September 2013 – Page 4 – LFM: Libertas Film Magazine

The Future is on Ice: LFM Reviews The Colony

By Joe Bendel. The future will be nasty, brutish, and snowy. To combat global warming huge weather controlling machines were invented, but tragically they got stuck on snow—or something like that. On the positive side, summers in New York have become almost bearable. Cash out your 401K’s now, because if that all weren’t bad enough, cannibalism starts to spike in Jeff Renfroe’s The Colony, which opens tomorrow in New York.

So, its pretty cold out there. Only scattershot handfuls of humanity survive in underground colonies, hoping to somehow outlast the big freeze. Given their cramped living conditions, flu has become a matter of life and death. Basically, if you cough, you are sent out to die. The overzealous Mason is the one in charge of “quarantine,” a fact that does not sit well with Sam, the sensitive handyman. He takes the issue up with Briggs, Colony 7’s commander, who inconveniently has more pressing concerns.

Their sister colony sent a distress signal, ominously followed by radio silence, so Briggs takes Sam and an easily winded teenager out to investigate. After making the arduous journey past a series of surprisingly cool looking matte paintings, the expeditionary party discovers their allied colony was over-run by a pack of cannibals. Despite descending into savagery, they prove to be dashed difficult to kill.

It is rather ironic this tale is climate catastrophe is Canadian-made, because the weather will look rather temperate to half that country. Yet, the northern location shoots, filmed at an old, mothballed Canadian NORAD facility, are what work best for Colony. Likewise, the hulking, frost-encrusted weather machines are quite striking looking. Unfortunately, the script (credited to Renfroe and three others) feels like it was cobbled together from Roland Emmerich’s slush pile.

For a derivative film, Laurence Fishburne’s performance as Briggs is largely derived from his work in the superior Event Horizon, but frankly, that is not entirely bad. Similarly, Bill Paxton recycles his “game over, man” persona for Mason, but with less successful results. Kevin Zegers and Charlotte Sullivan are pretty bland as Sam and his potential love interest, Kai, the seed archivist and computer specialist – but at least her character listens to Duke Ellington, so you have to tip your hat to that. Considering Dru Viergever’s character is only credited as “Feral Leader,” it is probably safe to assume not much of an awards campaign is being planned on his behalf. Nevertheless, he certainly looks the part.

To call The Colony a meathead movie would over-praise it. Visually, it accomplishes much with its limited resources, but never rises above mediocrity in any other criteria. Just kind of whatever (at best), it is hard to imagine anyone will pay Manhattan ticket prices to see it when The Colony opens tomorrow (9/20) in New York at the AMC Empire.

LFM GRADE: C-

Posted on September 19th, 2013 at 11:23am.

My Lucky Star: LFM Reviews Zhang Ziyi’s Sophie Returns

By Joe Bendel. It is hard for a comic book artist to navigate a Sex in the City world, especially a hopeless romantic like Sophie. At least her work provides her an outlet for her frustrations, but not a steady income. However, Sophie will finally meet her real life international man of mystery in My Lucky Star, Dennie Gordon’s stand-alone sequel to Sophie’s Revenge, which opens this Friday in New York.

Sophie is a talented artist, but the world’s worst travel agent. Her day job boss tells her so, frequently. When she wins the “My Lucky Star” sweepstakes’ luxury vacation to Singapore, her man-eating friends convince her to take the plunge. As soon as she arrives, the clumsy knockout stumbles into the arms of David Yan, who happens to be the spitting image of her comic book super spy. He also happens to be in the same line of work—a fact Sophie is painfully oblivious to.

Before long, Sophie’s attempts to pursue Yan put her smack dab in the middle of a caper involving a massive stolen diamond. It happens to be perfect for refracting a WMD laser, which is why the notorious Black Widow arms dealer is out to acquire it. Yes, she is also hot and Yan happens to have some complicated history with her. The indomitable Sophie will have to knuckle down if she is going to win the man of her dreams and save the world (or at least Bermuda).

The first domestic Chinese production helmed by an American woman (Gordon, best known for Joe Dirt and her DGA Award winning work on Tracey Takes On), Lucky incontrovertibly establishes Zhang Ziyi looks cute in a gondolier’s costume. You might have suspected as much, but here’s the proof. In fact, she has more wardrobe changes than Anne Hathaway hosting the Oscars. That is really what this film is all about: fab clothes, the picturesque opulence of Singapore and Macao, and a spot of vicarious romance.

