Film School Rejects » Indie Spotlight

Rock, Paper, Scissors: The Next Big Thing in Sport Movies?

Kevin Carr — Sun, 08 Nov 2009 00:21:38 +0000

Here at FSR, we’re not just about throwing the spotlight on major Hollywood releases. We also like to give a nod to the indie filmmaker when we have a chance. That’s why we have loved the success of films like Paranormal Activity, which started as a grass-roots movement and became a national phenomenon.

The independent production The Flying Scissors is attempting to do the same thing, starting off with a college tour of screenings around the country. The Flying Scissors has been rolling through the American universities since the end of September, and it will be seeing a limited theatrical run in New York starting November 12.

The film is a mockumentary about a cut-throat Rock-Paper-Scissors competition and was produced for a price tag of less than $100,000. You can check out the trailer by visiting their web site at www.FlyingScissors.com. You can also find more information about the current college tour, release information and DVD details.

Will this spawn a sequel about a Rock-Paper-Scissors-Lizard-Spock competition? We can only hope so.

Exclusive: Ashton Kutcher Spreads for the Rejects

Kevin Carr — Fri, 14 Aug 2009 17:35:25 +0000

Hollywood heartthrob Ashton Kutcher took some time to speak with us about his latest film, the independent sex comedy Spread, which opens in limited release on August 14. The film tells the story about a young, good-looking man in L.A. who uses his sexual prowess and pretty-boy charm to become the boy-toy of independently wealthy women. However, his perfect little world starts to crumble when he falls in love with an attractive waitress doing the same thing.

One of the first questions I had for Ashton – coming at this as a fat guy from Ohio who was never a model – was whether this lifestyle was actually possible. “It’s not only possible. It exists for some people,” he told me point blank. “Do you think this lifestyle is possible for women? So women actually use their sex and their looks to gain some sort of financial lifestyle support. So if you believe it’s possible for women, it’s completely possible for men.”

When I pointed it out to Ashton that I could never pull it off and the lifestyle probably wouldn’t be for me, he quickly retorted that it wasn’t for him, either. “It requires a sense of moral ambiguity to get into this world,” he said but saw direct evidence of it when he was in his early 20s in the L.A. club scene. “There were guys out there looking for their sugar mama,” he said. But no fat guys from Ohio, I suppose.

We then moved on to my other favorite topic: nudity and sex, of which there is plenty in this film. Ashton was very gracious in fielding my multiple questions about getting nekked with Anne Heche and various young starlets.

“Day one, it was definitely uncomfortable,” he said, “walking out there, dropping trou and playing a scene and not thinking about the fact that you were naked because this guy was pretty confident being naked. After a while, your senses become immune to it.”

In regards to his somewhat explicit scenes with Heche, he pointed out they blocked everything out beforehand, as they did every shot of the film due to its limited schedule and budget. “It’s not like we’re standing around naked, figuring out what sort of position we’re going to be in. It’s a lot more clinical than you’d think, but there’s definitely an emotional aspect to it.”

And speaking of low budgets, Ashton chimed in on what it was like to go from the high budget studio pieces he’s known for to a small-budget indie film. “I loved it,” he said. If it weren’t for a film like that, an independent film, I probably wouldn’t be given a chance to play a character like this. I was really excited to have that.”

To help him get into the character, Ashton explained his choice to have the character of Nicky always wear suspenders. In his research on pick-up artists, he learned that many of them use a specific clothing or style choice to stand out in the crowd. So, he found a new style of suspenders that he thought might be popular a year from shooting the film. Also, he added, “I thought the metaphor for something that kept his pants on could be an interesting tie to this character.”

When boiled down to its most basic form, Ashton sees the film as a morality tale. “The lifestyle choices will never leave you feeling fulfilled or happy,” he said. “If you’re chasing lifestyle, you’ll find a certain level of emptiness. But if you’re chasing love, you’ll have a chance.”

Spread is currently in limited release and will be expanding around the country in various cities over the coming weeks.

Indie Spotlight: Weather Girl

Dr. Cole Abaius — Mon, 03 Aug 2009 17:56:00 +0000

There’s definitely not a shortage of romantic comedies out there – every year there is a slew that hits theaters with big names and high concepts. Most of the time it’s a journey for a young woman (or a not-so-young woman) in finally getting her life together and falling in love with the most unlikely of men. There’s also no short of indie comedies with quirky sensibilities. Strangely enough, Weather Girl fits into both categories without fully fitting into either. That’s because with all the indie sensibilities that it carries, it’s still the same old stock romantic comedy formula we’ve seen time and time again.

Headstrong Sylvia (Tricia O’Kelley) loses it on-screen during her Wacky Weather Girl segment after finding her co-worker Sherry’s (Kaitlin Olson) panties in her live-in boyfriend and fellow colleague’s (Mark Harmon) dressing room. Unhirable in her profession, she is forced to start over by crashing with her brother and waiting tables until she gets back on her feet. Of course, hooking up with his best friend also seems like a great idea.

It’s sort of confusing to see an indie be so formulaic. On the one hand, it’s refreshing not to have to slog through the (also formulaic) quirky overkill that most indie comedies shoot for these days. On the other, it’s difficult to justify seeing the formula play out on screen with no stars and lesser production value. Not that that’s a real stumbling block – it’s just the case that Weather Girl comes off ultimately as another average comedy.

