Festival Recap by Don Rose
LAFFING: there were comedies galore at this year's fest. "Cold Souls" was the hottest Dark SciFantasyComedy of the fest (okay, the only one), and the director said it was inspired by a dream she had in which she and Woody Allen are in a waiting room holding boxes containing their souls. (Dream analysis, anyone?) Paul Giamatti stars as himself; after undergoing a procedure to store his soul, it winds up getting smuggled out of the country and into a female actress who suddenly displays his great acting prowess. (Yes, the plot is kinda Kaufmanesque.)
LOVING: the LAFF is known for showcasing quirky tales of attraction action, and this year brought unique love stories. For example, "Paper Heart" (starring buzzworthy actors Michael Cera and Charlyne Yi) and "Paper Man" (the Jeff Daniels / Ryan Reynolds dramedy that gets The LA Report's Find of the Fest award), which kept audiences elated and enthralled.
LIVING LEGENDS: several made appearances, both live and onscreen, especially those in the (artificial yet artful) category Music Legends In Documentaries. Two living Doors (Ray Manzarek and Robbie Krieger) attended a screening of the new Doors doc "When You're Strange" (my favorite film of the fest). And there was white-haired Jimmy Page and Jack White at the premiere of the doc that features Page, White and The Edge -- "It Might Get Loud" -- as well as at the afterparty held at the Hotel Palomar (a spiffy recently-opened hotel at the corner of Wilshire and Selby, with a superb restaurant that served delicious sliders and other delectables at the party). In the arena of sports, "Facing Ali" featured many legends of yesteryear; this doc showcases the select group of boxers who took on the best boxer ever, and now share what it was like to fight The Greatest.
LOUDNESS: In addition to "It Might Get Loud" there was the loud (and now lucrative) sequel of "Transformers" to transfix festivalgoers' eyes and ears. And at the Ford Amphitheatre, "Soul Power" served up some soul-shaking sounds in its tale of the superstar R&B concert that took place at the time of the 1974 Zaire Ali-Foreman fight (yes, Ali was one recurring theme of this year's fest).
LIVELY LOUNGE: The Zone Perfect lounge was the central meeting/partying point during
this year's LAFF. Loved the interactive word wall and painting area. On one especially lively night, actress/comedienne Charlyne Yi showed she is a musician too (one with many rough yet endearing edges) as she rocked the lounge with her eclectic duo Glass Beef. Matt Nathanson also rocked the Lounge, on the final evening, as part of a special VH1 Save the Music night.
LLYN's LORE: at a Reel Talk event held poolside at the W Hotel (the first of 3 such panels over 3 consecutive days), lore about days of yore came forth from artist Llyn Foulkes, who was perhaps the most passionate of the panelists at this panel on art and design in film. He talked of a pivotal point in his art career when, instead of selling out like some others did, he took a different, less-lucrative road in order to keep true to his art - and heart. Was there a tinge of regret in his voice, or was it pride in pursuing the path he ultimately forged over the path of easy money? Hard to tell, but moments like that kept the panel in high thought-provoking gear, and proved that drama is not just found in the films of a festival.
LAFF's LEADING LIST: Leaving LAFF leads some to ask, "what were LAFF's hottest films?" Hard to decide, but here is The LA Report's Excellent Eight: Paper Man, Paper Heart, Cold Souls, Soul Power, No Impact Man, When You're Strange, It Might Get Loud, Facing Ali. These got the most buzz and crowds. However, there were dozens more movies just as heartfelt at the fest and, with time, may garner just as much attention.
All in all, LAFF 2009 was a well-run and supremely entertaining film festival, and we highly recommend you attend LAFF 2010 next summer. (Our one suggestion for timely retro programming next year: a screening of "2010", the sequel to "2001"; while it may not enjoy the classic status of the original, it's still a stellar film!)
