Filed under Entertainment, movies, pop culture, SXSW
“Reality Show” will have its world premiere on opening night of SXSW, March 8, 2013. View a trailer here. This film is going to catch you by surprise as the narrative builds. What if you were the star of a reality TV show but you didn’t know it? For producer Mickey Wagner, ratings are everything. He will sink to the lowest depths to get what he wants. Too bad for a mild-mannered family that gets caught in his crosshairs. Because Mickey is going to take it to the limit to make this family, being secretly filmed, act like he wants them to act. They are going to be stars, despite their lukewarm personalities. He will throw chaos into their lives: sex, drugs, whatever, to make them interesting. What results is a truly dark and quirky film. It brings to mind David Lynch and it will inspire filmmakers in pursuit of telling a compelling story because this one sure is.
Adma Rifkin was kind enough to share some thoughts on “Reality Show” and filmmaking in general for this interview. He has been making films since he was a kid and has never looked back. With an impressive resume, Adam is his own best friend when it comes to making movies. He is the catalyst behind “Reality Show,” as writer, director, and, yes, star. If you were to casually see it, you would naturally accept Adam’s performance as that of another smart and capable actor. Then to find out that he wrote and directed the thing, well, you have to respect the guy. Just his role as the producer from hell, Mickey Wagner, is worth applause.
Here is the Comics Grinder podcast interview with Adam Rifkin. Enjoy:
Follow Adam Rifkin on Twitter here. Visit our friends at SXSW here.
Filed under Interviews, Movie Reviews, movies, pop culture, Reality TV, SXSW, Television
“Mac & Cheese” is grab-you-by-the-throat intense but it’s not without its sense of style. This horror short is teeming with style from its rather peculiar food motif to its tweaking of horror movie tropes. The roles of sadist and victim fall to mother and daughter and roll right through at a fever pitch to the very end in this little gem, all of fifteen minutes long.
The mom, played to the hilt by Amanda Brooke Lerner, is a classsic monster. The daughter, played by Julia Garner, doesn’t get much of a chance to speak but conveys emotion hauntingly. And Stacey, the potential source of help from the outside world, has a lively presence. She gives us a female version of that nuanced performance by Martin Balsam in “Psycho.”
Written and directed by Lutfu Emre Cicek, this short shows us a new talent willing to take risks. Cicek turns macaroni and cheese into a very compelling visual. He finds a number of ways of turning one of the most innocuous things into anything but innocuous. And he has a healthy taste for blood.
“Mac & Cheese” will be showing as part of the NewFilmmakers NY Series on March 6 at Anthology Film Archives on the Lower East Side at 32 Second Avenue & 2nd Street. Tickets for Winter Screening Series 2013 are only $6 and are good for the whole night’s screenings and receptions. They are available at the Anthology Box Office the night of screening. For more information go to the NewFilmmakers NY website here.
A full schedule for the March 6 program follows:
Filed under Horror, Movie Reviews, movies
“Rubberneck” is a very smart thriller. It will surprise fans of Alex Karpovsky (HBO’s “Girls) who have only known his comedic work. This is darker than you might expect too. Except for a few brief moments to indicate that his character, Paul Harris, has a sense of humor, we find here a slow-burn character study of a very troubled person. Everyone is hip to the obvious funny man going dark ploy which is not a problem here. You certainly don’t get that scary clown creepiness. This is a thoughtful low-key kind of scary.
Good mental health involves accepting yourself and the world around you. For Paul Harris, that proves impossible. The disconnect is so severe that it is only a matter of time before something goes horribly wrong. The script, co-written by Alex Karpovsky and Garth Donovan, brings this out with just the right amount of understatement. Paul Harris does not become the Other to the audience. He doesn’t lose his humanity, utterly and completely, even though he ultimately crosses a line. You can view Paul Harris as something close to the character, Alex Forrest, played by Glenn Close, in Adrian Lyne’s “Fatal Attraction” (1987). But it adds up very differently. More like the enigmatic work of Michael Haneke.