It starts off well-intentioned enough with a fantastic monologue from Sylvia while the entire morning show demographic and her cheating cheese-faced boyfriend watch on. In true modern fashion, the Wacky Weather Girl becomes an internet sensation, so while she hunts for a new job, she’s constantly reminded of her grand misstep that got her fired. Obviously there’s a lot going on here emotionally, or at least a lot of frustration. She’s a smart woman who has succumb to a moment of irrationality that finds her starting her life over in her mid-30s. She’s left the condo she and Dale shared, has no job, and therefore no health insurance, and her friends seem like total bitches obsessed with status.

The saving grace of what should be a fairly missable movie is the strength of the actors. It’s always a toss up when dealing with indies, and most of the time it’s safe to bet against the actors, but Tricia O’Kelley pulls off a few small wonders. She’s funny, sexy, and pulls together a character at what seems like the lowest point in her life. She does as well playing off of newer talent as she does veterans Jane Lynch and Jon Cryer.

She also has great chemistry with Patrick Adams who plays Byron – her character’s brother’s best friend who she ends up using sexually (just as long as they promise to not fall in love!) and, of course, falling in love with. In fact, he’s probably the most likable of the cast, bringing an infallible male character to life. There’s really no challenge there – he’s dynamic and has a strong sense of humor and his Byron has basically zero real flaws. Being a bachelor and only pulling down $30,000 a year with a small web start up doesn’t exactly count as a flaw.

If it seems like I’m torn in talking about this one, I am. The acting, the dialog and the spirit of the movie are all fantastic elements, but it’s weighed down severely by being so absolutely by the book. Right down to the Staring Off Into the Distance Thinking Shots that come after the couple have their big fight. Writer/director Blayne Weaver’s sensibilities are just plain more mainstream than indie. Someone needs to hand him a bigger budget and a semi-popular television star to work with.

Although I will say that the refreshing factors that lift this film back up out of the Skip Pile have to do solely with the way they treat the main character. Her main flaw is that she has a misplaced value system when it comes to prestige over passion (both in her work and in her life). That, like everything else in the film, is pretty standard, but instead of having her life come to fruition when she falls in love, she really figures everything out when she learns a powerful lesson about her job. In that sense, the movie is somehow less of a romantic comedy and more of a straightforward comedy about a working woman that happens to have a love interest.

They also toy around with the concept of internet fame – specifically the magic of video sites. It’s played as a plot motivator instead of being utilized to the fullest comedic potential, but it’s still fun all the same.

It’s funny, sweet, and able to charm itself beyond the heavy sameness of every other romantic comedy that comes out in a given year. Although it still looks and feels like an indie film without some of the flair of an indie, Weather Girl is still an iota more genuine than the mainstream stuff out there. Or at least, its dialog is less glossy and doesn’t come with a side of cheese.

Above all, even if the movie didn’t blow my mind, I think that its cast has a lot of potential for the future. Tricia O’Kelley has a lot of appeal, able to play vulnerable and strong in the same breath.Patrick Adams is all charisma, and he pulls of slacker adorable better than most known actors. That they are supported by a solid comedic cast helps, but those two have the potential to play some great roles in the future.

Also, check out our Round of 20 Questions with Weather Girl and “It’s Always Sunny in Philadelphia” star Kaitlin Olson, and check out the Weather Girl trailer:

Exclusive: Interview with Tanna Frederick from ‘Irene in Time’

Kevin Carr — Sat, 04 Jul 2009 17:14:56 +0000

“There’s freedom within limits.” That’s how Tanna Frederick describes working with independent film guru Henry Jaglom on the new film Irene in Time, a story of a woman trying to come to grips with the problematic relationship with her father.

Jaglom, who uses very quick, improvisational techniques in his films, offered Frederick the title role after working with her several times before in both film and theater. “With Henry’s films, you film them so quickly,” Frederick says of Jaglom’s maverick style. “There’s never really any breathing room, so you’re just living this life of this person for three weeks straight, and you’re trying to slam out the scenes and get it done.”

This style allowed Frederick to become more vulnerable as a character in the film, in which her character plays a neurotic, chronic dater in the L.A. scene. “It’s a story about fathers and daughters and how that relationship plays itself out on women’s lives and their choices regarding men – or women – throughout their lives,” Frederick says. “It’ looks at that powerful love between a father and daughter that transcends time.”

Similarly, Frederick had to draw from others’ experiences as neurotic daters in research for the film. “I more of a guy girl. I don’t play games. I’m usually the one who’ll cut it off on the first date if it’s not going to happen,” she says.

In fact, to prepare for her role, Frederick ordered a slew of dating books from Amazon. “There are all these horrible, neurotic books out there,” she says, including the inspiration for the hit film He’s Just Not That Into You. “After reading them, I was second-guessing everything I did. That helped me play a nutso on these dates because these books make you crazy.”

Frederick’s story is one of Hollywood Dreams, to quote the title of one of her first starring roles with Jaglom. An Iowa girl, she drove her Honda Civic cross country for a shot at stardom in L.A. “I broke down in Denver. Kept going. Drove 35 miles over the mountains. It was really terrifying. Slept on people’s floors while I was trying to find a waitressing job,” she says of her experience. “I did that whole thing.”

Then, while working tables in L.A., she got to know Jaglom and wooed him with a flattering letter about his film Deja Vu. “We just clicked from there,” she says. Over the years, she has been called Jaglom’s muse, having appeared in several of his films.

“Some people have called me that,” she says. “I do consider myself his muse, but I think it’s a kind of interesting relationship because I consider Henry my muse.”

Frederick realizes that in many of his films, she finds herself playing a version of Henry. “I feel that Henry and I have a great symbiotic relationship with him having a vision of what to do and me interpreting that,” she says. “That’s what we search for as actors. What personality can we glom onto.”

