Artwork by Akiko Stehrenberger from the Criterion booklet of Life During Wartime.

The cast of Life During Wartime (2010) from left to right:
Paul “Pee Wee Herman” Reubens (Andy Kornbluth), Shirley Henderson (Joy Jordan), Michael Kenneth Williams (Allen), Ally Sheedy (Helen Jordan), Rich Pecci (Mark Wiener), Michael Lerner (Harvey Wiener), Allison Janney (Trish Jordan), Emma Hinz (Chloe Maplewood), Chris Marquette (Billy Maplewood), Ciarán Hinds (Bill Maplewood)

As I suspected about the new Criterion release of Life During Wartime (2011) back in May, Miss Stehrenberger has illustrated the whole gaggle of characters from the film.

Beautifully done!

The arrangement of the characters complements their relationships to each other so thoughtfully. All three of the Jordan sisters are separated from each other. Joy is torn between her husband and the ghost of her ex-boyfriend. Helen, the black sheep, who has abandoned her family, is ignored by everyone. Most dominant is Trish, positioned up front. With her steely gaze, she has a dynamic presence. Her vibrant, almost violently paint-slashed dress suggests that she has survived a battle.

Notice how both Joy and Trish’s daughter Chloe have their arms behind their backs. I find Chloe standing in front of her mother has the stance of a foot soldier. Joy and Chloe also share similar hairstyles, head shape and facial features. How ironic that Trish is on her way to raising little Joy all on her own. Remember when Chloe wondered if baby carrots feel pain? That’s the kind of thought “Sensitive Joy” might have had as a kid.

Fathers and sons are paired together on both Wiener and Maplewood fronts. The two Wieners assume the same pose. I’m going out on a limb, but I doubt Bill has his hands in his pockets like his son does. Of course, Bill is cast off to the far right. The only character in the group he talks to is his son. Andy is on the far left – he’s dead with only Joy as his last connection to the the world of the living… or is it just in her head?

Yes, Andy is still dead. Solondz just brings him back as a ghost to haunt his ex-girlfriend Joy. What luck Joy has!

At first glance, it appears that the designers at Criterion had their work on the DVD’s front cover handed to them. The final illustration and design of the original Life During Poster promotional poster by Akiko Stehrenberger was already at their high level of quality. All that was needed was to slap on that big C and set it to Screen. Before its theatrical release, I wrote about the process that the Life During Wartime movie poster went through to come to this.

That is until I found this on Akiko Stehrenberger’s bio:

Her illustrated poster, Life During Wartime, garnered press as well, which she recently adapted and illustrated the cast for the Criterion Collection DVD. She was deemed “Poster Girl” by Interview Magazine, and Creative Review published a 20 page zine of her illustrated movie poster work for their January 2011 Monograph series.

So Miss Stehrenberger has illustrated the whole cast? This could mean that either on the back cover (unlikely since Criterion’s designers are too savvy for that) or inside the booklet, we’ll get to see all of the caricatures envisioned by Stehrenberger. Much like how Daniel Clowes (writer and illustrator of Ghost World and Wilson) rendered these sensitive misfits for the original Happiness poster.

The cast of Happiness (1998) from left to right:
Cynthia Stevenson (Trish Maplewood), Camryn Manheim (Kristina), Jared Harris (Vlad), Philip Seymour Hoffman (Allen), Lara Flynn Boyle (Helen Jordan), Louise Lasser (Mona Jordan), Dylan Baker (Bill Maplewood), Jane Adams (Joy Jordan), Jon Lovitz (Andy Kornbluth), and Ben Gazzara (Lenny Jordan)

The cast of Life During Wartime (2010) from left to right:
Allison Janney (Trish Jordan), Michael Kenneth Williams (Allen), Shirley Henderson (Joy Jordan), Ciarán Hinds (Bill Maplewood), Ally Sheedy (Helen Jordan), Renée Taylor (Mona Jordan), Paul “Pee Wee Herman” Reubens (Andy Kornbluth)

Had Solondz mixed and matched the cast, Life During Wartime would have looked something like this:

A still from Paul Dinello’s Strangers with Candy (2006).

Last August, an Interview with Todd Solondz conducted by the SF360 (San Francisco Film Society) goes a little into his collaboration with Daniel Clowes.

SF360: Your films are compared to graphic novels. Were they an inspiration for you?

Todd Solondz: No, I mean I learned about Dan Clowes’s work at some point. It may have been right after Happiness that I learned about Dan Clowes, but of course that was when I got him to do the poster. But I didn’t know him at the time.

SF360: Was there a shock of recognition when you saw his work?

Todd Solondz: Well, I think he’s great, I love him, and I got to meet him through this process. And I love Ghost World and Terry Zwigoff, all of that. They came to the screening last night. But I don’t know what inspired me—my life, watching TV eight hours a day when you’re eleven years old. It seems just a little affected or false to say it’s because I was reading Dickens and Proust or watching Truffaut and Godard, which I really didn’t learn about until much later.

The Original “Life During Wartime” Poster

The Criterion “Life During Wartime” DVD Cover

Back on March 16th, the good people at Criterion offered Todd Solondz fans an opportunity to ask him a question in a segment called Ask Todd, which is one of the DVD’s Special Features. I can’t believe I missed out on that one!

Criterion Disc Features

• New digital transfer, supervised and approved by director of photography Ed Lachman (with DTS-HD Master Audio soundtrack on the Blu-ray edition)
• Ask Todd, an audio Q&A with director Todd Solondz in which he responds to viewers’ questions
• Making “Life During Wartime,” a new documentary featuring interviews with actors Shirley Henderson, Ciarán Hinds, Allison Janney, Michael Lerner, Paul Reubens, Ally Sheedy, and Michael Kenneth Williams, as well as on-set footage
• New interview with Ed Lachman
• Original theatrical trailer
• PLUS: A booklet featuring an essay by film critic David Sterritt

Life During Wartime (Spine #574) will be released on Blu-Ray and DVD on July 26th.

This is very special considering that all of Solondz’s previous films have been released on bare-bones DVDs. Remember the so-called re-release of Happiness as a part of the Lion’s Gate Signature Series in 2003? All Lions Gate Films did was repackage the old Trimark/Vidmark DVD from 1999 with a new cover. Not only did the widescreen remain non-anamorphic, the main menu included the Trimark movie trailers of Slam (1998) and Another Day in Paradise (1998) complete with the Trimark logo… on a Lions Gate Films DVD. Ouch!

Again, that was back in 2003. Have you seen the latest DVD jacket for Happiness? It’s the same as the 1999 Trimark one, only the designer lost the high-res file and slapped on a fuzzy print-out of the Daniel Clowes illustration. It’s really disgusting. I swear, they must have found the first small GIF file on Google Images and blown it up without so much as a Bicubic Smoother. Very tacky, Lions Gate!

Ah! Much better!

“Life During Wartime” (2010) Trailer

“Happiness” (1998) Trailer

This is my best impression of a lamb.

Last Saturday, Cinelation was submitted as the #922 website in the Large Association of Movie Blogs (LAMB). Special thanks to Rachel, one of the site’s leading authors, who took my website into consideration and posted it.

The next day I was encouraged by Max Covill of Impassioned Cinema who found Cinelation through the LAMB. Judging from his output, the name for his website is very appropriate.

Of the livestock available, thank goodness the LAMB’s mascot is an adorable, fluffy one instead of grotesquely characterized variant.

Like this one:

“Must… drink… less… milk…”

Going back to lambs: While I was illustrating the picture above, I remembered a scene from Lindsay Anderson’s epic satire O Lucky Man! (1973) where the hero Michael Travis (Malcolm McDowell) makes a shocking discovery in a hospital ward.

Yes, that was the same name used by McDowell in his first starring role and collaboration with Mr. Anderson in If…. (1968). The character in If…. was rebooted from a revolution-minded student who goes postal in a strict English boarding school to an earnest coffee salesman who becomes disillusioned by the ways of the corporate world. If that wasn’t enough of a metamorphosis, Martin Scorsese got the name Travis from the McDowell character for his 1976 masterpiece Taxi Driver. Credited for Original Idea, McDowell very loosely based O Lucky Man! on his past experiences before becoming an actor as a springboard for the script written by David Sherwin.

Here is the scene where Travis nervously lifts off the sheet from a twitching patient hidden underneath.

From “O Lucky Man” (1973):

For those of you who haven’t seen O Lucky Man! (1973), I urge you to find out what happens while watching the 183-minute film properly. If you decide to watch it anyway, the worse that will happen is you might be even more inclined to watch the whole thing.

And just what does Malcolm McDowell have against windows?

URL: http://www.cinelation.com/
Site Name: Cinelation
Categories: Reviews, News, Editorials, Humor, Horror, Classic Film, Lists, (other) Filmmakers, Film Critics
Rating: PG-13 (I should have written R in case one of my articles has more than one F-word)

What is the main focus of your site?
Filmmaking and my observations on the subject.

What are your blogging goals, personally and/or professionally? In other words, what, if anything, are you trying to get out your blog?
This blog is to reach a larger audience as a critic and a filmmaker in training. Hopefully this will give me more opportunities to share the love of my craft with others.

Do you prefer an interactive community for your blog or are you the teacher and your readers the students?
An interactive community.

