Hit & Miss Review: "Pacific Rim" and "R.I.P.D."

This past month has seen some high profile movies do very poorly at the box office. Lack of interest from the audience, poor marketing and horrible word of mouth aside, I feel the urge to discuss two of them - one that deserved to be shunned and one that didn't. If either or both are still playing at a theater near you, hopefully my quick words will sway you in the right direction:

The Hit

Considering the success of the (ugh) Transformers series, I'm honestly shocked at the reception for Guillermo del Toro's latest. The premise of giant alien monsters being fought by human piloted giant robots is one that we've all probably thought up, most likely during our childhoods. I can remember playing out epic scale fantasies in my room, even imagining camera angles and special effects. Yes, other kids were going on their first dates while people like me and Mr. del Toro were thinking up monster battles.

And when a movie like Pacific Rim finally comes along? You go see Grown Ups 2. Shame.

On the wikipedia page for the movie, it's mentioned that del Toro wanted to capture the same sense of awe that Goya's The Colossus instills. The painting is absolutely breathtaking, and when the fights do happen between the bots and monsters, I get chills.

The huge creatures and machines, contrasted against building and people, put me in the same kind of anxiety I get when driving next to a skyscraper. When fighting, we get a sense of weight and depth - real world rules applied to insane scenarios. People and cities are in genuine peril, creating genuine heroes out of the pilots and crewmen. Unlike in some recent superhero films, there is no time for brooding emotions or doubt; you must get the job done, or people will die. Simple and to the point.

Pacific Rim is a fresh reminder of all the fun that cinema can and should be. It's story is simple, it's effects are complex and it's mission to entertain is 100% fulfilled. Well, for those that saw it, anyways. If it doesn't have Adam Sandler in it, why bother, right? Pfft.

5/5 *s

The Miss

Considering the success of the Men in Black series, I'm not surprised that Hollywood took a chance on a movie about afterlife cops. I AM surprised, however, that lead actor Ryan Reynolds was also an executive producer of this film, putting on him a level of responsibility for the final product, with emphasis on product.

With a story about a dead cop getting recruited for an organization of deceased policemen called the Rest In Peace Department - who arrest and erase non compliant souls called "dead-os" - R.I.P.D. should've been a fun mix of Beetlejuice and the Will Smith / Tommy Lee Jones buddy cop alien movies mentioned above. Instead, and perhaps not surprisingly, it's just a mess. A mess that asks for a 3D surcharge.

Lame jokes at inappropriate times, twists that felt obvious and unnecessary, a most formulaic formula and an "I could care less" atmosphere, the movie screams like an assembly line production. The powers that be took the source material, watched a MIB II (I'm guessing), and said "Let's mesh them together! Money!" They got a noname director (sorry) who wouldn't ruffle any feathers, demanded that this be a "movie for everyone" and wrote a check.

Poor Ryan Reynolds; he pulled another Green Lantern. Just let him do a Deadpool film already.

The film ends with Mary Louise Parker putting the end of Jeff Bridges' beard in her mouth and biting it. It
was the last visual I caught before feeling the dry heaves. Earlier today, I debated buying American cheese product, but I won't debate rewatching THIS product. The answer will be a no.

1/5 *s

Review: "World War Z"

In This is the End (which I quite liked), Emma Watson remarks to her celebrity friends that she believes the disaster that has hit Hollywood is a zombie apocalypse. Now, it turns out to be the rapture in that movie, and not a single zombie is actually seen. But This is the End does share some common ground with that horror genre. The setting is a tight space (a house), and the characters pose an equal threat to each other when compared to what is happening outside.

Traditionally, the zombies are merely a catalyst for getting the characters together, and presenting the real threat - humans. We bicker, fight, make selfish choices and even kill one another. The looming danger outside only heightens the true danger inside. Commentary through horror. If only we had just gotten along.

Brad Pitt's World War Z is a sort of mix between 28 Days Later and Outbreak, with less insight into humanity and politics and more money spent on... action? Star power? CG zombies?