Frederick stars in the independent release Irene in Time, currently in limited release.

Indie Spotlight: Happy Birthday, Harris Malden

Dr. Cole Abaius — Wed, 11 Mar 2009 18:38:05 +0000

It’s going to be impossible for the Sweaty Robot crew – the masterminds behind Happy Birthday, Harris Malden – to avoid comparisons to Broken Lizard and that group’s particular body of work. They’re both comedic groups, both named by adding an adjective to something cool, and both producing absurd films that focus on strange characters. There are even some decent physical similarities between certain members of both troupes. But that’s where the comparisons should end for anyone really paying attention to what Sweaty Robot is doing.

Happy Birthday, Harris Malden is the story of a young man who has a secret that everyone knows: he paints on his facial hair. He lives in a state of arrested development after a tragic event in his childhood, and the occasion of his birthday acts as a catalyst to test his life-long friendships and the direction his life is heading.

If that doesn’t sound like comedy, it shouldn’t. But the film itself is an earnest tightrope walk between ridiculous comedy and heartfelt interpersonal drama. It’s also a fantastic look at a close community, a makeshift family that has grown together and sees itself changing. If all of this is sounding like a heavy dramatic work, keep in mind that a guy paints on wacky mustaches and beards on his face and the people around him pretend he’s not doing it. Thus, a lot of the drama is toned down, and so is a lot of the comedy in the same muted way that a lot of indie films do these days. Still, Happy Birthday is not the typical indie comedy. It’s a ridiculous premise that has its roots in a story that asks what you really do for someone when you’re friends.

The most striking quality of the movie is the cinematography. While it’s got a similar scripted feel with a subtle blend of improv that many DIY comedies have, it’s shot with incredible awareness and beautifully crafted scenes. Cinematographer Matthew Sanchez brings a keen eye to the table, having to deal with the tight areas of Philadelphia row housing and the openness of the streets of the city. His framing is near flawless throughout the film, elevating the film to a professional level – making the small budget stretch far more than any other element present in the movie.

Of course, the acting in the film is solid. As it should be. So much of the story relies on the conversations and small moments between characters. Happy Birthday shines a Waters-esque light on a neighborhood in Philadelphia, the kind of family that isn’t connected by blood. It’s built on the small hopes of progression of each character as they also grip tightly to what they’re comfortable with. If I can take the comparisons further, it’s as if Broken Lizard wrote a film and got John Waters to direct it. This movie is the best of both worlds, yet colored by the amateur trappings of a first film. However the acting in it fits into that clean category of people-being-people. The roles are all naturally brought to life without pretense or over-dramatics. The characters in this film react to the situations at hand like any normal human being would which gives the flick an added note of authenticity. Susan Slatin (who plays Grams) is especially strong at bringing a sweet, yet slightly off balance character to life in a realistic way. Even with the absurdity, the actors never overreach for laughs or point out just how ridiculous the world around them is.

Over all, the story is a really interesting one that takes a look at a world where people are trying to make everything okay all the time even when they’re not. The main protagonist (in a story without any real antagonists) is Paul Levine (played by Eric Levy), a guy who has done all he can to protect his best friend Harris (Nick Gregorio) from facing the pain behind a tragic event that happened on Harris’s birthday years and years ago. By doing so, he’s kept his friend and his family happy, but it’s come with the price tag of never being able to leave Harris’s side, and Harris being saddled with a case of arrested development – in the form of fake facial hair. Harris becomes something to be explained to the outside world, and it actively cages him from moving on with his life. Somehow, something this dramatic is tackled with incredible humor simply because of the absurd way that the psychosis manifests itself. Harris is a sweet guy, but he’s also a full-grown adult who still paints a fake, very pronounced mustache on every day.

As previously hinted at, the movie does have its share of flaws – mostly in the realm of budget and the lesson-learning process of making a first feature. It’s clear that the crew did a lot with a very small amount of money, but some tell-tale signs that it’s an indie are still there – something that might enhance the viewing experience for some while detracting for others. There are some odd editing choices from time to time, and the sub-plot is more of a clever distraction than a truly woven part of the story as a whole, but the film works on a lot of levels, and it’s to be commended for that. What the filmmakers have done here is to create a truly enjoyable film that doesn’t need a lot of bells and whistles to satisfy. Good solid acting, some amazingly professional camera work, and a quirky story set it apart as an indie that will hopefully gain some ground and pick up distribution along the way.

It would be easy to look at Broken Lizard’s first film Puddle Cruiser and make comparisons to the comedic feel and indie style that Happy Birthday, Harris Malden has. They have many differences that set them apart, but a similar spirit is there, and if that’s the case – be on the lookout for the Sweaty Robot crew to make a second movie that breaks through in a major way.

Holy Crap: The ‘Ink’ Trailer Will Melt Your Face Off

Dr. Cole Abaius — Fri, 23 Jan 2009 04:45:34 +0000

I don’t usually get blindsided by trailers – we get our fair share of publicity emails, but nothing that blows me away – but every once in a while we get something that looks truly incredible.

Check it out for yourself (in HD!):

Based solely on the trailer, it looks like Dario Argento hit up a double feature of Dark City followed by Pan’s Labyrinth and decided to make his own fairy tale. The story focuses on the kidnapping of a young girl by a mythical dark being and the group fighting to find her and bring her back. There looks to be a ton of sci-fi elements mixed in with fantasy and a touch of glass-breaking, fist-fighting action sequences.

