August 2010

The Texas Filmmakers Production Fund (TFPF) recipients for 2010 have just been announced, and without even looking anything up, I can spot a number of Austin filmmakers among the lucky winners this year. Twenty-four projects received a total of $104,000 in cash, film stock and services. Selected filmmakers and projects are from all over the state of Texas, but it looks like more than half have ties to Austin this year.

One great benefit about the TFPF announcement for Austin film lovers is that it's a sneak peek into the projects that some local filmmakers have been working on. Hopefully we'll see some of the following movies in 2011 or beyond ... although one is actually screening in Austin tonight, and another will screen here (at least in part) within the month.

The largest single grant, $9,000, went to Austin artist and photographer Patrick Xavier Bresnan (Otis Ike) for post-production costs on Vietnam Appreciation Day, a documentary feature.

Chris Eska's feature August Evening won an Independent Spirit Award in 2008. Now Eska has received a $7,000 TFPF award for production on September Morning, a Western set during the Civil War about a teenage boy sent to retrieve a wanted man.

Former Austinite (he just left us for Chicago) Kyle Henry received $7,000 for post-production on Fourplay, the collection of four short films about sexual adventures in different U.S. cities. The first short, San Francisco, premiered at Outfest earlier this year and will be playing in Austin as part of aGLIFF in a couple of weeks.

Bob Byington also got a $7,000 grant for production costs on a narrative feature film called Seven Chinese Brothers. Byington's previous films, Harmony and Me and [RSO] Registered Sex Offender, have just become available on Netflix Watch Instantly.

Fantastic Fest has just announced another batch of films in its 2010 lineup, including another gala screening with special guests, a few sequels and remakes, and a variety of genre films from around the world. The fun starts in less than a month.

The gala screening -- which means it plays at the Paramount and has a red carpet beforehand -- is the U.S. premiere of Stone, which stars Edward Norton, Robert De Niro and Milla Jovovich. It's a drama about a parole officer trying to decide whether a murderer has truly reformed. Edward Norton will be here in Austin for the Friday, Sept. 24 screening as well as director John Curran.

The world premiere of 30 Days of Night: Dark Days, the sequel to 30 Days of Night, heads up an impressive list of other movies slated for next month's festival. There are films from Argentina, Hong Kong, Spain, Korea, Thailand, Japan, Mexico and of course the United States. Ong Bak 3, the remake of I Spit on Your Grave, the 1960 South Korean film The Housemaid and its 2010 remake, Adam Green's Hatchet II ... there's a lot of interesting stuff here. A full list of the announced films with descriptions, including which filmmakers will be at the fest, is available after the jump.

Fantastic Fest runs from September 23-30 this year, right here in Austin, primarily at Alamo Drafthouse on South Lamar but with gala screenings at the Paramount, and a few screenings and events in other venues around town. The fest has already announced its opening-night film, Let Me In, to be followed by a gala screening of Buried.

When a teenager suddenly finds himself reunited with his estranged criminal family, his life spins out of control until he's forced to decide his place within the Animal Kingdom.

"J" Cody (James Frecheville) has no memory of his dysfunctional extended family, whose criminal background keeps them under surveillance. A sullen and quiet young man, J has no clear place in their world or any power in it. His grandmother Janine (Jacki Weaver) is cheerfully indulgent and prone to barely appropriate displays of affection with her unstable sons (Luke Ford, Ben Mendelsohn, Sullivan Stapleton). When rogue police take action against one of their own, J is pressured to choose between his family and the law.

Few of the characters in Animal Kingdom have any redeeming qualities, and what few there are usually mask a darker purpose. Director and writer David Michod made sure every character had a dark side. Animal Kingdom may bring to mind the Nash Edgerton feature The Square and Spider, the short that played with it, and for good reason: Spider and Animal Kingdom were both written by Michod. But unlike those films, there's not even any redeeming circumstances.