The story is about an ex U.N. investigator that has been tasked with assisting in finding the origin of (and possible cure for) a plague that is quickly turning the world into ravenous beasts. The word zombie is spoken here and there, and with a sense of "you've got to be kidding me" from those talking about it. We are thrown into a mysterious worldwide disaster with grave consequences and palpable tension. Refugee camps, walled up cities and command centers in the ocean. That's the contingency plan, folks. We're screwed.

The actors all do a fine job of getting us invested in these events, showing exhaustion and uncertainty very well. It's fun and suspenseful watching people quietly move around the undead by using greased up bicycles. It's terrifying having to calm down your children, while they cry for their blanket in the midst of a crisis. And it's hilarious when we see several closeups of a zombie biting down on his teeth like a squirrel.

Wait... what?

Indeed. Emotional intensity is undercut by unintentional hilarity and overdone action set pieces. Over shadowing moments that reflect the good and bad people do in panic mode are silly chases and conveniently placed sequences meant to stop your heart. There is a scene early on when Brad Pitt's wife is almost raped in a grocery store aisle. Not by zombies, but by regular men. Everyone is scrambling for food, water and medicine, and here are these scumbags, causing a problem where there doesn't need to be one. The opening of this movie is filled with things like this. Later, just after a city is destroyed in a pulse pounding rampage, a zombie attack happens on a plane. Why? Because it would be exciting to have an attack happen on a plane.

Oh, and the zombie actors were either instructed or given permission to bang their heads against walls with funny sounding foley attached.

I'd be willing to bet these were problems that came from the troubled production, and the editors did what they could to have it all make sense. It does, but the tone feels off. The movie tries too hard at pleasing every person in the audience - an effort that ends up a detriment. The irony of it all is that if they had left the original ending alone, the end result would've been a captivating cliffhanger and a ballsy move. Instead, they chose to play it safe. Such a shame.

The only commentary I took from World War Z is that when pushed into a corner, people will do what they can to survive. I'm not talking about the characters, but the behind the scenes people. Trapped in an office, feeling the walls closing in, they only made the situation worse. If only they had just gotten along.

2/5 *s

(Almost) Review: "The Hangover Part III"

Have you ever just given up on a movie? I know you have. One time, I popped a DVD of Anchorman into my player for family night, and turned it off about 20 minutes in. It was a chore to watch what we watched. Now, that particular movie aged well, as I gave it a second shot some years later and loved it. Typically, however, once I've made the decision to turn off or walk out, that's it. The movie has lost me forever.

I can stick through just about anything. Heck, Orson Welles' The Trial - unwatchable for some of my friends - is a personal favorite of mine. But it was only a few months ago that I first walked out of a theater midway through a screening, completely bored. It was Taken 2. What could've been a fun Liam Neeson-sploitation flick was just a joyless affair, churned out with the sole purpose of making money based on the success of the previous film. I went to the bathroom after the first half hour, and never returned.

It's sad, because even money hungry sequels are capable of delivering something entertaining. Take Ghostbusters 2: not needed whatsoever, but did a fine job of continuing the story and gave audiences something to come back for. The cast/crew weren't phoning it in and the filmmaker wasn't filled with contempt for his fans. It was a fun movie that I would pay to see, even now.

I wouldn't even scoff at a discounted DVD of The Hangover Part III. It really isn't worth any attention whatsoever.

Honestly, I was surprised that I gave up on this threequel. I haven't seen the other two, but based on director Todd Phillips' previous work, as well as the three leads, I was expecting something at least mildly funny. Breaking from the formula of the previous two, Part III finds the wolfpack in a most dire spot. On a road trip to bring Allen to a mental hospital, they get stopped by a ruthless gangster. He wants them to find their old party acquaintance Mr. Chow and bring him in. Wackiness ensues. The end.

Well, it was the end for me, anyways. One hour was more than enough. In that time, I witnessed Ken Jeong pretending to be a dog, Zach Galifianakis saying silly things and everyone else just trying to get this over with. I felt sorry for them. I bet they wanted to escape, like in The Purple Rose of Cairo. 