We begin with a holiday office party. Paul chats up a new co-worker, Danielle, played by Jaime Ray Newman. They joke around about the other scientists at the lab and end up in bed. When Paul tries to date Danielle, he is rebuffed. Months pass and he can’t let that go. He cherishes the occaisonal crumbs of office banter he gets to share with her. All that changes when Danielle strikes up a friendship with another co-worker, Chris, played by Dennis Staroselsky.
There are very few connections for poor Paul to rely on. He has his sister, played by Amanda Good Hennessey. And, in an interesting twist, a sex worker, played by Dakota Shepard. Both women show him as much kindness and understanding as they can. But Paul’s inner turmoil goes much deeper than his fragile support system can handle.
Many key scenes are filmed in an actual sceintific laboratory which provides that extra layer of atmospheric realism to the film’s raw and voyeuristic aesthetic. Once we settle into the premise of Paul knowing far more than he should know and not emotinally equipped to handle it, every test tube, Bunsen burner and lab coat will potentially scare you. The melancholic and eerie score by James Lavino, used sparingly and to great effect, rounds out the dramatic tension.
This is a thinking person’s thriller with no easy answers. Paul is not an easy Other to dismiss. He is too much a product of what we all consume and, in his case, that proves too much to bear.
“Rubberneck” is the offbeat thriller you’ve been looking for. It is available on VOD starting February 19. It is in select theatrical release as of February 22: New York: February 22 at Elinor Bunin Munroe Film Center; Boston: March 1 at Brattle Theater.
Visit the official “Rubberneck” site here.
Watch a clip from “Rubberneck courtesy of Tribeca Film here.
Filed under Alex Karpovsky, Movie Reviews, movies
“Red Flag” is a significant film for its writer/director, Alex Karpovsky (HBO’s “Girls”). It shows us a talent with a personality we gravitate to. It’s not his “Annie Hall” but it’s a step in the right direction. There’s a scene with him concluding that all his problems stem from his fear of death which his a nice tip of the hat to the master. Karpovsky might not be begging for comparisons to Woody Allen but they are there and he seems to be up to the challenge. He gives us an honest take on being a self-absorbed rising comic/filmmaker with no time for anyone else but himself.
We begin with a break-up scene. Karpovsky’s exit is fairly cut and dry. He is literally rushing out the door of the house he shared demonstrating all the emotion one would have at being late for work. He’s supposed to take the dog with him but, in his haste, he can’t motivate the dog to join him so he promises to come back for him later. His lover, Rachel (Caroline White), can only stare out into the distance and fight back her tears.
Karpovsky’s alter-ego, Alex, knows how to keep a chilly distance. But, even for his character, that drive away finally gets to him and he cries. That is what Karpovsky does very well. He gives us a guy who knows how to keep his cool a little too well but, when emotions rise to the surface, can be as vulnerable as a little lamb.
Every true artist desires most to follow through, to evolve, to fulfill their destiny. In the course of this film, Alex claims he has gone from seeing just a few little stars in the sky to seeing whole constellations. He gets it. He knows what he wants. Or is he just saying that to get back into the good graces of his beautiful and charming girlfriend that he mistreated? Could it be that he was a jerk afraid of commitment and now he’ll say anything? This is more borrowing from the master, the character dealing with his idea that marriage equals death.
In order to cope with his break-up, Alex decides he should throw himself into his work. In his case, that just means not reneging on his two week tour to promote his independent film. It will take him through the South which might help jolt his East Coast perspective. But even this minor tour seems too much for him as he does his best to enlist anyone to join him. His frantic search for any form of companionship leads him to someone at the bottom of his list. Henry (Onur Tukel) is likable enough but seems to be a complete mess. When Alex greets him at the airport, his first reaction is to take him to the men’s room and shear off the long hairstyle he was experimenting with.
He listens to his half-baked concept for a children’s book and it’s enough to keep him amused. What we see of the film Alex is promoting is enough to keep us amused. Both stories within the bigger story help the characters in unexpected ways. This comes in handy once a third member is added to this madcap road trip. River (Jennifer Prediger) is delightful as the lonely groupie in search of love. And to put things over the top in complication, we have not heard the last from Rachel, the woman that Alex recently broke up with.
