Recently, Oogie Rah and I held a live tweetathon of one of the most controversial films of all time. Mostly observations and riffing, it has all been compiled using Storify. Enjoy:
Monday, July 25, 2011
Wednesday, July 20, 2011
The Joy Is Coming Back! Please Show Movies...
Almost 9 years after having to board up its' doors, The Joy Theatre will finally re-open! I for one never had the pleasure of catching a screening at The Joy, but after driving past its' sign several times, and having viewed the documentary "No More Joy", I've yearned for that experience. Conflicting news articles, however, suggest that the theatre may become a multi-entertainment venue, specializing mostly in live performances. Of course, wanting to see a movie at The Joy(at least once), I would like to offer a scenario or two, in an effort to advocate on the side of film exhibition.
If it becomes a multi-entertainment venue:
No matter what becomes of The Joy, it will finally be tearing down its' boards, and opening up for audiences once more. I just hope that audience includes a moviegoer or two.
If it is restored as a full fledged movie theatre:
My favorite scenario, this would be an incredible addition to the New Orleans area movie theatres. As I listed in my MoviePass entry, there are only a handful of theatres within the city itself(I listed 9, but most were in metro areas), and only one on Canal St., which not only was home to booku theatres, but also hosted the first permanent movie house in the country.
If fully restored, The Joy could become a place where old and new meet - Imagine buying a ticket from your smart phone minutes before showtime(I would recommend arriving earlier), then being greeted by an actual usher in a lobby as carefully decorated and structured as a Cathedral. You go to the concession stand, and order a bucket of popcorn and a medium daiquiri(yes, alcohol), before heading upstairs to the balcony. You take your seat, and enjoy a digital projection of "Fast Five 2" in a fantastic palatial setting - This would become my favorite place, by far.
If it becomes a multi-entertainment venue:Probably the more likely scenario, this would open New Orleans to being able to host even more live acts than it does now. However, movies can still have a seat at this table - "Rocky Horror Picture Show", anyone? Maybe a gala movie premiere for the latest Hollywood South blockbuster? Or perhaps a charity screening? - Multi-entertainment CAN include movies, too.
No matter what becomes of The Joy, it will finally be tearing down its' boards, and opening up for audiences once more. I just hope that audience includes a moviegoer or two.
Tuesday, July 12, 2011
Adrien Brody Can Get Away With It
Starting this past weekend, I began to contribute film musings/reviews to the new website JadeHive. They cross posted my previous MoviePass entry, and I have now cross posted my latest entry FROM JadeHive to here:
Fair warning – This is not an average review.
I just finished watching Vincenzo Natali’s “Splice”, and while I do have some overall thoughts on the film itself, I would much rather discuss one specific scene from the film. A scene that has not only been stuck in my mind, but also fully summarizes the movie as a whole: Adrien Brody thrusting into a genetically engineered being.
Try and bear with me.
It should be well known to anybody with eyesight that Adrien Brody is sex. Not sexy, mind you. He IS sex. Everytime He appears on a screen, whether it’s as a confused mercenary in “Predators” or as a lounge singer in a Super Bowl commercial, the man develops a rather steamy relationship with the camera. With one look of sensual forlorn (which is inevitable), He can make women (and probably men) melt in their seats. His ‘male partner in a TV-MA shower commercial’ attitude works so well for him, He was able to not only makeout with Halle Berry on live television, but also get away with it! Good acting skills + Eye sex with camera = Adrien Brody.
So, how does the weird laboratory creature factor in?
In “Splice”, Adrien Brody stars as Clive, one half of a scientist couple who create new lifeforms in an attempt to harvest proteins for medical purposes. After their research is shutdown, Elsa(the other half of the couple, played by Sarah Polley) makes the decision to go ahead and experiment with a new lifeform, this time made with human DNA. The result is a female they name Dren, and Elsa immediately begins a maternal relationship with it, using the scientific research as an excuse. Clive is weary to continue, but soon warms up to Dren – comforting her and teaching her how to dance.