It's hard to explain exactly what is wrong with this film except to say that it is NOT FUNNY. And, for a comedy to not be funny, that is unforgivable. But, why is it not funny? And, isn't that subjective anyways? Yes, what makes me laugh won't necessarily make you laugh. However, some things are universal. The rhythm and flow, the atmosphere and tone, acting and demeanor - it all speaks louder than a sight gag. Taking all of that into account, Part III is a depressing cash grab that should've been relegated to a fake trailer. 

I provided an image of a promotional poster for the movie. It features a Giraffe. Why? Well, in the trailer, Allen buys a Giraffe, and accidentally knocks its head clean off while driving. It appears at the beginning of the movie only. Now, I'm willing to bet that the writers whipped the script up as quickly as possible, and the marketing team stretched what little they had into an advertising strategy. This represents what the movie is: A poorly conceived and executed ad campaign for itself. 

From what I understand, the first movie was lighthearted, but the second film was pretty dark. It was also the same story, essentially. Did Todd Phillips pull a prank on all of us? He made two sequels to an unexpected success that were dark, uncomfortable and sad. Despite this, they are making money based on bad "jokes" and name recognition alone. And, of course, he'll be given more money to produce something else. Is Todd doing something extremely meta by intentionally making the same movie (Part II) and smearing poo on walls and calling it funny (Part III)? His documentary Hated in the Nation was about infamous punk rocker and performance artist GG Allin (google him) - perhaps these sequels are something like an art piece.

Or, maybe a studio handed him a check, and he said "Whatevs". I can respect that attitude towards making a story and presenting it to an audience, until I have to watch it, of course. Then, it's up to me if I want to make a discreet exit. Respect that choice, please Hollywood. After all, you still have my money. And, you haven't lost me forever. Yet.

Review: "Where Y'at? (hello.)"

Q) What is Hollywood South?

A) The southern (specifically Gulf of Mexico) region of the U.S., which hosts a good amount of Hollywood film and television productions, because of very attractive tax incentives.

It’s tough out there for up and coming independent filmmakers, especially in New Orleans. Sure, there are tools like social networking and crowd funding that are paramount for artists, but there is no guarantee that any of that will work. And if they do, the benefits aren’t enough to qualify for the same privileges that bigger productions enjoy.

If you’re from Hollywood, they’ll roll out the red carpet. If you’re local, they’ll hire you to be a roller. Despite this, there are people and organizations in the area that are working around the clock to sponsor home grown talent, from festivals and lectures to collaborative projects. Collaborative - what a great word.

TimeCode:NOLA’s Where Y’at? (hello.) is a feature film made up of 15 shorts, each inspired by a city street corner. Think of it as New York, I Love You, but more independent. It’s an excellent introduction to some great talent, filled with DIY spirit and a “look at us!” attitude. Framed around a man eating peanuts on a park bench, telling anecdotes to anybody that’ll listen, the shorts run the gambit from comedic and silly to dramatic and romantic.

Ursulines and Decatur, Directed by Sam Cespedes, might be my favorite of the bunch. It tells the story of a young street musician with a crush on a young street artist. Little is actually said, but what shows through most is the beauty of love from afar and the music you hear when your heart flutters. It ought to be shown at visitor centers to give tourists a taste of the culture.

Another favorite is Dumaine and N. Derbigny, Directed by Corey Fortune. The most abstract and daring short of the movie, it presents a young man’s regret of bad choices (either previous or to come) in a challenging manner. Fragments of a crime, prior to and afterwards, are shown in a fragmented way. This non linear approach makes me feel the lead conflict in a sharp way. And the Garrison Keillor bit was a nice touch, too.

Then, there’s Franklin and Dauphine, Directed by Geoff Douville. A quick documentary on a dispute over a recognizable bar sign, this segment blends a “you have to live here to know” story with pictures and a slightly satirical and mostly fond narration. If you ever see the name Melvin in concrete, just know there is something interesting behind it.

The crew that TimeCode:NOLA brought together proves that not only do we have the people to support our own productions, but the talent to make them shine. If things go well, Hollywood may one day invest in a studio backlot for the area, and conceive of projects WITH us, instead of just outsourcing them TO us.

Q) What do we want Hollywood South to mean?

A) A place where local filmmakers think up, execute and put out movies. A NEW Hollywood.

