Film Junk » Indie http://www.filmjunk.com Blog and Podcast Thu, 09 Feb 2012 22:09:56 +0000 http://wordpress.org/?v=2.9.2 en Sundance 2012: Bones Brigade: An Autobiography Review http://www.filmjunk.com/2012/01/27/sundance-2012-bones-brigade-an-autobiography-review/ http://www.filmjunk.com/2012/01/27/sundance-2012-bones-brigade-an-autobiography-review/#comments Fri, 27 Jan 2012 22:28:15 +0000 Josh http://www.filmjunk.com/?p=70157 In his break-out documentary, Dogtown and Z Boys, director Stacy Peralta told us the story of how he and his friends turned skateboarding from a goofy novelty for dorks and children into an extreme sport. Now, with Bones Brigade: An Autobiography, Peralta shows us how the next generation of skaters (that he personally scouted, coached, and sponsored) turned skateboarding into a worldwide phenomenon. Prepare yourselves for 90 minutes of fluorescent t-shirts and Flock of Seagulls haircuts. Like most historical docs, Bones Brigade is driven by talking heads and archival footage, but there is such an incredible array of amazing archival footage here, much of it from Peralta's own personal collection, that the film is never dull. What is surprising about the footage, most of it culled from old VHS tapes, is the athletic and technical level the Bones Brigade skaters were at so early on. These guys, particularly Rodney Mullen and Tony Hawk, were often doing tricks that wouldn't be popularized until nearly a decade later. It is truly incredible how influential they guys were on the world of skateboarding. From the most fundamental skateboarding tricks, to the first-ever skate videos, to a keen eye toward marketing that made skateboarding into a viable business, most of what we know as skateboarding today can be traced back to Peralta and his crew. As Bones Brigade team member Lance Mountain says in the film, "We pioneered the way to make money at skateboarding." Despite their success, these guys weren't at all cynical. They didn't party their money away. They weren't interested in the fame. For each of them, skateboarding represented a way out of the tough circumstances that they were raised in. A destitute immigrant kid, born with scoliosis, named Steve Cabellero. A rich white kid, socially stunted by emotionally abusive parents, named Rodney Mullen. A scrawny nerd who was bullied relentlessly, even by other skateboarders, named Tony Hawk. All of them skateboarding prodigies. For nostalgia geeks, like myself, who grew up with Powell/Peralta posters on my wall and a board under my feet, the film is both a trip down memory lane and a surprisingly different point of view as to exactly what went down all those years ago. But, for outsiders, the film is a tale of losers who banded together and went out to create something new that they could be winners at. Peralta, himself, was the guiding force in all of this, a key figure without whom none of it would have happened. And so, while this film is sure to be labeled a vanity project by some, there is really nobody better to tell this story than Stacy Peralta. Now, I will say that the film doesn't have quite as stylish a look as some of Peralta's other films. Part of that is simply because the history lesson animations, 2D graphic photos, and beautiful Super 8 footage of Riding Giants and Dogtown and Z Boys just isn't necessary here. All of that is replaced by the aforementioned bad VHS footage, and so there is an obvious switch in aesthetic. It's not a problem for the film, and Peralta definitely embraces the look of the time (the film actually starts with a title card that reads "This movie takes place in the 80s"), but it does have the unfortunate overall effect of feeling less polished than Peralta's previous work. And the film does have a few problems. The two lowest points of the film are a largely un-motivated weepy montage that features Peralta and Cabellero sniffling about how good they had it (I overheard one festival-goer say that they never want to see a director crying in his own movie again) and the unneeded outsider opinions chiming-in to tell us why these guys were so great (especially egregious were appearances from people like Ben Harper and Fred Durst--who cares what they think?). For some, this will be just another skateboarding movie, but for me, Bones Brigade is an instant classic. Peralta brings a lot of love for his team and the sport of skateboarding to the table. He raised these kids, though he was still a kid himself, and skateboarding was his whole life. Peralta's passion is palpable and his hand as a director is always present. There is more than enough nostalgia here to satisfy any child of the '80s (I involuntarily yelped at the mention of Gleaming the Cube) but there is plenty for newcomers as well. Whether you want to dig into the compelling emotional backstories of Lance Mountain, Rodney Mullen, and Tony Hawk or just figure out where the heck pop culture staples such as The X Games and Tony Hawk's Boom Boom Huck Jam originated, Bones Brigade: An Autobiography is worth a watch. -- Josh You can check out my interview with Stacy Peralta from Sundance 2012, coming up on a future episode of The Documentary Blog Podcast.

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]]> In his break-out documentary, Dogtown and Z Boys, director Stacy Peralta told us the story of how he and his friends turned skateboarding from a goofy novelty for dorks and children into an extreme sport. Now, with Bones Brigade: An Autobiography, Peralta shows us how the next generation of skaters (that he personally scouted, coached, and sponsored) turned skateboarding into a worldwide phenomenon. Prepare yourselves for 90 minutes of fluorescent t-shirts and Flock of Seagulls haircuts. Like most historical docs, Bones Brigade is driven by talking heads and archival footage, but there is such an incredible array of amazing archival footage here, much of it from Peralta's own personal collection, that the film is never dull. What is surprising about the footage, most of it culled from old VHS tapes, is the athletic and technical level the Bones Brigade skaters were at so early on. These guys, particularly Rodney Mullen and Tony Hawk, were often doing tricks that wouldn't be popularized until nearly a decade later. It is truly incredible how influential they guys were on the world of skateboarding. From the most fundamental skateboarding tricks, to the first-ever skate videos, to a keen eye toward marketing that made skateboarding into a viable business, most of what we know as skateboarding today can be traced back to Peralta and his crew. As Bones Brigade team member Lance Mountain says in the film, "We pioneered the way to make money at skateboarding." Despite their success, these guys weren't at all cynical. They didn't party their money away. They weren't interested in the fame. For each of them, skateboarding represented a way out of the tough circumstances that they were raised in. A destitute immigrant kid, born with scoliosis, named Steve Cabellero. A rich white kid, socially stunted by emotionally abusive parents, named Rodney Mullen. A scrawny nerd who was bullied relentlessly, even by other skateboarders, named Tony Hawk. All of them skateboarding prodigies. For nostalgia geeks, like myself, who grew up with Powell/Peralta posters on my wall and a board under my feet, the film is both a trip down memory lane and a surprisingly different point of view as to exactly what went down all those years ago. But, for outsiders, the film is a tale of losers who banded together and went out to create something new that they could be winners at. Peralta, himself, was the guiding force in all of this, a key figure without whom none of it would have happened. And so, while this film is sure to be labeled a vanity project by some, there is really nobody better to tell this story than Stacy Peralta. Now, I will say that the film doesn't have quite as stylish a look as some of Peralta's other films. Part of that is simply because the history lesson animations, 2D graphic photos, and beautiful Super 8 footage of Riding Giants and Dogtown and Z Boys just isn't necessary here. All of that is replaced by the aforementioned bad VHS footage, and so there is an obvious switch in aesthetic. It's not a problem for the film, and Peralta definitely embraces the look of the time (the film actually starts with a title card that reads "This movie takes place in the 80s"), but it does have the unfortunate overall effect of feeling less polished than Peralta's previous work. And the film does have a few problems. The two lowest points of the film are a largely un-motivated weepy montage that features Peralta and Cabellero sniffling about how good they had it (I overheard one festival-goer say that they never want to see a director crying in his own movie again) and the unneeded outsider opinions chiming-in to tell us why these guys were so great (especially egregious were appearances from people like Ben Harper and Fred Durst--who cares what they think?). For some, this will be just another skateboarding movie, but for me, Bones Brigade is an instant classic. Peralta brings a lot of love for his team and the sport of skateboarding to the table. He raised these kids, though he was still a kid himself, and skateboarding was his whole life. Peralta's passion is palpable and his hand as a director is always present. There is more than enough nostalgia here to satisfy any child of the '80s (I involuntarily yelped at the mention of Gleaming the Cube) but there is plenty for newcomers as well. Whether you want to dig into the compelling emotional backstories of Lance Mountain, Rodney Mullen, and Tony Hawk or just figure out where the heck pop culture staples such as The X Games and Tony Hawk's Boom Boom Huck Jam originated, Bones Brigade: An Autobiography is worth a watch. -- Josh You can check out my interview with Stacy Peralta from Sundance 2012, coming up on a future episode of The Documentary Blog Podcast.

