Reviews
SXSW Review: The Runaways
Submitted by Jenn Brown on March 19, 2010 - 11:00am
How perfect is it that a headliner film at SXSW would be a biopic of a groundbreaking all-girl rock band that jump started the careers of rock-and-roll legends? Maybe not perfect, but certainly entertaining.
Floria Sigismondi, a veteran of music videos, penned and directed the biopic of The Runaways, a 1970s band that included Joan Jett and Lita Ford. Jett (Kristen Stewart) is the focus along with lead singer Cherie Currie (Dakota Fanning), and the movie follows them in the classic rise and fall expected in most rock-and-roll tales.
One would think that a film that starts off with a graphic punctuation of coming of age would be more risky. After so many rock films, especially Sid and Nancy, it's hard to be shocked anymore. The closest thing to shock value is the raw sexuality of Jett and Currie, singularly and together. Joan Jett apparently hasn't publically declared her sexuality (although she's been seen with "Dykes Rule" slogans), and Sigismondi's script doesn't try to categorize it while playing up the attraction between Jett and Currie. The disturbing part of the film is the sexualization of Currie, who at 15 becomes a sex symbol onstage and off despite being underage, and neither Fanning nor Sigismondi back away from any line. Fanning is disturbingly sexual, emphasizing the underage aspect to the sexuality and the exploitation of a girl in the name of success.
Review: A Prophet
Submitted by Jenn Brown on March 19, 2010 - 9:00am
Director Jacques Audiard's follow up to the memorable The Beat That My Heart Skipped (De battre mon coeur s'est arrêté) has finally reached Austin, nearly a year after taking Cannes by storm.
A Prophet (Un prophète) is a complex prison tale that both condemns the system in all its forms and celebrates the perverted way it transforms lives. Nineteen-year-old Malik El Djebena (Tahar Rahim) is sent to prison for attacking a cop. Friendless, with no family and fewer clues, Malik quickly finds himself faced with committing a terrible crime or die. The reward is the dubious protection of a Corsican kingpin (Niels Arestrup) who takes Malik under his wing, but like an abusive father, this boon comes with a hefty price tag.
While Arab in ethnicity, Malik has little cultural ties with other Arabs, making him a man without any affiliations other than what he forges. His only resources are his mind, his resilience and his patience, and his evolution is marked by chapters most often associated with the people in Malik's life.
SXSW Review: For The Sake of The Song: The Story of Anderson Fair
Submitted by Chip Rosenthal on March 18, 2010 - 3:30pm
The documentary For The Sake of The Song: The Story of Anderson Fair tells the tale of Anderson Fair Retail Restaurant, the renowned Houston more-charity-than-business venue that has anchored the Texas singer/songwriter circuit for decades. Beloved Texas musicians from Lyle Lovett to Townes Van Zandt have honed their craft on its stage -- which, in its earliest days, was more cleared corner than actual stage.
The film opens with a shot of the Anderson Fair sign being ripped off the face of the building. That bit of dramatic tension creates some misdirected expectations. The film really is about capturing a moment in time, when Anderson Fair became the home base for Texas' most revered folk singers. The story is told through interviews with both musicians and staff, with many musical performances interspersed.
The movie will be a treat to fans. The production is beautiful and the sound is lovingly produced. Numerous performances are complemented by an original soundtrack from Austinite Gurf Morlix. Even the archival footage was crisp and clear on the Paramount big screen (and sound system).
SXSW Review: Monsters
Submitted by Debbie Cerda on March 18, 2010 - 1:30pm
Writer/director Gareth Edwards makes his feature film debut with Monsters, which premiered at a sold-out midnight screening at SXSW Presents: Fantastic Fest at Midnight. The English filmmaker and his cast and crew traveled in a van for several months throughout Central America to create a tale that is more of a road movie than simply another alien invasion. Through a combination of CGI effects created on his own laptop and natural settings, Edwards establishes a plausible reality.
Monsters is based on a simple premise: Six years ago, NASA discovered the possibility of alien life within our solar system. A probe was launched to collect samples, but crashed upon re-entry over Central America. New life forms began to appear there and half of Mexico was quarantined as an infected zone. The American and Mexican military still struggle to contain "the creatures."
SXSW Review: Richard Garriott: Man on a Mission
Submitted by Debbie Cerda on March 18, 2010 - 10:00am
Richard Garriott: Man on A Mission is an inspiring full-length documentary by local filmmaker Mike Woolf that chronicles Austin serial entrepreneur and game developer Richard Garriott as he becomes the first second generation astronaut to travel into space. The film takes viewers on a detailed countdown to launch as Garriott makes his way through his year of training. From Star City, Moscow, to NASA, to Yuri Gagarin’s original launch pad -- viewers are Garriott's co-pilot in his journey to the stars. Through Garriott's experiences, the audience not only gets a fresh look at the under-appreciated history of the Russian space program but also is exposed to never-before-seen footage from inside the re-entry capsule.
The liftoff to space seen in Man on a Mission was a lifetime in the making. Garriott built his fortune as one of the founding fathers of massive multiplayer online role-playing games (MMORGs), most notably his first game Ultima. From his first game sale in high school to his millions with Ultima Online, he has invested in private space travel including the Spacehab modules. He is a primary funder of the X-Prize and Space Adventures, the only company that can take private citizens to the ISS -- Garriott is the sixth one to fly to orbit.