4/5 *s

Where Y'at? (hello.) will be screening at the New Orleans Old U.S. Mint on Sunday, April 14th, as part of French Quarter Fest. Click here for more information.

Review: "Cleanflix"

There is a great website with a great community of video editors called FanEdit.org. They encourage the re-imagining, re-organizing and re-editing of popular movies and TV shows - like, for example, a Grindhouse style version of "Star Wars".

To avoid any legal troubles, the site makes it clear that edits using sources not legally obtained will not be allowed. Of course, they mean torrents and bootlegs, but even software that rips video off of DVD's can be attacked. If I pay $20 for a Julia Roberts film, I should be able to remove her from it, right?

We own it, so why can't we change it?

Hollywood and major music labels are so far behind the times. As proof, all you have to do is watch "Cleanflix". In this documentary, we witness the rise and fall of video stores in Utah (and a few other states) that offered rentals for movies that have been edited for family viewing. If you wanted to see "Titanic" minus Kate Winslets' nude body, they had a copy.

I remember reading about Ted Turner wanting to colorize "King Kong", and I'm very familiar with George Lucas constantly changing "Star Wars" while holding back the theatrical versions. There is a difference between those actions and the ones in "Cleanflix". It's called demand. People actually wanted slightly censored versions of popular movies, and they were willing to pay money for them. They weren't owners of those properties like Turner and Lucas, meaning that the original films with their original intent would remain intact for other people to view.

The customers just wanted another option, is all. It's interesting how this battle could be boiled down to self censoring repressive customers vs. oppressive rights holders and artists. Which side does one take, huh? The store owners just wanted to sell a product. No ideological agenda necessary for them, just the joy of providing a service and giving people movies (even if watered down). The legal challenges from California and the religious beliefs of the local community would take such a toll on this niche market that chain stores would close and owners would struggle and crumble under the pressure of it all. That such drama could come from video rentals is amazing.

Now, most stores have been replaced by kiosks and on demand services. It's funny watching someone outside of a grocery, trying to rent a movie while blocking out the glare from the sun to see the screen. Digital downloads are more my thing, but some come encoded to avoid "piracy". What if I wanted to make an amusing youtube clip? To those that break on through and make re-purposed videos, I salute you.

4/5 *s

Review: "Skyfall"

Cross posted from the MoviePass blog:

In my closet, I proudly store several boxes of VHS tapes. Some are pro wrestling pay per views and tv shows and some are movies I watched repeatedly as a kid. Of course, VCR's don't replay the tape - they just rewind and shut down themselves. But, I would always make sure to pop the cassette back in, and watch again. "Singin' in the Rain", "Casablanca" and, of course, "Moonraker" make up the collection.

Yes, "Moonraker". And I type that proudly.

The idea of sending a popular character into space has been used in many criticisms of hack filmmakers, used when a franchise has reached its peak, and is running thin on gimmicks (cough "Jason X" cough). Yes, James Bond was shot into space. But is he out of gimmicks? No. Has he reached his peak? Some of his friends and foes seem to think so.

In his latest adventure "Skyfall", Daniel Craig's Bond kicks things off with an exhilarating chase, then getting shot off a train. He reappears in M's house, classically in the shadows. When she turns the light on, he is weathered as hell; unshaven and weak. He struggles to get back into agent mode - at one point leading to the accidental death of a henchman - and is asked, at every turn, if he has "lost a step". We might be 3 movies in, but this new series has now acknowledged its own staying power.

I read somewhere that you can judge a Bond film on the strength of the villain. Javier Bardem's Silva is strong and creepy. Really creepy. Characters speak of him with a sense of fear. When we are finally introduced to him, the camera stays in one place, making Silva slowly walk to us. It's as if the lens is afraid to get too close.

I also have heard that Bond stories are best when completely ridiculous, jet packs and space ships included. "Skyfall" has action, but it's all pretty practical. "Skyfall" has style, but it's not overdone. This movie might be the most mature and level headed spy flick I've ever seen. Sure, it's fun when our hero fights a mad scientist with plans to blow up the planet, or uses an Adam West style weapon (shark repellant) to get out of a sticky situation, but that stuff is for the kids.