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]]> http://www.filmjunk.com/2012/01/27/sundance-2012-bones-brigade-an-autobiography-review/feed/ Kevin Smith’s SModcast Pictures to Distribute Other People’s Films http://www.filmjunk.com/2012/01/26/kevin-smiths-smodcast-pictures-to-distribute-other-peoples-films/ http://www.filmjunk.com/2012/01/26/kevin-smiths-smodcast-pictures-to-distribute-other-peoples-films/#comments Thu, 26 Jan 2012 14:25:24 +0000 Sean http://www.filmjunk.com/?p=70025 It was almost exactly a year ago that Kevin Smith announced at Sundance that he would self-distribute Red State by personally taking it on tour across the U.S. It's clear that, thus far, the move hasn't torn down the Hollywood system or really changed how anyone else does business, but it did allow him to make a profit with Red State and got him plenty of attention for a movie that arguably didn't really deserve it. Now he is announcing what appears to be the next stage in his master plan to eventually retire from filmmaking: he will begin to release other people's movies through his "Kevin Smith and SModcast Pictures Presents" label with the help of Canadian distributor Phase 4. They will distribute up to twelve films per year via traditional and digital methods, with four of them being given the live tour treatment accompanied by Smith himself. Here is what Smith had to say about the deal:
"I had the most fun I’ve ever had in my entire career touring Red State last year... Watching the movie with an enthusiastic audience and then doing a longer Q&A than the flick itself, jumping on the tour bus and waking up in another city where we’d do it all over again – it felt less like boring ol’ film exhibition and more like punk rock. We learned (and made) lots touring Red State, so now, SModcast Pictures wants to put that experience to good use for other films and filmmakers on smaller road shows for their flicks. We’ll do four or five cities per film, where I’ll intro the movie and do a Q&A with the filmmakers after the screening. At SModcast Pictures, we aim to be the Island of Misfit Toys for flicks!"
Obviously the movies will also benefit from promotion via Kevin Smith's vast podcast network and online radio station. I'm pretty curious to see the kinds of films that Smith will be championing, although if it's anything like the indie flicks he distributed through View Askew like Drawing Flies and Vulgar, I don't think I'm that interested. Still, I think the man is smart enough to diversify and pick projects that he will be able to sell to his fans. On the other side of the coin, however, I'm wondering how many filmmakers will want to attach themselves to Kevin Smith. It seems like it could be both a blessing and a curse. In other Kevin Smith news, on February 2nd he is doing a live episode of Jay & Silent Bob Get Old followed by a Q&A that will be broadcast to theatres across North America called Kevin Smith: Live from Behind. He also has a new book coming out in March called Tough Shit: Life Advice from a Fat, Lazy Slob Who Did Good and his reality show Comic Book Men premieres on AMC on Feb. 12th. What do you think, is this announcement a good move for his career?

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]]> It was almost exactly a year ago that Kevin Smith announced at Sundance that he would self-distribute Red State by personally taking it on tour across the U.S. It's clear that, thus far, the move hasn't torn down the Hollywood system or really changed how anyone else does business, but it did allow him to make a profit with Red State and got him plenty of attention for a movie that arguably didn't really deserve it. Now he is announcing what appears to be the next stage in his master plan to eventually retire from filmmaking: he will begin to release other people's movies through his "Kevin Smith and SModcast Pictures Presents" label with the help of Canadian distributor Phase 4. They will distribute up to twelve films per year via traditional and digital methods, with four of them being given the live tour treatment accompanied by Smith himself. Here is what Smith had to say about the deal:
"I had the most fun I’ve ever had in my entire career touring Red State last year... Watching the movie with an enthusiastic audience and then doing a longer Q&A than the flick itself, jumping on the tour bus and waking up in another city where we’d do it all over again – it felt less like boring ol’ film exhibition and more like punk rock. We learned (and made) lots touring Red State, so now, SModcast Pictures wants to put that experience to good use for other films and filmmakers on smaller road shows for their flicks. We’ll do four or five cities per film, where I’ll intro the movie and do a Q&A with the filmmakers after the screening. At SModcast Pictures, we aim to be the Island of Misfit Toys for flicks!"
Obviously the movies will also benefit from promotion via Kevin Smith's vast podcast network and online radio station. I'm pretty curious to see the kinds of films that Smith will be championing, although if it's anything like the indie flicks he distributed through View Askew like Drawing Flies and Vulgar, I don't think I'm that interested. Still, I think the man is smart enough to diversify and pick projects that he will be able to sell to his fans. On the other side of the coin, however, I'm wondering how many filmmakers will want to attach themselves to Kevin Smith. It seems like it could be both a blessing and a curse. In other Kevin Smith news, on February 2nd he is doing a live episode of Jay & Silent Bob Get Old followed by a Q&A that will be broadcast to theatres across North America called Kevin Smith: Live from Behind. He also has a new book coming out in March called Tough Shit: Life Advice from a Fat, Lazy Slob Who Did Good and his reality show Comic Book Men premieres on AMC on Feb. 12th. What do you think, is this announcement a good move for his career?

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]]> http://www.filmjunk.com/2012/01/26/kevin-smiths-smodcast-pictures-to-distribute-other-peoples-films/feed/ Shame Review http://www.filmjunk.com/2011/12/09/shame-review/ http://www.filmjunk.com/2011/12/09/shame-review/#comments Fri, 09 Dec 2011 23:29:29 +0000 Colin http://www.filmjunk.com/?p=68002 Sex without the pleasure — and you thought starving to death in an Irish prison was rough. Following Hunger, director Steve McQueen's new collaboration with Michael Fassbender is a similarly self-destructive character study. Shame stars the latter as Brandon Sullivan, a sex-addicted New York businessman whose explicit lifestyle is threatened by the surprise arrival of his orphaned sister (Carey Mulligan). Loaded with full-frontal male and female nudity and graphic depictions of sex, the NC-17 rated flick may not be coming to a theater near you. Far from crass or exploitative, however, McQueen's film succeeds in making Brandon's many lascivious liaisons feel obligatory rather than erotic. Shame is Requiem for a Dream for sex. A gorgeously shot but emotionally upending orgy late in the film drives home the utter desperation of the act in a prolonged close up on Brandon's contorted face. Excited yet? McQueen's flirted with minimalism before. Smack dab in the middle of Hunger is a seventeen and a half minute static shot in which Fassbender's character dialogues with a priest. While it showcases two terrific performances, such laissez-faire filmmaking techniques do little for me. Shame likewise features long, deliberate takes, but McQueen's evolution as a director is apparent from his dynamic use of the frame. For example, during a dinner date between Brandon and his coworker (Nicole Beharie), a subtle camera push-in (from the wide restaurant interior, bustling with the comings and goings of patrons and waiters, to an intimate two shot) keeps the emphasis on the performances without needlessly drawing attention to the process. It's the rare circumstance where more is actually less. Conversely, the extreme close up of Carey Mulligan's face when she performs a heart-wrenching rendition of "New York, New York" works because she fills the entire frame. By comparison, the aforementioned sequence in Hunger is visually flabby, full of superfluous space. But Shame isn't just a technical triumph — even more compelling is what's in the abstract. Fassbender's alluringly enigmatic portrayal of his volatile character is the centerpiece of a complex, cerebral story. Brandon carries his addiction like a ticking time bomb in his breast pocket, and things get particularly uncomfortable with his vulnerable (and oddly familiar) sister around. Their relationship adds a grimy layer of squeamish tension to the film. Unhappiness manifests itself in many shapes in Shame, from Brandon's insatiable carnal appetite to the loneliness of the women in his life. Incapable of transcending their physical connections, the characters share sex or blood, but don't understand each other or strive to communicate better. The result is intercourse that frequently comes across as dehydrating, disgusting, or dehumanizing. Sometimes all three! Shame isn't without its moments of levity. McQueen's subtle humor saves him from slipping into the mire of downbeat melodrama. James Badge Dale plays Brandon's wingman (or is it the other way around?), whose paper-thin personality and repeated drunken strikeouts never fail to conjure a smirk. Also, I'm not sure there's a world where getting caught masturbating isn't at least a little funny. But leave it to Steve McQueen and Michael Fassbender to make it captivating too. The culmination of lesser successes, Shame sees both actor and director at their best. Fassbender makes Brandon's incongruities flesh (so to speak), and McQueen strikes the perfect balance between minimalistic staging and cinematic artistry. Shame is an ambitious, ambiguous film that ranks easily among the year's best. Plus, you get to see Michael Fassbender naked. There's also that. — Colin