How long have you been movie blogging for, and how frequent do you post updates to your site?
This blog has been active for over three years. I am currently getting back to updating my blog on a regular basis (3-4 postings a week) after extensive study on the subject.

Name up to three of your favorite movies (and no more).
Monsieur Hire (1989)
Days of Heaven (1979)
Le Fils (2003)

I could have easily made these lists:

There Will Be Blood (2007)
2001: A Space Odyssey (1968)
Gremlins (1984)

Man with a Movie Camera (Preferably with the Michael Nyman Score, 1929)
The Conversation (1974)
Lovely and Amazing (2002)

Talk Radio (1988)
The Red Shoes (1948)
Mischima (1985)

You get the idea.

How did you hear about the LAMB?
The Flick Filosopher (http://www.flickfilosopher.com/)
Thanks, Flick!

Any additional comments, or give yourself an interview question that’s not listed above.
My review for Synecdoche, New York (2008) got me selected to participate in a recorded discussion for the film’s DVD. I was fortunate to speak with Glenn Kenny and Karina Longworth.

I also have my LAMB button up and it’s there to stay.

Two weeks ago, Chicago-based film reviewer codenamed Quint (real name: Jim Fyfe) from Ain’t It Cool News challenged graphic designers and film fanatics alike to participate in a contest: Make An Insane Movie Poster of Bad Lieutenant: Port of Call New Orleans. Quint being a great admirer of the new Werner Herzog film from this year’s Toronto International Film Festival (TIFF) – not to mention Jaws (1975)! – has had mixed feelings toward what its distributors First Look Studios and Polsky Films have done in the way of movie posters. First, they made an edgy poster that the MPAA threw its gavel down hard on for showing its title character pointing a gun at someone. Harvey Keitel, the original 1992 Bad Lieutenant from the 1992 Abel Ferrara film, amongst thousands of other trigger-itchy characters can point their gun at us gazers, but according to the MPAA we can’t handle anyone inside the poster being promised some bullets. Finally, First Look settled on a poster that looks like your generic rogue cop-seeks-killer thriller complete with two famous giant heads suspended over a landscape of dread and action.

Just like these ones!

The Official Poster from First Look Studios:

Nneyyeh! It’s not baaaad… This poster just doesn’t convey the baadasssss quality of a movie made by Herzog and Cage, those lovable madcaps. What we need is an advertisement that looks gritty and dangerous with a dirty 70s vibe to it.

Like this!

The Naughty Poster! Never to be seen again!

CAAAGGGE! NOOOooooooo! What are you DOING? Are you crazy? Point that gun at me! Not at someone you’re actually with! I can’t cope seeing this unless I’m in a movie theatre and you THREE are actually MOVING! What did Irma P. Hall ever do to you! Point the gun at ME! Just don’t shoot–

With the blessings of First Look Studios along with the original source art, I jumped at the chance to make my own dark and crazed movie poster for a very bad lieutenant. Before starting I would have loved to have seen the entire film, but the Vancouver theatrical release is on November 20th and the poster is due on the 9th. So my only point of reference now is the film’s trailer.

“Bad Lieutenant: Port of Call New Orleans” Trailer

My approach to the poster sans movie reminds me a little of what Ken Hartford chose to do according to Roger Ebert in his 1987 book Two Weeks in the Midday Sun: A Cannes Notebook. Mr. Hartford, a cheerfully corrupt salesman of cheap exploitation movies like Assault of the Killer Bimbos (1988), made his business by producing eye-catching promotional posters and video covers without ever seeing the actual movies. He’d boast, “I sell movies by the pound!” Ebert described finding him in “…the Marché du Film, the marketplace… down at the very bottommost level, there are the nameless videos that are retailed from small booths in the basement of the Palais…” Like a vampire hiding from daylight, that is where you’ll find the most prosperous of Grindhouse movie-pushers.

Having watched the trailer, I had some ideas of what makes the Bad Lieutenant tick. What are the three things on this man’s mind? His back pain. Oh, that searing wear up and down his spin has got to be KILLING him! Which brings us to drugs. Hard drugs! Anything to stop the pain! Finally, those goddamn iguanas! Nobody but him can see them… But they’re there! They’re crawling all over the place! Just look! Where’s the gun!

The back pain is key. I decided on a X-ray layout. The spine was my focus. In fact, I often thought of the human spine as resembling the bone-makings of a snake — a reptilian tail. Well, we did descend from reptiles! Our bone structure has just evolved to cage itself with ribs. They must have been very insecure primordial descendants to want to imprison themselves safely. And by placing the skull of one of those friggin’ iguana heads on top of the spine, it looks like the creepy crawlie is slithering out of what was once human.

Two down, one to go. Cocaine! This wreck of a man needs it and more of it. He’ll die without it. He’ll die anyway. Quicker in fact! But it’s the only way to keep this killer and rapist functioning. Like feeding a fish, only by the nostrils. I had to turn this mad experiment of bone into a structure of white powder.

You didn’t ask, but here are some songs on the substance:

Cocaine by JJ Cale
Cocaine by Jackson Browne
Draggin’ The Line by Tommy James & The Shondells
Junkhead by Alice in Chains
Snowblind by Black Sabbath
White Lines by Grandmaster Flash
Powder by Yellowcard
What a Waster by The Libertines
Feel Good Hit of the Summer by Queens of the Stone Age
Morning Glory by Oasis
Gold Dust Woman by Fleetwood Mac
This Cocaine Makes Me Feel Like I’m on This Song
by System of a Down
Twist of Cain by Danzig
Night of the Living Baseheads by Public Enemy
Master of Puppets by Metallica
Save Me by Shinedown

None of the images supplied by the good folks at First Look Studio are of much use to me. I need me a particular face – a look on Nicolas Cage. Luckily I found just the right one at the celebrity entertainment site AceShowbiz.com. Just had to superimpose Cage’s anguished, exhausted face over the x-ray slide and make some of that delicious cocaine whiff up his nose. Now there’s a happy Bad Lieutenant!

Now my poster has been sent over to Quint with the header “His Soul’s Still Dancing” and my fingers are crossed! The contest and its prizes are not open to those living outside the US. Oh, well! It was fun designing the poster. It has kept my white-knuckled anticipation for Werner Herzog’s latest film to reach my movie theaters at bay. Seeing it next week will be reward enough.

Still, I would have loved to have won a Lena Herzog photography book signed by the man Werner Herzog.

No matter what anybody else does, this foreign import poster of director Abel Ferrara’s original Bad Lieutenant (1992) is one that is hard to beat. So is the movie – it’s a brutal masterpiece. I wonder if Nicolas Cage will be in a scene similar to what Keitel did. I know Cage and Herzog are crazy enough to do it.

“Bad Lieutenant” (1992) Trailer

“Assault of the Killer Bimbos” (1988) Trailer

How could I resist?

UPDATE: November 21, 2009

The time has come. The contestants have been tallied, fondled, and judged. And the winners are… I wasn’t amongst them. Check them out for yourselves.

Here is a collection of my favourites from the finalists:

Congratulations to those who were selected!

Why didn’t anybody else think of using the tagline “Don’t Forget Your Lucky Crack Pipe!”? It’s much better than “The Only Criminal He Can’t Catch Is Himself.” Technically, it looks like the corrupt cop already has. He just can’t let himself go.

The main font used on the poster is appropriately called Dirty Ego. The color is that of dried blood – something a Bad Lieutenant has to live with on a daily basis.

UPDATE: November 22, 2009

I just saw the film and thought it was awesome. I noticed over the main title sequence that the title of the movie was indeed “The Bad Lieutenant: Port of Call New Orleans”. I’m glad to feel so validated for using the “the” when it wasn’t required. Works much better as an introduction.

I don’t care what anyone else says, I love that whole “Port of Call New Orleans” bit.

One of the many upsides to living in a beautiful city like Vancouver (besides the freshest tap water this side of the Pacific Ocean) is that it holds one of the five biggest film festivals in North America. The Vancouver International Film Festival opens today. About 640 screenings of the 360 films to come from eighty countries will be shown over the next sixteen days (October 1 – October 16). That means we Vancouverites and visiting film buffs can see movies as far as award-winners at Cannes, Telluride (TIFF), et al. to those that will never get distribution here. Without the interference of a ratings board, anything goes. Along Granville Street, and from Seymore to Howe, the cinemas are our roller coasters, our bumper cars, our Tilt-A-Whirls. It’s a good comparison seeing as how the line-ups won’t be any different.

I am still disheartened that Todd Solondz’s Life During Wartime (2009), a semi-sequel to his wonderful Happiness (1998), is not playing in the festival. After it played last month at Telluride to a very warm reception, Life During Wartime didn’t get distribution like so many others. Unless Solondz distributes it himself or keeps selling to those willing to take a risk (Hello Lions Gate Films!), it might be a long while to view. On the bright side, the Coen Brothers’ new film A Serious Man will have a Sunday morning sneak preview at the Park Theatre on October 11 before opening nationwide on October 16. The Coen film, unlike Telluride, will not be part of the VIFF. I am catching the Sunday screening so for me, it is part of the festival.