I just recently bought a blu ray player. It sits on top of my VCR. My videos stay in my closet, collecting dust and waiting to be recycled. Sometimes, you have to move forward and realize you've grown up. Sometimes, you prefer a traditional tracking radio to a high tech pair of glasses with GPS and spring loaded tranquilizer darts. Sometimes, you want more "Skyfall" and less "Moonraker". There is something bittersweet about being an adult...       

4/5 *'s

Review: "Southland Tales"

[The original script] was more about making fun of Hollywood. But now it's about, I hope, creating a piece of science fiction that's about a really important problem we're facing, about civil liberties and homeland security and needing to sustain both those things and balance them.

a tapestry of ideas all related to some of the biggest issues that I think we're facing right now . . . alternative fuel or the increasing obsession with celebrity and how celebrity now intertwines with politics.

[Southland Tales] will only be a musical in a post-modern sense of the word in that it is a hybrid of several genres. There will be some dancing and singing, but it will be incorporated into the story in very logical scenarios as well as fantasy dream environments.

                                                                                               - Richard Kelly

The director of "Donnie Darko" certainly can't be called someone with a lack of vision. But, what exactly are his eyes trained on? And, is he seeing the world through a kaleidoscope?

Southland Tales (Photo credit: Wikipedia)

When I first read the synopsis for "Southland Tales", I got really excited with what could've potentially been the best comedy since "Dr. Strangelove". Basically, the epicenter of the end of days is Hollywood and our hero is an amnesiac action star trying to get a screenplay that he co wrote with a porn star made. This could've been SO much fun.

Instead, what I (and the studio) got was the equivalent of witnessing a first year film student burning money in a trashcan for over 2 hours.

I should note that even though I own this movie on DVD, I am not re watching it for this review. Instead, I'll be going on memory - sad, frustrated, disappointed memory:

A few years after a nuclear attack on Texas, the U.S. has become a full blown police state, keeping it's citizens under constant surveillance. Yet, this invasion of privacy is unable to track the most famous movie star in the world (who walks around in broad daylight), who has been shacked up with a porn star, who has ties with an underground organization bent on overthrowing the government, who also has vague ties with a mad scientist that has created a new energy, which may also be responsible for a rip in the fabric of space time, which threatens to...

...convolute everything. Man, was it hard to sit through this. Kelly crafted such an awesome story in "Donnie Darko", I thought he could pull it off in his second time out. That film - though with a smaller budget - similarly dealt with very unique personalities part of a larger story. Both stories are about mysterious situations and how the characters weave in and out of them. But, where DD succeeded, ST failed miserably. It lacked a certain focus, and seemed to confuse ambiguity with brilliance.

You know the phrase "your eyes are bigger than your stomach" in reference to a kid who can't finish his meal? That sums up this production. The ambitions are grand - taking on such political and even religious themes - but it's handled as if it'll just work itself out in the end. With a budget under $20 million and some higher profile stars to deal with, I suspect that Kelly was too busy carrying everything on his shoulders, that he let some important things fall to the wayside. What a shame.

This is the only explanation that makes sense to me. His feature after this one was "The Box", which was pretty entertaining and weird. And "Domino" - which he only wrote - was constructed very well despite it's big story. So, Kelly is certainly capable of excellent work, he just was in over his head a bit.

I've read in interviews that he's quite proud of "Southland Tales". No, for real. Hopefully, it's because he learned something from the experience. If not, then he's just lying to us and himself.

This review was requested by a friend on my blog's facebook page (look to the right of this page). If you have anything you'd like me to watch and criticize, feel free to suggest something. And if Richard Kelly happens to be reading this, please take no offense - I honestly can't wait for your next movie.

1/5 *'s

Contributions Part 2

Hello! My Name is Bill...

On May 10th the first ever Tugg event was held in New Orleans. Hosted by The Theatres at Canal Place, the screening was a sold out blast featuring a Sergio Leone classic and fellow film enthusiasts.

Man, I wish I knew any of them. Read more...

Fleur De Flicks - June 2012

Tired of watching “The Avengers” these past few weeks? Don’t worry; with a new month, comes a new slate of movies. These are some of  my ticket buying suggestions for June. Read more...