SXSW Review: Barry Munday
Submitted by Contributors on March 17, 2010 - 12:00pm
You can read more of contributor Laurie Coker's SXSW reviews and features at True View Reviews.
One of the things that never fails to surprise me for good or bad, when I attend SXSW or any other film festival, is the fact that some extremely crappy films, like say last year's Observe and Report, can get funding and distribution from the likes of Warner Brothers and other far better films have to seek private promoters or never get released at all. Barry Munday, a movie from filmmaker Chris D'Arienzo, making his delightful directorial debut, still waits to be picked up by a major studio. It is a remarkably simple and entertaining film about a man who, after waking up to find his testicles gone, discovers what it really mean to be a man. It is a coming of age for a thirtysomething-year-old and it is good.
Patrick Wilson (Watchmen, Hard Candy), whom I had the pleasure to interview at SXSW, plays the titular character, a fellow who envisions himself as a real ladies man and who appears to be perpetually stuck in the 90s. Wilson himself refers to Barry as "definitely douchey, but not a bad guy." And he's right.
SXSW Review: The Happy Poet
Submitted by Jenn Brown on March 17, 2010 - 9:30am
Paul Gordon's The Happy Poet had its world premiere this week at SXSW to an over-capacity and appreciative crowd at Alamo Ritz.
Bill (Paul Gordon) has a dream to open a healthy and organic food cart. This simple dream seems impossible due to poor credit and no experience (he's a poet), and no one believing in him, but he's determined to make it work, despite the pressure to open a hot-dog stand instead. With the unlikely allies of unemployed friend Donnie (Jonny Mars), a slacker-philosopher who haggles for the first sandwich (Chris Doubek), and Agnes (Liz Fisher), who quickly becomes a regular, it looks like his dream will take off. But can the Happy Poet food stand make a stand for healthy food, or will Bill be forced to sell out and sell hot dogs?
SXSW Review: The Parking Lot Movie
Submitted by Contributors on March 16, 2010 - 1:00pm
Contributor Rod Paddock returns to Slackerwood, this time with a review.
Every once in a while at film festivals, you come across a film with a strange title, some spare time and if you are lucky a seat in the theatre. A lot of times these movies turn out to be lumps of coal, but sometimes, these movies prove to be a gem in the rough. Well, I had some time on my hands this week during SXSW and found a 100 percent hidden gem: The Parking Lot Movie.
Seeing The Parking Lot Movie reminded me a lot of viewing Kevin Smith's debut Clerks at the Seattle International Film Festival in 1996. This movie treats the viewer with 90 minutes of witty banter and exposition from people who work or worked in a parking lot over a period of many years. There is one major difference: These people didn't have a talented scribe like Kevin Smith writing their dialogue, they lived it.
SXSW Review: Lovers of Hate
Submitted by Jette Kernion on March 16, 2010 - 10:00am
What's the best way to say "creepy and at times bordering on the distasteful ... but in a good way"? When you figure it out, let me know so I can describe Lovers of Hate, the latest film from Austin filmmaker Bryan Poyser, which premiered at Sundance this year before screening at SXSW and on IFC Video on Demand (where it's now available to watch). Normally I'm not fond of movies with unlikeable characters doing things that make me wrinkle my nose in distaste, but somehow Poyser and his excellent cast and crew pull it off in an arresting manner.
Rudy (Chris Doubek) is the saddest sack blowing around Austin -- his wife kicked him out and he has nowhere to live except his car, and his job prospects are dwindling by the moment. All he wants is a shower, and his wife Diana (Heather Kafka) back. In the middle of this, his brother Paul (Alex Karpovsky) shows up, a famous children's author in a Harry Potter sort of way. Paul's books are based on stories Rudy used to tell him when they were growing up, and Rudy hasn't finished his own magnum opus (with the same title as the film), so he's nursing a helluva grudge. He convinces his wife to pretend they're still a couple while they have dinner with Paul, but the shaky premise simply can't hold up. Rudy's also suspicious of his brother Paul having designs on Diana. What he wants is for Paul and himself to travel to a secluded house where Paul's been staying in Park City, so they can both finish their writing, but somehow nothing turns out quite as planned.
Review: Our Family Wedding
Submitted by Contributors on March 15, 2010 - 12:30pm
Please welcome contributor Laurie Coker, whose reviews you can also read at True View Reviews.
Romantic comedies always hit and miss with me. I like them, for the most part, but have grown weary of the formulaic plots and pat endings. Still, with fresh writing, quality gags and dialogue, a good director coupled with a fine screenwriter, can make even formulaic fun. Director/co-writer Rick Famuyiwa and screenwriters Wayne Conley and Malcolm Spellman offer some hilarious moments in Our Family Wedding. Had they left out at least three very stupid gags, it would have been a fine romantic comedy. But they did not avoid the silly, actually asinine, defeating what could have been a decent film overall, which will most certainly disappoint some.
One of my favorite actresses, America Ferrera, plays Lucy Ramirez, a young woman who drops out of law school, becomes engaged to an African-American man, Marcus (Lance Gross), who is heading to Laos as a physician for Doctors Without Borders. Lucy does so without mentioning any of it to her very conservative and traditional Hispanic parents, Miguel (Carlos Mencia) and Sonia (Diana-Maria Riva). Making matters worse, on the weekend they arrive, Miguel has a not so pleasant (and racially charged) encounter with Marcus's father Brad (Forest Whitaker). When the families finally meet, things get wild and cultural traditions clash in crazy mayhem.