What I also find interesting is that Peter Greenaway’s lecture piece Rembrandt’s J’accuse (2008) is playing at VIFF, whereas its dramatic companion feature Nightwatching (2007), also by Greenaway, had a limited theatrical run in Vancouver last April. I am confident that Nightwatching will be among the very best films of my 2009 list. I initially thought that this release of Rembrandt’s J’accuse was flawed considering that both Nightwatching and Rembrandt’s J’accuse were available for purchase as a two-disc special edition two weeks prior. It just so happens that I had to send for the DVD set on Amazon because there were no copies available for purchase at HMV or Videomatica despite the original release date. No biggie. I just hope there is a bigger turn out for Rembrandt’s J’accuse than I saw for Nightwatching.

While scanning the film schedules for more screenings I could squeeze in between those I’ve ordered in advance, I noticed a number of film titles that are being recycled from past ones — even classics. Here are some trivial findings:

• Jean Luc Goddard’s Breathless (2009) | Yang Ik-Joon’s Breathless (2009)
• Luis César Amadori’s The Headless Woman (1947) | Lucrecia Martel’s The Headless Woman (2008)
• Anne Fontaine’s How I Killed My Father (2001) | Xavier Dolan’s I Killed My Mother (2009) — Close enough.
• Albert Brooks’ Mother (1996) | Joon-ho Bong’s Mother (2009)
• Alain Resnais’ Night and Fog (1955) | Ann Hui’s Night and Fog (2009)
• Rob Reiner’s North (1994) (Awful movie…) | Rune Denstad Langlo’s North (2009)
• Georg Wilhelm Pabst’s Pandora’s Box (1929) | Yesim Ustaoglu’s Pandora’s Box (2009)

I’m kicking off the VIFF tonight with Lars von Trier’s controversial and ultra-violent new film Antichrist. Hopefully, the intensity of the experience will border on the likes of Catherine Breillat’s Fat Girl (2001) and Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days (2007). Not only do I anticipate massive walkouts, but sprints for the exit! I find it somewhat ironic considering that the first film I ever saw at a VIFF was The Five Obstructions (2003), which was directed by both Jørgen Leth and, yes, Lars von Trier. For an hour, I waited in line with my fellow film buffs. Feelings ran high, from eager anticipation to confusion – what would the latest Von Trier film be like?

The light rainfall eventually took mercy on my trusty newsboy hat, which I bought that very night — the rain poured hard an hour ago. I am amused by how easy it is to get into a conversation with a ticket holder either behind or ahead of you. We’re all here for the same reason. Suddenly a cute brunette got in line behind me and before I could get drunk on endorphins, she asked if this was the rush line. It wasn’t. I told her so, then watched her cross the street and that was that. As Pepe Le Pew would say, Le sigh.

The night sky slowly turned from black to a greenish gray and my mind began to play a David Shire score as radio listeners were calling in about the Zodiac killer. Occasionally, a homeless person would offer to sing for loose change. One man played the spoons, slapping them on his knee – now there’s a lost art. The time passed quickly as I read chapters four and five of Our Cancer Year by Harvey “American Splendor” Pekar and his wife Joyce Brabner.

As I sat in one of the stiff yet cushy seats courtesy of Empire Granville 7 Cinemas, I noticed the bumps and winkles of my winter jacket laid inside-out against my back. I had only two consolations. One: I was pushed forward from my seat, sitting at complete attention and my spine was so vertically straight that a Ghostbuster could slide down it. Two: Depending on how good the movie is, I would be oblivious to any discomfort.

Not that I need my jacket to tell me whether a movie is bad or not.

Every year, the VIFF and the agency TBWA\VANCOUVER have prepared a few new shorts to promote their sponsors and open each film. These spots have a weird and comical vibe to get the audience more relaxed for the (presumably radical) feature presentation. Here are 2009 editions:

Vancouver International Film Festival | “Disturbing”

Vancouver International Film Festival | “Subtitles”

My personal favourite.

Vancouver International Film Festival | “Sexuality”

I wished that this video was extended to show the obligatory sponsor logos (Visa, Rogers, etc.) to the sound of bedsprings and *YEE-ONN!*s.

Take a look at the “27th VIFF Openers” from last year.

I wonder out of the selected films I will see which ones will be my favourites from last year’s VIFF: Let the Right One In (2008), Wendy and Lucy (2008), Sita Sings the Blues (2008), and Happy-Go-Lucky (2008). I also shudder at the thought of enduring another Paruthiveeran (2008) — one of these days I’m going to write a review on Ameer Sultan’s mess of a movie and risk boiling my blood pressure. On my agenda, I’m looking forward to Michael Haneke’s The White Ribbon, Lucrecia Martel’s The Headless Woman, and Lee Daniel’s Precious: Based on the Novel Push by Sapphire amongst others.

Viva VIFF!

Before becoming the next best thing to the likes of film composer Danny Elfman, Shirley Walker made her mark as a conductor for a few renowned films such as Randa Haine’s Children of a Lesser God (1986) and Jonathan Kaplan’s The Accused (1988). Her greatness was matched by the production of Francis Ford Coppola’s Apocalypse Now (1979) as her first gig in Hollywood. On the Internet Movie Database, Walker is listed as a synthesizer musician in the film’s music department. The original music credit goes to its director (listed as Francis Coppola) and his father Carmine Coppola. Coppola’s wife, Eleanor, was too busy documenting its production with stunning material that would later become Hearts of Darkness: A Filmmaker’s Apocalypse (1991), written and directed by Fax Bahr and George Hickenlooper who also made the wonderful film, The Man From Elysian Fields (2001). Like Werner Herzog’s Fitzcarraldo (1982) and its accompanying documentary Burden of Dreams (1982), Hearts of Darkness presents the production as harrowing an experience as Apocalypse Now.

2008 was a year to be a fan of Batman; not only did The Dark Knight raise the bar of action pictures involving anti-heroes, but after over a dozen years of waiting, some of the exemplary score from Batman: The Animated Series (1992-1995) was finally released on commercially sold CDs. This first volume is an accumulation of music by head composer Shirley Walker and collaborations by the equally good musicians Lolita Aitmanis and Michael McCuistion. Yes, I bought one of the three-thousand limited releases and it has a place of honor in my office. I investigated Shirley Walker’s 1979 case after reading this excerpt from the collectible booklet included with the soundtrack:

In the 1970′s, Walker began scoring industrial films and jingles while continuing to play as apianist with a variety of orchestras. With one of the Bay’s hotbeds of creativity being Francis Ford Coppola’s American Zoetrope Studios, Walker’s notoriety would see her join the musical team of the writer-director’s Apocalypse Now in 1979. Her synth playing was a major factor in helping Coppola’s father Carmine realize Apocalypse Now‘s acid rock groove, and Walker would re-team with Carmine that same year for The Black Stallion, charging to the rescue with additional music for the Coppola-produced family classic.

-Daniel Schweiger, a soundtrack editor for iFmagazine.com and Venice Magazine.

Exhibit A:

“You’re in the asshole of the world, Captain!”

My favorite twenty seconds of Apocalypse Now‘s entirety is comprised from 2:59 to 3:19 in the following Do Long Bridge sequence. Captain Benjamin L. Willard (Martin Sheen) and his acid-tripping soldier Lance B. Johnson (Sam Bottoms) march across the wire-protruding, burnt-black terrain erupting with explosions of hellfire. From the center of a shooting post, descending lines of light bulbs stretch beyond the inky background and toward the frame panning horizontally to the right. Accompanying the commands, screams and growls on the soundtrack, the surrealistic music kicks in and drowns out the noise, effectively smothering it. The best way to describe the music would be like a carnival pavilion vomiting bile and severed elephant parts. If I died and heard this music, then I will know that I am really in Heaven. I love this music!

Exhibit B:

At this point of The Clock King episode, Batman is locked in a bank vault rigged to suck all of the oxygen from the room. Nearly unconscious, Batman’s point-of-view reveals a digital read-out box from a distance going in and out of focus as opposed to the steel door of the vault. Starting at 4:21 of episode track (not included on the CD…the next one, maybe?), listen for blaring synthesizers from 4:26 to 4:31. Sound familiar? The achieved effect of those nauseous sounds is identical to those used for the Apocalypse Now track. My conclusion is that Shirley Walker is directly responsible for why I regard that scene of Coppola’s film so highly.

Listening to those inspired, sinister tracks from Batman: The Animated Series always brings me back to my childhood. Where else has a theme for Batgirl (4:22 – 5:11) sounded so celebratory, bouncy, rousing and yet threatening? Okay, that is the music I want to hear before those illusory golden gates open before me. What other music makes the Joker (1:43 – 2:35) sound like a balance between lunacy and satanic hedonism? I refer to this soundtrack release as Volume One because there is a big demand for the rest out of the sixty-five episodes of the series. I want to listen to a pure orchestrate of virginal tracks from episodes ranging from Read My Lips, Mudslide, and Shadow of the Bat to House of Garden, Harlequinade, and BabyDoll. Oh, and I haven’t forgotten about the music from The New Batman Adventures (1997-1999), like Over The Edge, Growing Pains, and Mad Love. Surely, about a dozen more volumes isn’t out of the question. So far the first release is an excellent start on part of its producers to do justice to the late, great Shirley Walker.