Ink, directed by Jamin Winans, has its world premiere tomorrow evening at the Santa Barbara Film Festival (yeah, there are other festivals going on besides the Dance), and who knows – the acting might be flat or the story might be overdrawn, but judging from the trailer, I want to see more.

What do you think? Am I right to be floored?

Foreign Objects: Timecrimes

Rob Hunter — Wed, 24 Dec 2008 22:00:32 +0000

Foreign Objects travels the world of international cinema each week to look for films worth visiting. So renew your passport, get your shots, and brush up on the local age of legal consent, this week we’re heading to…

Spain!

Hector sits in his backyard while his wife, Clara, works in their garden. Spotting something in the woods behind his house, he peers through binoculars and sees a woman undressing. This obviously requires a closer look, so when his wife leaves for the grocery store, he heads into the woods hoping for another glance of the stranger’s bountiful breasts. He finds the unconscious and nude owner of those wondrous, fleshy orbs, but is soon attacked by a man with a bandaged face. Hector runs for his life and ends up at a laboratory at the top of the hill where he meets a scientist who helps him elude the mad man. Then everything goes to hell.

To reveal any more of Timecrimes‘ plot would be rude to those of you who haven’t seen the film yet, although to be honest, you’ll figure most of it for yourself pretty quickly anyway. The events in the film are evenly divided into three categories… the ones that are entirely predictable, the ones that take you by surprise, and the ones that seem to make no sense whatsoever. Some of the nonsensical actions become clear later on, even if they still seem absurdly out of place or character. There is an element of time travel in the story, and as with most time travel movies, it’s a tricky endeavor making sure all loose ends and threads are tied up neatly without leaving plot holes or inconsistencies. Unfortunately, like most other time travel stories, Timecrimes leaves at least one gaping hole behind when the end credits roll. Even with that question mark though, the plot maintains a precarious balance of simplicity and complexity.

That balance is due to the talents of writer/director Nacho Vigalondo, who also stars as Chico, the scientist at the top of the hill. Vigalondo starts with a simple conceit, and milks it with mild success for both terror and comedy. The first third of the film captures the viewer’s interest with an intriguing, albeit slightly transparent setup, before losing it’s intensity due to some questionable acting and actions on the part of Hector, played by Karra Elajalde. Scenes where Hector should be terrified and running for his life instead find him walking nonchalantly as if on a Sunday stroll. Chased by the madman through the woods, Hector pauses behind a tree before glancing out with his binoculars. Binoculars that limit the degree of your vision in the woods? Binoculars to see a man less than fifty feet away? (He does the same thing when he comes across the woman’s body… using binoculars when the very next shot reveals that he’s about twenty-five feet away from her!) And Elajalde never convinces as a confused and terrified man caught up in something beyond his control. He seems alternately put out by the events or bored by them. Barbara Goenaga actually gives the best performance of the limited cast, and I’m not just saying that because of her lovely body. She seems sincere and scared, although even her character behaves stupidly at various times.

There are little things that annoy as well like wounds that seem to ooze a foaming, frothy goo, or a minor head wound that not only requires the entire face be bandaged but that turns the entire bandage pink. The ending is somewhat inevitable but still highly unsatisfying. On the plus side, Vigalondo shows a talent for suspense in some of the early scenes, and small touches of comedy are well placed throughout the film. The film is obviously low budget, but Vigalondo does wonders with his limited cast and locations to make it seems bigger than it is. Timecrimes has (inexplicably) become a critical success, and that attention should lead to a bigger budget on Vigalondo’s next film. I look forward to what he does with more money and better lead actors, as his initial story elements seemed strong.

Timecrimes was recently acquired for a US remake, with David Cronenberg possibly attached to direct. I honestly don’t see enough material here worthy of a remake, but Hollywood has acted on lesser content before. The film is currently in limited theatrical release as part of the Six Shooter Film Series from Magnet Releasing which also includes the vastly superior Let The Right One In.

The Upside: time travel plots are always interesting; Barbara Goenaga looks quite nice naked; for each step you figure out, the movie jumps ahead one more; unexpectedly funny at times.

The Downside: amateurish acting; poorly scripted at times; some serious plot holes; unsatisfying ending; even at 88 minutes the film drags a bit in the middle.

Must See: Nine Awesome New Photos from ‘The Wrestler’

Neil Miller — Mon, 24 Nov 2008 23:41:52 +0000

Last week our own Cole Abaius had the chance to sit down with director Darren Aronofsky and actress Marisa Tomei to talk about their highly acclaimed new film The Wrestler, which is being called the resurgence of Mickey Rourke. And while we will be posting reports from those interviews soon, we’ve also scored some new photos from the film, courtesy of Fox Searchlight. Also, below the image gallery you will find the official extended synopsis for the film.

Release: December 17, 2008
Directed by: Darren Aronofsky
Written by: Robert Siegel
Produced by: Scott Franklin, Darren Aronofsky
Executive Produced by: Vincent Maraval, Agnes Mentre, Jennifer Roth
Cast: Mickey Rourke, Marisa Tomei and Evan Rachel Wood

Back in the late ‘80s, Randy “The Ram” Robinson (Mickey Rourke) was a headlining professional wrestler. Now, twenty years later, he ekes out a living performing for handfuls of diehard wrestling fans in high school gyms and community centers around New Jersey.