TO: Fearless Slackerwood Contributors

FROM: Most Fabulous Editor

SUBJECT: Newly announced Fantastic Fest 2010 opportunities

Folks, we've just received a press release from Fantastic Fest about another movie they've added to the lineup -- Buried, which stars Ryan Reynolds as a guy who wakes one morning to find himself, well, buried, and has to figure out where and why and how to get out. Reynolds and director Rodrigo Cortes will be in attendance at the screening, which will take place on opening night at the Paramount after Let Me In. Of course a couple of us will cover the red carpet, and I'm looking for especially good photos of Ryan Reynolds ... and yes, this is one of those occasions where you can send the best close-ups directly to me. Especially if he's a bit sweaty in the Texas heat. Ahem. Okay.

But that's not why I'm contacting you right now. In addition to the splashy gala screening during Fantastic Fest, Rolling Roadshow is holding a special screening of Buried in Austin on Saturday, September 18 called "Rolling Roadshow for One." I'd like it if you all would immediately head over to the Facebook invitation page for this event and sign up, even though only four people will be selected for the screening. I figure if all of you sign up, we have a good chance of someone being picked, and then we can get a review posted right on time for this movie as well as a fascinating feature about this unique Rolling Roadshow event.

Let's catch up on the latest Austin film news, shall we? Here we go:

• The Hollywood Reporter has some updates on Robert Rodriguez's upcoming film Spy Kids 4, claiming that Jessica Alba may star in the film as the stepmom of the new spy kids. Whatever happens with casting, the movie may start shooting here in Austin next month. And oh, yeah, it's in 3D (eyeroll).
• Two features from local filmmaker Bob Byington are now available on Netflix Watch Instantly: Harmony and Me (my review, Don's DVD review) and RSO [Registered Sex Offender]. RSO has also just been released on DVD -- look for our review later this week.
• On the way home from dinner last night, I heard an ad on local radio station 101X for Fantastic Fest, urging listeners to buy fest badges as well as a special "gala pass" that will supposedly get you into all the big splashy fest screenings and events at the Paramount. I then got home and found out that the Fantastic Fest film badges (the ones for the whole fest) are now sold out. You can still buy badges for the second half of the fest or for daytime films ... no word yet from the festival on these mysterious "gala passes" but we'll keep you posted.
• Speaking of the Paramount, the historic Austin theater is running a contest this week and next to encourage you to join their "Mobile Film Club," in which you would receive text messages about their Winter Film Series and other movie-related events. You join the Mobile Film Club by texting the word FILMGOER to 70626. In return, if you join by September 1, you receive a free pass to one Paramount Theatre film, and are entered in a drawing to win a Movie Night for yourself and 49 friends.

This week's big news is that Landmark is closing the legendary Dobie Theater after Sunday's shows. A lot of reminiscing has been going on, most of which is about memories predating the theater's Landmark days, back when it was an independent theater. Our own Jette was interviewed about it on News 8 Austin after her post waxing nostalgic earlier this week. Surprisingly, two new films are opening there today, and a whole lot of films opening or returning to Austin big screens.

Cairo Time -- Described on IMDb as a "A romantic drama about a brief, unexpected love affair that catches two people completely off-guard," its stars (Patricia Clarkson, Alexander Siddig) are the main attraction for me. (Dobie)

Farewell -- Looking up this French spy thriller, I was surprised to see the likes of Diane Kruger (Inglourious Basterds) as "Femme jogging" and an international cast, it makes me wonder if it's worth seeing. Since it's the same director who directed Kruger in Joyeux Noël, an acclaimed film with an international cast, it certainly piques my interest. (Arbor)

Life During Wartime -- Todd Solondz (Palindromes, Welcome to the Dollhouse) wrote and directed this dark comedy about families and secrets in a manner I suspect only Solondz can make equally horrifying funny and beautiful. Ciaran Hinds as a convicted pedophile? Wow. (Dobie)

I didn't watch Nanny McPhee when the movie was released in 2005. Frankly, I found the image of the lovely Emma Thompson done up with hairy moles and snaggletooth quite frightening. However, after seeing Nanny McPhee Returns this week, I learned my own lesson from Nanny "little C, big P" McPhee -- don't judge a book by its cover.  Award-winning actress and writer Thompson reprises her role as screenwriter and star, but this time she's also the executive producer, which might explain some of the big names in Nanny McPhee Returns. However, it's not just the stars in the cast that make this film enjoyable. Thompson's screenwriting skills provide the youngest members of the cast with well-developed characters.