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]]> Sex without the pleasure — and you thought starving to death in an Irish prison was rough. Following Hunger, director Steve McQueen's new collaboration with Michael Fassbender is a similarly self-destructive character study. Shame stars the latter as Brandon Sullivan, a sex-addicted New York businessman whose explicit lifestyle is threatened by the surprise arrival of his orphaned sister (Carey Mulligan). Loaded with full-frontal male and female nudity and graphic depictions of sex, the NC-17 rated flick may not be coming to a theater near you. Far from crass or exploitative, however, McQueen's film succeeds in making Brandon's many lascivious liaisons feel obligatory rather than erotic. Shame is Requiem for a Dream for sex. A gorgeously shot but emotionally upending orgy late in the film drives home the utter desperation of the act in a prolonged close up on Brandon's contorted face. Excited yet? McQueen's flirted with minimalism before. Smack dab in the middle of Hunger is a seventeen and a half minute static shot in which Fassbender's character dialogues with a priest. While it showcases two terrific performances, such laissez-faire filmmaking techniques do little for me. Shame likewise features long, deliberate takes, but McQueen's evolution as a director is apparent from his dynamic use of the frame. For example, during a dinner date between Brandon and his coworker (Nicole Beharie), a subtle camera push-in (from the wide restaurant interior, bustling with the comings and goings of patrons and waiters, to an intimate two shot) keeps the emphasis on the performances without needlessly drawing attention to the process. It's the rare circumstance where more is actually less. Conversely, the extreme close up of Carey Mulligan's face when she performs a heart-wrenching rendition of "New York, New York" works because she fills the entire frame. By comparison, the aforementioned sequence in Hunger is visually flabby, full of superfluous space. But Shame isn't just a technical triumph — even more compelling is what's in the abstract. Fassbender's alluringly enigmatic portrayal of his volatile character is the centerpiece of a complex, cerebral story. Brandon carries his addiction like a ticking time bomb in his breast pocket, and things get particularly uncomfortable with his vulnerable (and oddly familiar) sister around. Their relationship adds a grimy layer of squeamish tension to the film. Unhappiness manifests itself in many shapes in Shame, from Brandon's insatiable carnal appetite to the loneliness of the women in his life. Incapable of transcending their physical connections, the characters share sex or blood, but don't understand each other or strive to communicate better. The result is intercourse that frequently comes across as dehydrating, disgusting, or dehumanizing. Sometimes all three! Shame isn't without its moments of levity. McQueen's subtle humor saves him from slipping into the mire of downbeat melodrama. James Badge Dale plays Brandon's wingman (or is it the other way around?), whose paper-thin personality and repeated drunken strikeouts never fail to conjure a smirk. Also, I'm not sure there's a world where getting caught masturbating isn't at least a little funny. But leave it to Steve McQueen and Michael Fassbender to make it captivating too. The culmination of lesser successes, Shame sees both actor and director at their best. Fassbender makes Brandon's incongruities flesh (so to speak), and McQueen strikes the perfect balance between minimalistic staging and cinematic artistry. Shame is an ambitious, ambiguous film that ranks easily among the year's best. Plus, you get to see Michael Fassbender naked. There's also that. — Colin

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]]> http://www.filmjunk.com/2011/12/09/shame-review/feed/ 2012 Independent Spirit Award Nominees http://www.filmjunk.com/2011/11/29/2012-independent-spirit-award-nominees/ http://www.filmjunk.com/2011/11/29/2012-independent-spirit-award-nominees/#comments Tue, 29 Nov 2011 17:22:48 +0000 Sean http://www.filmjunk.com/?p=67490 December is almost here and awards seasons is finally getting underway with a number of groups announcing their nominees today including the Gotham Independent Film Awards, New York Film Critics Circle, and the Independent Spirit Awards. Of these, the Spirit Awards are probably the most significant in that they can have a small influence on the Oscars, although they usually just end up honouring a lot of the stuff that the Academy ignores. This year, however, there are quite a few well-known nominees including at least three that received a wide theatrical release (50/50, Drive and Midnight in Paris). The movies that seem to be getting the most recognition, however, are Michel Hazanavicius' The Artist and Jeff Nichols' Take Shelter. Both received five nominations, while Drive and Martha Marcy May Marlene were also recognized with four nominations each. I'm a bit surprised that Woody Allen's Midnight in Paris isn't up for Best Feature or Best Director since a lot of people are saying it could be an Oscar contender. And if you're wondering where Terrence Malick's The Tree of Life is, its $32 million budget would have disqualified it for these awards. The 2012 Independent Spirit Awards will air on IFC on Saturday, February 25th, 2012. What do you think of the nominees? Check out the full list after the jump. BEST FEATURE
  • 50/50
  • Beginners
  • Drive
  • Take Shelter
  • The Artist
  • The Descendants
BEST DIRECTOR
  • Michel Hazanavicius (The Artist)
  • Mike Mills (Beginners)
  • Jeff Nichols (Take Shelter)
  • Alexander Payne (The Descendants)
  • Nicolas Winding Refn (Drive)
BEST SCREENPLAY
  • Joseph Cedar (Footnote)
  • Michel Hazanavicius (The Artist)
  • Tom McCarthy (Win Win)
  • Mike Mills (Beginners)
  • Alexander Payne, Nat Faxon, Jim Rash (The Descendants)
BEST FIRST FEATURE
  • Another Earth
  • In the Family
  • Margin Call
  • Martha Marcy May Marlene
  • Natural Selection
BEST FIRST SCREENPLAY
  • Mike Cahill, Brit Marling (Another Earth)
  • J.C. Chandor (Margin Call)
  • Patrick deWitt (Terri)
  • Phil Johnston (Cedar Rapids)
  • Will Reiser (50/50)
JOHN CASSAVETES AWARD (Best feature made for under $500,000)
  • Bellflower
  • Circumstance
  • Hello Lonesome
  • Pariah
  • The Dynamiter
BEST FEMALE LEAD
  • Lauren Ambrose (Think of Me)
  • Rachael Harris (Natural Selection)
  • Adepero Oduye (Pariah)
  • Elizabeth Olsen (Martha Marcy May Marlene)
  • Michelle Williams (My Week with Marilyn)
BEST MALE LEAD
  • Demián Bichir (A Better Life)
  • Jean Dujardin (The Artist)
  • Ryan Gosling (Drive)
  • Woody Harrelson (Rampart)
  • Michael Shannon (Take Shelter)
BEST SUPPORTING FEMALE
  • Jessica Chastain (Take Shelter)
  • Anjelica Huston (50/50)
  • Janet McTeer (Albert Nobbs)
  • Harmony Santana (Gun Hill Road)
  • Shailene Woodley (The Descendants)
BEST SUPPORTING MALE
  • Albert Brooks (Drive)
  • John Hawkes (Martha Marcy May Marlene)
  • Christopher Plummer (Beginners)
  • John C. Reilly (Cedar Rapids)
  • Corey Stoll (Midnight in Paris)
BEST CINEMATOGRAPHY
  • Joel Hodge (Bellflower)
  • Benjamin Kasulke (The Off Hours)
  • Darius Khondji (Midnight in Paris)
  • Guillaume Schiffman (The Artist)
  • Jeffrey Waldron (The Dynamiter)
BEST DOCUMENTARY
  • An African Election
  • Bill Cunningham New York
  • The Interrupters
  • The Redemption of General Butt Naked
  • We Were Here
BEST INTERNATIONAL FILM
  • A Separation (Iran)
  • Melancholia (Denmark/Sweden/France/Germany)
  • Shame (UK)
  • The Kid With a Bike (Belgium/France/Italy)
  • Tyrannosaur (UK)
PIAGET PRODUCERS AWARD
  • Chad Burris (Mosquita y Mari)
  • Sophia Lin (Take Shelter)
  • Josh Mond (Martha Marcy May Marlene)
SOMEONE TO WATCH AWARD
  • Simon Arthur (Silver Tongues)
  • Mark Jackson (Without)
  • Nicholas Ozeki (Mamitas)
TRUER THAN FICTION AWARD
  • Heather Courtney (Where Soldiers Come From)
  • Danfung Dennis (Hell and Back Again)
  • Alma Har’el (Bombay Beach)
ROBERT ALTMAN AWARD
  • Margin Call