Estranged from his daughter (Evan Rachel Wood) and unable to sustain any real relationships, Randy lives for the thrill of the show and the adoration of his fans. However, a heart attack forces him into retirement. As his sense of identity starts to slip away, he begins to evaluate the state of his life — trying to reconnect with his daughter, and striking up a blossoming romance with an exotic dancer (Marisa Tomei) who is ready to start a new life. Yet all this cannot compare to the allure of the ring and passion for his art, which threatens to pull Randy “The Ram” back into his world of wrestling.

Director Darren Aronofsky presents a powerful portrait of a battered dreamer, who despite himself and the odds stacked against him, lives to be a hero once again in the only place he considers home – inside the ring.

The Wrestler had its North American premiere at the 2008 Toronto International Film Festival and won the Golden Lion at the 2008 Venice Film Festival. Directed by Darren Aronofsky and written by Rob Siegel, The Wrestler stars Mickey Rourke, Marisa Tomei and Evan Rachel Wood. The film was produced by Scott Franklin and Darren Aronofsky thru Protozoa Pictures. Vincent Maraval, Agnes Mentre and Jennifer Roth served as executive producers and Mark Heyman co-produced. The Wrestler will be a limited platform release starting on December 19, 2008.

The running time on this film is 105 minutes and is rated R.

Review: ‘Special’ Takes the Superhero Genre to an Odd New Place

Dr. Cole Abaius — Thu, 20 Nov 2008 15:47:34 +0000

While we’re riding high on the wave of a glut of superhero movies, it’s easy to imagine that any superhero film would be a giant-budget, CGI-fest loaded with stars interested in trading in their Oscars for Geek Cred and studio appreciation. This trend was no more apparent than earlier this year when Hancock, a giant-budget, CGI-fest loaded with stars that actually claimed to turn the hero genre on its head was released and made a disgusting amount of money without making a lot of sense.

Because of that, it was refreshing to see Special, a low-budget indie that actually does turn the genre on its head while retaining a strong sense of story and character. Without the bloated budget and endless sea of CGI, filmmakers Hal Haberman and Jeremy Passmore were free to create a truly intimate film that delivers a truly unconventional hero.

Les (Michael Rapaport) is a meter maid, pushed around in almost every facet of his life, who’s just begun a clinical trial for a new medication. When the pills affect his mind, making him believe he has super powers, he has to navigate a strange world where he’s the only one that believes in his abilities.

Rapaport carries the entire film with a strong performance that will elicit laughs from some and tears from others. The script he’s working with is subtle, and Rapaport’s Les has a quiet desperation of a man looking for something incredible in an all-too-ordinary life. In that sense, Les is a universal character – a person who hates his job, feels weak and powerless to control his own fate, who digs deep into comic books to avoid looking up at a nearly-friendless real world. In his condition, he embraces his new “powers” – a hilarious blend of misunderstanding and plain old hallucination – with gusto.

Rounding out the cast are comedy favorite Jack Kehler as Les’s doctor, Josh Peck and Robert Baker as the two brothers that run the comic book store Les heads to on break, and Paul Blackthorne as an amoral drug company executive attempting to thwart Les in order to keep him from suing the company. You’ll note that there aren’t a lot of characters, and while it certainly exposes the low-budget feel of the film from time to time, it works really well for the storyline that focuses most of its attention on Les in the first place.

The visual style and directing is straight-forward which creates an interesting atmosphere for the display of Les’s powers. They’re shown in such a matter-of-fact way, without needing a neon sign attached to every dollar spent on CGI or practicals, that it seems almost pedestrian that he can (or thinks he can) run through a wall or teleport. At the same time, it creates a cool atmosphere where the audience basically hallucinates right alongside of him, never knowing whether we’re seeing things from his drug-addled point of view or from the lens of reality.

The quiet-yet-hip tone of the film reminded me a lot of Roger Dodger, another indie film that let’s its script and acting do the talking. A cool, minimalistic soundtrack enhances the odd story of a man who’s having an extraordinary life that only he’s aware of and a very real danger that threatens to prove that he really is a worthless waste of human life.

And that’s the beauty of the film. However pathetic Les is, his life is his own, and he has to learn that he has more power than he thinks, that he’s special without being able to levitate, that he can change the world just by standing up and refusing to back down. It’s this story, this character and this lesson that sets this film apart as a much better film than Hancock – one that actually succeeds in creating a fresh look at the super hero world, and does it without the aid of piles of cash, blockbuster star power or endless studio hand holding. Special is a solid film because it sticks to the basics – a great script, and a stellar performance by a talented lead actor.

Special is showing in limited release starting November 21st.

Indie Spotlight: Red

Rob Hunter — Wed, 05 Nov 2008 20:47:57 +0000

The plot to Red is as simple as the title. Old man has a dog, young punks kill the dog, old man wants revenge. Avery Ludlow (Brian Cox) is the old man with an old dog named Red. Three teenage hooligans come across the duo fishing in the woods, and in an instant of unprovoked cruelty old Red gets his head blown off. Ludlow buries the dog and mourns the loss but soon sets out very methodically to find the boys and hold them accountable. His initial desire isn’t one of a life for a life… he just wants justice. “What I want to know is the boy admits to what he done and is made to feel damn sorry for what he did,” he tells the father (Tom Sizemore) of two of the boys. Ludlow’s plea is calm and intentional, a man looking for an apology, but he’s sent away empty handed. (Why he would expect rational behavior from Tom Sizemore I don’t know.) He goes to the police, to the courts, and even to the press, but justice remains out of reach. Then Brian Cox gets angry…

What follows is, at times, a taut back and forth between a sad but determined old man and a family of rich but dysfunctional bastards. Like a miniature version of Steven Spielberg’s Munich, the two sides trade punches back and forth almost from beginning to end, escalating to a final conflagration that seems both excessive and underwhelming. We learn a lot about Avery’s motivation, why Red was so important to him, why he may have a deep-seated issue with the lies of youth, and why this issue is one he simply refuses to back down from. But we know next to nothing about the family he finds himself battling. What has made them so powerful, why are the father and son so maniacal, and what’s really happening to the boys’ mother behind closed doors? They become cardboard villains early on and never truly gain a life. Luckily the film’s pace chugs forward without pause, leaving little time to ponder the motivation of one family’s evil leanings.