Sophie’s Revenge was a monster hit in China, so producer Zhang’s title character is back to feed the appetite she helped create (but viewers need not be familiar with the first film to follow the second). However, for American audiences, it is rather ironic to see her playing a lovelorn klutz so soon after her exquisitely tragic, massively butt-kicking turn in Wong Kar Wai’s The Grandmaster. She is clearly versatile—and quite appealing in both very different films.

Wang Leehom, the American-born Taiwanese pop idol, is a game straight man, looking credible enough in his action sequences. Ruby Lin and Chen Yao also return from Revenge, adding attitude and sex appeal as Sophie’s BFFs. However, Terri Kwan sort of steals the show as the Black Widow.

Indeed, aside from an overbearing boss here and a henchman there, everyone in Lucky is outrageously good looking. This is definitely escapist fare. However, fans of Revenge will miss Sophie’s unapologetically macabre animated fantasies. Gordon doubles down on the slapstick humor instead, which, ironically, does not travel as well. Never particularly deep or memorable, My Lucky Star offers up plenty of sugary confections for the eye and a dash of plucky empowerment. If that suits your movie going purposes, it opens this Friday (9/20) in New York at the AMC Empire, courtesy of China Lion Entertainment.

LFM GRADE: C+

Posted on September 17th, 2013 at 11:50am.

LFM’s Govindini Murty at The Huffington Post: Talking About Women’s Roles with Director Kat Coiro of And While We Were Here

[Editor’s Note: the post below appeared yesterday at The Huffington Post.]

By Govindini Murty. It’s a welcome development to see more women directors emerging in the indie film scene and it’s my hope that this will soon translate into more women directing studio features, as well. We all know the statistics: the most recent studies reveal that women only direct 5% of the top 100 studio features – and yet in the indie film world, they direct 18% of the narrative features and 39% of the documentaries.

One indie woman director whose work I’ve enjoyed in recent years is Kat Coiro. Coiro’s latest film, the stylish, Italy-set romantic drama And While We Were Here, opens this weekend in select theaters and is also available on VOD. The film stars Kate Bosworth, Iddo Goldberg, and Jamie Blackley and features a voice-over by the great Claire Bloom.

Shot on location in beautiful southern Italy, And While We Were Here tells the tale of a neglected wife, Jane (Bosworth), who falls for a bohemian American youth, Caleb (Blackley), when her emotionally-remote viola player husband Leonord (Goldberg) is invited to perform in a concert in Naples.

The film is the latest in a tradition of stories about travelers whose lives are transformed by Italy. Bosworth and Goldberg give strong, sensitive performances as the troubled couple Jane and Leonard, while Blackley is disarmingly amusing as the Dionysian youth who disrupts everyone’s carefully ordered lives. Bloom (Jane’s Grandma Eves) provides a poignant voice-over commentary through tape-recorded interviews that recount her loves and losses during WWII.

I caught And While We Were Here at the Tribeca Film Festival in 2012 and had the chance to chat with Kat Coiro a few months later at the LA Film Festival where she was screening her charming short film Departure Date. A romantic comedy starring Nicky Whelan and Ben Feldman, Departure Date (see photo below) is the first film shot and edited entirely at 35,000 feet – an innovative effort made possible by Virgin Produced and highly worth viewing the next time you’re on Virgin Airlines.

Director Kat Coiro filming "Departure Date."

Coiro and I talked at the LA Film Festival about the importance of emotional honesty in storytelling, the joys of poetry, and the importance of creating films that honor brilliant women both past and present. The interview has been edited for length.

GM: I noticed in Departure Date and also in And While We Were Here that there’s a real romanticism to these films, that they breathe with a heartfelt, poetic spirit. What draws you to these sorts of stories?

KC: I appreciate simplicity and I find that creativity often flourishes within the constraints of doing these very small projects in a very short time – and making them something people can relate to. So I wrote both of these stories knowing I had to keep them very simple and I didn’t have time to get very flashy. You strip it down to what people enjoy: which is human connection, relationships, character-driven pieces. Continue reading LFM’s Govindini Murty at The Huffington Post: Talking About Women’s Roles with Director Kat Coiro of And While We Were Here

LFM’s Govindini Murty at The Huffington Post: Why I Love 3D Movies – And Why They’re the Future of the Cinema

[Editor’s Note: the post below appeared yesterday at The Huffington Post.]

By Govindini Murty. This may be a controversial thing to say, but I’m an unapologetic fan of 3D movies. I see 3D not as a fad, but as the wave of the future. Whether it’s in movies, the next generation of smart-phone apps, or 3D modeling and printing, the trend in all our technology is toward recreating reality with greater detail in three dimensions.

