The House Next Door

Archive: April, 2009

The Conversations: Star Trek

[Editor's Note: The Conversations is a monthly feature in which Jason Bellamy and Ed Howard discuss a wide range of cinematic subjects: critical analyses of films, filmmaker overviews, and more. Readers should expect to encounter spoilers.]

JASON BELLAMY: America's relationship with Star Trek began before man ever set foot on the moon. Gene Roddenberry's creation was born in 1966 and lasted three seasons on TV before dying of low ratings in 1969. Forty years, endless reruns, four live-action TV series and 10 feature films later, Star Trek is alive and well in the pop culture. In just a few days, on May 8, the crew of the starship Enterprise—Kirk, Spock, Bones, Scotty, Uhura, Sulu and Chekov—will hit the big screen yet again in an origin story directed by J.J. Abrams. Star Trek, as the film is simply called, is perhaps the most anticipated movie of the spring. And though its arrival is hardly a surprise in this era of remakes and retreads, the brand's longevity is nonetheless impressive.

From 1987-2005, there was some form of modern Star Trek on TV. The Next Generation (1987-94) begat Deep Space Nine (1993-99), which begat Voyager (1995-2001), which begat Enterprise (2001-05). All of these series can be traced back to the 1966 pilot that started it all, but it's safe to say that none of these series would have been possible without the varied yet undeniable success of Star Trek at the cinema. From 1979-91, six Star Trek films were released featuring the recognizable cast and characters of the original TV series. Almost two decades later, these films are cherished by some ("Trekkies" or "Trekkers"), mocked by others and seemingly ignored by everyone else.

Ed, I have invited you to join me in boldly going where so many have gone before, to those first six Star Trek films. Over the course of our discussion, I'd like to explore the factors that make Star Trek beloved and belittled. I'd like to figure out whether Star Trek gets too much respect or not enough. I'd like to debate the series' impact on cinema. And I'd like to forecast what a successful Abrams adaptation might look like. But let's begin at the beginning. Tell me: Prior to rewatching the first six Star Trek films, what was your relationship to those films and to the overall brand? Which of these films had you seen, and how long had it been since you'd seen them? What was your stored impression of Star Trek cinema up until a few weeks ago, and what is it now?

Continue Reading »




Tags: ,

22 Comments »

Links for the Day (May 1st, 2009)

1. Here's some fun fan stuff for your weekend. Over at The Auteurs' forum, they're creating fan art Criterion covers. Lots of cool work in this thread.

["Every other forum has a similar thread, so we should have one too (especially since we're actually connected to the real company... somehow). So, if you're like me and you play around in Photoshop to make your future Criterion-release dreams a slight reality, or if you just like making prestigious covers for horrible movies, post them here."] Continue Reading »




Tags:

6 Comments »

Tribeca Film Festival 2009: The Eclipse

Tribeca Film Festival 2009: Dazzle

A much duller tale than its Irish literary festival setting would suggest, The Eclipse is the third feature film directed by award-winning playwright Conor McPherson, who has further damaged the proceedings by clumsily inserting jump-in-your-seat ghost-story thrills into a wan character study. In a picturesque seaport town, woodworking teacher Michael Farr (Ciarán Hinds, imposing and largely wasted) operates on several levels of denial, burdened by his unresolved grief for his recently deceased wife, demonstrations of authoritarian bluster to his two tween kids, longings to resurrect collegiate writing ambitions, and horror-movie visions of his institutionalized father-in-law. Michael pauses in furtively adapting his spectral encounters at his icy attic's desk long enough to work as driver and gofer at the annual lit shindig for both a supernatural-fiction hottie (Iben Hjejle) and a loutish American drunk who pens bestsellers (Aidan Quinn, hamming like a sitcom Hemingway). Hinds and Hjejle do a coy mating dance, he predictably ends up in a knockdown ball-squeezing brawl with jealous Quinn, and has his zombie nightmares interrupted by a slip on a real pool of blood—though a suicide in this context is just a plot point to facilitate the tearful, healing embrace of a spouse's apparition. The dialogue and situations all tend to the generic and mechanical, shaken up far too infrequently by Hjejle's tipsy smile or Hinds's slapstick tumble into a lakeside hilltop's man-sized pothole. The types played by the three leads never bridge their insurmountable distance from reality, and Hjejle's familiarity with the spirit world implies a survivor's trauma equal to Hinds's, but one is never revealed. Attempting to darken its touristy middlebrow sensibility with shocks and farce, this Eclipse characteristically doesn't illuminate anything.