Showing posts with label LAFF. Show all posts
Showing posts with label LAFF. Show all posts
Wednesday, July 1, 2009
Monday, June 29, 2009
LAFF REVIEW: "ELECTION" STILL GETS A "10" VOTE 10 YEARS AFTER DEBUT
by Don Rose
"ELECTION" still gets my vote. Loved this movie. The acting is stellar, especially Reese
Witherspoon (as type-A overachieving high school student Tracy Flick, who desperately wants to win the election for student body president) and Matthew Broderick (as civics teacher Jim McAllister, who wants to stop her because of her willingness to step on anyone and do anything, even if unethical, to win). The other two main characters are Paul (the popular jock who Jim convinces to run against Tracy) and his sister Tammy (who also runs for student body president to spite Paul and his new girlfriend Lisa, who spurned Tammy's deep affections).
Alexander Payne's direction is top notch. He unwinds the plot like a chess game, with each
of the four main characters like a piece that is developed slowly but surely, and Payne helps the viewer by giving an inside view of each one's thoughts via voiceovers delivered at key moments in the film. These VOs are often hilarious, but they also help reveal each character's goals, style and motivation. Whereas most films have one narrator at most, we get four, and it works.
By the time the film nears its conclusion, each of the main characters has moved on from the
high school where everything began and is in a better place, even Jim. It's as if Jim has finally graduated, even though he was a teacher not a student. He has graduated from a not-fully-alive phase in his life. His life had been stalled up to the school election; he was not really happy at home, and as Flick points out (in one of her narrative voiceover commentaries), Jim seemed to be stuck in a boring repeating pattern at school, teaching the same thing over and over, year after year. He was no longer vibrant and vital, living a small, impotent life -- which is underscored terrifically by what we see onscreen (e.g., the terrible tiny car Jim drives, and the fact that he is having trouble getting his wife pregnant during the film). Perhaps the real reason Jim despises Flick so much is that, although she lies and schemes to achieve her goals, at least she is trying to get ahead, to get to a better place, whereas Jim seems to have given up striving and is now merely surviving.
During the film, however, Jim changes. His actions become increasingly unethical, but he has, in a sense, gotten in touch again with his primal primitive self, both sexually (he allows himself to have a brief fling, with his best friend's ex no less) and emotionally (allowing his anger at Flick's lying and conniving to override his ethical beliefs as he throws out 2 key ballots to prevent Flick from winning the school election, albeit temporarily).
Jim's primal shift is underscored beautifully by visual cues. After Jim has finally allowed
himself access to his dark side (the affair), he suffers a bee sting on the eye when he
returns to the woman's home, and the eye swells to the point where he looks like half human,
half monster. In a way, that is what he is now -- he cheated on his wife, and he cheated in
the election ballot count. The eye swelling shut also emphasizes how Jim cannot see the
right thing to do anymore, blind to his logical ethical side as he gave in to his long-dormant
emotional side. Then, later on, Payne provides more visual cues as to Jim's state when we see
several diorama scenes depicting primitive man at the museum where Jim winds up working
after he loses his job and his wife and moves to the big city. Like primitive man was forced to move and evolve in order to survive in the face of new conditions, so has Jim.
Overall, it was a great film, not only enjoyable to watch but also a great education for budding
filmmakers who could learn a lot by studying the script as well as the direction, with its creative use of visual storytelling techniques. It may not have made a fortune at the box office when it came out a decade ago, but it continues to enjoy a strong following on DVD. The setting was excellent, too. The W Hotel's poolside area was packed to overflowing for this final screening of the LA Film Festival, and all in attendance seemed to have a great time. A wonderful way to end a wonderful week.
Even though this was the last of the films at this year's LAFF, Angelenos are in luck, because the W's poolside film series continues every Sunday, all summer long (with August 2's "Curious Case of Benjamin Button" sure to draw another packed crowd). Just remember: Summer, Sundays, Sundown. Super!