Based on characters created by Christianna Brand in the Nurse Matilda series, the central plot of Nanny McPhee Returns focuses on the same formula. An unintentional single parent is pestered by misbehaving children, and Nanny McPhee arrives to teach the children five lessons. Maggie Gyllenhaal portrays Isabel Green, a mother overwhelmed by her three children as well as their two spoiled cousins who come to stay with them to avoid bombs falling in London (it's set during WWII). Mr. Green (Ewan McGregor in a cameo appearance) has been away fighting in the war, and the family is in danger of losing the farm. Mrs. Green works in the local shop where she has to clean up after the forgetful elderly Mrs. Docherty (Maggie Smith).

Jenn's been taking us back in time to the early days of Fantastic Fest: 2005 and 2006. I'm switching on the time machine for 2007, a big year for the festival. The fun kicked off with a badge pick-up party outside in the back parking lot of Alamo Drafthouse on South Lamar, with odd pinatas and a machine that aimed bloody spatters at willing victims and some interesting mechanical devices courtesy of Dorkbot Austin. This was the first year FF started using "traditional" badges, as I recall.

From a movie news point of view, 2007 was the year that surprised everyone when There Will Be Blood had its first public screening ever as a secret screening at the festival. I remember going to NYC the next year and hearing a PR rep fuss that "Can you believe? They screened it in Austin!" Of course all important movies should screen in New York and LA first, not the flyover.

In addition, 2007 was a big year for me because of Southland Tales. I realize a lot of people dislike this movie. I can't say I loved it, but I thought it was interesting -- my review refers to it as "a fascinating mess." It reminded me of some kind of alternative art exhibit where you admire the originality and the talent without actually wanting to take it home and put it on your wall, or even see it again. But "fascinating" and "extraordinary" were enough for the publicity folks, who asked me if I minded if they pulled those quotes from my review and attributed them to me in the publicity materials for the film. This is why we own the Southland Tales DVD: it's the only one with my name on the cover. I am by no means a quote whore, but it was an amusing experience for me.

The life story of Temple Grandin is one of hardship and triumph. Grandin was diagnosed with autism as a young child in the early 1950s, an era when her condition was not well understood. With help from her exceptionally patient mother and a few insightful teachers, Grandin overcame most of her autistic limitations. She struggled to get an education, but earned a doctorate and is now an autism treatment advocate, Colorado State University professor, and renowned expert in animal husbandry.

Such an inspirational and thoroughly unique story is, of course, tailor-made for a cinematic treatment. Fortunately, this treatment is Temple Grandin, a much-lauded HBO Films biopic nominated for an astounding 15 Emmy Awards. Released this week on DVD, the movie is an effective take on Grandin's long struggle with autism and the cruel treatment and blatant sexism that often hindered her education and career.

The film opens in 1966 as a teenage Grandin (a barely recognizable Claire Danes) arrives at the Arizona ranch of her Aunt Ann (Catherine O'Hara) and Uncle Mike (Michael Crabtree), who are caring for Grandin to relieve her exhausted mother, Eustacia (Julia Ormond). Grandin exhibits many classic autism symptoms: She constantly repeats random phrases, fixates on objects, is extremely sensitive to stimuli, has trouble interacting with people and confronts new experiences with fear and confusion. But while at the ranch, she also demonstrates an unlikely talent for designing and building mechanical devices and an innate understanding of animal behavior.