UPDATE: April 2, 2009

Turns out it was Carlos Rodriguez who did The Clock King score. He was one of the invaluable composers along with Michael McCuistion and Lolita Ritmanis who worked with Shirley Walker as their mentor on the series. All three composers have each contributed music for a few whole episodes of their own. In Rodriguez’s case, they include Day of the Samurai, Avatar, The Clock King, Robin’s Rechoning Part I, and If You’re So Smart, Why Aren’t You Rich? featuring the Riddler. You can listen to all of his isolated tracks, which Rodriguez was kind enough to load on his MySpace page. The four seconds of music that compelled me to write this article can be heard in between 4:26 – 4:30.

FYI: The minute-and-half of Batmobile music is from I’ve Got Batman in My Basement, which has a bad rep being the one time Batman needs saving from the Penguin by a couple of kids! For me, the episode is redeemable. The Penguin at one point drives a whirling slicer towards Batman’s face… when he’s comatose. “Ah! A treat with my egg! Sliced ham!” Yikes! And in front of the children no less.

When was the last time you saw a cartoon where the kids are in more danger and sky was a dark gray? We’ve seen countless shows like Johnny Quest where the kids play war and the sky is always a bright blue. At best, I’ve Got Batman in My Basement has a dark atmosphere aided by another fine Shirley Walker score. Walker was so good she could make a light premise sound much more menacing.

Memories: The Batman Promo for “The Clock King” (1992)

We were spoiled by last year’s Oscar telecast. It didn’t feel that way at the time, but after going through the slough of nominations deemed safe by the Academy of Motion Pictures, a year where No Country For Old Men (2007) took home the big kahuna is looking more lustrous. Amidst the categories is a rigid formula of regularity that just strengthens my conspiracy that the Oscar voters are in cahoots with The Sandman. Some of nominees are deserving, but many of them have been preordained by the death of a thousand cuts that film pundits call Oscar Buzz.

Mind you, I’m writing this with a little tongue in cheek. If the few deserving nominees were absent from the categories, it would be disappointing despite how much news preordained the suspense out like a strangled balloon. Looking at the Best Actor nominees alone, four out of five great choices is not bad. Other categories are not as kind. This is the first out of two think-pieces about the 81st Annual Academy Award Nominations.

Best Picture

The Curious Case of Benjamin Button (2008): Ceán Chaffin, Kathleen Kennedy, Frank Marshall
Frost|Nixon (2008): Brian Grazer, Ron Howard, Eric Fellner
Milk (2008): Bruce Cohen, Dan Jinks (they won for American Beauty in 1999)
The Reader (2008): Anthony Minghella, Sydney Pollack, Donna Gigliotti, Redmond Morris
Slumdog Millionaire (2008): Christian Colson

Out of all the nominees, my favorite is this year’s dark horse: Milk.

The wasp in the honeycomb hairdo this year is The Curious Case of Benjamin Button. If those films represented a hand of cards in a poker game, then I would have dropped Benjamin Button faster than you can ask “Why in Hollywood is The Curious Case of Benjamin Button nominated for Best Picture?“

This year we lost two wonderful filmmakers who were also two of the four producers nominated for The Reader: Anthony Minghella (The Talented Mr. Ripley, 1999) and Sydney Pollack (Tootsie, 1982).

No! This not another merger-bastardization of the Ridley Scott/James Cameron enterprise. It’s a CGI feature from Dreamworks that comes in ATOMOVISION! – correction – INTRU3D! Sigh, 3D is so overrated.

It is directed by Dreamworks devotees Rob Letterman (Shark Tale, 2004) and Conrad “Gingerbread Man” Vernon (Shrek 2, 2004).

Watching this reminds me of a Brad Bird feature that was “Bold! Dramatic! Heroic!” Let’s just hope Monsters VS Aliens isn’t another hobo suit. Another denominator is that the score sounds like a low-rent Beetlejuice score.

However, any movie that features a United States President that looks and sounds like Stephen Colbert has my vote — “Hail To The Cheese!”

Others lending their voices are Seth Rogen (Zach and Miri Make A Porno, 2008) , Paul Rudd (The Shape of Things, 2003), Hugh Laurie (House M.D. was in Spice World, 1997) and Reese Witherspoon (Freeway, 1996) as Susan the Fifty-Five Foot Woman — insert Shrinking Lover quip from Pedro Almodóvar’s Talk To Her (2002) here.

It oozes into theaters March 27, 2009.

It is one of my missions in life to get people like this to watch “strange films”.

Vancouver International Film Festival | “Over-Analyzer”

Actually, the colour magenta carries the most saporous and truculent of feelings.

Vancouver International Film Festival | “First Question”

Announcer: “While some schmuck channels so much brain juice to come up with the holy of holies of questions — some other guy asks a variation of that question as easily as a bird flying into a windshield.”

Vancouver International Film Festival | “Seat Saver”

No, they never truly understand that sacrifice…

Vancouver International Film Festival | “Front Row”

Talk about a close-up.

Vancouver International Film Festival | “Rush Line”

Very anti-climatic!

Vancouver International Film Festival | “Die Hard”

Me in thirty years.

Bias Alert: This news comes just I have recently finished Michael Moore’s Election Guide 2008, thus having read every published word he has ever written including those from the obscure Adventures in a TV Nation.

That waskly old Liberal Michael Moore is rocking the vote (and the boat) with his new film Slackers Uprising. Much like in The Big One (1997) which chronicled Moore’s book tour for Downsize This!, this documentary follows Moore across the country’s universities and colleges. With young adults in attendance months before the Presidential Election of 2004, Moore beseeched the Slackers of America to find their shorts, scarf down their Fruit Loops sans milk and VOTE! The race was between Bush and Kerry and arguably over half the country felt the stakes were near-apocalyptic over four more years of the Sitting Duck in Office.

This caused some ridiculous controversy by the right-wing pundits who spoke out against Moore’s tactic. Now Moore didn’t outright demand to the twenty-somethings which candidate’s name they had to puncture in the ballot. What did Bill O’ “DO IT LIVE!” Reilly and the gang have to fear of young voters participating in their right to democracy. They could very well have stuck it to old man Kerry and gone back to suckling the warm, freedom-flavored teat of Dubya.

Starting September 23rd, Michael Moore is generously releasing his new film Slackers Uprising as a free download for three weeks in North America. As a Canadian, this cheers me greatly. Usually downloadable media from the US is unavailable to your Neighbor of the North – I’m looking at you NBC (30 ROCK), CBS (Swing Town) and Comedy Central (The Daily Show + Colbert Report)! Being the first mainstream film to reach personal computer screens for the admission of bupkis, Michael Moore is not only a pioneer but truly appreciates his fortune in turn by his audience: “This is being done entirely as a gift to my fans. The only return any of us are hoping for is the largest turnout of young voters ever at the polls in November.”

This may very well tip a close presidential race away from the Republican Party’s John ‘Hot Head’ McCain and that media-trashing, earmark-embracing hockey mom Sarah Palin.

A DVD of the said film will also be released. It’s Special Features include:

• Special Guest Joan Baez — America the Beautiful
• Diplomats and Military Commanders for Change
• Why People Like George Bush?
• My Pet Goat
• The O’Reilly Factor for Kids
• Oh, Canada (Oh, My!)
• Just Add Water and Heat – More Ramen and Clean Underwear
• A Letter from a Soldier in Iraq
• MM Dance Machine

Last week, Michael Moore guest starred on the web-based show “Meet the Bloggers”.

“Meet the Bloggers” with Michael Moore

Go Obama/Biden 08′

Calling all agnostics, come November 5th, have plenty of body armor on because the unapologetic documentary Religulous is hitting theaters.

“Religulous” Trailer

That all heart, brainy and quick-witted political commentator, Bill Maher, takes us around the world to prod people about that hot button called God. There’s already some right-wing evangelist backlash against it. One wonders if there will be a boycott for the likes of Kevin Smith’s underrated Dogma (1999). Thank (insert your diety here) there are people out there willing tackle the bully boys that ram literal readings of the Old Testament down our collective throats.

Kevin Smith Joins The Protesters of “Dogma”

Kevin Smith Laughs At The Protesters of “Dogma”

It’s funny how defensive some (er… most) people get when you even suggest plausible doubt that takes them out of their theological comfort zone. That’s what Maher is doing and I applaud him for it. Questioning is good for achieving a moderate and curious society. This keeps the threat of evangelical movements that want to conquer and not listen at bay. I know people who think that world peace would be realized had everyone become a devout Christian as well those (like John Lennon) who believe there would be no wars without religion. I think people will use any excuse to find prejudice and make enemies whether religion is existent or not because it is the easiest to exploit.

Now I believe in a healthy open mind. I’m willing to entertain the plausibility of a conscious and omnipresent being surrounding our wacky universe so long as others don’t deny that our surroundings are governed by scientific means. It would be just as depressing to have worldly people obliterate their personal beliefs and histories for a unified one decided by a majority as would the option of obliterating them altogether. What appeals to me about all religions, popular as well as obscure ones, are the imaginations and the varied identities made possible for individuals around the world. It would be downright boring to be so certain about one outcome. It only becomes a problem when others are harmed in the name of an idea.

Lions Gate is distributing Religulous. No surprise, this studio often releases heady and controversial films like Fahrenheit 9/11 (2004), The Passion of the Christ (2004), American Psycho (2000), Shadow of the Vampire (2000), Hard Candy (2005), as well as Repetitive Vomitoriums and Spoofs For The Lobotomized.