Red’s low budget does shows in a few scenes. Maybe “shows” isn’t the right word as it’s the absence of visuals that belies the film’s independent roots. A building burns to the ground, but we see only a reflection of flames in a car’s windshield. A truck flips and crashes after a chase, but we see only the vehicle sitting on its side after the fact. These missing action scenes are obvious, but they don’t harm the film too much in the end. What’s not missing is a strong and touching lead performance from Cox, who gives the film both its heart and its fire. The supporting roles are a mixed bag, but there are some standouts. Noel Fisher plays Danny, the boy with the mean streak, and is extremely convincing as an asshole with a temper. Other worthwhile performances include Kyle Gallner as the sole teen with a conscience, a short cameo by Robert Englund as one of the boy’s white trash father, and an almost unrecognizable Ashley Laurence (Hellraiser) as the boys’ abused mother. And of course Tom Sizemore is… crazy-eyed Tom Sizemore.

Like I said above, Red is a simple movie, but simple doesn’t necessarily mean bad. Brian Cox imbues Ludlow with heart and intelligence, and he makes this revenge tale one of methodical resignation rather than impulsive reflex. Cox plays evil more often than not, so it’s nice to see him bring his character skills to a role we can root for. The film is based on a book by Jack Ketchum, known more for his visceral tales of women trapped in basements then for character pieces cloaked in the narrative of revenge. If you’re looking for the next Death Wish, or even Death Sentence, Red is not the film for you. But if you like your revenge served red with a side of heart and pathos, then give Red a chance. Check out the film’s trailer below.

Red was released on DVD by Magnolia Pictures last month, and includes an interview with Cox along with some deleted scenes.

The Upside: Strong performances, especially from Brian Cox; low-key take on the revenge theme; oddly touching at times; cameos from Englund and Laurence are always a good thing

The Downside: Obvious budget limitations restrain several action scenes; unanswered questions behind the antogonists’ motivations; dramatic ending is underwhelming, and particularly sappy ending is not a tonal fit for everything that came before

Indie Spotlight: Derrick Comedy’s Mystery Team

Conrad Rothbaum — Wed, 15 Oct 2008 16:00:24 +0000

You know that feeling where you laugh so much you are overcome with fatigue?

About ten months ago, Derrick Comedy posted one last video on their website (the memorable skit “Winks”) and then bowed out of making Internet videos until further notice. The first few months were difficult: I needed my fill of fresh skits saturated with dark humor and no boundaries. Every week I would painfully check the site to see if maybe perhaps possibly they had posted another three minute comedy nugget—and every week I would be experience sadness and regret as Donald Glover’s manic eyes stared at me from the icon of “Winks.” Eventually my painful withdrawal subsided, and when they posted a note saying that they had taken a break from making internet-videos to shoot Mystery Team, their first feature length movie, all I could muster was mild interest. It was only when I reserved tickets to their improv performance at the Upright Citizens Brigade theater in New York last week that my enthusiasm in Derrick was renewed.

Watching the trio perform on Saturday was a treat—engrossing and funny, as expected. But the real prize came when, after the show, we were invited to stay for the first test screening of Mystery Team– and the movie was pretty damn good.

The trailer will give you an idea of the plot, but for those opposed to youtube, the story follows a team of kid-detectives who solve low-intensity neighborhood mysteries (“Who stuck their finger in Mrs. Samson’s pie?”), only the kid-detectives aren’t really kids anymore—they’re high school seniors, and the mystery solving routine is no longer cute. 90% of the comedy is milked from one-liners about their sexual inexperience and hapless naivete (Dominic Dierkes masters the art of the one-liner here with countless perfect deliveries of stupid, innocent comments). The story kicks into gear when the gang receives a commission to find out who killed a small girl’s parents, and their investigation takes them into hobo-hangouts, sleazy strip clubs, a drug dealer’s den and a criminal corporation.

While I just briefly outlined the plot, don’t think that the story is the main selling point of the film. The fact of the matter is that the movie is genuinely hilarious. Mystery Team is filled with plenty of shocking and irreverent jokes. Its humor is often offensive, inane and balls-out—but almost always hysterical. The characters are perfectly constructed—they are shallow enough that you won’t take them seriously, but rich enough that you root for them. The entire screenplay is a balancing act that gracefully and delicately supports both the group’s ludicrous sense of humor and a plot that is engrossing enough to keep everyone’s attention for 90 minutes or so. The script truly succeeds in that it is an actual mystery story complete with danger, suspense and clues while also keeping you overwhelmed with laughter at its cynicism.

Here’s hoping for a release date for Mystery Team and more goddamn Internet videos. I need my next fix.

Mickey Rourke Makes His Oscar Bid in Two ‘Wrestler’ Clips

Neil Miller — Mon, 13 Oct 2008 16:49:46 +0000

People who drink lattes and know things about “film” have been all abuzz about Mickey Rourke’s performance in Darren Aronofsky’s The Wrestler ever since it made its debut last month in Toronto. Since then, it appears that everyone else on the web has come on board as well. And despite the fact that we’ve not yet seen the movie for ourselves, we are going to agree that Rourke is a favorite to be nominated for an Oscar for his performance as Randy ‘The Ram’ Robinson. What can I say, we love to conform from time to time.