Grandin blossoms at the ranch, and being far more comfortable around animals than people, she wants to stay. Despite her protests, however, Eustacia enrolls her at Franklin Pierce College in New Hampshire. Her introduction to college life is mostly disastrous, and in a prolonged flashback to her childhood and high-school years, we learn why.

Wondering what's going on with Austin film these days? Well, wonder no longer. Here are this week's Slackery News Tidbits, hot off the online equivalent of the presses:

• The Austin American-Statesman reports that The University of Texas at Austin will announce a new chair of the Radio-Television-Film department today: documentary filmmaker Paul Stekler. Fortunately for all of us, he intends to continue making documentaries after assuming his new role in the department.
• For those of you who have been waiting, the full version of Grindhouse will be released on Blu-ray and DVD on October 8. The two-disc set includes the theatrical (shorter) versions of both Robert Rodriguez's Planet Terror and Quentin Tarantino's Death Proof, plus all the fake trailers including one trailer that isn't fake anymore ... Machete. My only complaint is that I'm not thrilled with the cover art; I would have preferred the original theatrical release art, which is way cooler.
• Those of us who missed last Thursday's screening of Scott Pilgrim vs. the World at Alamo South Lamar with Edgar Wright and many cast members now have a chance to enjoy the highlights from this event on video. My favorite: Because the event was extended to two theaters, the second theater had to wait for their Q&A, so they devised a little prank.
• Locally shot comedy The Happy Poet, which played SXSW this year, will return to Austin on Aug. 30 for a special screening at Alamo Ritz. Will there be hot dogs and vegetarian egg-salad sandwiches? That I don't know yet. Read Jenn's review for more details on this movie.

I was really excited to see The Expendables at the second annual Cinemapocalypse, especially since Die Hard was scheduled to screen beforehand. Seeing Die Hard when it opened was a memorable experience for me. I recall the realization that I had spent most of the movie literally on the edge of my seat, and only releasing my grip on the armrests when the credits rolled. Die Hard was a defining moment for action flicks, a rollercoaster ride alongside a reluctant hero who viewers could emotionally invest in -- ironically Sylvester Stallone turned down the role of John McClane

Unfortunately, Sylvester Stallone's The Expendables falls far below the standard set by Die Hard as well as several other films featuring the stellar cast. Plain and simple, The Expendables is pure unadulterated action porn. The loose plot and dialogue exist solely to tie explosive money shots together, with body parts flying every which way. Subplots aren't fleshed out, leaving viewers befuddled.

The opening scene of The Expendables introduces us to a group of aging mercenaries led by Barney Ross (Sylvester Stallone), as they take over a Somalian pirate ship to rescue hostages. With impressive firepower, knife-throwing and hand-to-hand combat, they quickly take out the pirates. However, things get nasty as unstable drug-addicted Gunnar Jensen (Dolph Lundgren) attempts to hang one of the pirates despite orders. His partner Ying Yang (Jet Li) stops him, and Jensen nearly kills Yang, resulting in Jensen being released from services. Filling out the roster is heavy weapons specialist Hale Caesar (Terry Crews) and demolitions expert Toll Road (Randy Couture).

It's been a while since I read Elizabeth Gilbert's bestselling memoir -- and I've read many books since then -- so the story was not exactly fresh on my mind when I watched Eat Pray Love. As someone who is wary of book-to-movie adaptations, I found that the movie remained somewhat true to Gilbert's book, as I remembered it. However, the film fails to capture some of the best aspects and, unfortunately, the true essence of the original work, even as it follows the same plot.

Liz Gilbert (Julia Roberts) endures a painful divorce (from a morose Billy Crudup) and an unhealthy relationship with a younger actor (James Franco) before she realizes she needs to define who she is and what she wants. She expresses to her editor pal Delia (the wonderful Viola Davis) her desire to travel for a year, and the movie flows from there.