I’ll have more to say about this in a moment, but first, I wanted to let fans of 3D cinema know about a wonderful opportunity this week to see classic 3D films at the World 3-D Film Expo in Hollywood. Leonard Maltin gives high praise to this festival for offering what may be “the last opportunity” to see many classic 3D films in their original 35mm dual-projection formats, noting that “digital restorations are good but they don’t pop off the screen the way the originals do.” The World 3-D Film Expo is unspooling this week through Sunday, September 15th at the Egyptian Theatre in Hollywood.

The screening not to be missed at the World 3-D Film Expo is this Friday afternoon’s 3:30pm showing of legendary Western director Budd Boetticher’s The Wings of the Hawk (1953), with star Julie Adams in attendance. (Ms. Adams is most famous for being the star of Universal’s iconic 3D classic, Creature From the Black Lagoon. You can read an Atlantic interview Jason Apuzzo and I did with Ms. Adams about the making of Creature here.)

Julie 2 — Julie Adams in "Wings of the Hawk."

Shot in eye-popping color 3D, The Wings of the Hawk stars Julie Adams as fiery Mexican revolutionary Raquel Noriega (complete with breeches and bandoliers) in a proto-feminist role opposite an edgy miner played by Van Heflin. How many classic movie posters (see above, and the photo below) feature the heroine in a more commanding pose than the hero? If you want to meet this lovely and charming film legend in person, Ms. Adams will be present at the screening signing copies of her autobiography The Lucky Southern Star: Reflections From the Black Lagoon.

Other films to catch over the next few days of the festival include a very rare 3D screening of It Came From Outer Space (based on a story by the great Ray Bradbury), Revenge of the Creature (with a cameo by a young Clint Eastwood), and the Mexico-set gangster drama Second Chance (starring Robert Mitchum, Linda Darnell, and Jack Palance), which features stunning on-location photography. Also intriguing is Cease Fire, a Korean War drama featuring the only color 3D footage ever shot to this day during combat.

The World 3-D Film Expo is showing many of these films in the last known copies of their archival, double-system 35 mm celluloid prints, projected with dual projectors and viewed using polarized glasses. This is the way 3D films were originally meant to be seen – not with inferior anaglyphic prints made decades later using color separation, of the kind people often mistakenly identify with ’50s 3D.

Original poster for "It Came from Outer Space."

And this brings me to my larger point: with all the enjoyment to be gained by watching 3D movies both classic and contemporary, I don’t see why the technology remains so controversial. Critics repeatedly assert that 3D is a gimmick, citing as their evidence the supposedly egregious use of spear-throwing or other projectiles in the past as a reason why all 3D in the present must be condemned. (What’s wrong with throwing a spear at the screen, anyway? Or having a monster’s claw come rearing out at the audience – as in that great moment from Creature From the Black Lagoon?) Such critics would no doubt have been offended by the famous 1st century B.C. Roman mosaic of Alexander the Great, in which the charging horses and bristling spears appear to come straight at the viewer.

And while movies shot natively in 3D certainly look a lot better than those that have been converted after the fact, I still enjoy both because I like experiencing the immersive quality of a 3D image – of being made to feel like one is literally swimming in a movie, much like Ms. Adams in her famous dip in the Black Lagoon. Continue reading LFM’s Govindini Murty at The Huffington Post: Why I Love 3D Movies – And Why They’re the Future of the Cinema

LFM Reviews Closed Curtain @ The 2013 Toronto International Film Festival

By Joe Bendel. For most filmmakers of his stature, bringing two films to the international festival circuit over the last three years would be considered reasonably prolific. For Jafar Panahi, who was sentenced to a twenty year filmmaking ban by the Islamist Iranian government, it is quite extraordinary. Panahi has been awarded the Camera d’Or at Cannes, the Silver Bear for Best Director at Berlin, and the Sakharov Prize for Freedom of Thought. Although he was not allowed to return to Berlin this year, he added to his list of accolades the Silver Bear for Best Script with his latest film, Closed Curtain (trailer here), co-directed by lead actor Kambozia Partovi, which screens again tomorrow as part of the 2013 Toronto International Film Festival.

A man arrives in a fashionable villa on the Caspian Sea. The views are spectacular, but he immediately hangs heavy black fabric over the gauzy curtains, completely sealing the house off from the outside world’s prying eyes. As a screenwriter and a dog owner, he has two strikes going against him. Initially, he seems most concerned about Boy, his four legged companion. The state just renewed its campaign against “unclean” “anti-Muslim” dogs, so the television news is filled with grisly images of secret pets that have been rounded up and killed by the police. Yet, the screenwriter seems to carry his own distinctly personal secrets as well.