Throughout Maher’s theological search, I’ll have time to muse why I find atheism so sexy.

Poor, poor Dubya. With only half-a-year of his presidency left, Oliver Stone has him in the cross hairs and is ready to fire October 29th.

Two months since we have gotten the all-type Bushism poster, now here is the trailers that have official hit.

“W” Trailer #1:

“W” Trailer #2:

Looks like we’re going to see Dubya as all too human here. Much like how Stone saw Nixon in his excellent 1995 feature as a tragic figure worthy of Hamlet.

Hamlet
A man may fish with the Bush that hath eat of a king, and eat of the fish that hath fed of that Bush.

Just don’t skimp on the flaws, Oliver!

Switching faces from tragedy to comedy, here is the new trailer for Mike Leigh’s upcoming Happy-Go-Lucky. This one is made for the North American audiences so be sure to take a shot of Insulin Glargine.

Now this trailer is just dying to make this bittersweet British comedy come across as a sweet-and-low Julia Roberts vehicle. A desperate attempt turning indie gold look like mainstream schmaltz. It has the banal Disneyesque-pop music cues, the kid-friendly editing wipes (swooshing sound effects are not optional), the garishly bubblegum-polished graphics, and the voice-over narration of Don LaFontaine in syrupy mode. Is Miramax really stooping this low for a Best Picture nom?

News Flash: a dozen years ago Mike Leigh’s Secrets and Lies (1996) got the coveted nomination, so have a little faith!

The international trailer that I wrote about 3 months ago is far superior and actually feels like it has the fingerprints of Mike Leigh on it.

The Real Happy-Go-Lucky Trailer

The sophisticated animated graphics with the cute and gritty edge – check! An editing aesthetic that does not condescend – check! The quirky yet somber soundtrack by Gary Yershon – check!

Question: Am I the only one waiting for the melancholy soundtracks of composer and Mike Leigh regular Andrew Dickson (High Hopes, 1988; Naked, 1993; All or Nothing, 2002; Vera Drake, 2004) to be released?

Happy-Go-Lucky will speak for itself (in limited release) on October 10th.

Only eleven more days left…

“Normal criminals usually have logical motives, but the Joker’s insane schemes make sense to him alone.”
—Batman in The Laughing Fish by Paul Dini.

FUN FACT:

The Joker was inspired by Gwynplaine, the title character with the deformed grin, in The Man Who Laughs, who was played by Conrad Veidt.

Smile everyone!

A couple months after the UK’s take on Gremlins, Film4 has paid homage to Stanley Kubrick (“You haven’t a dook of an idea how to comport yourself public-wise, O my brother!”), one of the most studied and revered filmmakers. To kick off the Film4 channel’s seasonal tribute to the highly guarded auteur, their production house Channel 4 Creative Services concocted a TV spot in homage to The Shining (1980). The following promotional clip takes you through The Shining set in one continuous 65-second tracking shot, a film aesthetic long favored by Kubrick since Paths of Glory (1957), from the director’s point of view.

Channel 4′s “Kubrick Season” Advertisement

The attention to detail is absolutely terrific from the recreated sets that look exactly like the original Overlook Hotel corridors and hedge maze from thirty years ago to the lighting and lens choice — a 25mm Cooke lens that was favored by Kubrick. The amount of visual in-jokes will have die-hard Shining enthusiasts viewing it several times before none have escaped their close attention. I marvel at the prospect that the filmmakers even cast Kubrick’s crew to look like the real-life counterparts including John Alcott, Kubrick’s longtime director of production before his death in 1986. Watch out carefully for a half-dozen dead ringers of The Shining’s most prominent characters. Oh, and the tricycle that appears at the end is the real deal. This is the type of work ethic that makes me beam with joy.

Citizen Kubrick, a new documentary by Jon Ronson will first head off ten of the selected movies from Kubrick’s generous filmography. The chosen films range from the most famous (Lolita, 1962; 2001: A Space Odyssey, 1968; Barry Lyndon, 1975) to the most obscure (Killer’s Kiss, 1955; The Killing, 1956). After watching the documentary Stanley Kubrick: A Life in Pictures (2001) by Jan Harlan, one of Kubrick’s closest producers, I’m still very curious about the secretive genius. I am also relishing the published 304-page diary by Matthew Modine (Short Cuts, 1993) on the making of Full Metal Jacket (1989).

Last time Commissioner Gordon called you up. Then District Attorney Harvey Dent sent you his Call to Action as part of his re-election campaign via e-mail. I admit it. Come election day, I voted for Dent online because I believed in him. I’m glad HE WON! – you can also watch Dent’s Assistant Rachael Dawes endorse her support for him.

Just days after the Gotham Election Board closed on June 12th, we get THIS.

I only believe in him partially now.

Say, does anyone else think this map of Gotham City looks like a face?

July 18th is just a month away.

Nearly a month ago, the trailer for the next highly anticipated film David Fincher film The Curious Case of Benjamin Button debuted before the fourth Indiana Jones movie on May 23rd. Now Fincher and Paramount Pictures have officially launched the teaser trailer today. For contemporary movie marketing, this is as good as it gets.

“The Curious Case of Benjamin Button” Teaser

My first viewing of the trailer on the big screen was kind of a transcendent experience. Maybe greater than the one for The Dark Knight coming July 18th. Hell, it’s on par with There Will Be Blood from last year.

“The Dark Knight” Trailer

“There Will Be Blood” Trailer

The angelic and somber score accompanying the teaser of The Curious Case of Benjamin Button comes from Saint-Saens’ Carnival of the Animals – Aquarium sans the choir. It has been used in Terrance Malick’s Days of Heaven (1978) and a few Ren and Stimpy cartoons. Except for the odd line of dialogue that bookends the teaser, the music is dominant like a silent picture. It reminds me of the eerie, dialogue-free trailer for Dark City.

“Dark City” Trailer

Best of all, the David Fincher teaser doesn’t overstay its welcome clocking in at one minute and forty-six seconds. Too many trailers go to the trouble of cramming in every cool visual along with the final confrontation into two minutes and forty seconds. Over-eagerness does not suit a seducer.

The F. Scott Fitzgerald short story makes for a compelling hour’s read. It draws parallels to Daniel Keyes’ Flowers For Algernon. A baby is born wrinkled, decrepit and frighteningly able to talk candidly about the indignity of being given a milk bottle. As the time passes, Benjamin Button (nearly named Methuselah, referring to the son of Noah who reached the age of 969 years old) must contend with living a unique life of regressing to youth both psychically and mentally. He is always withheld from the conventional human experience, but strives for it anyways.

Within Fincher’s command after Zodiac (2007), his most successful feature, The Curious Case of Benjamin Button could become an instant classic. So long as Benjamin Button himself is a tragic character. It would be terrible if the filmmakers screwed it up with playing safe and happy with such a volatile and melancholy premise.

The film stars Brad Pitt (12 Monkeys, 1995), Cate Blanchett (The Talented Mr. Ripley, 1999), Tilda Swinton (Young Adam, 2003), Julia Ormond (The Baby of Macon, 1993), Elias Koteas (The Thin Red Line, 1998), Jason Flemyng (From Hell, 2001), and Taraji P. Henson (Hustle and Flow, 2005)

Christmas is looking very promising this year.

This is a movie that excites me – it could be very good or very bad – there’s no middle ground here. Even the poster is arresting for its mundanity, repulsion, eeriness and quirkiness. I’ve always found paperbags to be rather ominous.

What gives me hope is that the premise of a half-naked man with a eye-holed paperbag over his head will not be delivered as a straight-up horror film. No, the Duplass Brothers are too smart for that. Baghead is described by the filmmakers as being “funny, truthful, (and) endearing”, which makes it much scarier. Usually the combination of comedy and horror looks good on paper but is a trial to execute successfully as a film. It requires a deft touch like a Spike Jonze (Being John Malkovich, 1999) or a Wes Anderson (The Royal Tenenbaums, 2001).

Here’s the skinny: A bunch of would-be actors retreat to a cabin in the Necronomicon-filled woods to write an indie film over the weekend. The film has a light-touch when focused on the comradery and the wavering prospect of romance between friends. The proverbial bag-headed boogeyman that is penned by our heroes in their script materializes as a very human and intimate threat. This reminds me of the urban legend turned real in the underrated Bernard Rose (Paperhouse, 1988) film Candyman (1992).

From Mark and Larry Duplass, Baghead comes right after their whimsical The Puffy Chair (2005), which is on my To-See List after Jane Champion’s An Angel At My Table (1990).

Baghead will be shown in Austin, Texas June 13th. A limited release is still pending.

The typographer in me is doing jumping-jacks over this Bell-font teaser poster for Oliver Stone’s W. I hope to see them lined up across the marquee walls soon. The Bushisms are also a great send up of the commander in thief.

Do you think this type of all-type movie advertisement sheet could set a trend for future movie posters? No pictures, but with more font-laced words dedicated to more than just the film’s title and a tag line.

Extra

You can download the font regularly used for movie poster credits here.