Of course, things have to take an odd turn: Elsa begins to act controlling and overbearing, pushing Dren to act more aggressive. It also becomes obvious that Dren is attracted to Clive, with her drawing pictures of his face, and seductively swimming in front of a camera. All of this leads to the sequence in question.
And second is the casting of Adrien Brody. As I explained before, the man IS sex. When I first witnessed the scene, the only appropriate response for me was shocking laughter: the man who madeout with Halle Berry has seduced/has been seduced by a hybrid lab creature. When we watch a Hollywood sex scene, we expect to be titillated, not to be made uncomfortable. But because Adrien(who IS sex) performs this unusual scene in such a straight forward way(possibly imagining Penelope Cruz), we are left feeling a discomforting arousal. I have a feeling that the casting agent and even Director had a good chuckle, thinking about Adrien doing this scene. The only other actors I can think of possibly doing this would be Mickey Rourke and Matt Dillon, but I’m not sure if it would be the same.
I recommend this movie be screened to the very gullible, as the shock will cause great joy for the exhibitors. In conclusion, I leave you with a quote from the Director Vincenzo Natali:
“That scene was the reason I wanted to make the film and that’s why it’s such a miracle this film exists.”
Fair warning – This is not an average review.
I just finished watching Vincenzo Natali’s “Splice”, and while I do have some overall thoughts on the film itself, I would much rather discuss one specific scene from the film. A scene that has not only been stuck in my mind, but also fully summarizes the movie as a whole: Adrien Brody thrusting into a genetically engineered being.
Try and bear with me.
It should be well known to anybody with eyesight that Adrien Brody is sex. Not sexy, mind you. He IS sex. Everytime He appears on a screen, whether it’s as a confused mercenary in “Predators” or as a lounge singer in a Super Bowl commercial, the man develops a rather steamy relationship with the camera. With one look of sensual forlorn (which is inevitable), He can make women (and probably men) melt in their seats. His ‘male partner in a TV-MA shower commercial’ attitude works so well for him, He was able to not only makeout with Halle Berry on live television, but also get away with it! Good acting skills + Eye sex with camera = Adrien Brody.
So, how does the weird laboratory creature factor in?
In “Splice”, Adrien Brody stars as Clive, one half of a scientist couple who create new lifeforms in an attempt to harvest proteins for medical purposes. After their research is shutdown, Elsa(the other half of the couple, played by Sarah Polley) makes the decision to go ahead and experiment with a new lifeform, this time made with human DNA. The result is a female they name Dren, and Elsa immediately begins a maternal relationship with it, using the scientific research as an excuse. Clive is weary to continue, but soon warms up to Dren – comforting her and teaching her how to dance.
Of course, things have to take an odd turn: Elsa begins to act controlling and overbearing, pushing Dren to act more aggressive. It also becomes obvious that Dren is attracted to Clive, with her drawing pictures of his face, and seductively swimming in front of a camera. All of this leads to the sequence in question.
Now, I’m focused on this scene for two reasons. For one thing, the scene completely summarizes what the movie is about: bad parenting. The film is more about people who shouldn’t have kids than it is about science. It’s explained that Elsa had a very bad childhood. She’s apprehensive to the idea of becoming pregnant, but is all for creating a surrogate daughter inside a makeshift womb (adoption, in a way). She tries to be the mother she never had, but eventually becomes exactly what she hated. Clive is all for having a REAL child – not a human/animal hybrid. He is pretty cold to the creature at first(the unresponsive step dad), but begins to see bits of Elsa in Dren(“you look like your mother”), and eventually, after comforting Dren a few times, succumbs to her when she throws her nude self at him(rivalry with mother for affections of step dad/father issues?). Basically, the scene demonstrates that the scientists have crossed the line, both in science and in parenting (obviously).