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]]> December is almost here and awards seasons is finally getting underway with a number of groups announcing their nominees today including the Gotham Independent Film Awards, New York Film Critics Circle, and the Independent Spirit Awards. Of these, the Spirit Awards are probably the most significant in that they can have a small influence on the Oscars, although they usually just end up honouring a lot of the stuff that the Academy ignores. This year, however, there are quite a few well-known nominees including at least three that received a wide theatrical release (50/50, Drive and Midnight in Paris). The movies that seem to be getting the most recognition, however, are Michel Hazanavicius' The Artist and Jeff Nichols' Take Shelter. Both received five nominations, while Drive and Martha Marcy May Marlene were also recognized with four nominations each. I'm a bit surprised that Woody Allen's Midnight in Paris isn't up for Best Feature or Best Director since a lot of people are saying it could be an Oscar contender. And if you're wondering where Terrence Malick's The Tree of Life is, its $32 million budget would have disqualified it for these awards. The 2012 Independent Spirit Awards will air on IFC on Saturday, February 25th, 2012. What do you think of the nominees? Check out the full list after the jump. BEST FEATURE
  • 50/50
  • Beginners
  • Drive
  • Take Shelter
  • The Artist
  • The Descendants
BEST DIRECTOR
  • Michel Hazanavicius (The Artist)
  • Mike Mills (Beginners)
  • Jeff Nichols (Take Shelter)
  • Alexander Payne (The Descendants)
  • Nicolas Winding Refn (Drive)
BEST SCREENPLAY
  • Joseph Cedar (Footnote)
  • Michel Hazanavicius (The Artist)
  • Tom McCarthy (Win Win)
  • Mike Mills (Beginners)
  • Alexander Payne, Nat Faxon, Jim Rash (The Descendants)
BEST FIRST FEATURE
  • Another Earth
  • In the Family
  • Margin Call
  • Martha Marcy May Marlene
  • Natural Selection
BEST FIRST SCREENPLAY
  • Mike Cahill, Brit Marling (Another Earth)
  • J.C. Chandor (Margin Call)
  • Patrick deWitt (Terri)
  • Phil Johnston (Cedar Rapids)
  • Will Reiser (50/50)
JOHN CASSAVETES AWARD (Best feature made for under $500,000)
  • Bellflower
  • Circumstance
  • Hello Lonesome
  • Pariah
  • The Dynamiter
BEST FEMALE LEAD
  • Lauren Ambrose (Think of Me)
  • Rachael Harris (Natural Selection)
  • Adepero Oduye (Pariah)
  • Elizabeth Olsen (Martha Marcy May Marlene)
  • Michelle Williams (My Week with Marilyn)
BEST MALE LEAD
  • Demián Bichir (A Better Life)
  • Jean Dujardin (The Artist)
  • Ryan Gosling (Drive)
  • Woody Harrelson (Rampart)
  • Michael Shannon (Take Shelter)
BEST SUPPORTING FEMALE
  • Jessica Chastain (Take Shelter)
  • Anjelica Huston (50/50)
  • Janet McTeer (Albert Nobbs)
  • Harmony Santana (Gun Hill Road)
  • Shailene Woodley (The Descendants)
BEST SUPPORTING MALE
  • Albert Brooks (Drive)
  • John Hawkes (Martha Marcy May Marlene)
  • Christopher Plummer (Beginners)
  • John C. Reilly (Cedar Rapids)
  • Corey Stoll (Midnight in Paris)
BEST CINEMATOGRAPHY
  • Joel Hodge (Bellflower)
  • Benjamin Kasulke (The Off Hours)
  • Darius Khondji (Midnight in Paris)
  • Guillaume Schiffman (The Artist)
  • Jeffrey Waldron (The Dynamiter)
BEST DOCUMENTARY
  • An African Election
  • Bill Cunningham New York
  • The Interrupters
  • The Redemption of General Butt Naked
  • We Were Here
BEST INTERNATIONAL FILM
  • A Separation (Iran)
  • Melancholia (Denmark/Sweden/France/Germany)
  • Shame (UK)
  • The Kid With a Bike (Belgium/France/Italy)
  • Tyrannosaur (UK)
PIAGET PRODUCERS AWARD
  • Chad Burris (Mosquita y Mari)
  • Sophia Lin (Take Shelter)
  • Josh Mond (Martha Marcy May Marlene)
SOMEONE TO WATCH AWARD
  • Simon Arthur (Silver Tongues)
  • Mark Jackson (Without)
  • Nicholas Ozeki (Mamitas)
TRUER THAN FICTION AWARD
  • Heather Courtney (Where Soldiers Come From)
  • Danfung Dennis (Hell and Back Again)
  • Alma Har’el (Bombay Beach)
ROBERT ALTMAN AWARD
  • Margin Call

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]]> http://www.filmjunk.com/2011/11/29/2012-independent-spirit-award-nominees/feed/ All God’s Creatures Review http://www.filmjunk.com/2011/11/16/all-gods-creatures-review/ http://www.filmjunk.com/2011/11/16/all-gods-creatures-review/#comments Wed, 16 Nov 2011 15:07:53 +0000 Shannon http://www.filmjunk.com/?p=66744 The new indie film release All God’s Creatures tells the story of fresh-scrubbed boy next-door Jon (Josh Folan), a barista by day and unconscionable serial killer by night. Jon prowls the streets of New York searching for women to slay after he leaves the coffee shop at night, and has little trouble doing so thanks to his wholesome good looks and quiet demeanor. But any horror fan knows it’s always the quiet ones you need to worry about.  Back at his apartment, Jon keeps a macabre collection of “trophies” acquired from his victims, preserved in jars and proudly displayed on shelves in his basement. Jon is indiscriminate in choosing his victims; it seems no one woman is safe from his primal urges. That is, until Delia (Jessica Kaye) walks into the coffee shop one day. Jon finds himself curiously drawn to the dark haired beauty whose bohemian attitude is the antithesis of his tightly wound persona. The two strike up an unlikely friendship that eventually goes into some dark places. I found the film to be as much a character study about two severely damaged people (Delia is a prostitute) who tentatively fall into a dysfunctional romance, as it is a film about a serial killer. There are definite nods to American Psycho (Jon chants a mantra about his favorite movies in his head when he is on the hunt), but the gritty, small budget feel of the film also reminded me of Simon Rumley’s Red White & Blue (though not as gruesome).  However, thanks to a twisty third act, the film feels wholly original. For a film produced on a shoestring budget (by Nitty Gritty studios, Sid & Nancy Productions, and NYEH Entertainment), the acting is solid. Folan makes you buy that Jon has no feelings, period. At times he shows a glint of disgust or contempt for the people around him, but mostly his eyes are cold and lifeless. He’s utterly remorseless. Kaye is a good find as Delia, who acts tough as nails, but is still a frightened child inside who has just fled her abusive stepdad.  She accepts the prostitution as what she has to do to get by, nothing more, and nothing less. Kaye is a chameleon-like in her physical appearance from scene to scene. She’s sultry and heavily made-up at times, and vulnerable and naïve looking in others. It works well for the character. Another nice surprise is the soundtrack. Des Roar's "Ted Bundy Was a Ladies Man" plays over the title sequence, and it is a perfect pairing of music for the material, with an addictive tune and oh-so-appropriate lyrics. It really starts of the movie with a fun touch. The band also contributes “Confessions of a White Widowed Male” and “How Much is too Much” to the movie. All God’s Creatures received nominations for best actress and best screenplay at the 2011 Hoboken International Film Festival, and it’s a worthy entrant in the independent thriller genre. You can purchase the DVD at www.allgodscreaturesfilm.com, and it is available streaming at IndieFlix. - Shannon

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]]> The new indie film release All God’s Creatures tells the story of fresh-scrubbed boy next-door Jon (Josh Folan), a barista by day and unconscionable serial killer by night. Jon prowls the streets of New York searching for women to slay after he leaves the coffee shop at night, and has little trouble doing so thanks to his wholesome good looks and quiet demeanor. But any horror fan knows it’s always the quiet ones you need to worry about.  Back at his apartment, Jon keeps a macabre collection of “trophies” acquired from his victims, preserved in jars and proudly displayed on shelves in his basement. Jon is indiscriminate in choosing his victims; it seems no one woman is safe from his primal urges. That is, until Delia (Jessica Kaye) walks into the coffee shop one day. Jon finds himself curiously drawn to the dark haired beauty whose bohemian attitude is the antithesis of his tightly wound persona. The two strike up an unlikely friendship that eventually goes into some dark places. I found the film to be as much a character study about two severely damaged people (Delia is a prostitute) who tentatively fall into a dysfunctional romance, as it is a film about a serial killer. There are definite nods to American Psycho (Jon chants a mantra about his favorite movies in his head when he is on the hunt), but the gritty, small budget feel of the film also reminded me of Simon Rumley’s Red White & Blue (though not as gruesome).  However, thanks to a twisty third act, the film feels wholly original. For a film produced on a shoestring budget (by Nitty Gritty studios, Sid & Nancy Productions, and NYEH Entertainment), the acting is solid. Folan makes you buy that Jon has no feelings, period. At times he shows a glint of disgust or contempt for the people around him, but mostly his eyes are cold and lifeless. He’s utterly remorseless. Kaye is a good find as Delia, who acts tough as nails, but is still a frightened child inside who has just fled her abusive stepdad.  She accepts the prostitution as what she has to do to get by, nothing more, and nothing less. Kaye is a chameleon-like in her physical appearance from scene to scene. She’s sultry and heavily made-up at times, and vulnerable and naïve looking in others. It works well for the character. Another nice surprise is the soundtrack. Des Roar's "Ted Bundy Was a Ladies Man" plays over the title sequence, and it is a perfect pairing of music for the material, with an addictive tune and oh-so-appropriate lyrics. It really starts of the movie with a fun touch. The band also contributes “Confessions of a White Widowed Male” and “How Much is too Much” to the movie. All God’s Creatures received nominations for best actress and best screenplay at the 2011 Hoboken International Film Festival, and it’s a worthy entrant in the independent thriller genre. You can purchase the DVD at www.allgodscreaturesfilm.com, and it is available streaming at IndieFlix. - Shannon