Distributed by QED International and Lionsgate Films, Oliver Stone’s W. is starring Josh Brolin – George W. Bush (In the Valley of Elah, 2007), Elizabeth Banks – Laura Bush (Catch Me If You Can, 2002), James Cromwell – George H.W. Bush (The General’s Daughter, 1999), Ellen Burstyn – Barbara Bush (Alice Doesn’t Live Here Anymore, 1974), Thandie Newton – Condoleezza Rice (Flirting, 1991), Jeffrey Wright – Colin Powell (Syriana, 2005), Scott Glenn – Donald Rumsfeld (The Silence of the Lambs, 1991), Toby Jones – Karl Rove (Nightwatching, 2007) Ioan Gruffud – Tony Blair (Black Hawk Down, 2001), and Richard Dreyfuss – Dick Cheney (Jaws, 1975) will be released this October.

A video of the disaster can be seen at the Florida Local 10 website.

This tragedy caused by force of nature brings to mind the sad 2006 ruination of Nick Park’s Aardman Studios that burned down its sets, props, and painstakingly hand-done clay models for the wonderful Wallace and Gromit (1989 – 2002) short films and Chicken Run (2000).

Universal Pictures’ most valued video archive has been scathed. Also burnt to the ground was a warehouse containing vaults of over 40,000 original and master versions of old Universal films. There is a great and crucial blessing that the original negatives of Universal’s history of film was located far away from the erupting fire. The damaged video stock can be replaced. The cause of the fire is still unconfirmed, but a faulty electrical error by a working sound stage for a commercial shoot over the weekend is suspect.

NBC Universal President and Chief Operating Officer Ron Meyer was reported saying that “We have duplicates of everything. Nothing is lost forever.” Thankfully a number of sets including the back lot used for Alfred Hitchcock’s Psycho (1960), Norman Bates’ house, is still standing. Millions of dollars have been lost, but not many people were hurt. This is the second of two massive fires at the studio within the last two decades, the first was caused by arson in 1990.

Get ready for a Palahniuk Punch. After the subversive head bunt of the David Fincher cinematic satire, Fight Club (1999), a new adaptation of the Chuck Palahniuk novel Choke is coming to theaters this Fall. First time writer-director of Choke, winner of the Sundance Special Jury Price, is character actor Clark Gregg from David Mamet’s Spartan (2004), and the wonderful Nicole Holofcener comedy-drama Lovely and Amazing (2001), which stars Brenda Blethyn, Catherine Keener and love-goddess Emily Mortimer.

Choke looks like a very dark comedy this side of Neil Labute’s In The Company of Men (1997) stars Sam Rockwell (Joshua, 2007) as a dysfunctional sex addict trying to find his place in the world and in his mother’s physician (Kelly Macdonald, Tristram Shandy: A Cock and Bull Story, 2006). Anjelica Huston (The Darjeeling Limited, 2007) plays mom who must be so proud! I hope this angry satire takes aim at all the right targets… and hits hard.

Funny: Moulin Rogue! (2001) is playing in the background and lo and behold the first trailer for the new film by Baz Luhrmann, after seven years, is down under here.

“AUSTRALIA” Trailer

It looks like a cross between Tarsem’s The Fall (2008) and the Nicolas Roeg masterpiece Walkabout (1971).

“Just about the most different movie you’ll ever see.”

Throw in some sensational romance with Hugh Jackman (The Prestige, 2006) and Nicole Kidman (Dead Calm, 1989), add operatic music, shake, don’t stir and I’m there!

“We should be lovers!”
“We can’t do that…”

AUSTRALIA opens November 14th.

Green Porno | “Earthworm” Episode

Green Porno | “Snail” Episode

And the circle of life continues.

UPDATE: January 5, 2009

Green Porno has two seasons worth of fourteen two-minute episodes. The first deals with more insects like the “Mantis”, the “Spider” and the “Dragonfly”. Titles for the second sesaon, which focuses on creatures of the sea, include the “Angelfish” (“B is for…” “Butterfly.”), the “Barnacle” and the “Whale”. The most provoking title in the bunch is “Why Vagina?” Many men, however, are prone to ask “Why, Vagina?” Rossellini, bless her soul, has been hanging around David Lynch (Inland Empire, 2007) and Guy Maddin (Dracula: Pages from a Virgin’s Diary, 2002) too much. Lucky bums!

“Brand Upon the Brain” Trailer

The Criterion Collection, always a class act, is releasing the DVD (#440) of Brand Upon The Brain! (2007) by cult Canadian filmmaker Guy Maddin. Brand Upon the Brain! was one of my absolute favorites when given a limited release last year. It was number five on my list of the best films of 2007. Isabella Rossellini (King of the Corner, 2004) takes her madness to overdrive whilst crashing into a basket full of kittens with her vocal narration (“The Past! The Past!!!”). Rossellini is as fearless as when she and Maddin last collaborated on The Saddest Music In The World (2003), where she played a morbid brewery owner who had her legs replaced with prosthetics made of glass and filled with her very own beer.

You have to see it to believe it.

Brand Upon The Brain! is another twisted homage to silent pictures and Luis Bunuel (L’âge d’or, 1930) with Maddin’s stylistic fingerprints smeared all over it. This one is a surreal memoir to Maddin’s childhood where he lives on a remote island with his family. His mother (Gretchen Krich, Henry Fool, 1997) is forever watching young Guy Maddin from her Gothic lighthouse tower with an ungainly periscope. She communicates through a speaker that like deranged gargling. Title Cards stand in for much of the dialogue — “Guy, come home for supper or I’ll sell your island!!”. Maddin’s father stands in as a mad scientist practicing ghoulish experiments in his dungeon. I get so giddy every time I think of “Orphan Nectar”.

And it’s much funnier than E. Elias Merhige’s “Begotten”!

Special screenings of Brand Upon the Brain! were performed by live orchestras and narration read aloud by either Isabella Rossellini, Crispin Glover (Back to the Future, 1985) Laurie Anderson, John Ashbery, Guy Maddin, Louis Negrin, and Eli Wallach (The Ugly from The Good, The Bad and The Ugly, 1966 AND he was also starred with Rossellini in King of the Corner — See it. It’s really good.). Also included is a new documentary featuring interviews with the director and crew members, deleted scenes, trailer, a new essay by film critic Dennis Lim, and two new Maddin-directed short films: It’s My Mother’s Birthday Today and Footsteps, an oddball featurette behind the making of the Brain!’s sounds effects. The DVD will be released in early August. I can’t wait!

The rest of Criterion’s August slate includes Pier Paolo Pasolini’s Salò, or the 120 Days of Sodom (an upgrade of #17, 1975), Michael Powell & Emeric Pressburger’s The Small Back Room (#441, 1949) and Keisuke Kinoshita’s Twenty-hour Eyes (#442, 1954). Some day I’ll brave the gag reflex and watch Salò, and while I’m at it I’ll also see Dusan Makavejev’s Sweet Movie (#390, 1974).

American indie favorite Jim Jarmusch, whose directorial debut Stranger Than Paradise was one of my favourite films of 1984, is currently filming his new thriller The Limits of Control in Spain. Bill Murray (Rushmore, 1998), Tilda Swinton (Best Supporting Actress for Michael Clayton, 2007) and Jim Jarmusch are reunited after their splendid collaboration with Broken Flowers (2005). In that film, Murray played an emotionally paralyzed and middle aged Don Juan whose odyssey involves revisiting past lovers and finding the mother to his estranged son.

The Limits of Control centers on the trademark Jarmusch loner, played by Jarmusch regular Isaach De Bankolé (Ghost Dog: The Way of the Samurai, 1999), this time plotting a heist. Other actors involved are John Hurt (Love and Death on Long Island, 1998), Gael Garcia Bernal (The King, 2006), Hiam Abbass (The Syrian Bride, 2004), Paz de la Huerta (Chelsea Walls, 2001), Alex Descas (Jarmusch’s Coffee and Cigarettes, 2003), Youki Kudoh (Jarmusch’s Mystery Train, 1989), Luis Tosar (Miami Vice, 2006) and Jean-Francois Stevenin (The Man on the Train, 2002).

Hopefully, Jarmusch’s new film will stay on the level of Broken Flowers and not slide down into the hell of Year of the Horse (1997). The release date is the first quarter of 2009.

Undead soldiers, dragons, Maria Bello, and a Yeti can be found in The Mummy 3: Tomb of the Dragon Emperor. The action is moved from Egypt to China where a resurrected emperor (Jet Li – Danny the Dog (Great Title!) aka Unleashed (Lousy Title.), 2005) vows revenge against a sorceress (the lovely Michelle Yeoh – Crouching Tiger, Hidden Dragon, 2000) Be afraid, the director is hack Rob Cohen (The Skulls, 2000 and Stealth, 2005) though he may be forgiven if his upcoming King of the Nudies (2009), a biopic of skin flick filmmaker Russ Meyers (Faster Pussycat! Kill! Kill!, 1965), is accomplished.

Brandon Fraser (Gods and Monsters, 1998) has returned to the franchise as Rick O’Connell, the closest Fraser will ever get to this generation’s Raiders of the Lost Ark (1982). As much fun as the first Mummy (1999) was, comparison to the first Indy movie is a little sad.

Rachel Weisz (The Shape of Things, 2003) renounces her return in the threequel as the sexiest, klutziest, and boldest librarian ever, Evelyn Carnahan. Maria Bello will helm the role as the female sidekick which is inspired on part of casting director Ronna Kress (Moulin Rogue!, 2001).