Either way, we’ve got some clips, courtesy of Slashfilm, that may or may not help you form your own opinion about Rourke’s performance. While we can see clearly that they will require the context of the film in order to be really moving, they are still worth watching. First up is a wrestling scene that comes during the final act of the film. It shows Rouke’s ‘Ram’ fighting a wrestler known as ‘The Ayatollah’. And as The Playlist explains, The Ayatollah is based on the WWF’s The Iron Shiek, who was popular during the mid-80s, whereas Rourke’s character is modeled after Randy ‘Macho Man’ Savage. Have a look for yourself below.

Next up is the moment in the film that many people are calling Rourke’s Oscar moment. It shows Rourke’s character having an emotional discussion with his daughter, played by Evan Rachel Wood, who is also receiving a little bit of buzz as well. Have a gander below.

The Wrestler will be in theaters on December 19th. It is currently playing at the NY Film Festival. As well, you can check out some clips from the film’s NYFF Press Conference over on Fox Searchlight’s website.

Indie Spotlight: M.K. Asante, Jr.’s The Black Candle

Maggie Van Ostrand — Thu, 02 Oct 2008 08:30:49 +0000

The Black Candle is about belonging. A mesmerizing indie documentary embodying the search for commonality in the African American community, The Black Candle might have become a confluence of diverse influences, but in the hands of award-winning writer-director-producer, M.K. Asante, Jr., the story of Kwanzaa becomes an unforgettable tale of the joyous coming together of a people within a people.

When asked if they knew what Kwanzaa was, comments among the young interviewed across the U.S., Africa, Europe and the Caribbean, ranged from “It’s Christmas,” to “It’s about love,” to “I just don’t know. What is it?” In the film itself, the late, brilliant New York writer, James Baldwin, says, “There are days … when you wonder what your role is in this country and what your future is in it.”

25-year-old author-filmmaker-professor M.K. Asante, Jr. answers that question by taking us into another world, a world of love, art, jubilance, dedication, pride and struggle.

Everyone looks for connection, some of us through family history handed down through the generations, internet searches for old friends, and genealogical quests about where we come from and answers to “Why am I here?” Until The Black Candle, it was not apparent to all of us that U.S. schools mainly teach about the history and culture of Europe, with little about Africa.

Kwanzaa was founded in 1966 by Dr. Maulana Karenga to correct that unfortunate omission. African- American yearning for such recognition is evident in the fact that, in a mere 42 years, Kwanzaa has become a worldwide celebration from December 26th through January 1st. The name comes from a Pan-African phrase meaning first fruit, a celebration of the harvest. It is a time to gather together in thanks for the creator’s bounty, commemorate the past, recommit to the highest cultural ideals, and to celebrate the Good of life, existence, family, community, culture, and the divine.

The Kwanzaa symbols of three green, three red, and one black candle represent the Principles of Unity, Self-Determination, Collective Work and Responsibility, Cooperative Economics, Purpose, Creativity and Faith. These Principles are exemplified by the non-commercialization of Kwanzaa, something no other holiday seems able to have managed.

Vibrant colors permeate The Black Candle literally, figuratively, and musically as Asante explores fact and opinion worldwide. Scholars, scientists, artists, historians, choreographers and musicians speak out (or tap out), along with students and non-conforming ordinary people, all embodying the search for common ground. Kwanzaa is it.

Narrated by Maya Angelou, produced by Ben Haaz, edited by Ted Griffis, music by Grammy-award winning team of Nnenna Freelon and Derrick Hodge, The Black Candle also features comments by Rappers stic.man (Dead Prez), Precise Science, and Chuck D (Public Enemy).

Other standout interviews from award-winning participants are Dr. Maulana Karenga, Kiri Davis (at the age of 14, she directed “A Girl Like Me”), author Amiri Baraka, poet/singer Sunni Patterson, and artist/writer Synthia Saint James.

“Documentary is a form that was created in hell,” said Sundance Lab Creative Advisor, Ra’anan Alexandrowicz. When The Black Candle is submitted there for the 2009 Festival, we’ll see if he changes his mind.

For more on the film, and to see its trailer, head over to TheBlackCandle.com

‘Battle in Seattle’ is Gripping and Intense from Start to Finish

Dr. Cole Abaius — Wed, 17 Sep 2008 15:00:28 +0000

About an hour into a red-faced yelling match, I realize that I’m not going to change my friend Sabrina’s mind. She’s intent. She wants to make a difference. She sees success and purity and nobility in The Movement and aches to be a part of it. After over an hour, I’m still no closer to understanding why. The protests and the placards all seem divisive to me, and I’ve convinced myself that The Movement is only shooting itself in its far-left foot by shouting its mantras instead of making rational arguments within the mechanism of the system. For the first time in my life, I’m the Square.

Battle in Seattle focuses on the event that made my friend want to join The Movement in the first place: The WTO protests in Seattle in 1999. Specifically, it follows an array of characters – protesters, policemen, government officials, diplomats and bystanders – as the city of Seattle descends into chaos and violence. Jay (Martin Henderson) leads a band of non-violent protesters as they block the entrance ways into the World Trade Organization’s opening meeting. Mayor Tobin (Ray Liotta) struggles to balance the freedoms of those protesters, the presence of the police force, and the safety of the city. Dale (Woody Harrelson) is a policemen assigned to the downtown streets, wanting to come home at the end of the day to his pregnant wife Ella (Charlize Theron) who has her own life thrown into upheaval by the war raging in the streets.