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]]> http://www.filmjunk.com/2011/11/16/all-gods-creatures-review/feed/ Martha Marcy May Marlene Review http://www.filmjunk.com/2011/11/14/martha-marcy-may-marlene-review/ http://www.filmjunk.com/2011/11/14/martha-marcy-may-marlene-review/#comments Mon, 14 Nov 2011 05:27:37 +0000 Shannon http://www.filmjunk.com/?p=66590 Director Sean Durkin makes an impressive feature film debut with the haunting story of a traumatized ex-cult member who descends into madness when she tries to return to normal life. Watching the film feels like being kicked in the gut, because Martha’s story is so harrowing to watch, and Durkin’s screenplay transgresses traditional storytelling. In a jarring, frantic opening sequence Elizabeth Olsen (playing title character Martha) commands the screen as the childlike woman we’ll watch go down a nightmarish rabbit hole for the duration of the movie. Martha contacts her estranged sister Lucy (Sarah Paulson) after fleeing a small, creepy cult led by Patrick (John Hawkes). Patrick is the perfect combination of slimy, shady, and scary, and we see in flashbacks that he used sex as a control mechanism over the hapless women in the cult. He also could turn lethal at the drop of a hat, as demonstrated in a horrible scene of mental manipulation involving a shotgun. The small clan is largely self-sufficient on a farm that is perfect for isolating the members from society. Lucy and her husband Ted (Hugh Dancy) are alarmed when Martha’s behavior radically swings from naïve to flat-out bizarre and inappropriate. It becomes clear very quickly that Martha’s grasp on reality is tenuous at best, but Martha won’t open up to them at all. Though the film is deliberately paced, Durkin’s melding of flashbacks, dream sequences, and Martha’s real-time life keeps you on your toes. It’s purposely ambiguous, particularly at the end, but I loved the film. It takes a lot for a film to make me feel sick for hours or days after viewing it, but I couldn’t quit thinking about the psychological implications of living in that cult. I do wish that we could have seen a little more background on the cult and leader, though. What attracted these women there? As far as charismatic leaders go, Patrick doesn’t seem to be a particularly smart one. He’s just vicious. I would love to have seen how and why Martha ends up there in the first place, or why any of the women did. Elizabeth Olsen is amazing as Martha, a fractured shell of a woman. It’s a brave performance, and Olsen had to be extremely vulnerable in the role, especially stepping out of her famous sisters (the Olsen twins) Hollywood shadow. And she doesn’t just step out of it; she leaps over their teenybopper performances with shocking ease. Olsen’s name will be brought up come awards time; she already won breakthrough performance at the Gotham Awards, where the film cleaned up with ensemble acting and directing awards as well. Hawkes is also a cast standout with his icy cold persona. Since Lucy and her husband are residing at a lake house when Martha comes to stay with them, the backdrop is perfect for cinematography, and the water and wilderness surrounding the house seem to have a calming effect on the earthy Martha. Her quiet scenes filmed in the lake are beautiful. It’s a nice contrast to have all that tranquility around her volatile mind, and adds another layer of etherealness to the film, along with the dream sequences. Even if you don’t love the movie, you won’t soon forget it. This is one of my favorites of the year. - Shannon

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]]> Director Sean Durkin makes an impressive feature film debut with the haunting story of a traumatized ex-cult member who descends into madness when she tries to return to normal life. Watching the film feels like being kicked in the gut, because Martha’s story is so harrowing to watch, and Durkin’s screenplay transgresses traditional storytelling. In a jarring, frantic opening sequence Elizabeth Olsen (playing title character Martha) commands the screen as the childlike woman we’ll watch go down a nightmarish rabbit hole for the duration of the movie. Martha contacts her estranged sister Lucy (Sarah Paulson) after fleeing a small, creepy cult led by Patrick (John Hawkes). Patrick is the perfect combination of slimy, shady, and scary, and we see in flashbacks that he used sex as a control mechanism over the hapless women in the cult. He also could turn lethal at the drop of a hat, as demonstrated in a horrible scene of mental manipulation involving a shotgun. The small clan is largely self-sufficient on a farm that is perfect for isolating the members from society. Lucy and her husband Ted (Hugh Dancy) are alarmed when Martha’s behavior radically swings from naïve to flat-out bizarre and inappropriate. It becomes clear very quickly that Martha’s grasp on reality is tenuous at best, but Martha won’t open up to them at all. Though the film is deliberately paced, Durkin’s melding of flashbacks, dream sequences, and Martha’s real-time life keeps you on your toes. It’s purposely ambiguous, particularly at the end, but I loved the film. It takes a lot for a film to make me feel sick for hours or days after viewing it, but I couldn’t quit thinking about the psychological implications of living in that cult. I do wish that we could have seen a little more background on the cult and leader, though. What attracted these women there? As far as charismatic leaders go, Patrick doesn’t seem to be a particularly smart one. He’s just vicious. I would love to have seen how and why Martha ends up there in the first place, or why any of the women did. Elizabeth Olsen is amazing as Martha, a fractured shell of a woman. It’s a brave performance, and Olsen had to be extremely vulnerable in the role, especially stepping out of her famous sisters (the Olsen twins) Hollywood shadow. And she doesn’t just step out of it; she leaps over their teenybopper performances with shocking ease. Olsen’s name will be brought up come awards time; she already won breakthrough performance at the Gotham Awards, where the film cleaned up with ensemble acting and directing awards as well. Hawkes is also a cast standout with his icy cold persona. Since Lucy and her husband are residing at a lake house when Martha comes to stay with them, the backdrop is perfect for cinematography, and the water and wilderness surrounding the house seem to have a calming effect on the earthy Martha. Her quiet scenes filmed in the lake are beautiful. It’s a nice contrast to have all that tranquility around her volatile mind, and adds another layer of etherealness to the film, along with the dream sequences. Even if you don’t love the movie, you won’t soon forget it. This is one of my favorites of the year. - Shannon

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]]> http://www.filmjunk.com/2011/11/14/martha-marcy-may-marlene-review/feed/ Taylor Lautner and Gus Van Sant to Team Up for Next Film http://www.filmjunk.com/2011/11/02/taylor-lautner-and-gus-van-sant-to-team-up-for-next-film/ http://www.filmjunk.com/2011/11/02/taylor-lautner-and-gus-van-sant-to-team-up-for-next-film/#comments Wed, 02 Nov 2011 17:54:45 +0000 Sean http://www.filmjunk.com/?p=66086 In Hollywood, it's not always easy transitioning from teen heartthrob to respected actor... probably almost as hard as it is to transition to a steady acting career after being a child star. Taylor Lautner has had the great fortune of being involved in one of the biggest franchises of all time in Twilight and now there are hordes of adoring female fans who will follow him wherever he goes. But what do you do when all that wears off? His first attempt at carrying a studio film and becoming an action star didn't turn out so well; Abduction made just $27 million domestically. Now it appears that he is going for critical acclaim instead by teaming up with Gus Van Sant for a currently untitled indie drama. According to The Hollywood Reporter, Taylor Lautner is currently in the process of setting up a small budget drama with Gus Van Sant based on a New Yorker article that Lautner himself optioned. There is no word yet on what that article is about, but Lautner is said to be taking on a producer role as well. An announcement is expected soon with news on who will write the script, but since Lautner was recently spotted having dinner with Van Sant and Milk screenwriter Dustin Lance Black, I'd say he's a pretty safe bet. While this project could do wonders for Lautner's career, it does kind of make you wonder what it might mean for Gus Van Sant as well. He hasn't entirely avoided mainstream films in the past (Good Will Hunting, Psycho, Finding Forrester), and he was rumoured to be a possibility to direct Twilight: Breaking Dawn once upon a time as well. What do you think, is this a smart move for Van Sant and could Lautner still have a promising acting career ahead of him?