Tags: ,

No Comments »

Tribeca Film Festival 2009: The House of the Devil

Tribeca Film Festival 2009: The House of the Devil

Yet another of this year's homage-facsimiles, The House of the Devil forgoes campy self-awareness in favor of reverential faithfulness—and in doing so, implicitly critiques contemporary horror cinema. With its cinematography combining unadorned realism and angular expressionism, and its title sequence emblazoned with yellow title cards and marked by synth music, freeze frames, and sudden zooms, Ti West's latest mimics '80s horror flicks with a straight face. Its rhythms, dialogue, and period detail are so finely attuned to the style of its chosen era that, were it not for a technical dexterity generally absent from its predecessors, the film might pass as an exhumed relic.

West clearly knows his stuff, but isn't out to flaunt it with a smirk, and thus there's great pleasure to be had from his introductory passages, in which college sophomore Samantha (Margot Kidder lookalike Jocelin Donahue) rents a house (from Dee Wallace's landlady) and, strapped for cash, responds to a campus flyer for a babysitter. West, however, doesn't rush his heroine into a situation that—as confirmed by the title, and the fact that when she calls about the gig, it's Tom Noonan's sinister voice that answers—is destined for horror, laying out Samantha's friendship with Megan (Greta Gerwig) and her dire financial motivations with methodical patience. "I promise to make this as painless for you as possible," says Mr. Ulman (Noonan) in convincing Samantha to accept the job, a comment rife with black humor. Yet West plays his material not for giggles, but for slow-burn chills, employing languorous long takes and pitched, frequently low-positioned camera setups to build a sense of unreal terror. Upon arriving at the rural Ulman estate, located right past a cemetery, Samantha learns that the job involves watching an elderly woman while Mr. Ulman and his wife (Mary Woronov) enjoy the evening's historic full-moon eclipse. Continue Reading »




Tags: ,

No Comments »

Tribeca Film Festival 2009: Soul Power

Tribeca Film Festival 2009: Soul Power

Sparingly touched upon in 1996's Academy Award-winning When We Were Kings, the three-day, all-star Zaire '74 music festival that ran alongside Muhammad Ali and George Foreman's epic Rumble in the Jungle fight receives the spotlight treatment in Soul Power. Directed by Kings editor Jeffrey Levy-Hinte, this amiable if slight doc is culled from the hours of footage left out of its predecessor, and the results are unsurprisingly underwhelming, less because of the performances captured than because there's no substantive story to tell. Concocted by Hugh Masekela and Stewart Levine (the latter heard, with stoned-red eyes, not-so-cryptically referring to an extra 32 pounds of luggage), and promoted by Don King, Zaire '74 brought together African-American and African artists on stage in Kinshasa, Africa, the underlying intent being to present and promote racial/cultural solidarity. Bill Withers, B.B. King, and headliner James Brown all espouse a desire to reconnect with their ancestral home, a sentiment frequently heard but rarely explored, given that Levy-Hinte relegates himself to using only footage shot at the event.

Soul Power spends its first half documenting the humdrum buildup to the show, which is dominated by canned press conferences, photo opportunities, and dull-as-dirt snippets of an investment firm representative mildly fretting over logistical non-issues. Once the legends hit the stage, the film finds a more comfortable groove, with Withers's mesmerizing rendition of "Hope She'll be Happier" and Brown's rollicking "Say It Loud (I'm Black and I'm Proud)" proving two of the standouts. Still, there's little rhythm or depth to Levy-Hinte's affectionate portrait. The optimism felt, and returning-to-our-roots declarations made, by many of those involved are undercut by Brown's surprisingly candid admission that he will "not get liberated broke," as well as the unmentioned tyranny of concert benefactor, Zairian president Mobuto, whose giant portraits are seen looming above the city. Furthermore, while Brown is a magnetic figure, the sporadic appearances by Ali hopelessly unbalance the proceedings, his fiercely outspoken interviews providing the only morsels of substance and, consequently, throwing into sharp relief Zaire '74's status, in relation to Ali-Forman, as the occasion's second-stage.