"ELECTION" still gets my vote. Loved this movie. The acting is stellar, especially Reese
Witherspoon (as type-A overachieving high school student Tracy Flick, who desperately wants to win the election for student body president) and Matthew Broderick (as civics teacher Jim McAllister, who wants to stop her because of her willingness to step on anyone and do anything, even if unethical, to win). The other two main characters are Paul (the popular jock who Jim convinces to run against Tracy) and his sister Tammy (who also runs for student body president to spite Paul and his new girlfriend Lisa, who spurned Tammy's deep affections).
Alexander Payne's direction is top notch. He unwinds the plot like a chess game, with each
of the four main characters like a piece that is developed slowly but surely, and Payne helps the viewer by giving an inside view of each one's thoughts via voiceovers delivered at key moments in the film. These VOs are often hilarious, but they also help reveal each character's goals, style and motivation. Whereas most films have one narrator at most, we get four, and it works.
By the time the film nears its conclusion, each of the main characters has moved on from the
high school where everything began and is in a better place, even Jim. It's as if Jim has finally graduated, even though he was a teacher not a student. He has graduated from a not-fully-alive phase in his life. His life had been stalled up to the school election; he was not really happy at home, and as Flick points out (in one of her narrative voiceover commentaries), Jim seemed to be stuck in a boring repeating pattern at school, teaching the same thing over and over, year after year. He was no longer vibrant and vital, living a small, impotent life -- which is underscored terrifically by what we see onscreen (e.g., the terrible tiny car Jim drives, and the fact that he is having trouble getting his wife pregnant during the film). Perhaps the real reason Jim despises Flick so much is that, although she lies and schemes to achieve her goals, at least she is trying to get ahead, to get to a better place, whereas Jim seems to have given up striving and is now merely surviving.
During the film, however, Jim changes. His actions become increasingly unethical, but he has, in a sense, gotten in touch again with his primal primitive self, both sexually (he allows himself to have a brief fling, with his best friend's ex no less) and emotionally (allowing his anger at Flick's lying and conniving to override his ethical beliefs as he throws out 2 key ballots to prevent Flick from winning the school election, albeit temporarily).
Jim's primal shift is underscored beautifully by visual cues. After Jim has finally allowed
himself access to his dark side (the affair), he suffers a bee sting on the eye when he
returns to the woman's home, and the eye swells to the point where he looks like half human,
half monster. In a way, that is what he is now -- he cheated on his wife, and he cheated in
the election ballot count. The eye swelling shut also emphasizes how Jim cannot see the
right thing to do anymore, blind to his logical ethical side as he gave in to his long-dormant
emotional side. Then, later on, Payne provides more visual cues as to Jim's state when we see
several diorama scenes depicting primitive man at the museum where Jim winds up working
after he loses his job and his wife and moves to the big city. Like primitive man was forced to move and evolve in order to survive in the face of new conditions, so has Jim.
Overall, it was a great film, not only enjoyable to watch but also a great education for budding
filmmakers who could learn a lot by studying the script as well as the direction, with its creative use of visual storytelling techniques. It may not have made a fortune at the box office when it came out a decade ago, but it continues to enjoy a strong following on DVD. The setting was excellent, too. The W Hotel's poolside area was packed to overflowing for this final screening of the LA Film Festival, and all in attendance seemed to have a great time. A wonderful way to end a wonderful week.
Even though this was the last of the films at this year's LAFF, Angelenos are in luck, because the W's poolside film series continues every Sunday, all summer long (with August 2's "Curious Case of Benjamin Button" sure to draw another packed crowd). Just remember: Summer, Sundays, Sundown. Super!
Thursday, June 25, 2009
DOORS + DICILLO + DEPP = DARING DEFINITIVE DYNAMITE DOC
Film Review by Don Rose
MICROREVIEW:
Yes, the new Doors doc rocked.
The pains and strains of "When You're Strange"
ranged from the Doors' early days to druggie haze to final daze.
If you are into music and/or the 60s, go see it. If you love the Doors, run to see it.