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]]> In Hollywood, it's not always easy transitioning from teen heartthrob to respected actor... probably almost as hard as it is to transition to a steady acting career after being a child star. Taylor Lautner has had the great fortune of being involved in one of the biggest franchises of all time in Twilight and now there are hordes of adoring female fans who will follow him wherever he goes. But what do you do when all that wears off? His first attempt at carrying a studio film and becoming an action star didn't turn out so well; Abduction made just $27 million domestically. Now it appears that he is going for critical acclaim instead by teaming up with Gus Van Sant for a currently untitled indie drama. According to The Hollywood Reporter, Taylor Lautner is currently in the process of setting up a small budget drama with Gus Van Sant based on a New Yorker article that Lautner himself optioned. There is no word yet on what that article is about, but Lautner is said to be taking on a producer role as well. An announcement is expected soon with news on who will write the script, but since Lautner was recently spotted having dinner with Van Sant and Milk screenwriter Dustin Lance Black, I'd say he's a pretty safe bet. While this project could do wonders for Lautner's career, it does kind of make you wonder what it might mean for Gus Van Sant as well. He hasn't entirely avoided mainstream films in the past (Good Will Hunting, Psycho, Finding Forrester), and he was rumoured to be a possibility to direct Twilight: Breaking Dawn once upon a time as well. What do you think, is this a smart move for Van Sant and could Lautner still have a promising acting career ahead of him?

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]]> http://www.filmjunk.com/2011/11/02/taylor-lautner-and-gus-van-sant-to-team-up-for-next-film/feed/ Fantastic Fest 2011: A Lonely Place To Die Review http://www.filmjunk.com/2011/10/02/fantastic-fest-2011-a-lonely-place-to-die-review/ http://www.filmjunk.com/2011/10/02/fantastic-fest-2011-a-lonely-place-to-die-review/#comments Mon, 03 Oct 2011 04:25:55 +0000 Shannon http://www.filmjunk.com/?p=64506 Good news for film fans, here’s a festival film scheduled to hit a screen near you in early November.  Anytime you have a thriller set in the world of mountain climbing, there’s a certain element of added suspense. The sport is fraught with its own dangers and inherent risks, making it the perfect backdrop for a film about survival. Add a few villains into the mix, and you have a real nail biter on your hands. Face it: there is no way to quickly escape a murderous villain when you are forced to scale the sheer face of a cliff with minimal equipment, so the action is absolutely agonizing to watch. A Lonely Place to Die follows a group of five friends who have convened in the Scottish Highlands for a mountain climbing adventure. Their vacation is curtailed when they make the startling discovery of a young Serbian girl buried in a cell underneath the ground.  Refusing to think about the consequences, they frantically work to extricate her from her dark tomb, and all hell breaks loose. Her captors are none too pleased that their prisoner has been freed, and begin hunting down the group of climbers and dispose of them one by one. The story becomes one of survival, with the group pitted against natural elements and cold-blooded killers. Director Julian Gilbey gives us some truly breathtaking climbing scenes, and the cinematography is gorgeous. There are lots of wide, sweeping views of the mountains, which illustrate the true isolation the protagonists face. The tension is not relegated to the climbing sequences; the group must face roaring rivers and heavily wooded areas as well, and they have a huge disadvantage to the captors who know the landscape inside and out. There are several things that set this film apart from the standard thriller fare, namely that you believe that every single person is in constant mortal danger, even the child. Most of the time the kid is off limits, but not here. Gilbey knocks off a few unexpected key players early on, so you never can predict what will happen. Most so-called thrillers are misnomers because you never feel that sense of peril. The characters are also richly developed, and behave in believable ways. The two women in the group (Melissa George and Kate Magowan) immediately feel maternal toward the girl, while the men are a little more dubious and unwilling to risk life and limb for her. The men are all about self-preservation, while the women become protectors. These characters are also resourceful and smart, not falling victim to the usual horror/thriller clichés. George is the only well-known actor in the film (Turistas, Triangle, Alias), and she portrays the strong-willed heroine Alison, who is as capable as they come. I’ve always loved George, and this is a great addition to her resume.  She has dyed her hair dark, and appears to be in top physical shape for the demanding role. The rest of the cast is quite good, but Sean Harris is particularly chilling as one of the bad guys. Though I was initially disappointed that the film didn’t have more of a horror feel to it, I quickly got over that and grew to like the action aspects of it. It’s a solid film from the UK and well worth a watch. - Shannon

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]]> Good news for film fans, here’s a festival film scheduled to hit a screen near you in early November.  Anytime you have a thriller set in the world of mountain climbing, there’s a certain element of added suspense. The sport is fraught with its own dangers and inherent risks, making it the perfect backdrop for a film about survival. Add a few villains into the mix, and you have a real nail biter on your hands. Face it: there is no way to quickly escape a murderous villain when you are forced to scale the sheer face of a cliff with minimal equipment, so the action is absolutely agonizing to watch. A Lonely Place to Die follows a group of five friends who have convened in the Scottish Highlands for a mountain climbing adventure. Their vacation is curtailed when they make the startling discovery of a young Serbian girl buried in a cell underneath the ground.  Refusing to think about the consequences, they frantically work to extricate her from her dark tomb, and all hell breaks loose. Her captors are none too pleased that their prisoner has been freed, and begin hunting down the group of climbers and dispose of them one by one. The story becomes one of survival, with the group pitted against natural elements and cold-blooded killers. Director Julian Gilbey gives us some truly breathtaking climbing scenes, and the cinematography is gorgeous. There are lots of wide, sweeping views of the mountains, which illustrate the true isolation the protagonists face. The tension is not relegated to the climbing sequences; the group must face roaring rivers and heavily wooded areas as well, and they have a huge disadvantage to the captors who know the landscape inside and out. There are several things that set this film apart from the standard thriller fare, namely that you believe that every single person is in constant mortal danger, even the child. Most of the time the kid is off limits, but not here. Gilbey knocks off a few unexpected key players early on, so you never can predict what will happen. Most so-called thrillers are misnomers because you never feel that sense of peril. The characters are also richly developed, and behave in believable ways. The two women in the group (Melissa George and Kate Magowan) immediately feel maternal toward the girl, while the men are a little more dubious and unwilling to risk life and limb for her. The men are all about self-preservation, while the women become protectors. These characters are also resourceful and smart, not falling victim to the usual horror/thriller clichés. George is the only well-known actor in the film (Turistas, Triangle, Alias), and she portrays the strong-willed heroine Alison, who is as capable as they come. I’ve always loved George, and this is a great addition to her resume.  She has dyed her hair dark, and appears to be in top physical shape for the demanding role. The rest of the cast is quite good, but Sean Harris is particularly chilling as one of the bad guys. Though I was initially disappointed that the film didn’t have more of a horror feel to it, I quickly got over that and grew to like the action aspects of it. It’s a solid film from the UK and well worth a watch. - Shannon