What will definitely add to the interest in this film is the fact that Karpovsky was actually committed to do a tour in the South to promote his film, “Woodpecker.” He didn’t like the prospect of being alone on the road, especially after his real life break-up, so he managed to turn what would have been a very depressing experience for him into this film. You would never have known there was a real “Woodpecker” tour simply from viewing this film as everything is very seamlessly put together to the credit of everyone involved.
Those little stars that Alex claims turn into whole constellations for him represent more than just figuring out a relationship. With any luck, Alex could figure it all out.
“Red Flag” is a laugh-out-loud road trip comedy worthy of your consideration. It becomes available on VOD starting Februrary 19 and goes into select theatrical release on February 22. You can also refer back to this previous post.
Filed under Alex Karpovsky, Movie Reviews, movies, mumblecore
Barbara Stanwyck and the Billy Wilder 1944 classic, “Double Indemnity,” are forever linked. Barbara Stanwyck is the ultra-sexy little spitfire that gives this noir masterpiece its heat. Talk about femme fatales. Stanwyck was the queen of them all. Fred McMurray seems to be the only man who can handle her..or can he? This movie is the beginning of noir where doomed characters get on a track that stays “straight on the line” all the way to “the last stop, the cemetery.”
Ernest Hemingway. Dashiell Hammet. Raymond Chandler. James M. Cain. These writers ushered in what was to become noir. Hemingway with his austere style. Hammet with his gentleman’s elegance. Chandler with his refined style. Cain with his grit. Billy Wilder, the young brash director, took the Cain novel and, with Raymond Chandler, brought to life a whole new tradition in film of the hard-boiled plot, viewed in low light and shadows, with characters of questionable morals. No judgement was made on how these characters chose to live. But, as luck would have it, there was a price to pay for such sinful behavior. If nothing else, the Hays Code, the Hollywood morality police of the time, would see to that. Some even think that the morality restraints helped, in their own clumsy way, to make art. It seems to have worked out that way for this film.
The noir world is both strange and familiar. It is not supposed to mirror the good citizen and yet it reveals his or her darker side. Back when “Double Indemnity” was still struggling to be cast, few in Hollywood wished to be associated with such characters. Fred MacMurray was reluctant even though it led to his greatest performance. Even the more daring Barbara Stanwyck was unsure about it. Now, it is hard to imagine the movie without her. She exudes a strange sexuality in this film that ranks up there with other great dark sirens, like Marlene Dietrich, Joan Crawford, or Bette Davis.
The chemistry between MacMurray and Stanwyck is rather surreal. They never seem like a good match. It’s not that you couldn’t imagine them in bed together. The film convinces you of that. But, even for 1944, you can sense how wrong it is for those two to have ever gotten involved, aside from the fact Stanwyck’s character, Phyllis, is already married and she and MacMurray’s character, Walter, are plotting to kill her husband. It feels more tawdry than in a Hitchcock film. And maybe more real, more intense. That’s certainly what Billy Wilder hoped to acheive in order to put his rival, Hitchcock, in his place.
Rounding out the picture is a dazzling performance by Edward G. Robinson, as Barton Keyes, who it is believed was a character patterned after Billy Wilder himself. He’s a fast talking little guy who always gets his way. Wilder did a similar thing when he cast Jimmy Cagney in 1961’s “One, Two, Three.” Keyes is an insurance man through and through and has taken Walter under his wing for many years, too many years. Walter is good at selling insurance but is basically drifting through life. In the best twist of all, it is the love between Keyes, the mentor, and Walter, his reluctant pupil, that is the only true sign of humanity to be found in this film
Delicious strangeness. That’s what noir is about. Unlikable characters behaving badly, very badly, that we root for in the end. And why? That’s the strangest thing of all: because they are us.
Be sure to check out Fred McMurray in another role where he gets to play a baddie that rivals his role in this film. That would be another Billy Wilder classic, 1960’s “The Apartment.” As Jeff D. Sheldrake, MacMurray appears to have lost all his morals and placed the burden upon the weak shoulders of Jack Lemmon.