And second is the casting of Adrien Brody. As I explained before, the man IS sex. When I first witnessed the scene, the only appropriate response for me was shocking laughter: the man who madeout with Halle Berry has seduced/has been seduced by a hybrid lab creature. When we watch a Hollywood sex scene, we expect to be titillated, not to be made uncomfortable. But because Adrien(who IS sex) performs this unusual scene in such a straight forward way(possibly imagining Penelope Cruz), we are left feeling a discomforting arousal. I have a feeling that the casting agent and even Director had a good chuckle, thinking about Adrien doing this scene. The only other actors I can think of possibly doing this would be Mickey Rourke and Matt Dillon, but I’m not sure if it would be the same.
I recommend this movie be screened to the very gullible, as the shock will cause great joy for the exhibitors. In conclusion, I leave you with a quote from the Director Vincenzo Natali:“That scene was the reason I wanted to make the film and that’s why it’s such a miracle this film exists.”
Sunday, July 3, 2011
Give MoviePass A Chance
It's not an overstatement to say that movie theaters have taken a big hit from video on demand(VOD) services. With wireless internet becoming more accessible, VOD(online and cable) services more affordable and ticket prices more expensive, film exhibitors have reason to worry. Suing and preventing movie pirates, along with attaching 3D surcharges to assembly line schlock, hasn't been enough to open the wallets of or endear themselves to the frustrated and disillusioned moviegoers that NATO(National Association Of Theatre Owners) wants back. So, how can the movie industry as a whole get people to come and come again to the theater? Chris Dorr has a proposal, a company has a plan and I have a city to test it on.
Image via Wikipedia
Former film producer Chris Dorr recently wrote up an exciting article about how instead of fighting Netflix and other VOD, theaters should embrace the technology. What Mr. Dorr proposes is a more social network friendly variation to what UGC and CineWorld have done in Europe - an unlimited movie pass to any movie at any subscribed theater for a monthly fee.
The idea is truly exciting(much like the idea for Solar Roadways), and the details more so. It's a lot like being a member of a local film society; getting special screening preferences, discount prices, free passes, etc. And when a startup project called MoviePass announced a test run in San Francisco, I was ecstatic. The idea was looking to become reality; $50 a month for unlimited viewings(one movie a day), $30 limited, all from a mobile phone. Positive support for this was all over facebook and twitter, clearly showing an enthusiasm from the demographic this kind of program is aimed at.
But, faster than Marlon Brando asks for the butter(Last Tango in Paris (Uncut Version) [Blu-ray]
), chain theaters like AMC refused to participate. It's been suggested that this happened due to the chains being unaware, or that the program might affect their own membership programs. I'm not sure if notification would've been all that necessary(maybe as a formality), since they were already affiliated with movietickets.com, and it's certainly possible for a program like MoviePass to sync up with a theater chain's membership program(much like twitter/facebook, or bank accounts/direct deposit), so I'm not really sure why the theaters in San Francisco were so apprehensive. In fact, filmmaker and Camera 7 exhibitor Alejandro Adams expressed his interest on Twitter:
Whatever the reason, MoviePass was denied an opportunity to prove itself, and moviegoers were denied a chance to help. The project is said to be on hiatus, until they get their bearings together and find a new place to beta test. Maybe a city with some independent cinemas. Maybe a city with a large group of bohemians and film majors. Maybe a city that has attracted many Hollywood productions in recent years. Maybe a city...like New Orleans.
Image by Infrogmation via Flickr
Why New Orleans? Why not? New Orleans and it's metro area has about 9 theaters, 5 of which are partnered with movietickets.com(though 3 of those are AMC's). The independent theaters include The Prytania, Chalmette Movies, The Zeitgeist, and special events hosted by NOLA Drive-In and New Orleans Film Society. And, while not necessarily independently owned, Canal Place is an equally popular venue. I can't speak for any of these theaters/organizations personally, but if MoviePass were to, at least temporarily, partner with them for a trial run, I guarantee you that film buffs, UNO film majors, film crews from Hollywood South, and even families hungry for an outing will come, armed with their smart phones, from all over the area.
