@MoviePass Reviews: "Disabled but Able to Rock" and "Spring Breakers"

Since the MoviePass blog is being phased out in favor of a Tumblr page (where my reviews will be shared), I decided it might be a good idea to post, in full, two exclusive reviews from that old site:


Disabled but Able to Rock

I mention this quite a bit, but when watching a movie, the thing that stays with me most is not necessarily the story or characters, but the framing and meaning of certain shots. The films of Stanley Kubrick are classic examples of photography with purpose (there’s even conspiracy theories surrounding the hidden messages in “The Shining”). The placement of characters in relation to one another, items in the background and foreground, lighting and color – all enhance the story beyond what’s being said.

But meaningful cinematography isn’t exclusive to narrative features.

Disabled but Able to Rock is a look at the larger than life Danger Woman AKA Betsy Goodrich – part comic book character, part performance artist, part singer and part activist. The fact that she is an autistic super heroine with the power of karaoke might be what draws attention, but it’s her moxie, incredibly infectious positivity and independent spirit that makes her memorable. The crew that followed her life for a number of years captured some wonderful moments and asked fine questions during interviews with friends and family, but what provided the most insight – for me anyways – was what they captured in two scenes.

The first moment comes during an interview conducted by a reporter. At a DragonCon event, Betsy as Danger Woman is being interviewed by a reporter (not a member of the documentary crew). When his camera is on him, he perks up and begins a line of questioning. When Betsy answers, and the cameraman is off of him, his face goes sour. It’s almost as if he has a problem interviewing someone like her. You know, someone “like that”.

This is a perfect representation of Danger Woman’s key function; exposing ignorance. Betsy certainly enjoys singing and performing for the fun of it, but she also says many times that she fights against what she calls Disable-Phobia. Her performances force what she calls normals to give a reaction. These reactions range from delight to annoyance, from joy to mocking. All genuine and raw. It’s almost like what Sacha Baron Cohen has done in his movies – getting real emotions out of others and making them public. The costume Betsy wears and the songs she sings are loud as hell, and impossible to turn away from. What she does is like a creative version of shouting into a megaphone while standing on a soap box. Activism-tainment, folks. It’s in your face and challenging.

The second moment takes place in a more personal setting. We get to see Betsy’s home life, where she lives with her mother and also disabled brother. The camera pans across the living room, cluttered like a house from Hoarders. The kitchen is cruddy and the bathroom is disgusting. But then, down a very dark hallway, there is a brightly lit room. They stay on this view for a good while.

The meaning of that should be obvious. Betsy faces obstacles such as a depressing home life, the passing of a guardian, loneliness and restrictions put on her by others. Despite all of that, she remains cheery. Her attitude never dips. Optimism about what the next day will bring and courage to live the life she wants just radiates from her… like a brightly lit room at the end of a dark hallway. After presenting a legal challenge against her relatives in an effort to maintain her rights, one of her cousins remarks that he wishes his regular ed. kids were as brave as her. The path might be dark and creepy, but the destination is glowing and rewarding.

I pulled all of that from just two shots. Aren’t wonderfully framed scenes great?

5/5 *s

Below is the movie, in full. Watch, enjoy and be sure to leave a tip via the Vimeo page.

Disabled But Able To Rock! The Danger Woman Story from Blake Myers on Vimeo.

Spring Breakers

In my opinion, few movies can reach the greatness that is Alec Baldwin’s “motivational” speech in Glengarry Glen Ross. His character stripping down the other salesmen while shoving his own greatness in their faces is what is known, among my circle of friends, as a “walk out like a hero” moment; you walk in, give someone the business, and walk out as if nothing happened.

Scenes like that are what I live for.

In Spring Breakers, we get a roughly 90 minute long musical montage that has the spirit of someone who has taken that scene to heart. It is amazing that it exists.

Four young women want a spring break experience like nobody has ever had. To break out of their college monotony, they rob a diner with toy guns and raise the funds needed. Upon arrival, the revelling becomes an insightful journey of self discovery – one that they never want to end.

After partying a bit too hard, they are bailed from jail by a drug dealer / rapper named Alien (James Franco in a memorable performance), who acts as a sort of guru, showing them how he doesn’t just experience spring break, but lives it 24/7. He is the dark embodiment of their wantings, and introduces them into a world of guns, drugs, thievery and sex. Everything is for the taking, if you want it. But, do the girls really have it in them to go all the way?

David Mamet’s epic story of balls on the table manliness exposes the twisted nature of Darwin style capitalism, showing truly how nice guys (or the desperate ones) finish last. Harmony Korine’s tale of youthful debauchery at any cost shows that the more things change, the more they stay the same. Or, maybe get worse… The girls who reach their limits are weeded out and sent home for comforting, while the girls who stick around are rewarded with unlimited excess, and go forth with all they have learned.