Liz goes to Rome to enjoy food, India to attend her guru's ashram, and Bali to study with a medicine man. As she travels, new relationships blossom. In the book, we read about Elizabeth Gilbert growing into her self and coming to love who she is. In the movie, Liz Gilbert cries a lot. I didn't count, but I'd estimate at least eight times. Her handsome Brazilian lover Felipe (Javier Bardem) cries as well, but at least his tears seem authentic. When Julia Roberts cries as Liz, it seems forced and flimsy. Like director Ryan Murphy was yelling at her from behind the camera, "Cry now!" If movie Liz Gilbert is growing into her self, her self is a weepy mess.

Everyone's been talking about Fantastic Fest, but the first film festival of September is as dear to my heart as the one that ends the month. Last year was my first aGLIFF, and it will not be my last. The Austin Gay and Lesbian International Film Festival (aGLIFF) recently announced its opening-night, centerpiece and closing-night films, as well as the parties. The email announcement promised a wide range of films from "Ticked Off Trannies to The Secret Diaries of Miss Anne Lister" and with that tease, here are details on the three films we know, and the parties associated with them: Topp Twins: Untouchable Girls, BearCity and Howl.

Last year's fest was a lot of fun, with a great staff, fun films and wonderful guests. The program was full of interesting, provocative, and enjoyable movies that had a much broader scope than I'd expected in a niche festival. Even with a power outage delaying films on the weekend, Sharon Gless (Hannah Free at the fest, currently in Burn Notice on TV) entertained crowds until the films could start again, and then wowed the crowds with an absolutely delightful Q&A. After such good memories of aGLIFF22, I'm really looking forward to seeing what GLIFF23 brings us this September.

The Opening Night film is the New Zealand production Topp Twins: Untouchable Girls. In two words, yodeling lesbians. Kiwi Yodeling Lesbians, no less. The official tagline for this documentary about Jools and Lynda Topp is even better: "A profile of the world's only comedic, singing, dancing, lesbian twin sisters." I suspect there will be much to talk about at the opening-night party at Annies. The Closing Night Party at AFF was there last year, and it was fun and the food delish.

You do need a stinking badge, but do you need a stinking lanyard?

We're about to get back into local film festival season: aGLIFF and Fantastic Fest in September, Austin Film Festival in October, and Austin Asian American Film Festival in November (not to mention Lights. Camera. Help. last week as well as other fests around Central Texas). So lanyards -- which every festival badgeholder needs -- are on my mind, especially after throwing out so many of them before my recent move. 

Festival and conference badges come in all shapes and sizes, and you can find many, many lanyard styles out there to go with them, from cheap elastic strings to classic thin cords to fancy flat ribbons. But not all lanyards are created equal. This isn't apparent for people who don't attend a lot of conferences and festivals, but for those of us who do, that rope around your neck that grants you access can be as annoying as a noose.

It seems to be a bit of a boys' club in theaters this week, with kidnappers, cops and internet moguls (all male). But upon closer look, you can find a lot of diversity in movies opening in Austin today. I'm still hoping to make it up to the Arbor to see SXSW selection Winter's Bone, which has been doing very well. Whatever films I end up seeing, I'm going to enjoy the cool air conditioning as my home A/C is struggling in the afternoons with these triple-digit temps. What are the new releases in town, you ask? Just look below.

Aisha -- Bollywood remake of Jane Austen's Emma (or as some younger folks might know it, Clueless). (Cinemark Tinseltown 17)

The Disappearance of Alice Creed -- Brilliant beginning to an overambitious thriller that doesn't completely succeed. Worth watching if only to dissect where it went wrong (and I mean that in a good way). Read my review for more. (Lamar)

Don Seenu -- All I can tell you about this Bollywood film is it's a comedy. (Cinemark Tinseltown 17)

Flipped -- Nostalgic saccharine variation on Boy Meets Girl directed by Rob Reiner, based on a children's book. Read my review for more. (wide)

If you've seen any of the Step Up movies, you might expect that Step Up 3D would showcase some great dancing (in 3D!) and also have some semblance of a plot. And it does! But it is carried out in a less than cohesive manner with some very lackluster acting.