It will Light Your Fire, you will Love It Madly, and you'll Break On Through to new appreciation of this seminal rock-n-roll-with-a-touch-of-jazz band and its legendary lead singer/poet/icon.
The 2pm LAFF screening June 24 at the Regent Theatre was packed; I had to hustle to get a third row side seat. It was worth the effort. The Doors, that eloquent energetic ever-eclectic electric Elektra ensemble, has been captured by director Tom DiCillo as never before. This is an energetic biopic that doesn't quite feel like one, which is a good thing. No newly shot interviews with friends and bandmembers sprinkled with minimal archival footage, no oversaturation with sycophantic praise. This film feels so alive because it is young, composed entirely of footage and recordings from the Doors glory days, clips from when the Doors were new, alive, pumping out sounds never experienced by everyday ears -- a kind of rock-jazz blend, as John Densmore explained in the film.
Even I, an avowed devoted Doors fan, learned some new things in this doc. A partial list:
* The first song Robby Krieger ever wrote was "Light My Fire" (and it went to number one in the summer of 1967)
* Light My Fire was almost used in a car commercial, but while the other 3 Doors approved the deal, Morrison nixed it (and, as narrator Johnny Depp informs us at film's end, no Doors songs ever went on to be used in any car commercials)
* Morrison apparently had no publicist, picked out his own clothes, and arrived at shows without entourage or bodyguards in many cases
* Ray Manzarek dropped acid (dropped as in gave it up) in favor of meditation
* At the height of Jim's fame and status as counter-culture anti-establishment icon, his dad was as establishment as you can get: an Admiral leading the fight in Vietnam. (Can you have a greater irony? A greater generational gulf within one family? Perhaps that is why a data-sheet filled out by Jim used one word to describe his family: Dead.)
Bottom line, at the risk of being overly abundantly blunt, is that I loved this film. As I left the theatre, I felt alive; the colors all around on the busy bustling Broxton boulevard were vivid and vibrant and packed with potential. A good film has the power to do that, to liberate you and open your senses. The doors of perception, for me, were opened a bit wider, and what more can you ask from a film?
Yet there was more, much more. Reel upon reel of rare footage (much of it never-before-seen by the public) and plenty of great Doors music. I felt I was experiencing the band's entire evolution from an insider's POV, from beginning to end, and some clever editing even raised the always-arisin question of whether Mr Mojo Risin was still alive. In the end, beautiful friend, that question seemed the wrong one to ask. The right one: are we still alive? Thanks to this motion picture, I know the answer is a glorious Yes.
Of course, I was not the only one moved by this movie. Spontaneous applause erupted as the film ended. And then came a nice surprise, as I was informed that half the Doors (Ray and Robbie) had been in attendance today. In recent years I've seen both Ray and Robbie (at different times) walking about Westwood, so perhaps this little Village, just south of UCLA where Ray and Jim went to film school, has once again become the spiritual hub of Doorsian energy. Or maybe they just live nearby and like the Farmers Market (which now takes place on Wednesday afternoons, by the way).
Okay, I admit, this aside of mine was a little strange; for more relevant thoughts, facts and insights about "When You're Strange" see the Tom DiCillo blog as well as the Tom DiCillo interview on Doors.com.
MICROREVIEW:
Yes, the new Doors doc rocked.
The pains and strains of "When You're Strange"
ranged from the Doors' early days to druggie haze to final daze.
If you are into music and/or the 60s, go see it. If you love the Doors, run to see it.
It will Light Your Fire, you will Love It Madly, and you'll Break On Through to new appreciation of this seminal rock-n-roll-with-a-touch-of-jazz band and its legendary lead singer/poet/icon.
