Here's the latest Austin film news (and a very funny video at the end, so keep reading).
- Filmmaker Magazine has released its 2014 edition of "25 new Faces of Independent Film." The list includes Austin filmmaker Annie Silverstein, whose short Skunk won the Cannes Cinefondation award this year, and former Houstonite/filmmaker Darius Clark Monroe, whose documentary Evolution of a Criminal played SXSW and Dallas IFF.
- The Central Texas-shot horror movie Found Footage 3D wrapped shooting recently, and Austin Chronicle contributor Richard Whittaker wrote about his visit to the indie film's set. This will be the feature-film debut for writer/director Steven DeGennaro. Producers include Kim Henkel, who wrote The Texas Chain Saw Massacre, and film critic/former Austinite Scott Weinberg.
- Austin comedy Love & Air Sex (formerly The Bounceback) is trying something different to boost online sales. If you go to BitTorrent, you can download -- no, not the whole film illegally, but a legally downloadable bundle that includes a 10-minute clip as well as photos, music and the movie's Kickstarter thank-you video. The idea is that this will then entice you into buying Love & Air Sex from the film's website (not for free, but pretty darn cheaply). (via filmmaker Bryan Poyser)
- I could not possibly capture all the Boyhood reviews, articles and interviews over the past week (go read Don's review, though), but here's one important piece of news: Filmmaker Richard Linklater announced that Criterion will release the movie on Blu-ray/DVD with extras potentially including interviews taken over the 12-year production.
Over the next week, your only real duty as a film lover is to see Richard Linklater's Boyhood. Yes, it's almost three hours long. Yes, the reviews are mindblowingly great. Yes, it's the real deal. I attended last weekend's Austin Film Society Q&A screening with Linklater, Patricia Arquette and Ellar Coltrane in attendance and I'm definitely ready to see it again. It's that good.
Speaking of special screenings, AFS is bringing the SXSW hit Road To Austin (Mike's review) to the Marchesa tonight. The documentary examines how Austin became the "Live Music Capital Of The World" and features live performance footage from Kris Kristofferson, Bonnie Raitt, Delbert McClinton, Joe Ely and over 40 other artists. If that sounds up your alley, so will the Sunday afternoon screening of Tommy Hancock: West Texas Muse. Following the leader of West Texas's premiere western swing band, the film features many Texas musicians including Jimmie Dale Gilmore, Joe Ely and Lloyd Maines. Hancock lives in Austin and will be on hand for a Q&A. Thursday night's Essential Cinema brings us Ingmar Bergman's 1973 masterpiece Scenes From A Marriage. This screening will be the 169-minute theatrical version, although if you go and really enjoy it, you should track down the 295-minute television miniseries version as originally aired in Sweden.
Alamo Drafthouse Ritz has a lot of great music programming on tap again as part of this month's "The Alamo Goes To '11" feature. A new digital restoration of Stop Making Sense plays twice Saturday, with Wattstax in the mix on Saturday and Sunday afternoons and a sneak preview of the new Nick Cave documentary 20,000 Days On Earth. That is sold out at the Ritz on Sunday, but also plays at the Village and Slaughter Lane locations that afternoon, and tickets are still left at the Ritz for Music Monday. A 35mm print of John Woo's extraordinarily violent Hard Boiled screens at the Ritz on Sunday night for Tough Guy Cinema and The Complete David Lynch series enters its fourth week with a handful of Blue Velvet screenings in 35mm.
Sex Tape, a goofy new movie from director Jake Kasdan (Bad Teacher), teams Cameron Diaz and Jason Segel up again. This time, they're married parents longing for the actively passionate days of their nascent romance. The film opens with narration from mommy-blogger Annie (Diaz), who laments the loss of time and energy for sex with her husband Jay (Segel).
Hoping to shake things up, Annie suggests they make a sex tape for themselves using Jay's new iPad. And thus the trouble begins. Jay uses an app called Frankensync that syncs media on any iPad/laptop he's owned (if you're wondering, GQ checked with AppleCare and nope, it's not possible). The whole plot hinging on this fictional tech is laugh-out-loud preposterous, so Segel and Diaz deserve some credit for making it seem even slightly plausible.