Tags: ,

No Comments »

The Limits of Control

By Jeremiah Kipp

[The Limits of Control opens tomorrow at Angelika 6 in New York City, The Landmark in Los Angeles and ArcLight Cinemas 14 in Hollywood. Click venue names for screening information.]

If you were listening to a piece of groovy music and were responsive to it, you wouldn't mind following its vibe, nodding at refrains, enjoying the use of instruments, tempo, rhythm—so why is it audiences get impatient when movies attempt to do the same thing? Jim Jarmusch's The Limits of Control feels both formally rigorous and genuinely spontaneous, the way good musical improvisations allow for freedom within selected confines. And I'd argue it's enough to create a movie about an actor with a very strong presence (in this case, Isaach De Bankolé) moving through spaces (in this case, various locations in Spain) and allowing the images to convey a sense of mood, tension, atmosphere, whatever you want to call that feeling we get from watching moving pictures on the screen. The narrative is pared down to a man purposefully going forward, occasionally stopping for Tai Chi or two separate cups of espresso. Continue Reading »




Tags: , , , ,

9 Comments »

Understanding Screenwriting #24

COMING UP IN THIS COLUMN: Monsters vs. Aliens, Grey Gardens, Parks and Recreation2, Southland2, 30 Rock, Saving Grace, Desperate Housewives, but first:

***

FAN MAIL: In response to Matt Maul's question about The Dirty Dozen, Franko does try to kill Reisman in the book, which Nunnally took over into the script. It would have made the ending a whole lot less conventional, but that's true of Nunnally's script as a whole.

***

MONSTERS VS. ALIENS (2009. Screenplay by Maya Forbes & Wallace Woldarsky and Rob Letterman and Jonathan Aibel & Glenn Berger, story by Rob Letterman & Conrad Vernon. 94 minutes): List-making, not screenwriting. Continue Reading »




Tags: ,

1 Comment »

Lost Thursdays: Season 5, Ep. 14, "The Variable"

By Todd VanDerWerff

One of my favorite American novels of the last 30 years is John Crowley's Little, Big, a book that straddles the line between realistic fiction and genre fiction, between the mundane and the miraculous. Briefly, it's the tale of a large, rambling family in upstate New York who seem curiously devoted to a strange belief system that they refuse to spell out in its entirety for either their baffled new son-in-law or his son (the two point-of-view characters). The reader gradually grows aware of just what's going on inside the giant home, Edgewood (a house with its own secrets), but everything fantastical is kept just off the page, as it were, until the climax, which seems more like a post-apocalyptic phantasmagoria than anything else. It is, above all else, a story about faith. About people in thrall to a force beyond their power that they're not even sure they can understand or control. It contains some of the most beautiful writing I've ever encountered. And it reminds me a lot of Lost. Continue Reading »




Tags: , ,

12 Comments »

Links for the Day (April 30th, 2009)

1. AppleInsider has some evocative and eerie photos from the inside of the mansion Steve Jobs used to live in, which has fallen into disrepair. Jobs reportedly wants to tear the house down, while local preservationists want it to stay standing. These photos are courtesy Jonathan Haeber, whose work can be found here.

["The Jackling House, so it's called, was built back in 1925 for copper mining mogul Daniel Jackling. Preservationists have opposed Jobs' efforts, arguing that it represents one of the few remaining examples of a Spanish Colonial Revival style home and is therefore too historic to destroy. They also allege that Jobs, who reportedly lived in the house sometime between the 80's and 90's, intentionally let the house fall apart so that it would be easier to justify a case for tearing it down."] Continue Reading »




Tags:

7 Comments »

Tribeca Film Festival 2009: Cropsey

Tribeca Film Festival 2009: Cropsey

Unable to unearth concrete new facts about the case of murderous Staten Island "pied piper" Andre Rand, documentarians Joshua Zeman and Barbara Brancaccio instead exploitatively reprint the legend ad nauseam in Cropsey. A homeless man who camped in and around the grounds of the derelict Willowbrook State School for the mentally challenged, Rand was sent to Sing Sing for the 1987 abduction of a 13-year-old girl with Down's Syndrome, Jennifer Schweiger. An ostensible psycho—an impression conveyed by a perp-walk photo of him drooling like a lunatic—and also a possible devil-worshipper who prowled the abandoned hospital's corridors and underground network of tunnels, Rand became Staten Island's very own Cropsey, a term that, according to a regional historian, is a Hudson Valley catch-all for a madman who preys on innocent children.