And you may have heard that Raymond Chandler and Billy Wilder did not get along at all during their time together as co-writers to the script for “Double Indemnity.” But you’ll be happy to know that, while Billy Wilder got his revenge on Chandler by depicting him as the troubled alcoholic in his next film, 1945’s “The Lost Weekend,” Chandler went on to write another iconic noir film, 1946’s “The Blue Dahlia.”
Filed under Femme Fatales, film, Movie Reviews, movies, Noir
“Batman: The Dark Knight Returns, Part 2” picks up a few months after the first part so, as director Jay Oliva suggests, Robin (Ariel Winter) has had time to train up and Batman (Peter Weller) has had time to mend his broken arm. Turmoil. Chaos. Mayhem. It’s all here, even the threat of World War III. We also get two all-time throw downs: Batman versus Joker; and Batman versus Superman. Questions are settled, or as close at they can be. There is no holding back. This is based, after all, on one of the most audacious, and thought-provoking, works of comics by Frank Miller. The time is a futuristic present/80s. It could be now but there’s no way we can deny the present time in the original graphic novel, when Ronald Reagan sat in the White House and the Cold War still raged. The threat of a nuclear strike from an itchy trigger finger remained embedded in reality and in popular fiction.
Some might say that Ronald Reagan was the ultimate amalgamation of reality and popular fiction so it is quite fitting to have him play the role of president in this story. He’s the one that concludes that Batman has become a “problem” and instructs Superman to put him in his place. Reagan uses the analogy of a bucking bronco. Sometimes you have to put him down. In this case, the bronco has to be broken. Superman grudgingly agrees. As we’ll come to see, this sets into motion a collision between two forces for good with very different philosophies. Superman places himself within the perimeters of authority. Batman places himself outside the perimeters of authority.
What happens when the government you are supposed to trust in is acting in its own self-interest? What happens when the media you are supposed to rely upon for information is untrustworthy? This is where Superman hopes for the best. This is where Batman relies on his own moral code. And this is where the Joker comes in as the wild card. He keeps Batman on his toes and perhaps helps keep him focused. This animated movie brings all these issues to life starting with the Joker, played with devilish glee by Michael Emerson. In short order, we see the Joker go from inmate to guest on a David Letterman type of talk show. The Joker convinced his therapist that it would be good for him. It’s not long before the Joker is on a whole new killing spree and has found a way to fuel the flames over a dispute between the U.S. and the Soviet Union.
The Batman/Joker smackdown is a beautifully choreographed piece enhanced by the brooding synthesized score by Christopher Drake. Batman commands the stage. He’s nicely paired up with the Joker, who doesn’t ease up for a second. The original graphic novel had them duke it out in some grimy tunnel. But, in this movie, the two find themselves in an amusement park tunnel of love. It’s pitch perfect given their yin-yang relationship and the less than subtle homoerotic undertones.
Once we get to the main event, Batman vs. Superman, the whole world has been through hell. But there’s still a chance, that we can all just get along, right? It doesn’t look good and the stakes are as high as you can go. What’s interesting is that all the factors on how to make this a fair fight have been considered. It’s a pretty awesome fight. Superman, played by Mark Valley, is nobody’s fool and he helps add to the Man of Steel’s stalwart mythos.
There are three main bonus features: a discussion on superheroes in society; an analysis of the Joker; and a behind-the-scenes look at the animation process with director Jay Oliva. Plus you get three animated shorts. And an excerpt from the original graphic novel. It’s a wonderful treasure trove of informed discussion and added entertainment. Warner Bros. goes the extra mile with these features which mirrors their devotion to comics and animation. There’s a genuine respect for comics history and for solid storytelling. It’s a nice added touch to include in the discussion a noted expert in the classics, Richard Rader, along with Denny O’Neil, editor on the original graphic novel, and, especially noteworthy, Jerry Robinson, who was key in the creation of the Joker.
“Batman: The Dark Knight Returns, Part 2” is available now and you can find it here. Visit our friends at DC Comics and see a clip from the movie here.
Filed under animation, Batman, DC Comics, Frank Miller, Movie Reviews, movies, Warner Bros.