The couple tries to delete the video from any iPads they've passed on to others. Their ridiculous romp leads them to the home of their best friends (Rob Corddry and Ellie Kemper) and to the mansion of the prospective buyer of Annie's blog (Rob Lowe, whose character is like Chris Traeger from Parks and Recreation, if he did coke and loved Eazy-E).
Diaz and Segel are game for whatever the script throws them, be it equal-opportunity nudity, physical comedy or acting frazzled on cocaine. There are a few sappy minutes involving a Jack Black cameo, but until that point, Sex Tape is continuously hilarious.
Ready, Set, Fund is a column about crowdfunding and fundraising endeavors related to Austin and Texas independent film projects.
We all have the habit of saying "Kickstarter campaign" as a generic term for crowdfunding, but of course that's not the only site that hosts these types of project. I don't just mean Indiegogo either. In the past, this column has highlighted Austin projects from United States Artists (Computer Chess being the one I remember) and Seed&Spark. (I particularly like United States Artists because it's curated -- no one is raising money for potato salad there.)
This month, I found a new platform (via Bryan Poyser, thanks!) called Patreon. Patreon has a slightly different model, focusing on campaigns for projects with recurring needs, like web series, blogs and podcasts. The donors -- called "patrons" -- support these projects through recurring gifts that correspond with each episode in a series, for example. Instead of giving $25 (or $250 if you're flush), you might give $5 per podcast, or $1 per blog post.
Recurring gifts are a big staple of traditional nonprofit campaigns, so finding a way to do that with artistic crowdfunding is pretty smart. It keeps donors invested in the project, and I think it will strengthen projects in the long term with a steady source of income.
It took 12 years to make Boyhood. After seeing it, it took me about 12 seconds to declare it one of the best films ever made.
That's right, gentle Slackerwood readers -- one of the best films ever made.
Read on only if you're fond of superlatives, for this review is laden with them. And Boyhood deserves every one -- it is nothing less than a monumental cinematic achievement, a movie that may redefine what is possible in the world of filmmaking. It is stunning and amazing and mesmerizing, and I could go on and on about it -- and will.
Boyhood's story isn't complicated. It follows a boy, Mason (Ellar Coltrane), and his family as he grows from age six to 18. Along the way, Mason experiences the wonders of youth as well as the heartbreaks, while his family tries to remain functional despite its dysfunction. Mason's life story isn't remarkable, but it's wonderfully told and deeply meaningful thanks to writer/director Richard Linklater's terrific script.
It's difficult to even begin to describe the phenomenal growth and activity in the craft beer industry this year, but it's evident from the number of selections on tap and on retailers' shelves that craft brewing is booming. As the number of Texas craft breweries increases, existing ones are prospering with brewery expansions and new beer offerings.
Filmmaker Mike Mann (Brewed) and host Greg Zeschuk have been documenting and sharing stories from many of these Texas breweries through their ongoing web series, The Beer Diaries. Zeschuk recently visited the brewers of Kamala Brewing at the Whip In (pictured at top), an award-winning brewpub here in Austin.
Another recent episode features the first cooperatively owned and managed brewpub in the world, Black Star Co-op Pub and Brewery, and an upcoming show takes viewers behind the scenes of the Spoetzl Brewery in Shiner. Check out one of my favorites below featuring Live Oak Brewing Company founder Chip McElroy.
In this month's TAMI Flashback, we travel to San Angelo in the Sixties. The videos may make you happy you didn't live there then.
That is, unless you raised sheep at the time, in which case San Angelo was the place to be. The small West Texas city was known as the Wool Capital of the World -- and as if this weren't exciting enough, it also hosted the Miss Wool of America Pageant!
Held annually from 1952 to 1972 and sponsored by wool industry trade groups, the Miss Wool of America Pageant was a celebration of all things wool. It also celebrated all things sexist, as 20 Miss Wools from around the country paraded around a stage in the latest wool fashions, smiling vacantly and answering dumb questions. They competed for a tiara -- doesn't every girl want one? -- a new car, a scholarship, a new wardrobe (all wool!) and the honor of being the wool industry's not-quite-a-celebrity spokesmodel for a year.