The plot, as I understood it, is focused on two guys, "filmmaker" Luke (Rick Malambri) and NYU freshman Moose (Adam G. Sevani), as well as their respective love interests, Natalie (Sharni Vinson) and Camille (Alyson Stoner, also in the original Step Up). Luke owns a building, left to him by his parents, called The Vault. Here he fosters a dance group and runs a club on the floor below. He is having financial problems (of course) and is in danger of losing his building. He sees Moose dance in the park and invites him to join his dance crew, the Pirates. He tells Moose that he is BFAB: "born from a boombox" (more about this is in the documentary-style opening to the film). If Moose joins their dance team, they will surely win the World Jam dance contest and the $100,000 prize, which will save the farm -- err, I mean warehouse building.

For the first ten minutes or so of The Disappearance of Alice Creed sets an unsettling tone as two industrious men silently and meticulously complete increasingly unnerving DIY work on a van and an apartment.

Fraught with sinister possibilities, the twisty plot reveals itself in fits and starts in The Disappearance of Alice Creed. Two men (Eddie Marsan and Martin Compston) kidnap a young woman (Gemma Arterton) for ransom, and as in most thrillers, things are not as they initially appear. Very little is revealed before Alice's abduction, and very little exposition is used, allowing the story to reveal itself almost at the pace Alice learns about her captors and their intentions.

The nearly overwhelming ambition of writer/director J. Blakeson's script could easily have taken a darker, exploitive path with titillating abuse of the victim, but only toys with those conventions. Instead, the focus is on the relationships of the three characters and how they evolve over the course of the 100 minutes of the film. Unfortunately, Blakeson's direction lacks the subtlety necessary to build and deliver on the initial riveting attention. Over and over the audience ended up laughing at sudden reveals that belied the artistry of the opening sequence.

I saw The Dry Land during Marfa Film Festival this year -- the movie was shot partially in West Texas, so it was a very appropriate selection. I was a little hesitant at first, because it is about an Iraq War veteran, and I felt like I'd seen more than enough contemporary war movies in the past few years. But The Dry Land is a very good movie and I ended up being pleased that I'd taken the chance to see it. The performances are all first-rate.

The Dry Land writer/director Ryan Piers Williams lived in Austin for awhile, and worked for Austin Film Festival, so it seems perfect that AFF is sponsoring a special screening of the film on Tuesday, August 10 at the Texas Spirit Theater. Williams and actress/producer America Ferrera will participate in an AFF Conversation in Film after the screening.

I can't recommend this event enough -- I heard Williams and Ferrera speak about the film after seeing it at MFF (as pictured above) and they are both excellent speakers. Admission is $8 for AFF and Austin Film Society members, and $12 for everyone else.

I don't envy the judges of this year's second annual Lights. Camera. Help. Film Festival, which ran from last Thursday through Saturday. After viewing so many great non-profit and cause-driven films and PSAs representing worthy causes, I would have had a difficult time picking the best. Three winners for feature-length, short-form, and PSA films were selected from the pool of 33 finalists. The winners will receive the proceeds from this year's festival, which includes any donations made on the website during the festival season.

The feature winner, Including Samuel, portrays a family’s hopes and struggles as they engage their child Samuel (seen above with his brother Isaiah), who suffers from cerebral palsy. Although Samuel is the main subject, his father, filmmaker Dan Habib, delivers a well-balanced film by also documenting the experiences of four other individuals with disabilities. Alana Malfy, a high-school student, is part of Beyond Access, a University of New Hampshire pilot project working with public schools to fully include students who experience the most significant disabilities. Malfy benefits from the program but she also faces social challenges that daily test the patience and understanding of classmates and teachers.