The directors grew up in Staten Island spooked by such folklore, which seemed to come true in the form of Rand, even though he wound up behind bars solely thanks to circumstantial evidence. When Rand goes back on trial in 2004, this time for the 1981 snatching of another little girl, the filmmakers begin their own inquiry into the issue of his culpability while also attempting to nab an interview with the alleged kidnapper. What they discover are mounds of scary photos and news clippings, numerous locales happy to talk about the anxious era and advance outlandish rumors, and hospital ruins fit for menacing musical cues and nighttime visits from Zeman and Brancaccio that devolve into apparent outtakes from The Blair Witch Project.

Cropsey casts Rand as a dangerous nutjob while also promoting the notion that he may have been a scapegoat for a community with a history of denial, and in the film's most tantalizing (yet under-examined) thread, a reporter characterizes the borough as a "dumping ground" where the city deposits its trash and—as evidenced by young Geraldo Rivera's 1974 expose about horrifically run Willowbrook—its handicapped kids. Yet Zeman's portentous, trailer-ready narration and the film's correspondingly manipulative horror-film aesthetics and fondness for creepy suggestions over vigorous journalism, typified by a wannabe-Zodiac "You decide!" ending, turns what might have been a portrait of the boogeyman myth's lingering societal role into merely a crude episode of 48 Hours.




Tags: ,

No Comments »

Tribeca Film Festival 2009: Moon

Tribeca Film Festival 2009: Moon

Forty years after its groundbreaking debut, 2001: A Space Odyssey continues to cast a long shadow, its influence so pervasive that it's nigh impossible to craft a contemplative sci-fi saga without at least subtly paying homage to Kubrick's classic. Rather than fleeing that monolith in the genre, director Duncan Jones (a.k.a. Zowie Bowie, son of David) warmly embraces it with Moon, an assured, mesmerizing tale of intergalactic loneliness, self-inquiry, and man's innate, enduring hunger for life which repeatedly and openly tips its hat to 2001 and its progeny (Solaris, Silent Running).

As a pitch-perfect introductory commercial elucidates, in the near future, Earth's energy and environmental dilemmas have been solved by Helium 3 solar energy harvested from rocks on the far side of the moon. The station established to accomplish this vital task is manned by one man, Sam Bell (Sam Rockwell), who at film's start is two weeks shy of finishing up his three-year tour of duty alone in the echoing base, which boasts the all-white décor of a space station from a '70s-era movie, is shot by Jones in deliberate, ominous widescreen compositions, and is also populated by Gerty 3000, a robot with the soothing HAL-ish voice of Kevin Spacey and a rotating series of smiley-face emoticons for expressions. When a routine maintenance checkup on a roving harvester goes awry (thanks, in part, to a distracting and gorgeously wrought hallucination of a girl standing amidst a shower of dug-up rubble), Sam awakens in the sick bay, where he discovers—spoilers herein—that the station has a new resident: himself. Except that it's not exactly himself, as the new Sam is a far healthier, more temperamental mirror image who initially keeps his distance and silence but eventually forms a tentative relationship with the injured Sam, who is desperate to return home to the wife and young daughter he communicates with via taped messages. How two Sams have come to suddenly coexist in this lunar domicile is the prime mystery of Moon's first third, one that's unsettling in a manner less horror cinema-scary than existential. Continue Reading »




Tags: ,

No Comments »

Tribeca Film Festival 2009: American Casino

Tribeca Film Festival 2009: American Casino

A revelatory howl against the still-gestating, $8 trillion-and-counting financial-services industry bailout, Leslie Cockburn's American Casino follows the money that changed hands, or account columns, at every step of the subprime home-loan scam. Beginning with an incisive nuts-and-bolts dissection by financial reporter Mark Pittman (as well as some astonished industry witnesses) of our amok age of deregulation, this outraged survey starts on Wall Street with careful but thriller-like exposition of the house of cards built upon the backs of targeted new homeowners, in many instances minorities being hoodwinked with hidden escrow costs and mortgage documents impenetrable to most professionals.