If you’re in New York, you won’t want to miss a double feature of Alex Karpovsky films, “Red Flag,” and “Rubberneck.” One is funny; the other is not funny and a lot scary. The double feature will take place at the Film Society of Lincoln Center’s Elinor Bunin Monroe Film Center starting February 22nd, complete with opening weekend Q & As with Mr. Karpovsky.
Mumblecore fans know and love Alex Karpovsky for a long list of films. His fan base continues to grow as part of the hit HBO series, “Girls.” He also just completed a role in the upcoming film by the Coen Brothers, “Inside Llewyn Davis.”
And, of course, “Red Flag” and “Rubberneck” will also be available on VOD starting February 19.
Filed under HBO, movies, mumblecore
1952 Secret Stash
The above photo was a Twitter tease from Disney. The film is promised to be the next project with a wow factor related to Disney theme parks. It is being developed by director Brad Bird (“The Incredibles”) and writers Damon Lindelof (“Lost”) and Jeff Jensen, a writer for Entertainment Weekly and the author of the graphic novel, “The Green River Killer,” published by Dark Horse Comics.
“Tomorrowland” will star Geroge Clooney and is due in theaters on December 19, 2014.
Filed under Disney, movies, science fiction
Hollywood welcomes sending a message to the world. That is why “Zero Dark Thirty” is a formidable contender for Best Picture. But, the night I went to see it, I had a man next to me perpetually munching on popcorn, even during the waterboarding scene. How do you munch your way through popcorn during something like that? You have to wonder if that may say something about our collective confusion over 9/11 and its aftermath. Anything can be turned into entertainment. “Zero Dark Thirty,” despite boorish popcorn munchers, is a different kind of entertainment. It is the kind of activist entertainment intended to spur action and thought, in the same spirit as “All The President’s Men.”
Director Kathryn Bigelow and writer Mark Boal are up to the task of presenting to the world the hunt for al-Qaeda terrorist leader Osama bin Laden and what happened along the way to finding and killing him. Just as they captured the sense of what was going on in the U.S. invasion of Iraq with “The Hurt Locker,” Bigelow and Boal again give shape to recent history with the powerful medium of cinema.
In order to make better sense of a complex issue, the film focuses on two CIA officers that represent the Central Intelligence Agency through this process. There is Dan, played by Jason Clarke, who vigorously pursues “enhanced interrogation techniques,” in other words, torture, to gain information. And then there is Maya, played by Jessica Chastain, who transitions from torture to a better way, in other words, persistent detective work. The film has its share of controversy. Complaints have come from U.S. senators and the CIA, that the film inaccurately shows torture as resulting in useful information towards finding Osama bin Laden. Perhaps the CIA felt that torture had its place.
The fact is that this film objectively shows Dan and Maya essentially failing with the torture route. If it coughed up any information, it was insignificant. It’s enough to make a red meat true believer like Dan decide it’s time to quit. “You don’t want to be the last one holding the dog collar when the oversight committee comes,” he advises Maya. Maybe to hedge its bet, the film implies that any specs of info that Maya gleaned off the backs of detainees may have helped to narrow down her search for the legendary mystery man, the infamous “Abu Ahmed,” the trusted courier of Osama bin Laden. But, more to the point, the film gives human error its own title card for playing the role of inadvertently suppressing vital information, information that could have been found without any torture in the first place.
If there is too much of an air of ambiguity for the first part of this film, you could hear a pin drop and not one munch of popcorn when we get down to crunch time. We reach zero hour about two thirds in once bin Laden’s compound in Abbotabad is confirmed: the skeptics at the White House are satisfied, special super secret choppers are untethered at Area 51, and SEAL Team 6 is assembled, locked, and loaded. The definition of “zero dark thirty” is a military term describing a time between midnight and dawn. While it is a unspecified time, it inspires certainty and resolve. The good guys are moving at a sure pace under the cover of dark. The chopper will, at first, fail, as we all know. There will be casualties. But, on that fateful night in Pakistan, despite the Pakistani air force ready to fire in retaliation, the United States regained much lost ground and turned a page of history. It’s enough, for that moment, to keep the popcorn untouched.
Filed under Movie Reviews, movies