The 2pm LAFF screening June 24 at the Regent Theatre was packed; I had to hustle to get a third row side seat. It was worth the effort. The Doors, that eloquent energetic ever-eclectic electric Elektra ensemble, has been captured by director Tom DiCillo as never before. This is an energetic biopic that doesn't quite feel like one, which is a good thing. No newly shot interviews with friends and bandmembers sprinkled with minimal archival footage, no oversaturation with sycophantic praise. This film feels so alive because it is young, composed entirely of footage and recordings from the Doors glory days, clips from when the Doors were new, alive, pumping out sounds never experienced by everyday ears -- a kind of rock-jazz blend, as John Densmore explained in the film.
Even I, an avowed devoted Doors fan, learned some new things in this doc. A partial list:
* The first song Robby Krieger ever wrote was "Light My Fire" (and it went to number one in the summer of 1967)
* Light My Fire was almost used in a car commercial, but while the other 3 Doors approved the deal, Morrison nixed it (and, as narrator Johnny Depp informs us at film's end, no Doors songs ever went on to be used in any car commercials)
* Morrison apparently had no publicist, picked out his own clothes, and arrived at shows without entourage or bodyguards in many cases
* Ray Manzarek dropped acid (dropped as in gave it up) in favor of meditation
* At the height of Jim's fame and status as counter-culture anti-establishment icon, his dad was as establishment as you can get: an Admiral leading the fight in Vietnam. (Can you have a greater irony? A greater generational gulf within one family? Perhaps that is why a data-sheet filled out by Jim used one word to describe his family: Dead.)
Bottom line, at the risk of being overly abundantly blunt, is that I loved this film. As I left the theatre, I felt alive; the colors all around on the busy bustling Broxton boulevard were vivid and vibrant and packed with potential. A good film has the power to do that, to liberate you and open your senses. The doors of perception, for me, were opened a bit wider, and what more can you ask from a film?
Yet there was more, much more. Reel upon reel of rare footage (much of it never-before-seen by the public) and plenty of great Doors music. I felt I was experiencing the band's entire evolution from an insider's POV, from beginning to end, and some clever editing even raised the always-arisin question of whether Mr Mojo Risin was still alive. In the end, beautiful friend, that question seemed the wrong one to ask. The right one: are we still alive? Thanks to this motion picture, I know the answer is a glorious Yes.
Of course, I was not the only one moved by this movie. Spontaneous applause erupted as the film ended. And then came a nice surprise, as I was informed that half the Doors (Ray and Robbie) had been in attendance today. In recent years I've seen both Ray and Robbie (at different times) walking about Westwood, so perhaps this little Village, just south of UCLA where Ray and Jim went to film school, has once again become the spiritual hub of Doorsian energy. Or maybe they just live nearby and like the Farmers Market (which now takes place on Wednesday afternoons, by the way).
Okay, I admit, this aside of mine was a little strange; for more relevant thoughts, facts and insights about "When You're Strange" see the Tom DiCillo blog as well as the Tom DiCillo interview on Doors.com.
Tuesday, June 23, 2009
LA FILM FESTIVAL: JUN 23 LAFF HIGHLIGHTS, WHAT TO SEE & DO
Here are the LAFF highlights (LA Film Festival) for Tuesday, June 23, 2009:
1230--130pm: Lunch Talk with "Dear Lemon Lima" director Suzi Yoonessi at the ZonePerfect live.create.lounge, on Westwood Blvd. just north of Kinross.
For LAFF Passholders. Bring your lunch! Dessert provided.
International Showcase Film CARMEN MEETS BORAT- 2:00pm at The Regent
Q & A with director Mercedes Stalenhoef
Narrative Competition Screening DEAR LEMON LIMA, – 4:30pm at The Landmark
Q & A with director Suzi Yoonessi
Documentary Competition Film BRANSON– 4:30pm at The Regent
Q & A with director Brent Meeske and performance by Jackson Cash (I saw Jackson perform after the "Branson" premiere and, believe me, this man looks like Johnny Cash, talks like him, sings like him, swaggers like him! Amazing. Highly recommended.)
1230--130pm: Lunch Talk with "Dear Lemon Lima" director Suzi Yoonessi at the ZonePerfect live.create.lounge, on Westwood Blvd. just north of Kinross.