For the predatory lenders, "the value is extracted upfrontthey have no skin in the game," explains one analyst, leaving those who inherit the derivative "financial products" to deal with skyrocketing monthly payments and the buyers with possible homelessness and bankruptcy. The value of one category of X-generation derivatives "can't be tied back to anything real," says another Street-watcher. Well, who would buy those products? "Idiots." Titles cards (the film is narration-free) excerpt internal memos reeking with cynicism or gallows humor, as with a Standard & Poor's email that confesses of freely dispensed AAA loan ratings: "If it was structured by cows, we'd rate it." Newly devised standard procedures such as credit swaps fobbed off on insurance companies by banks that knew, with a Cheshire-cat grin, that home prices were about to crash, exact no penalty in the casino system, but their perpetrators are rewarded with bailout funds. Continue Reading »




Tags: ,

No Comments »

Links for the Day (April 29th, 2009)

1. So ... just WHY is it called Swine Flu? The New York Times is glad you asked! And here's an excellent post on the wannabe pandemic.

["Pork producers question whether the term "swine flu" is appropriate, given that the new virus has not yet been isolated in samples taken from pigs in Mexico or elsewhere. While the new virus seems to be most heavily composed of genetic sequences from swine influenza virus material, it also has human and avian influenza genetic sequences as well, according to the Centers for Disease Control and Prevention in Atlanta."] Continue Reading »




Tags:

10 Comments »

Tribeca Film Festival 2009: Racing Dreams

Tribeca Film Festival 2009: Racing Dreams

Annabeth Barnes, one of the three tweener go-kart racers Marshall Curry follows throughout Racing Dreams, believes God gave her the talent to race. Weaving in and out of every turn and around the track at lightning speed, she faces danger at every turn, which presents a problem for her supportive mother. But the sport is in the family's blood, so as a brood they keep racing, looking past the sport's imposing dangers with that one goal in mind: competing in a genuine Nascar race one day. Annabeth is not alone in this mindset, as both Brandon Warren and Joshua Hobson, the other two racers profiled, aspire for greatness on the roadway as well. Curry distinctly illuminates the clear social and economic differences between the kids, revealing a sport only bred for the fortunate. The eldest of the three, Brandon, has a story so devastating and lurid an entire film could be made about him; one scene in particular captures his evasive, deadbeat dad walking through the living room of his grandfathers house (where Brandon lives), essentially making some sort of shady deal, possibly involving drugs, and Brandon & Co. watch from the kitchen as a clutching silence takes a hold. These looming, roaming moments are sprinkled throughout Dreams, complementing the lively, fist-pumping racing action with a taste of the very real circumstances surrounding these kids' lives. Digesting over 500 hours of footage, Curry has expertly stitched together a 90-minute triumph in crowd-pleasing, wholesome entertainment, finely showcasing the intricacies of the sport (for all the Nascar die-hards) as well as intimately dissecting the tumultuous, blossoming lives of these three highly impressionable yet precocious racers. Falling in line with past rousing kid-themed docs like Spellbound and Mad Hot Ballroom, Dreams qualifies as the next-in-line, potential-sleeper hit of the summer.




Tags: ,

No Comments »

Tribeca Film Festival 2009: The Girlfriend Experience

Tribeca Film Festival 2009: The Girlfriend Experience

All the world's a financial transaction just waiting to be negotiated in The Girlfriend Experience, a handsome, frosty, rather one-note time capsule from October 2008. Steven Soderbergh's latest is his second work for 2929 Entertainment (after 2005's Bubble) to be shot on the HD fast and cheap, and to receive simultaneous premieres across theatrical, DVD, and TV platforms. And like its predecessor, as well as last year's four-hour, two-part Che, it's defined by emotional detachment, its story about the daily trials and tribulations of a high-class escort in Manhattan told at an impassive remove.

In a certain sense, that tenor is apt, given that Soderbergh's portrait of Chelsea (porn star Sasha Grey)—shot primarily with rigid, static camera setups and in beautifully sleek, cool hues—casts human interaction as merely a series of rational, calculating business deals, a situation given resonance by the material's setting during the pre-election campaign and economic meltdown. Thematically and aesthetically, the project ably holds together. Yet unlike a spiritual predecessor such as Godard's Vivre Sa Vie, Soderbergh's aloof approach never elicits engagement with its heroine, the film so thoroughly building barriers between the external and the internal that it can be admired only as one might a department store's striking window display. Continue Reading »




Tags: ,

No Comments »