A Spaghetti Superhero Flick?

After seeing The Avengers I wondered if we’ve seen the best that comic book movies have to offer. To clarify, I think that comic book movies are different from superhero movies. This is just my opinion, and I could be wrong, but it has to do with how the movie treats the subject. For example; Spiderman 2 is a superhero movie, Captain America: The First Avenger is a comic book movie. One deals more with the main characters’ plight and conflict, while the other is just about telling a fun story. I’m not trying to suggest that one is better than the other – it’s just how I feel.

So, let me change my original question up; have we seen the best that superhero movies have to offer? Read more...

Trailer: 'The Perks of Being a Wallflower'

Being Mr. Obvious over here, I say that high school sucks. But, what sucks even more is finding a good high school movie. Read more...

Review: 'The Avengers'

I used to collect comic books. Yes, I admit it. I got swept up in the fantasy of characters with unique abilities beyond those of normal people, fighting over exaggerated villains in an effort to save their hometown, and in some cases, the world. I mostly focused on the Superman comics – during the period of time when he became pure energy (I was probably one of the few that liked that story arc) – but I certainly hadn’t chosen a side in the DC vs. Marvel fight. Why pigeonhole yourself to just one brand? Read more...

NOLA's First Tugg Event

Read more about the event

 Movie buff wants to give The Joy a Tugg

After registering with the site, I was asked by a representative what theater in my area I was interested in. I thought of a few: The Prytania, Chalmette Movies, Zeitgeist, even The Alamo Underground. I feel pretty confident that any of these venues could play host. Shortly after responding to the rep, however, I realized I had forgotten one very important location – The Joy. Read more...

#TeamNOLAFilm Podcast - Episode 1

Hosted by local bloggers (myself and Chris Henson), local filmmakers (Chris Brown and Ashley Charbonnet), local crewmen (Casey Moore), local critics (Mike Scott), and open to any/all others who are involved in local film, this project has one main goal; to provide insight into the Hollywood South community FROM the Hollywood South community. Any suggestions, questions, comments or concerns are greatly appreciated. Feel free to embed and share this. And, if you download or listen to this, you too are part of #TeamNOLAFilm:

 Music courtesy of Tuba Skinny.

Still No Such Thing As Too Many Critics

In a previous post, I expressed my desire to become a professional film critic; a desire I've had since childhood. Since then, some progress towards that goal has been made - more reviews, more article contributions, more tweets and more contact with different people and places.

But, I could still be doing more.

Later this week, I have a job interview. Nothing guaranteed, but I might be doing some light filing and data entry pretty soon. Part time. My mother seemed a bit concerned by the news; "I don't want you to stop your writing". Of course I won't stop, but I do need some income (that's everybody's story). I know I can make this into a career. There has to be an opportunity out there somewhere. Maybe at Nola.com?

I was gonna hold off on writing this entry for a few more weeks, but I chose now to coincide with some interesting developments.

Recently, Nola.com - the Times Picayune's website - underwent a redesign. Colors were changed, sections were reorganized and some dead spots were consolidated. I assume (and hope) it's not the final version, as it could use some more local personality and be more user friendly. Despite the site issues (there are good online examples to follow), the change up shows a positive interest in internet distribution. And, even more recently (like a few hours ago), a rumor hit twitter that a big shakeup at the paper was being planned. Could all of this mean an opening for staff bloggers?

Perhaps. The big shakeup hasn't been officially announced, but it's believed that it will involve more reliance on the website to provide content, and less on printed papers - which would lead to days without a paper being printed.

More and more, people are getting their news off the internet. Sure, some still buy papers on Friday and Sunday, but, in the case of my mom at least, it's mostly for the coupons and ads. Whatever articles get printed in the paper now appear on a site as well. And, now with social networking, anybody connected can be informed of a new article as soon as it's posted, as opposed to waiting the next day for it to be delivered.

As someone who blogs about movies - usually involving the New Orleans area - and gets his news online, I find this concentration on website content very exciting. To be able to reach more people AND connect with them is all any blogger wants.