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]]> http://www.filmjunk.com/2011/10/02/fantastic-fest-2011-a-lonely-place-to-die-review/feed/ Fantastic Fest Opens iTunes Store, Plus Highlights from Last Year’s Festival http://www.filmjunk.com/2011/09/19/fantastic-fest-opens-itunes-store-plus-highlights-from-last-years-festival/ http://www.filmjunk.com/2011/09/19/fantastic-fest-opens-itunes-store-plus-highlights-from-last-years-festival/#comments Mon, 19 Sep 2011 13:44:07 +0000 Shannon http://www.filmjunk.com/?p=63755 Since I’m heading down to Austin for Fantastic Fest in less than a week, I thought I would write up a post with some of my recommendations from last year’s festival. Bonus-Fantastic Fest announced over the weekend that it has opened up an official shop on iTunes, making it even easier to access some of the best offerings from past festivals.  The new shop features selections from 2005-2010, and you can rent or buy the titles. Film offerings include Sin City, Wolf Creek, Bug, The Host, Pan’s Labyrinth, There Will Be Blood,  Trick ‘R Treat, The Human Centipede, 13 Assassins, Monsters and many more. Visit the Fantastic Fest iTunes page to browse the full selection. Many of the films from last year’s festival are also now available via Netflix or DVD, so you can watch them now. Keep in mind that most of these are very low budget, and I tend to give them a little more of a pass due to budget constraints. They might not look as polished as big studio releases, but I found the stories to be intriguing and fresh. After the jump, check out my thoughts on last year's Fantastic Fest line-up. A Horrible Way To Die (USA, 2010). Directed by Adam Wingard and written by Simon Barrett. Starring AJ Bowen (The House of the Devil, Hatchet 2) and Amy Seimetz (Tiny Furniture, Bitter Feast). Synopsis: An escaped murderer is in pursuit of his ex-girlfriend, who has fled to start a new life in a small town. This one really got under my skin. I love the idea of a woman who finds out that her boyfriend is a serial killer trying to put that nasty news behind her. Touches on the creepy underground of people who worship serial killers. Solid acting and a great twist. The camera work is a bit rough, but it didn’t bother me at all, because I was so enthralled with the movie. You can read my review here. Available on DVD, Blu-ray and on Netflix. I Saw The Devil (South Korea 2010). Directed by Jee-Woon Kim (A Tale of Two Sisters). Written by Hoon-jung Park. Starring Byung-hun Lee and Min-sik Choi. Synopsis: When his pregnant fiancée becomes the latest victim of a serial killer, a secret agent blurs the line between good and evil in his pursuit of revenge. I think everyone here at Film Junk is in agreement that this is an amazing movie. I know the guys saw it at TIFF last year and loved it. Brutal, punishing, haunting, and beautiful all at once. Truly not for the squeamish. For God’s sake see it. My review. Available on DVD, Blu-ray and on Netflix DVD and watch instantly. Rubber (France 2010). Written and directed by Quentin Dupieux. Starring Stephen Spinella, Roxane Mesquida and Wings Hauser. Synopsis: When Robert, a tire, discovers his destructive telepathic powers, he soon sets his sights on a desert town; in particular, a mysterious woman becomes his obsession. I know, it sounds nuts. It is, and then some. Bizarre, quirky, and funny. Read Joe’s review here. Available on DVD, Blu-ray and Netflix DVD and watch instantly. The Housemaid (South Korea 2010) Directed by Sang-soo Im. Written by Sang-soo Im (screenplay) and Ki-young Kim (characters). Starring Do-yeon Jeon, Jung-Jae Lee and Seo Woo. Synopsis: A man's affair with his family's housemaid leads to a dark consequences. This is a remake of a 1960 film of the same name. Lesson: don’t fuck (literally) with the housemaid. A young woman who is all kinds of crazy loses it after her employer embarks on an affair with her, right under his pregnant wife’s nose. Available on DVD and Netflix. Kidnapped (Secuestrados) Spain 2010 Directed by Miguel Angel Vivas. Written by Miguel Angel Vivas and Javier Garcia. Starring Guillermo Barrientos, Dritan Biba Ana Wagener, Manuela Velles and Fernando Cayo. Synopsis: Three hooded Eastern-European criminals burst into a home in a Madrid gated community, holding the family hostage in its own home, and forcing the father to empty his credit cards. Okay, that synopsis doesn’t exactly do the film justice. By far the most harrowing thing I sat through last year, and that is saying a lot. Absolutely bleak and relentless.  One internet commenter clearly got their panties in a wad over the movie and called it, “A movie by evil people for evil people.” You’ll need to go watch cute kittens and puppies on YouTube and/or scrub yourself off in the shower to shake this one off.  My review. Kidnapped had a limited release in the US in June via IFC films. Although it is not currently available, you can save it in your Netflix queue. Red White and Blue (USA 2010) Written and directed by Simon Rumley. Starring Amanda Fuller, Marc Senter, and Noah Taylor. Synopsis: In Austin, Texas, three people’s lives intertwine in a tragic way and head down a violent road to heart-rending oblivion. A gritty, authentic movie that reminded me a lot of Henry: Portrait of a Serial Killer. Noah Taylor is terrifically scary as a sad sack driven to extreme and shocking violence. My review. Available on DVD and Netflix DVD and watch instantly. Fantastic Fest takes place in Austin, Texas September 22-29. The genre festival specializes in the best in horror, sci-fi, action, fantasy and the flat-out bizarre.

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]]> Since I’m heading down to Austin for Fantastic Fest in less than a week, I thought I would write up a post with some of my recommendations from last year’s festival. Bonus-Fantastic Fest announced over the weekend that it has opened up an official shop on iTunes, making it even easier to access some of the best offerings from past festivals.  The new shop features selections from 2005-2010, and you can rent or buy the titles. Film offerings include Sin City, Wolf Creek, Bug, The Host, Pan’s Labyrinth, There Will Be Blood,  Trick ‘R Treat, The Human Centipede, 13 Assassins, Monsters and many more. Visit the Fantastic Fest iTunes page to browse the full selection. Many of the films from last year’s festival are also now available via Netflix or DVD, so you can watch them now. Keep in mind that most of these are very low budget, and I tend to give them a little more of a pass due to budget constraints. They might not look as polished as big studio releases, but I found the stories to be intriguing and fresh. After the jump, check out my thoughts on last year's Fantastic Fest line-up. A Horrible Way To Die (USA, 2010). Directed by Adam Wingard and written by Simon Barrett. Starring AJ Bowen (The House of the Devil, Hatchet 2) and Amy Seimetz (Tiny Furniture, Bitter Feast). Synopsis: An escaped murderer is in pursuit of his ex-girlfriend, who has fled to start a new life in a small town. This one really got under my skin. I love the idea of a woman who finds out that her boyfriend is a serial killer trying to put that nasty news behind her. Touches on the creepy underground of people who worship serial killers. Solid acting and a great twist. The camera work is a bit rough, but it didn’t bother me at all, because I was so enthralled with the movie. You can read my review here. Available on DVD, Blu-ray and on Netflix. I Saw The Devil (South Korea 2010). Directed by Jee-Woon Kim (A Tale of Two Sisters). Written by Hoon-jung Park. Starring Byung-hun Lee and Min-sik Choi. Synopsis: When his pregnant fiancée becomes the latest victim of a serial killer, a secret agent blurs the line between good and evil in his pursuit of revenge. I think everyone here at Film Junk is in agreement that this is an amazing movie. I know the guys saw it at TIFF last year and loved it. Brutal, punishing, haunting, and beautiful all at once. Truly not for the squeamish. For God’s sake see it. My review. Available on DVD, Blu-ray and on Netflix DVD and watch instantly. Rubber (France 2010). Written and directed by Quentin Dupieux. Starring Stephen Spinella, Roxane Mesquida and Wings Hauser. Synopsis: When Robert, a tire, discovers his destructive telepathic powers, he soon sets his sights on a desert town; in particular, a mysterious woman becomes his obsession. I know, it sounds nuts. It is, and then some. Bizarre, quirky, and funny. Read Joe’s review here. Available on DVD, Blu-ray and Netflix DVD and watch instantly. The Housemaid (South Korea 2010) Directed by Sang-soo Im. Written by Sang-soo Im (screenplay) and Ki-young Kim (characters). Starring Do-yeon Jeon, Jung-Jae Lee and Seo Woo. Synopsis: A man's affair with his family's housemaid leads to a dark consequences. This is a remake of a 1960 film of the same name. Lesson: don’t fuck (literally) with the housemaid. A young woman who is all kinds of crazy loses it after her employer embarks on an affair with her, right under his pregnant wife’s nose. Available on DVD and Netflix. Kidnapped (Secuestrados) Spain 2010 Directed by Miguel Angel Vivas. Written by Miguel Angel Vivas and Javier Garcia. Starring Guillermo Barrientos, Dritan Biba Ana Wagener, Manuela Velles and Fernando Cayo. Synopsis: Three hooded Eastern-European criminals burst into a home in a Madrid gated community, holding the family hostage in its own home, and forcing the father to empty his credit cards. Okay, that synopsis doesn’t exactly do the film justice. By far the most harrowing thing I sat through last year, and that is saying a lot. Absolutely bleak and relentless.  One internet commenter clearly got their panties in a wad over the movie and called it, “A movie by evil people for evil people.” You’ll need to go watch cute kittens and puppies on YouTube and/or scrub yourself off in the shower to shake this one off.  My review. Kidnapped had a limited release in the US in June via IFC films. Although it is not currently available, you can save it in your Netflix queue. Red White and Blue (USA 2010) Written and directed by Simon Rumley. Starring Amanda Fuller, Marc Senter, and Noah Taylor. Synopsis: In Austin, Texas, three people’s lives intertwine in a tragic way and head down a violent road to heart-rending oblivion. A gritty, authentic movie that reminded me a lot of Henry: Portrait of a Serial Killer. Noah Taylor is terrifically scary as a sad sack driven to extreme and shocking violence. My review. Available on DVD and Netflix DVD and watch instantly. Fantastic Fest takes place in Austin, Texas September 22-29. The genre festival specializes in the best in horror, sci-fi, action, fantasy and the flat-out bizarre.

