creepy, the wee ones steal the film in a disturbing way. Their stellar work is nearly undone by a lackluster title character, but for about 2/3 of its run time, Mama is a keeper.
For a much stronger voyage into spectral horror and creepy children, try the 2007 Spanish gem The Orphanage. Elegantly filmed, atmospheric and deeply creepy, The Orphanage recalls such genre greats as The Devil’s Backbone, The Others, and The Innocents. Is a mother so distraught over the vanishing of her son that she’s seeing ghosts, or is there something more sinister afoot in the old orphanage she bought? It’s a haunted house tale that manages to be familiar, surprising and, most importantly, spooky.
And, of course, for the real Slim Pickens, cue up Dr. Strangelove or Blazing Saddles!

Outtakes

These Heroes Need a Chance to be Super!

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Iron Man 3 officially opens summer blockbuster season this weekend, and let’s be honest, until Robert Downey Jr. put on that flat, noseless mask, no one gave a two poops about Iron Man. But now, he’ll probably rake in more dough than Superman. That’s what the Hollywood treatment can do for a fledgling superhero, which is why we are campaigning for a few other second-tier heroes that could use a little limelight. All they want is what they have coming to them. All they want is their fair share.

5. The Coon

Why no movie for Eric Cartman’s masked, tailed vigilante from South Park? It’s a perfect set up: a super hero, a rival (Kenny’s mysterious Mysterion), and an arch nemesis (Butters’s alter ego,Professor Chaos and his little buddy General Disarray).  Plus, between Coonacon and the product placement opportunity for Chipotlaway, it pays for itself. What more does Hollywood need?

4. Ace & Gary

What is everyone looking at? Nothing, but it’s time that changed! Superheroes like Ace and Gary have been ignored and forced into hiding for too long. Who cares that they’re late night TV superheroes? They deserve the same opportunity to fight crime as all the other tightly-panted hero buddies. It’s time they left the shadows and headed for the spotlight. Come on out, Ace and Gary!

3. Jem

Why Eighties cartoon rocker Jem? Because she’s truly outrageous. Truly, truly, truly outrageous. And, her music’s contagious (outrageous). Jem is her name. No one else is the same. Jem is her name. (Jem!)

2. Fallout Boy

Sure, he has his own band, but Milhouse Van Houton’s overshadowed super sidekick needs to step out from behind Radioactive Man’s cape and save the day on the big screen. Yes, his mask stinks of acne medicine and desperation, but c’mon, can’t Hollywood borrow a feeling and give him a chance!
http://www.hulu.com/watch/40715

1. ThunderCats

Those flowing locks, those bulging, furry biceps. Oh mighty Lion-o, how can it be that you have not yet graced the silver screen? Can we blame evil Mum-ra, ThunderCat foe? Or just the small minded Hollywood big wigs who can’t see how hard it is to lead fellow Thundarians and still maintain that coiffure?

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Does this Suit Make Me Look Super?

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IRON MAN 3

by George Wolf

After making some really super friends last year, Tony Stark is flying solo again, reaching some pretty impressive heights.

With an infusion of hip from a slick new filmmaker and the continued excellence of its star, Iron Man 3 re-establishes the high-tech suited one as the anchor of The Avengers franchise.

Of course, Robert Downey, Jr. can go a long way toward making even weak films entertaining, but even he seems to have more pep in his step this time thanks to director/co-writer Shane Black.

Black, given the keys to this valuable engine from executive producer Jon Favreau, does not disappoint, filling IM3 with snappy dialogue, clever plot twists and intelligent subtexts addressing self-doubt and terrorism. Oh yeah, and plenty of the impressive 3D visual wizardry that’s required of a superhero blockbuster.

The story catches up with Stark enjoying his fame as usual, but also suffering bouts of insomnia and anxiety while trying to come down from the Avengers battle royale.  He stays up all night crafting more toys for his alter ego, only to be plagued by nightmares when he does manage some sleep.

It doesn’t help when an old acquaintance (Guy Pearce) shows up with a business offer and an eye for Stark’s love Pepper (Gwyneth Paltrow), or when one of Stark’s old conquests (Rebecca Hall) joins the soap opera with some mysterious warnings of her own.

And then, as if Stark didn’t have enough on his mind, international terrorist “the Mandarin” (Ben Kingsley) starts blowing everything up!

Black and Downey Jr., re-teaming after the underrated Kiss Kiss Bang Bang from 2005, know that the best comic book- inspired stories turn darker as they age, and they both show good instincts toward how to best apply that formula to their story. They break Stark/Iron Man down mentally, physically and mechanically, while managing to keep the film smart, funny, and often spectacular.

There’s plenty to keep you engaged, and keep you guessing, with the impressive cast of actors providing downright gleeful performances.

Ironically, IM3’s biggest weakness comes from sometimes having too much of a good thing. With Patriot (Don Cheadle) by Stark’s side in the explosive finale, there might be one too many suits, near deaths and breathless escapes.

That’s nit-picking I know, and not enough to derail Iron Man 3 as a thrilling start to the blockbuster season.

Verdict-3-5-Stars