Pop songs contrasted against young adults indulging in anything and everything, from booze to violence. Alien enjoying showing off his cache of weapons and styling products, suggesting that he only has these things for the purpose of showing off. The words spring break are repeated, over and over, as not only like a haunting mantra, but as a reminder of all these characters want, and feel they need. This IS America. Yesterday, today and maybe even tomorrow.

Spring Breakers is Glengarry Glen Ross’ soul mate, and that speech by Alec Baldwin is its philosophy. While its non linear structure might not be for everyone, those who do give it a shot will get an experience that will stay for a while. Are you willing to go all the way?

Movies like that are what I live for.

5/5 *s

Review: "G.I. Joe: Retaliation"

When getting ready to watch a movie, there are few things worse to see in the opening credits than the following word: Hasbro. If a movie begins by announcing Hasbro as one of its production companies, that’s your hint to duck for cover. The Transformers Trilogy, Battleship and G.I. Joe: The Rise of Cobra are prime examples of bad movies based on toy lines. The special effects might be there, but the writing of the characters and dialogue implies either a low perception or hatred of children and young adults (the target audience). I understand that not everyone can be like Pixar, but you don’t have to treat your viewers like morons.

And so, there I was, watching Hasbro flash across the screen. What fate would befall my viewing of G.I. Joe: Retaliation?

Actually, I left satisfied. Seriously.

Full disclosure - Sgt. Slaughter makes up all that I know about G.I. Joe. I never followed the cartoon series or comics, so I don’t know if this is a good adaptation. As a movie based on a silly cartoon, it really delivers.

Following the cliffhanger ending of the first movie, Retaliation sees Cobra Commanders’ plan come to fruition; an imposter President orders a strike on the Joes. With only a handful of members left, it’s up to RoadBlock (The Rock) to lead his team to set things straight and save the world. Basically, it’s the plot of Mission Impossible: Ghost Protocol, turned up to 11.

Where the first movie went wrong, the sequel went right. For starters, this was much more grounded (or as grounded as it could be). The Joes are treated like Seal Team Six (the team that took down bin Laden), but with extravagant weapons technology. In the first one, they wore tight black leather outfits with robotic superman suits. Second, there is a grittier atmosphere going on. Soldiers die, punches are louder and bullets hit harder. Essentially, superheroics are toned down, while the danger is amped up.

Third, the sillines is much easier to absorb. The image of Snake Eyes appearing on C-Span made me laugh, but in a good way. It was charming and innocent to see that, as well as Bruce Willis throwing out a one liner about cholesterol. The villains are villainous, the heroes are heroic, and everybody has their moment to shine and have fun. It was almost a revelation to watch.

Now, this wasn’t as deeply joyous as Marvel’s The Avengers was, but it came as close as it could. A Hasbro movie that doesn’t insult its audience? A Hasbro movie that embraces its cartoonish nature without flipping off kids? Indeed, they finally made a good one.

But, with Transformers 4 and Stretch Armstrong down the line, will they start a trend? The opening credit will still give me a shiver, but Retaliation relaxes me a bit.

3/5 *s

Review: "House of Bad"

Just the other day, the good folks at MovieBoozer setup a debate between myself and fellow reviewer Mitch Hansch over the movie Olympus Has Fallen. Despite some problems with the format, we came to a mutual understanding for each others opinions. When the recording was over, however, I couldn’t help but wonder; are all opinions on movies created equal?

Far be it for me to deny another critic their right to review, or for an audience member to express themselves, but some ratings just confuse me. How can someone rate 2001: A Space Odyssey six beers or The Happening thumbs up? Sometimes, a movie can generate opinions from both sides of the spectrum, and that’s fine. But sometimes, there just is no valid opposing view.

For House of Bad, there can be only one grade - poor.

And I really hate that I typed that, but it’s just true. The movie is about three half sisters (though maybe only one of them is half?) who have just robbed a drug dealer of his stash, and hide out in the most secure and off the grid place they can think of; their old childhood home. They figure they’ll hide out for two weeks, then skip town (even though skipping town first might’ve saved them some trouble). The big sis takes full control, the one confirmed half sis struggles with drug withdrawals and the middle sis tries to hold it all together. But the dark history of the house may be too much for them to handle…

…or for the director. Overacting, over expository and redundant dialogue, bad editing and confusing story moments all make for something unintentionally funny. Horror films are known for a level of campiness and fun, but this was going for a more dramatic thriller theme. Unfortunately, it approaches its theme with the skill level of a bad late night cable softcore porno. At one point, the big sis is standing alone in a room, naked, bathed in moonlight, with a gun to her head. She goes on and on about how her life got so messed up, before a vision of her evil father appears. Continuing to monologue, she stares out the window, with an eye twitching like a mad scientist in an insane asylum. I laughed hard, knowing that I probably was supposed to feel unnerved.