After shaving his head to alter his appearance, the man settles in to write his screenplay. Much to his shock, his refuge is interrupted by a young man and his suicidal sister. They claim they were chased by the police who raided their beach party, but their very presence troubles the screenwriter. Could he have been so negligent he left the door open as they claim?

Panahi established his reputation with gritty proletarian dramas, filmed out in the real world, at street level. Sadly, films like The Circle (written by Partovi) are impossible for Panahi these days, so he has moved inside for intimate works, like his protest documentary This is Not a Film and his latest collaboration with Partovi. In fact, the first two thirds of Curtain plays like an Iranian Pinter production. As the screenwriter verbally spars with his unexpected guests, darkly unsettling questions emerge. Just how did they breach his house and if she really is familiar with his case history, just what does that imply?

If viewers were not off-balance enough, Panahi himself walks into the third act, much like Rod Serling. It seems the screenwriter and the sister are his characters. They can observe Panahi tending to his mysteriously damaged beach house, but they cannot interact with him—at least not exactly.

closed curtain 2 — From "Closed Curtain."

There are pro’s and cons to the meta-turn Curtain takes. In a way, Curtain becomes a fictionalized sequel of sorts to This is not a Film, picking up on its themes and frustrations. The same sense of claustrophobia is present in Curtain, but it is expressed more acutely. Frankly, the scenes in which the occupants hold their breath as the police scour around the deceptively darkened house are so effective it seems like a bit of a shame to shift away from that micro story and Partovi’s restrained but deeply powerful performance.

Panahi’s pet iguana Igi might be telegenic in Not a Film, but Boy the Dog is probably the best animal screen performer of the year. If a distributor picks up Curtain (and somebody really ought to), his notices might rival that of Uggi in The Artist. Still, there is no doubt Curtain is a profoundly serious film, expressing the themes of confinement and oppression that hold particularly meaning for Panahi, but also have resonance for a great many Iranian citizens at large. Highly recommended, Closed Curtain screens again tomorrow night (9/15) as this year’s TIFF comes to a conclusion.

LFM GRADE: A-

Posted on September 14th, 2013 at 3:06pm.

For 9/11: LFM Reviews The Rugby Player @ NewFest 2013 in New York

By Joe Bendel. Arguably, he is the best known passenger of the most tragically famous commercial flight in American history. He was one of the heroes (yes, that is the appropriate word) who sacrificed their lives to sabotage their hijackers’ heinous plan for United flight 93. Yet, the example of Mark Bingham’s life continues to inspire Americans, beyond the fateful events culminating in that Pennsylvania field. Not content to let one moment define Bingham, Scott Gracheff presents a comprehensive and highly personal documentary portrait of the increasingly symbolic man throughout The Rugby Player (trailer here), which fittingly screens this solemn day as part of NewFest 2013 in New York.

Bingham and close friend Todd Sarner (who served as Rugby’s technical advisor) often had video cameras on-hand to record life’s highlights and lowlights as they happened. As a result, Gracheff had a wealth of candid footage of Bingham, from his middle school years up until his final weeks. Raised by his single mother, Alice Hoagland, Bingham was a dutiful son, who always tried to shield her from the worst of his meatheaded student pranks. In high school, he took to rugby like a fish to water, playing in leagues all his life. During college, he was a reserve on Cal’s championship team and was elected president of his fraternity. He was also gay, which is why Rugby screens as part of NewFest.

As an enthusiastic high school, college, and club rugby player, Bingham has become a role model for athletic GLTB community members, both in and out of the closet. As a supporter of John McCain’s 2000 presidential campaign, he has also become an inspiration to Log Cabin Republicans (a fact that does not seem to interest Gracheff much). Regardless, the film conscientiously maintains an intimate focus on Bingham and Hoagland, who tirelessly advocates for increased airline safety and GLTB rights. As a result, audiences will feel they have a very real sense of who Bingham was as an individual.

Indeed, it is critically important to document the stories of 9-11 on a personal level. Watching Rugby Player will help viewers understand the pain resulting from Bingham’s senseless murder. Then multiply that by over 3,000.

Gracheff mostly but not entirely avoids current political controversies, while handling Bingham’s still grieving friends and family with appropriate sensitivity. Although unjustly cut short, Bingham’s life was well led, easily sustaining the eighty minute documentary. tylistically straight forward and genuinely touching, The Rugby Player is recommended for those who insist on remembering and paying tribute to the lives lost on September 11th. The clear high point of this year’s NewFest, it screens tonight (9/11) at the Walter Reade Theater.

LFM GRADE: B

Posted on September 11th, 2013 at 11:42am.