Losing a couple of daily papers is a bit rash, especially considering that portions of the area lack proper internet access; how will people get the news if there's fewer prints and not enough broadband? Maybe the answer - for now - lies in catering to the online readers and traditional audience separately. Creating a whole new department for a blogging team wouldn't be too difficult; local writers are already providing content for free, and would be more than happy to come on board for such a project. And we wouldn't even need a physical newsroom; a laptop and a coffee shop will suffice.

TP currently only has one critic (a fine one at that). As an area that is BOOMING with film productions - so much that it's now being called Hollywood South - we could use more pro movie writers. Nola is more than just a food and music town; it's a movie town, too. So many productions, screenings and events can spread any single critic thin. Pair that critic up with another? You've got some more coverage.  Pair that critic up with a blogger - someone who is constantly connected online (bordering on obsession) - you've got the whole area covered.

Considering the redesign, the possible shakeup and Hollywood South as it is - why not do what other papers (like LATimes) are doing? Why not put a movie blogger on the staff?

Perhaps not. Now, it's thought that some staffers may lose their jobs if the rumors are true. Longtime writers could be pushed aside in an effort to save money. If this happens, the likelihood of staff bloggers becomes slim. This seems to be what some papers across the country are doing, but it's a bit misguided if you ask me.

If anything, a paper should hire MORE staff writers, not LESS. I don't know much about the business end of things, but I do know that people are still reading - sometimes on paper and sometimes online - and they still depend on local news organizations and local writers for local information. You may think you can't afford your current staff, but you really can't afford not to have them. Adding a few more members, if only on a freelance basis, would be a benefit.

No matter what happens - if the shakeup rumors are true or not - I still think New Orleans area publications - like Nola.com - should invest in more movie bloggers, and I still think I can make a career out of doing what I love to do, despite the state of the economy. In the meantime, I've got some pants and a shirt to iron; gotta look nice for the job interview.

The Joy Is Back! Let's Book A Movie...

Since posting my previous entry on The Joy, the theatre has re-opened and played host to musical acts and stage productions. It's great to know that the venue is up and running again, but one thing concerns me; no movie screenings have been scheduled.

With its' history as one of THE premiere movie palaces on Canal St., it surprises me that a screening hasn't at least been booked. It can't be a lack of interest from the local film community, can it? Whatever the reason, I have a few ideas for possible movie events at the revamped Joy: 

Movie Pitchers Revival

I never had the opportunity to visit when it was in operation, but from the stories I've listened to and read, Movie Pitchers was a house with character. From Mike Miley Online:

"Yes, Movie Pitchers was a complete dump, but it was a film lover’s dump. For $5, you could see all the foreign and arty indie films that didn’t play anywhere else in town other than the overpriced Canal Place in the French Quarter … and you could drink while you were there. Magnolia, The Big Lebowski, Deconstructing Harry,Hands on a Hardbody - I saw them all at least twice at Movie Pitchers. Plus, they showed Disco Dolls in Hot Skin, which, if you don’t know, is a 3-D porno starring John Holmes (remember what I said about the couches?). It was disappointing, but it has one of the most messed-up flashback structures ever put on film. How could a film lover not live at a place like this?"

Unfortunately, the theatre was demolished in the early 00's.

So, what am I proposing? Let Movie Pitchers take over The Joy for a night! Call it a revival of sorts; the original owners/fans, programming a series of films they used to show. Original ticket prices, original drink brands/prices (The Joy has a bar), maybe even decorate the screening room with original furniture (a longshot), all for one night of nostalgia. Currently, there is a Facebook group, set up by dedicated fans, calling for their return - they might have some ideas...

Film Festivals

The New Orleans Film Society presents, every fall, the New Orleans Film Festival, and books screenings at theatres across the city. Maybe this year, The Joy can play host to the opening/closing night events? 

Taking place soon after is the NOLA Horror Film Fest. To screen on Canal St. would bring plenty of attention to this young fest.

And, of course, there is this:

Our Worst Film Festival (which also played at Movie Pitchers) was revived a few years ago, and has since existed as gatherings held throughout the year. Why not give it a bigger venue? Maybe it could become a regular thing; showing bad movies once a month. People show up to Prytania's midnight movies, why not come to The Joy for notoriously bad/incredibly obscure films? And maybe this could merge with B Fest; 24 hours of bad movie programming. Consider that ticket bought.