For LAFF Passholders. Bring your lunch! Dessert provided.
International Showcase Film CARMEN MEETS BORAT- 2:00pm at The Regent
Q & A with director Mercedes Stalenhoef
Narrative Competition Screening DEAR LEMON LIMA, – 4:30pm at The Landmark
Q & A with director Suzi Yoonessi
Documentary Competition Film BRANSON– 4:30pm at The Regent
Q & A with director Brent Meeske and performance by Jackson Cash (I saw Jackson perform after the "Branson" premiere and, believe me, this man looks like Johnny Cash, talks like him, sings like him, swaggers like him! Amazing. Highly recommended.)
FILM SUMMARY: Personal demons and backstage battles cannot deter the performers captured in this heartfelt documentary from living out their dreams of stardom on the strip-mall stages of Branson, Missouri.
DIRECTOR/WRITER: Brent Meeske.
FEATURING: Jackson Cash, Amber Campbell, Geoffrey Hastings Haberer, Peggy Lee Brennan-Haberer, Terry Wayne, Nita Tate, Eric Eichenberger.
International Showcase Film CITY OF BORDERS – 5:00pm at The Landmark
Q & A with director Yun Suh
SHORTS PROGRAM 4 – 7:00pm at The Landmark
Q & A following
Summer Showcase Film 35 SHOTS OF RUM – 7:00pm at The Regent
Q & A following
Festival Conversations POOLSIDE CHAT: REELART L.A. – 7:00pm at the W Los Angeles - Westwood Hotel.
International Showcase Film CITY OF BORDERS – 5:00pm at The Landmark
Q & A with director Yun Suh
SHORTS PROGRAM 4 – 7:00pm at The Landmark
Q & A following
Summer Showcase Film 35 SHOTS OF RUM – 7:00pm at The Regent
Q & A following
Festival Conversations POOLSIDE CHAT: REELART L.A. – 7:00pm at the W Los Angeles - Westwood Hotel.
Featuring a conversation with artist Llyn Foulkes, fashion designer Kevan Hall, production designer Alex McDowell and moderated by director Catherine Hardwicke.
Festival Conversations GRAPHIC EXPLOSION – 7:00pm at The Italian Cultural Institute, 1023 Hilgard.
Festival Conversations GRAPHIC EXPLOSION – 7:00pm at The Italian Cultural Institute, 1023 Hilgard.
Featuring a conversation with Barry Levine, Josh Olson and Zak Penn.
International Spotlight REHJE – 7:30pm at The Landmark
Q & A with co-director Anais Huerta
Centerpiece Premiere PUBLIC ENEMIES, starring Johnny Depp. 7:30pm at the Mann Village Theater & the Majestic Crest Theater.
Matt Mackelcan Musical Performance - 8:00 pm at ZonePerfect live.create. lounge
Documentary Competition BANANAS!* – 9:15pm at The Landmark
Panel Discussion following the screening
International Showcase SACRED PLACES – 9:45pm at The Landmark
Q & A with writer & director Jean-Marie Teno
International Showcase – LOS BASTARDOS – 9:45pm at The Regent
Q & A with writer & director Amat Escalante
International Spotlight REHJE – 7:30pm at The Landmark
Q & A with co-director Anais Huerta
Centerpiece Premiere PUBLIC ENEMIES, starring Johnny Depp. 7:30pm at the Mann Village Theater & the Majestic Crest Theater.
Matt Mackelcan Musical Performance - 8:00 pm at ZonePerfect live.create. lounge
Documentary Competition BANANAS!* – 9:15pm at The Landmark
Panel Discussion following the screening
International Showcase SACRED PLACES – 9:45pm at The Landmark
Q & A with writer & director Jean-Marie Teno
International Showcase – LOS BASTARDOS – 9:45pm at The Regent
Q & A with writer & director Amat Escalante
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