Here's the latest Austin and Texas film news.
- Central Texas filmmaker Terrence Malick's long-awaited feature, Knight of Cups, will have a limited release in US theaters later this year, although no distributor has been announced, The Film Stage reports. Actors Christian Bale and Natalie Portman star in the drama, the plot of which has been tightly guarded for years but is said to be about celebrities and excess.
- Rooster Teeth, an Austin-based production company, made Indiegogo history last week by becoming the website's highest grossing campaign with more than $2.4 million raised for its first feature, Lazer Team
- Austin Film Festival's late (and last of the year) film competition submission deadline is Tuesday (yes, tomorrow).
- Season two of filmmaker Robert Rodriguez's From Dusk Till Dawn: The Series will begin production in Austin this October. The horror crime series is a television adaptation of Rodriguez's 1996 cult film From Dusk Till Dawn and is the first scripted original series to air on his new cable network, El Rey.
The documentary Life Itself, currently in theaters and on VOD outlets, is a valentine to its subject -- the late Roger Ebert -- but avoids oversentimentality or blind hero-worship. Steve James deftly balances a biography of the film critic and author with a moving look at his last days.
James is a little more present as a narrator in this documentary than in his other films (Hoop Dreams, Reel Paradise), explaining the situation surrounding the most contemporary footage. He and Ebert planned an ambitious series of interviews and other location shooting, but Ebert was hospitalized and both his time and energy became more limited. James works capably with what he can get -- a few meetings in the hospital, questions emailed one at a time. Watching Ebert as he struggles to get through each day is heartbreaking.
The shots of what we know are Ebert's last days are interspersed with a generally linear biography of his life, told through archival footage, interviews with friends and colleagues, and excerpts from Ebert's 2011 autobiography, also called Life Itself. The excerpts are read by an actor who successfully catches the rhythms of Ebert's voice, which is disconcerting. Also, the movie didn't make it clear that the chapter-titled segments were book excerpts, which is slightly confusing if you didn't realize it going in.
In addition, James interviews family members -- Chaz Ebert and their grandchildren, old friends and colleagues, and a number of filmmakers who were close to Ebert. The interviews are beautifully realized, emotional and complementary to the sequences in which they appear.
This is the paragraph where I, like everyone else reviewing Life Itself, am supposed to tell you my big moving Roger Ebert story -- that one time I met him, or wrote him, or how his TV shows made me want to review movies, or how the indie films he spotlighted broadened my horizons and changed my life.
Every type of writing has its set of rules -- not as strict as a sonnet or even a haiku, but still necessary to keep content focused and readers engaged. A standard movie review is no exception. Over the years, I've amassed a strong list from writing reviews, editing other people's reviews and discussing review quality with other editors.
I think it's important to know all the rules for your particular arena of art or craft ... so you can break them when necessary. And the movie Dawn of the Planet of the Apes is causing me to break damn near all the rules. I'll show you what I mean.
Summarize your overall opinion of the movie within the first or second paragraph.
Broke that one, but let me make it simple for you now: Dawn of the Planet of the Apes is a disappointing, dull movie with amazing set pieces dimmed by 3D and a storyline that is sledgehammer-subtle.
A decade after the end of Rise of the Planet of the Apes, the apes have formed their own quite impressive colony and fallen into a regular-guy (ape) pattern of existence. Caesar (Andy Serkis) still leads the community while raising his nearly grown son, and awaiting the arrival of his newly-born son.
But humans appear seemingly out of nowhere, brandishing (and using) guns, and destroying the colony's peace. Caesar is willing to work with them, especially the leader of the team, Malcolm (Jason Clarke), who has a teenage son of his own tagging along. But Scar, oops, I mean Koba (Toby Kebbell), mistrusts all humans and their weaponry. His human counterpart is Dreyfus (Gary Oldman), who sees the apes as merely animals and is ready to destroy them in the name of human survival. You can see the trouble brewing -- it won't take much to start a human-ape war.
In fact, the problem is that not only can you see the trouble brewing, you can see every plot point in the movie as it hurtles toward you, and you can predict most of the terribly cliched lines of dialogue.