There is another scene where the man they stole the drugs from shows up at the house, and ties the girls up. He drones on and on, over using the f word and repeating himself (possibly bad improv to fill in the blanks of the scene?) before finally getting stabbed on a bad edit, and then shot in the head with a dot of paint with bad squib exploding from behind his head. When you have made me laugh more than a schlock horror flick like The Granny, and your tone is that of a supernatural thriller… As Alfred said to Bruce Wayne, “Know your limits”.

I’ve read quotes from reviews that have been promoted on the films’ facebook page. They say it’s one of the best new horror films, it’s an example of great independent cinema, etc. With no level of arrogance or doubt, I can say that these reviewers either A) weren’t watching the movie I watched B) didn’t watch the movie at all C) were way too kind or D) were influenced by some demonic being. Filmmaker Jim Towns is a wonderfully nice guy, and I genuinely look forward to his next project, but House of Bad is just not good. No other opinion fits.

1/5 *s

@NOFS Review: "Now, Forager"

Cross posted from MoviePass:

There is a scene in the independent film “Now, Forager” that deserved not only some more time, but its own movie. It features a meeting of sorts between one of our protagonists and two Eastern European men. The two foreigners rob our main character with a machete and some vague dialogue. The loot? A bundle of mushrooms.

Yes, you read that correctly – this is a movie that has mushroom bandits in it. Well, briefly has them in it, as they are only on screen for a few minutes, and never return. Had those two thieves been in this more, my enjoyment would’ve been greater.

We follow Lucien and Regina, a married couple who live off of selling exotic mushrooms they find in the wilderness. They sell these items to New York restaurants, but barely make enough income to put gas in their car. Lucien would rather continue what they are doing, as it makes him happy, but Regina wants more stability; she wants to make cooking a career. Their individual passions lead both of them on different paths, which will ultimately test the strength of their relationship.

It’s hard to pick a side with this couple. You got Lucien, who is easily annoyed by people and is deliciously passive aggressive – scenes between him and an upperclass woman write themselves – and Regina, who is warm and a bit naive. I suppose both have personalities to agree with, but in the end, they are too idealistic to last with each other, and with others – namely the audience.

Now, I’m not saying that the main characters are unlikable, but I am saying that there isn’t much to like. They’re smart and their job is interesting, but that’s about it. The majority of the story, they talk about food and mumble about their relationship. This would’ve worked much better as a short.

Wouldn’t a sequel starring the mushroom bandits be amazing? Two thieves who’ve decided to ONLY rob mushroom foragers; something interesting has GOT to be found in that somewhere. Well, as long as they don’t spend their screen time wasting my time.

2/5 *'s

You can follow the movie @NowForager and catch a screening of it at the New Orleans Film Festival on October 13th and again on the 18th. Get your tickets here and follow @NOFS for more festival info.

NOLA Could Use A Tugg

I used to operate a group called the SLU Film Critic's Association. Our function was to screen a variety of films on the campus of Southeastern Louisiana University for the benefit of all students. Sometimes, when a previously scheduled room was unavailable, we would improvise and just take another. We kind of liked doing those renegade events, but if showing our own choice of flick in a real theatre - without paying a rental fee - had been an option...

If only Tugg had been around in the groups' prime. Through this service, anybody who registers with the site can choose a movie from its collection, pick a local theatre they want to see it at, promote the event, and, if enough people agree to show up, it happens! Giving this kind of control to the audience is not only a great way of bringing classics and independents to the big screen, but an excellent way to get people back into the cinema!

If you scroll through this blog, you'll find a post where I recommend that MoviePass be given a chance in New Orleans. Well, of course, I suggest the same for Tugg. I recently had a facebook conversation with the operator of Chalmette Movies, where I asked if his theatre was participating with the service. He was unaware of it at the time, but hopefully he'll find it just as cool as I do. His theatre has great programming month to month; it makes sense to add another incentive for the audience. In the area, you have scores of film students and cast/crew members who are just itching to curate.

Why shouldn't a theatre partner with Tugg? I don't think there is an appropriate answer to that, as it only helps that theatres bottom line to promote an audience created event. If an exhibitor promotes Tugg, this increases the likelihood of a ticket buyer to create an event. If that same exhibitor promotes that event, more people will find out about it and reserve tickets. If that event happens, that exhibitor will have GUARANTEED customers coming in, probably wanting to buy some snacks as well. More moviegoers for you, more screenings for moviegoers to attend, more attendance for a movie - everybody wins.

And the city could see it's first Tugg screening next week. A local moviegoer is trying to setup a showing of Sergio Leone's "The Good, The Bad and The Ugly" at Canal Place. So far, 11 people have signed up - 39 more are needed to make this happen. We have just under 5 days...

<Update: With just a little over an hour before the deadline, the event reached the required number of audience members! 10 seats are still available...>

<Update 2: The event has now SOLD OUT! Fret not; go and register on Tugg, and start your own screening.>

Tugg only has 14 pages worth of movies to choose from, but, the more people show up to local events, the more other movies will become available, which will lead to more events. Maybe my old group should setup a revival event at The Prytania. I know there's an audience out there. 

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:

"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 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...