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]]> http://www.filmjunk.com/2011/09/19/fantastic-fest-opens-itunes-store-plus-highlights-from-last-years-festival/feed/ Charlie Sheen to Star in Roman Coppola’s A Glimpse Inside the Mind of Charlie Swan III http://www.filmjunk.com/2011/09/09/charlie-sheen-to-star-in-roman-coppolas-a-glimpse-inside-the-mind-of-charlie-swan-iii/ http://www.filmjunk.com/2011/09/09/charlie-sheen-to-star-in-roman-coppolas-a-glimpse-inside-the-mind-of-charlie-swan-iii/#comments Fri, 09 Sep 2011 16:15:53 +0000 Sean http://www.filmjunk.com/?p=63283 Now that a new season of Two and a Half Men is officially underway without Charlie Sheen and the media circus surrounding his departure has died down, a lot of people have been wondering if some of the warlock's black magic has started to wear off. His live tour was a bit of a bust and we really haven't heard much about him since. Well, this week it appears that Sheen has booked his first major role since the meltdown, and he will be starring in Roman Coppola's next film A Glimpse Inside the Mind of Charles Swan III. The plot seems suspiciously well-suited to Sheen as it revolves around a wealthy and charming ladies man whose life starts to spiral out of control when his girlfriend dumps him. Jason Schwartzman will also co-star. Roman Coppola is, of course, the son of Francis Ford Coppola and brother of Sofia. His only feature film to date is CQ, an indie drama starring Jeremy Davies as the director of a '60s sci-fi film who gets pulled into the fictional world that he is creating. More recently, however, he was Wes Anderson's writing partner and second unit director for The Darjeeling Limited, in addition to helping out his father on Tetro and Youth Without Youth. I have to admit, the promise of seeing Sheen and Schwartzman together on screen already has me interested, I just hope that this isn't an example of stunt casting for the sake of irony or cheap publicity. What do you think, can Charlie Sheen mount a comeback on the big screen and will this be the movie to do it?

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]]> Now that a new season of Two and a Half Men is officially underway without Charlie Sheen and the media circus surrounding his departure has died down, a lot of people have been wondering if some of the warlock's black magic has started to wear off. His live tour was a bit of a bust and we really haven't heard much about him since. Well, this week it appears that Sheen has booked his first major role since the meltdown, and he will be starring in Roman Coppola's next film A Glimpse Inside the Mind of Charles Swan III. The plot seems suspiciously well-suited to Sheen as it revolves around a wealthy and charming ladies man whose life starts to spiral out of control when his girlfriend dumps him. Jason Schwartzman will also co-star. Roman Coppola is, of course, the son of Francis Ford Coppola and brother of Sofia. His only feature film to date is CQ, an indie drama starring Jeremy Davies as the director of a '60s sci-fi film who gets pulled into the fictional world that he is creating. More recently, however, he was Wes Anderson's writing partner and second unit director for The Darjeeling Limited, in addition to helping out his father on Tetro and Youth Without Youth. I have to admit, the promise of seeing Sheen and Schwartzman together on screen already has me interested, I just hope that this isn't an example of stunt casting for the sake of irony or cheap publicity. What do you think, can Charlie Sheen mount a comeback on the big screen and will this be the movie to do it?

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]]> http://www.filmjunk.com/2011/09/09/charlie-sheen-to-star-in-roman-coppolas-a-glimpse-inside-the-mind-of-charlie-swan-iii/feed/ Like Crazy Trailer Starring Anthon Yelchin and Jennifer Lawrence http://www.filmjunk.com/2011/08/01/like-crazy-trailer/ http://www.filmjunk.com/2011/08/01/like-crazy-trailer/#comments Tue, 02 Aug 2011 01:15:27 +0000 Joe http://www.filmjunk.com/?p=60981 Anton Yelchin (Star Trek, Terminator Salvation), Felicity Jones (Chéri, The Tempest) and Jennifer Lawrence (Winter's Bone, X-Men: First Class) star in the new indie romance, Like Crazy. The film was very well received earlier this year at the Sundance Film Festival, winning best picture and best actress. The trailer looks to be a downer of sorts, playing similar to last year's Sundance indie romance Blue Valentine with a slow symphonic cover of I Can't Help Falling In Love With You by Ingrid Michaelson playing in the background throughout the trailer. The trailer looks like Blue Valentine meets (500) Days Of Summer and there is nothing wrong with that considering I love both films. I am a fan of Anton Yelchin and most recently Jennifer Lawrence and I have heard the name Felicity Jones but have never seen anything she was ever in. It is all about presentation when it comes to these types of movies. Most of them do not deliver, even in the trailers but that is one thing the Sundance Film Festival is usually good for. Scooping up good indie dramas and I am a sucker for them. Like Crazy hits theaters on October 28th; check out the trailer after the jump and see what you think.

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]]> Anton Yelchin (Star Trek, Terminator Salvation), Felicity Jones (Chéri, The Tempest) and Jennifer Lawrence (Winter's Bone, X-Men: First Class) star in the new indie romance, Like Crazy. The film was very well received earlier this year at the Sundance Film Festival, winning best picture and best actress. The trailer looks to be a downer of sorts, playing similar to last year's Sundance indie romance Blue Valentine with a slow symphonic cover of I Can't Help Falling In Love With You by Ingrid Michaelson playing in the background throughout the trailer. The trailer looks like Blue Valentine meets (500) Days Of Summer and there is nothing wrong with that considering I love both films. I am a fan of Anton Yelchin and most recently Jennifer Lawrence and I have heard the name Felicity Jones but have never seen anything she was ever in. It is all about presentation when it comes to these types of movies. Most of them do not deliver, even in the trailers but that is one thing the Sundance Film Festival is usually good for. Scooping up good indie dramas and I am a sucker for them. Like Crazy hits theaters on October 28th; check out the trailer after the jump and see what you think.

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]]> http://www.filmjunk.com/2011/08/01/like-crazy-trailer/feed/ Nicolas Cage, Steve Carell, and Jack Black Line Up for Charlie Kaufman’s Frank or Francis http://www.filmjunk.com/2011/07/23/nicolas-cage-steve-carell-and-jack-black-line-up-for-charlie-kaufmans-frank-or-francis/ http://www.filmjunk.com/2011/07/23/nicolas-cage-steve-carell-and-jack-black-line-up-for-charlie-kaufmans-frank-or-francis/#comments Sun, 24 Jul 2011 03:49:16 +0000 Aaron http://www.filmjunk.com/?p=60401 New films from Charlie Kaufman usually build up slowly, so it makes sense that we haven't heard much about his upcoming directorial effort - until now. Entitled Frank or Francis, the movie now has Nicolas Cage and Jack Black signed on and Kaufman is currently in talks with Steve Carell to join as well. While there's little known about the film, the plot is said to center on “a volatile back and forth between a film director (Frank) and an online blogger (Francis), who takes delight in berating his cinematic talent.” It is also said to be a musical. Knowing Kaufman's work, I'm sure there's more to the story than that, and the premise should make a good launching pad for his usual themes. Frank or Fracis is currently being planned for a 2012 start. Maybe with these big names attached financing will be a bit easier than Kaufman's previous film, Synecdoche, New York. Any new project with Charlie Kaufman's name attached gets my immediate attention and this film is no different. I'm looking forward to seeing him reteam with Cage, who melded so well with Kaufman's material in Adaptation (arguably his best performance). As for Jack Black, this could be a welcome departure from his usual schtick. He's certainly demonstrated his talent before and I'm curious how Kaufman would use him. Should Steve Carell decide to join, I think he'd fit in just fine as well. Kaufman also has another project in the works right now that is being described as a political satire. He wrote the script for Spike Jonze to direct, and Warner Brothers has apparently picked it up. According to Twitch, Joaquin Phoenix recently signed on to star. What do you think of the casting for Frank or Francis, and which Charlie Kaufman project are you most looking forward to?

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]]> New films from Charlie Kaufman usually build up slowly, so it makes sense that we haven't heard much about his upcoming directorial effort - until now. Entitled Frank or Francis, the movie now has Nicolas Cage and Jack Black signed on and Kaufman is currently in talks with Steve Carell to join as well. While there's little known about the film, the plot is said to center on “a volatile back and forth between a film director (Frank) and an online blogger (Francis), who takes delight in berating his cinematic talent.” It is also said to be a musical. Knowing Kaufman's work, I'm sure there's more to the story than that, and the premise should make a good launching pad for his usual themes. Frank or Fracis is currently being planned for a 2012 start. Maybe with these big names attached financing will be a bit easier than Kaufman's previous film, Synecdoche, New York. Any new project with Charlie Kaufman's name attached gets my immediate attention and this film is no different. I'm looking forward to seeing him reteam with Cage, who melded so well with Kaufman's material in Adaptation (arguably his best performance). As for Jack Black, this could be a welcome departure from his usual schtick. He's certainly demonstrated his talent before and I'm curious how Kaufman would use him. Should Steve Carell decide to join, I think he'd fit in just fine as well. Kaufman also has another project in the works right now that is being described as a political satire. He wrote the script for Spike Jonze to direct, and Warner Brothers has apparently picked it up. According to Twitch, Joaquin Phoenix recently signed on to star. What do you think of the casting for Frank or Francis, and which Charlie Kaufman project are you most looking forward to?

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> http://www.filmjunk.com/2011/07/23/nicolas-cage-steve-carell-and-jack-black-line-up-for-charlie-kaufmans-frank-or-francis/feed/