This is not a nice movie. Battle in Seattle is not going to hold your hand and walk you through 100 minutes telling you everything is going to be okay. Because it’s not going to be okay. After the briefest of character introductions to give a feel of the main ensemble, the film drops down into the anxiety of the morning – only to continue heightening the intensity. But tragic results don’t remain looming overhead. They come crashing down on the guilty and innocent alike.

In fact, it’s difficult to figure out who the guilty and the innocent are. For the entire first act, writer/director Stuart Townsend does a deft job of balancing the complexity of the characters so that there is no real antagonist. With politically charged subject matter, it’s impossible to maintain, but until the first tear gas falls and first truncheon hits a demonstrator in the ribs, no one is clearly the enemy. The film follows an unusual model of conflict – protester v. government, government v. itself, protester v. protester, police v. protester, media v. government and protesters v. media are all strewn together in a dizzying fashion that’s held tightly together by swift dialog and rounded characters.

But it’s not the violence that’s most gripping, not what happens to Ella or the breakdown of Mayor Tobin who is legitimately trying to do the right thing. The most poignant parts of the movie belong to Dr. Maric as played by veteran actor Rade Serbedzija. Maric is at the conference to lobby for cheaper AIDS medication in Africa – but his voice is silenced by the WTO, of course, but also by the protesters who have shut down any chance he has for a meeting to take place. When the riots begin, there are no news cameras for his news conference. There are no attendees. Serbedzija captures perfectly a man who is desperate, noble, and doomed to failure by those with good intentions.

His story punctuates the brutal lows and fleeting highs that the rest of the characters march through. It’s a story arc where everyone is fighting for something they believe in – order, freedom, corporate responsibility, geopolitical disenfranchisement – but every voice is so loud, that no one is heard. It is frustrating, but it’s a frustration to revel in, a world that Townsend and company dissolve you into in order to tell a story that’s not easy to hear.

Unfortunately, there will be a group who only sees a liberal agenda in this movie. It will most likely come from both sides – people on the right decrying it as propaganda and people on the left irresponsibly championing it as proof of The Cause. Hopefully, a much larger group in the middle will see the film for what it is – something made as honestly as possible that deals with a politically and emotionally charged event. After all, if it is indeed a “political film,” I’m not sure what the political message is. That protesting works? That managing a major city during distress is difficult? Where do the personal triumphs and tragedies fit into the political message? Clearly, there is more going on with this film.

There are a few awkward editing moments and the occasional uninteresting shot decision, but they are ultimately forgivable when witnessing the scope of the movie. They don’t hinder the movie enough to really matter. Luckily, Townsend gives the audience a break from the action to continue humanizing the characters – a good-humored story from Django (Andre Benjamin) on why he fights for the sea turtles, a quiet moment between Dale and Ella in the aftermath of the day. If not for those well-placed moments, Battle in Seattle could have been pure adrenaline and no heart.

All of these words to say something basic. Perhaps I should just scrawl it on a placard: Battle in Seattle is an indie that deserves to stand out.

It’s a strong film that forces its way into your mind. You’re probably going to cry. There are moments that are going to leave you gasping for air and moments that leave you with your mouth wide open, jaw threatening the floor. It’s the type of movie that would leave my friend Sabrina frustrated, pissed off even, probably yelling obscenities at the screen. Even I couldn’t resist couching the film in political terms, but I can say with confidence as a Square, as someone who sees protesting generally as a waste of time and effort, that this film moved me an inch down the thousand steps it will take for me to understand my friend’s point of view. If you see that inch as minuscule but worthy or if you view it as a great distance, then you’re missing the point. Whether I was moved an inch or not was not the goal of Battle of Seattle. The goal is to move the audience mentally, emotionally and to entertain – and in that, it succeeds in miles.

The Upside: Intense, humanistic ensemble work aided by strong writing and direction.

The Downside: A few minor timing issues in the editing.

On the Side: Stuart Townsend’s first film as a director.

SXSW Fave Frontrunners Gets New Poster, NYC Release

Neil Miller — Wed, 10 Sep 2008 18:41:55 +0000

One of my absolute favorite films from this year’s South by Southwest film festival, Caroline Suh’s high school election doc Frontrunners, recently got a little update on its theatrical poster, as well as some news about its upcoming NYC release. Over the past few months, I have been looking back at a lot of films that came out of Sundance and SXSW, and Frontrunners is one that continues to stand out in my mind as one of the best docs — even more-so than the much-buzzed American Teen. Suh’s engaging, incredibly endearing look at the class elections of New York’s elite Stuyvesant High School is one that really draws you in, and once it gets its claws into you, it just doesn’t let go. Much like Seth Gordon’s King of Kong: A Fistful of Quarters in 2007, it takes a very simple activity — there Donkey Kong, here school elections — and turns it into a battle of epic proportions. If you have a chance, this is definitely one of those docs that you shouldn’t miss — especially if you thought American Teen was good. This one will really knock your socks off.

As for the release info, Frontrunners will be making a 1-week stint at New York City’s Film Forum from October 15th through the 21st. Ticketing information can be found here. As well, it will be making its way into LA, Boston, Philadelphia, San Francisco, Berkeley and Denver on October 24th. To keep up with updates, I would suggest checking out Frontrunners on Facebook.

And now, the new poster. Click to enlarge.

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