Hollywood South Premieres 

New Orleans has seen many major film productions, but very few film premieres. Let's fix that. I call on all producers and distributors to world premiere your NOLA shot films IN NOLA. You did a red carpet type event for Sandra Bullock at The Prytania, you can do the same for Sylvester Stallone at The Joy.

However it happens, I'm sure a movie will eventually screen at The Joy. When it does, I'll be there. Unless it stars Dane Cook.

A Movie For The #Hashtag Revolution

Moving closer towards the singularity, people have begun using the internet for things beyond shopping and porn. Social networking and blogging have not only given us a way to learn about global issues in real time, but also a means to protest in real time. The leaderless hacktivist collective Anonymous, as well as whistle blower site WikiLeaks, have inspired a new generation of protesters and organizers to not only take to the streets, but to their desktops and laptops. Is a company/government practicing unfair/illegal policies? Take them offline and tweet sensitive data. Want to be kept up to date on a protest that's not being covered by news outlets? Follow a hashtag and/or "like" a group. And, above all else, spread the word!
Image via Wikipedia
While I wholeheartedly agree with these organizations, I have to admit that I feel I haven't done enough to support them. I retweet, I share links (probably at the annoyance of friends and family), I use hashtags - but it doesn't feel like "enough". So, I'm about to use this blog entry to help out a bit more. To express an idea. An idea for a movie.

Hollywood, through V for Vendetta, can be partially thanked for providing modern protesters with the idea of wearing Guy Fawkes masks. I doubt, however, that most protesters would want their story told by a major studio. Sure, it would help bring attention to various issues, but it would not only be a conflict of interest (an anti-establishment film made by the establishment), but would probably become a mess. For this story to be properly told, we need a filmmaker who is young and independent of the system. More importantly, we need a filmmaker who understands the language that has helped coordinate and spread protests all over the world and is almost universal in understanding (except for the elderly). The language I'm talking about is that of the computer/internet. And the filmmaker that could pull off this movie is Eugene Kotlyarenko:

"The predominant screen of our time is the one you're looking at right now. We spend 1...2...4...10 hours a day on the computer; moving around windows, listening to music, processing hundreds of opinions, looking at others' adventures, discovering unknown worlds, making faraway friends, doing vanity searches, buying stuff, writing messages and entries and documents. This is our behavior. For better or worse, this is our life. All of it is now natural. No one gets confused as they sit in front of the computer and see and click and process everything, all at once. It becomes intuitive. It becomes a common language. Why not acknowledge that we are speaking this new language? Why not use this new language to tell a story? Why not tell the story on that other screen? That 20th century screen, the big silvery one, the one people go to and get their stories in one epic serving."

This director's statement, for his film "0s & 1s", is all you need to know that Eugene is the man for the job. He understands this generation and how we now process/deliver information. While I haven't yet viewed this film, I have seen his internet exclusive project "Skydiver". You would think that a movie, released in serial format, comprised of webcam chats via screen capture software, would be a tad boring. But, at no point did I feel like turning away and doing something else. Combining both the intimate photography provided by a computer monitor, as well as a clever move in tricking facebook users that this was a "real" diary series, "Skydiver" stands as one of the most memorable experiences I've had in streaming online content. No doubt, this is the kind of style needed for a film about modern online activism.

I imagine a film released for free (torrent, youtube, etc). This film could re-purpose news footage, political speeches and protest videos, and show them within an internet browser. It could feature a scene, with music, where a group of characters (visible only by their avatars), dialogue/emoticon with one another via tweet. Perhaps a sequence of computer hacking, followed by a news report regarding said hack. Webcam chats, featuring people with blurred out faces or donning Guy Fawkes masks (not all of them). And, of course, live streaming protest footage, shot using cell phones and tablets. 

This is what I can currently offer my generation of protesters and activists, besides my retweeting and sharing - an idea. An idea for a movie that captures this new movement. Until it gets made, I'll help spread the word - #OccupyWallStreet

 

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 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.