One of the benefits of the franchise is that Rick and Evelyn stay together throughout their adventures. They get married (Yay!), but they have a kid (Boo!). Why oh WHY do action heroes HAVE to be saddled with a lame wise-cracking child in distress? It ruins the whole lovers-in-peril dynamic.

There should be a law that all male adventurers with romantic aspirations need to get a vasectomy.

Even Indy has to have a kid in the upcoming movie with the ridiculously long title (5 days left…)! And I wish that Marion Ravenwood, played by the incredibly hot Karen Allen (When Will I Be Loved, 2004), was the love interest in all three Indiana Jones movies. The previous Indy girls, Kate Capshaw (Spielberg’s wife) and Alison Doody, lacked charisma and spunk.

The Mummy 3: Tomb of the Dragon Emperor opens August 1st, which now negates The Scorpion King (2002) like a bastard out of the trilogy.

Vimeo has posted captured footage of an actual Wall•E robot that has been manufactured by the good people at Disney (aka Globotech Industries). The life-size replica was spotted in L.A. trying to sight Eve at the Grauman’s Chinese Theatre. Along the way, he came across some curious bystanders on the street to study.

It’s Alive!

Many Wall-Es will be built (“They have the technology! Better! Stronger! Faster!”) to run amuck in Disneyland. They’ll entertain fun-lovin’ patrons and will sell them deep-fried, yet overpriced Ratagans-on-a-stick. The only concern scientists have is a repeat of the fiasco that took place with murderous robots at the Itchy and Scratchy Land fourteen years ago.

I want Wall•E for my birthday.

Warner Independent Pictures is releasing Towelhead, the theatrical debut of filmmaker Alan Ball, the creator of Six Feet Under, the upcoming True Blood series and is also the Academy Award Winning writer of American Beauty (1999). The film premiered in the Toronto Film Festival with the title Nothing Is Private. It has been named back in the US to Towelhead, the same title of the Alicia Erian novel that Ball has based his written adaptation on.

“Towelhead” Trailer

Set during the first Gulf War, a teenage Arab-American girl named Jasira whose new found and confused sexual awareness results in drastic measures by her mother (Maria Bello, The Cooler, 2003). She is sent away from New York to a small town in Texas to live with her strict, disciplinary Lebanese father, Rifat (Peter Macdissi, Three Kings, 1999). While the Middle Eastern war spreads prejudice at home, they struggle to be recognized as a respected Americans. Jasira is played by newcomer Summer Bishil who is running as fast as she can from children’s television programming to dramatic material more mature and respectable, much like Anne Hathaway did with Havoc (2005).

Director Ball is still testing the water with another plot about the adult male leaching after the underage girl. A bigoted Army revisionist played by Aaron Eckhart (Your Friends and Neighbors, 1998) is torn between his racism and his attraction for the minor. Eckhart, who exudes sliminess as well as James Spader (Secretary, 2002), says to girl in private: “You know what you do. You know what you do to men.” Ewww…

Watching the Towelhead trailer, the tampon sequence brings to mind a scene from Tamara Jenkin’s Slums of Beverley Hills (1998) where a well-meaning father (Alan Arkin, Little Miss Sunshine, 2006) takes his mortified daughter (Natasha Lyonne, But I’m A Cheerleader, 1999) out bra shopping. I’m also reminded of the menstrual-minded Canadian werewolf-horror film Ginger Snaps (2000).

Towelhead also stars Toni Collette (Muriel’s Wedding, 1994 and Japanese Story, 2003) and Matt Letscher (Identity, 2003) as welcoming, sarcastic Liberal neighbors. Here’s hoping this daring American indie is sharp, poignant and uncompromising as Alan Ball’s previous efforts.

The release date is August 28th.

Columbia Pictures and Neal Moritz, the producer of Cruel Intentions (1999) and I am Legend (2007), have secured the rights with Scholastic Media’s Deborah Forte to make the R.L. Stine penned Goosebumps franchise into a theatrical feature. It’s like Rod Serling’s The Twilight Zone targeted to kids. Executive Producer Andrea Giannetti (Vantage Point, 2008) will oversee the production. The release date is set at 2010.

The popular Goosebumps book series, much of it written and sold throughout the 1990s, holds second place as the most financially successful in the young adults demographic. It was published in over 32 languages and has sold more than 300 million copies worldwide. It was beaten by another youth-oriented serial written by some Brit named J.K. Rowling who specialized in wizards or something (supposedly 5 out of 8 blockbuster films were also adapted).

My reservations on an adapted Goosebumps movie is that it will be based on a Horrorland revision (unread by me) that includes many characters from previous plots. Between evil ventriloquist dummies, a preordained picture-taking camera, possessed Halloween masks, plant zombies, mutating green blood, and a summer camp that enslaves children to wash down a blob with teeth; I hope the filmmakers don’t bloat the film with too many creatures.

Why the invested interest? As a kid, I had difficulty being engaged by less than compelling material outside of Beverley Cleary’s Ramona serial. Unless the characters were personable and a real sense of doom was preordained, my mind drifted to more haunted thoughts of my imagining that proved more enticing. At the age of 7, I was introduced to the Goosebumps series, the closest in horror literature I could obtain at the time, by an antique dealer who I never saw again. As an early reader, I am in debt to R.L. Stine. Throughout grades four and seven, I read front to back over seventy Goosebumps novels. My father used to bribe me with a new Goosebumps book ($5.50 each) every week I completed all of my homework.

The covers of the books were a wonder to behold. A vibrant, ominous painting visualized what was just as immediate and unnerving as when I ventured the horror shelves at the video store (Images of the grinning, red-eyed Chucky Doll had me entranced at the age of five). The Goosebumps cover illustrations were all by Tim Jacobus. You can read about his process in this short illustration tutorial.

While I’m on the subject of illustration, it has come to my attention that the U.S. House and Senate is introducing an Orphan Works Act of 2008 and the Shawn Bentley Orphan Works Act of 2008, which deprive copyright ownership from working illustrators whose livelihood depends on acquiring paid permission to use said images. I am calling out to U.S. citizens to take action and oppose this thieving atrocity by e-mailing this form to congress. As a practicing illustrator myself, you’d be doing me a favor.

Back to Goosebumps. In the mid-nineties, the Fox Kids Network in collaboration with Scholastic Publishing produced a Goosebumps television series featuring an adapted episode in a half-hour format. Another like-minded show released much earlier was Eerie, Indiana (1991) that included episodes directed by Joe Dante (Innerspace, 1987). Being a hardcore Goosebumps fan at the time, I taped almost every episode and now return to favorites as a rare guilty pleasure. Perhaps the upcoming film could be made in an episodic fashion – it’s Creepshow for kids!

The first season of the show was effective because it focused on character development (sometimes performed well by child actors – Kathryn Long as Carly Beth comes to mind – and sometimes not) and executed subtle special effects within a reasonable television production. Even future stars like Ryan Gosling (from Say Cheese and Die! to Half Nelson, 2006) and Hayden Christensen (from Night of the Living Dummy III to Shattered Glass, 2003) cut their teeth into the series. Enter seasons two and three as the faithfulness to the original stories and production quality gradually ebbed to a pitiful low. The second the show introduced CGI effects, it was all over.

Cartoon Network brought the show back for a limited time last year and produced an awesome Grindhouse-inspired tv spot for it. I wish the original episodes were shown in this rough, scratchy format.

Goosebumps “Grindhouse” TV Spot

Once in every four months, I google to see whether a Goosebumps: Season One Box Set is on the horizon. Unfortunately, Fox sold the rights to Buena Vista who have peddled out some of worse Goosebumps episodes individually on separate DVDs. Sometimes Disney is pure evil. Hopefully the upcoming film will bring the franchise back to public conscious and the damned series will be released properly. I read that Columbia is looking for a writer for their Goosebumps movie: I nominate myself.

“You either die a hero or…”

Wow! I saw this trailer before Jon Favreau’s Iron Man this weekend and I felt an exhilaration that removed me from all planes of reality and into a dimension that can only be described as heaven. I hope that Christopher Nolan not only has made The Dark Knight the best Batman movie ever (even better than Bruce W. Timm’s Mask of the Phantasm, 1993), but the best film of the year. I want this film to be so compelling that no drama or foreign film will compete for me. I can only dream.

Everyone here looks in top form: Christian Bale (American Psycho, 2000), Michael Caine (The Quiet American, 2002), Maggie Gyllenhaal (SherryBaby, 2006) – Thank Nolan they replaced Holmes!, Gary Oldman (Nil by Mouth, 1998), dual performing Aaron Eckhart (In the Company of Men, 1998) and the brilliant Heath Ledger (Monster’s Ball, 2001).

Quick Tidbit: When the Joker whips open his blade as he walks down the urban street with his back to us, you can spot a Starbucks shop on the right part of the frame. I know, I have to go on a trailer diet.

The release date is July 18th.

“And here we…GO!”

The stop-motion animated film will closely observe the character designs of the illustrations by Donald Chaffin for the book released in 1970. Class act Scott Rudin, who has produced Mother (1996), The Truman Show (1998), The Hours (2002), and No Country for Old Men (2007) among others, will overlook the production.