No doubt, innovation is sorely needed at the ticket window. But with short mindedness running rampant, how can a program like MoviePass thrive? New Orleans, a city that has helped produce some amazing films recently through it's tax breaks, could become the example that an unlimited movie pass program would need. If Netflix, Gamefly and Hulu can do it...
Image via WikipediaFormer film producer Chris Dorr recently wrote up an exciting article about how instead of fighting Netflix and other VOD, theaters should embrace the technology. What Mr. Dorr proposes is a more social network friendly variation to what UGC and CineWorld have done in Europe - an unlimited movie pass to any movie at any subscribed theater for a monthly fee.
The idea is truly exciting(much like the idea for Solar Roadways), and the details more so. It's a lot like being a member of a local film society; getting special screening preferences, discount prices, free passes, etc. And when a startup project called MoviePass announced a test run in San Francisco, I was ecstatic. The idea was looking to become reality; $50 a month for unlimited viewings(one movie a day), $30 limited, all from a mobile phone. Positive support for this was all over facebook and twitter, clearly showing an enthusiasm from the demographic this kind of program is aimed at.
But, faster than Marlon Brando asks for the butter(Last Tango in Paris (Uncut Version) [Blu-ray]
), chain theaters like AMC refused to participate. It's been suggested that this happened due to the chains being unaware, or that the program might affect their own membership programs. I'm not sure if notification would've been all that necessary(maybe as a formality), since they were already affiliated with movietickets.com, and it's certainly possible for a program like MoviePass to sync up with a theater chain's membership program(much like twitter/facebook, or bank accounts/direct deposit), so I'm not really sure why the theaters in San Francisco were so apprehensive. In fact, filmmaker and Camera 7 exhibitor Alejandro Adams expressed his interest on Twitter:"To those of you who asked me privately about MoviePass: first of all, congratulations on being smart enough to ask an exhibitor about it. And thanks for your patience. My marketing/promotions director has done all necessary research. It turns out the service operates through movietickets.com, so any theater affiliated with movietickets.com is automatically affiliated with MoviePass. The exhibitor is not directly offering a discount of any kind or endorsing the service in any way. MoviePass is creating a fund via which they broker ticket purchases on a member's behalf. The only way this impacts exhibitor revenue is if more people for to the movies. Let's hope so. #MoviePass"
Whatever the reason, MoviePass was denied an opportunity to prove itself, and moviegoers were denied a chance to help. The project is said to be on hiatus, until they get their bearings together and find a new place to beta test. Maybe a city with some independent cinemas. Maybe a city with a large group of bohemians and film majors. Maybe a city that has attracted many Hollywood productions in recent years. Maybe a city...like New Orleans.
Image by Infrogmation via FlickrWhy New Orleans? Why not? New Orleans and it's metro area has about 9 theaters, 5 of which are partnered with movietickets.com(though 3 of those are AMC's). The independent theaters include The Prytania, Chalmette Movies, The Zeitgeist, and special events hosted by NOLA Drive-In and New Orleans Film Society. And, while not necessarily independently owned, Canal Place is an equally popular venue. I can't speak for any of these theaters/organizations personally, but if MoviePass were to, at least temporarily, partner with them for a trial run, I guarantee you that film buffs, UNO film majors, film crews from Hollywood South, and even families hungry for an outing will come, armed with their smart phones, from all over the area.
No doubt, innovation is sorely needed at the ticket window. But with short mindedness running rampant, how can a program like MoviePass thrive? New Orleans, a city that has helped produce some amazing films recently through it's tax breaks, could become the example that an unlimited movie pass program would need. If Netflix, Gamefly and Hulu can do it...
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