When asked about the animation in the film, Wes Anderson responded that “(it’s) like The Nightmare Before Christmas (and) those (Jules Bass and Arthur Rankin Jr. produced) Christmas specials. These [characters] have fur, so it’s not like claymation (like Nick Park’s Wallace and Gromit). The settings will be very natural. We want to use real trees and real sand, but it’s all miniature.”

That’s fantastic news when one remembers those strange and beautiful sea creatures that were rendered with stop-motion by animation director Henry Selick (James and the Giant Peach, 1996) for Life Aquatic. Selick was set to co-direct with Anderson in The Fantastic Mr. Fox, but left to pursue the direction of Neil Gaiman’s Caroline. Replacing Selick is Mark Gustafson, who has had extensive experience with stop-motion animation in short, experimental films.

The Roald Dahl tale is about a wily fox who outwits a group of farmers out of their produce. Just imagine Max Fischer with orange fur and a tail. Mr. Fox will be voiced by the equally wily George Clooney. There is confirmation that Wes Anderson alumni such as Cate Blanchett, Jason Schwartzman, Bill Murray (sound the trumpets!), and Anjelica Huston will lend their vocal talents as well.

The next film of experimental filmmaker Godfrey Reggio will be Savage Eden, a collaboration between Philip Glass (composer of The Hours), and Ron Fricke (Baraka). These three have not all worked together since their breakout sensation Koyannisqatsi, one of my personal favourites, back in 1982.

Reggio’s Qatsi Trilogy and Animi Mundi present moving imagery of landscapes from around the world that are manipulated by time-lapse techniques set to unique scores by Philip Glass. Savage Eden is a bit different, being described as a film that combines “narrative and non-narrative cinema”. Much like Reggio’s previous works, it will mostly be devoid of plot and characters. Reggio vaguely elaborates on the title during an interview with Barcelona 2004: “Eden, of course, is the God of Paradise from the Biblical reference, and the subject matter would be the “ism.” The point of view of the film is that when the physical and metaphysical foundation of life is collapsing, that leads to ideology, it leads to destiny, to control of human behavior through utopian fascism. When the perfect becomes the enemy of the good. So this film would be questioning the perfection of the “ism” of ideology.”

Whatever the filmmaker’s motives are, judging by his previous works, Savage Eden should be an awesome visceral experience.

“Koyaanisqatsi” (1982) Trailer

A Great Scene from “Powaqqatsi” (1988)

The First Scene of “Naqoyqatsi” (2002)

“Anima Mundi” (1992) (28 mins.)

]]> http://www.cinelation.com/what-is-godfrey-reggio-up-to-now/feed/ 0 http://www.cinelation.com/through-the-philip-glass/ http://www.cinelation.com/through-the-philip-glass/#comments Fri, 02 May 2008 20:17:44 +0000 Christopher Beaubien http://www.cinelation.com/?p=202 “Glass: A Portrait of Philip in Twelve Parts” Trailer

Glass: A Portrait of Philip in Twelve Parts is a new documentary about one of the greatest living composers from the last century, is in limited release now. The film, set for release at the Toronto Film Festival in 2007, marks Philip Glass’ 70th year. Scott Hicks, the director of Shine (1996 — one of the best films of the 1990s), has jumped at the chance to document Glass for a year while collaborating on music for his film No Reservations (2007). Hicks had been granted access behind the curtains and inside Glass’ home to present the artist more intimately. The documentary presents twelve different aspects of Glass, much like François Girard did for Thirty Two Short Films About Glenn Gould (1993), a fictional account of the eccentric Canadian classical pianist who died in 1982. The Girard film was also one of the very best films of 1994.

Having produced experimental operas, in the late 1960s and 1970s, that most audiences first balked at (any Einstein on the Beach admirers out there?), Glass’ reputation as a unique contemporary composer grew over the decades from cult status to widespread appreciation and influence around the world. Listening to his music, he makes an indelible impression with his trademark use of repetitive structure. He even did a series called Geometry of Circles for Sesame Street.

Geometry of Circles

Filmmakers demanded Glass’ services as a film composer after the soaring success working on Koyaanisqatsi (1982), which remains one of the best film compositions of all time. Philip Glass sought collaboration with a diverse set of film directors such as Paul Schrader (Mishima, 1985), Errol Morris (The Thin Blue Line, 1988), Clive Barker (Candyman, 1992), Martin Scorsese (Kundun, 1997), Stephen Daldry (The Hours, 2003), and David Gordon Green (Undertow, 2004); most of who will be interviewed in the documentary.

For any self-respecting cinemaniac, this is a must-see regarding one of the most influential artists in the industry.

UK Director Mike Leigh’s most anticipated feature film Happy-Go-Lucky is set to play in theaters September 26th. Leigh (High Hopes, Secrets & Lies, Career Girls), who is responsible for uncommonly powerful films about blue-collar people living in London, has had a fruitful career. His method of direction is to accumulate working actors with a theme in mind and then develop the script using improvisation and a deep understanding of the characters. The result is films that feel as unpredictable and as fascinating as life really is.

Happy-Go-Lucky Trailer

Vera Drake (2004), Leigh’s previous feature, showcased Imelda Staunton in an Academy Award Nominated Performance as a nurturing mother and wife who, out of the goodness of her heart, performed abortions deemed illegal back in the 1950s. Leigh’s love for the plays of Gilbert and Sullivan inspired Topsy Turvy (1999), staring Jim Broadbent and Allan Corduner as the creative duo in a dramatized realization of their comic-opera “The Mikado”. After that, Leigh made the gritty and heartfelt All or Nothing (2002) portraying a working-class family (Timothy Spall, Lesley Manville) whose sudden crisis shakes them out of their destructive malaise.

One of the characters in All or Nothing, an angst-ridden young woman who berates her alcoholic mother is played by Sally Hawkins. Hawkins is in the title role of the comedy Happy-Go-Lucky (2008) as Poppy, a thirty-year-old preschool teacher who exudes great wit and optimism wherever she goes. Her bright outlook in life is tested by a troubled child being abused at home and by a cynical driving instructor who holds onto deep prejudice. In Leigh’s hands, such a cheerful character will be extraordinarily complex as to harbor deep feelings of bitter-sweetness.

Honored for her performance as Best Actress by the Berlin Film Festival this year, Hawkins portrays Poppy as the kind of sweet, outgoing and insightful free-spirit that you just want to embrace. She has an enduring sunny quality reminiscent of Zooey Deschanel (Almost Famous, 2000 and All the Real Girls, 2003) that’s quite infectious. Let’s hope Leigh’s film is too.

An Interview with Sally Hawkins

Overseas in the UK those nasty critters, including Stripe, are having a blast destroying an office department to their exhilarating tune by composer Jerry Goldsmith. The TV spot uses ingenious computer animation to digitally transfer the original puppet-controlled monsters seamlessly from the Joe Dante 1984 original into a new modern setting. It is a marvel to behold. For instance, the gremlin going head first in the waste basket is the exact same one going into the bowl of frosting attached to the blender in the first movie’s notorious kitchen sequence. There are even some new actions performed by the gremlins that look convincing on part of the effects animators here. That tap dance sequence doesn’t exist, not even in the deleted scenes on the DVD.

Watching the TV spot only confirms the marketing department for BT, a Britain-based internet connection support company, are wicked masterminds. They even got Timothy Spall (Tim Burton’s Sweeny Todd: The Demon Barber of Fleet Street) to do the voice-over.

I hope Hollywood and Joe Dante are paying attention. Here’s the pitch: Move Gizmo and the gang to Japan and call it: Gremlins: Lost in Transmogrification. And do it while Dick Miller is still around to play Mr. Futterman.

UPDATE (May 2nd, 2008) :

I was just informed by an insider involved with the Gremlins BT TV Spot that no gremlins from the original 1984 film were lifted (or harmed) for the advertisement. All of the effects work was created using new Gremlin puppets. The attention to detail and the superb homages to the original are simply astonishing.

On the other end, you will hear Gary Oldman’s Commissioner Gordon interrogate you as a found member of the Joker’s gang.

“Let’s get a smile on that face!”

The Dark Knight comes to theatres July 18th.

There were only two elements of Cloverfield I enjoyed, in spite of how the filmmakers used their “hand held” camera like they were shaking a martini for 75 minutes. This brings new meaning to enjoying the end credits more than what preceded it. The music was like an award for enduring this tarnished hyped-up spectacle.

What I also enjoyed was really a who, Lizzy Caplan as Marlena. She was the only compelling character who had enough snark to go around the crowd of young, irritating drips surrounding her. To add insult to bug infection, she exited far too soon. With over a half-an-hour left, I was stuck the other survivors, too bored to cheer their deaths. At least, Marlena’s was kinda cool.

Followed by a strong cult following, the demand was as strong as the wait. Negotiations between iTunes over the release the Giacchino’s original cut of the score, which has been extended by five minutes, were met. Giacchino has said, “…there (were) a bunch of legal knots that need(ed) to be tied.”

Listening to the score again, I was reminded of Danny Elfman’s turbulently operatic score for Tim Burton’s Mars Attacks (1996). This main title sequence is so good that I could watch it forty-two times in the amount of time it would take to watch the actual movie.

The 2:06 mark is a killer.