Movie Review: "Upstairs Inferno"

With a deep pool of interview subjects, and a strong sense of right and wrong, Upstairs Inferno does more in 90 minutes to elicit empathy for a community of people than the city of New Orleans did in 40 years. It's astonishing, quite frankly, the level of ignorance and vitriol that came from city and church officials in the wake of the worst gay mass murder in U.S. history. In NOLA, of all places. On the edge of the French Quarter. Amazing how lifestyles are "accepted" until they have to be publicly "acknowledged". Replace lifestyles with humans in that sentence - that's an additional tragedy.

Movie Review: "The Wolfpack"

It's been argued often that the Batman depicted in the Christopher Nolan films isn't, himself, deserving of much admiration. A wealthy playboy who beats on people of unfortunate circumstance doesn't sit well with those who dwell. Maintaining the very status quo his fans think he's against. This problem has been addressed in other comic book movies like Dredd (and beautifully so), but not so much in The Dark Knight Trilogy. This most recent incarnation of Batman wasn't really hung up on flaws in his character, but rather larger scale moral questions of right and wrong, answers to which leaned toward ambiguous and conservative.

#HYFF2014 Q&A: Michael Domangue and Colt Cabana

From November 12th - 16th, New Orleans will play host to the comedy event Hell Yes Fest, spread out across multiple venues. Like last year, a film fest will occur, showcasing several comedy flicks from several talented filmmakers. I chatted with film fest programmer Michael Domangue (MD) AND special guest presenter / pro wrestler / comedian Colt Cabana (CC) over email about the ins and outs of HYFF and what we can all expect!:

#cineNOLA Weekly - Episode 1

Just a few weeks ago, I attended a meeting of local New Orleans cinema presenters and aficionados. It was fun, getting to meet those I've interviewed in the past in person. Many ideas were suggested, but the one that has carried over onto an email chain has been the creation of a twitter hashtag - #cineNOLA.

We've been pushing it pretty aggressively, mostly on posts that promote film events in town. In an effort to continue the conversation beyond the 140 character twitter limit, I took it upon myself to produce a new podcast, debuting here on the blog.

This first episode features reviews of Pro Wrestlers vs. Zombie, Curio Shop: A Post Apocalyptic Acid Western, an editorial and a rundown of some events for the week. This is a work in progress - please leave a comment if you have any suggestions for future episodes. Thanks, and enjoy!




If you liked this podcast, feel free to visit patreon.com/neauxreelidea for information on how you can support my efforts!

Review: "Now You See Me"

The belief in magic is, I imagine, looked down upon by many. If you're a child, the tricks performed by illusionists are puzzling, intriguing and entertaining. To be completely fooled as a kid is ok. Once you reach a certain age, it's assumed that you've matured a bit. You understand the truth about Santa, accept that Pro Wrestling is a show, and hopefully, appreciate magic on the showmanship level only.

In Now You See Me, a magician actually points out the foolishness of charging him with a particular crime. To do so would be admitting that magic is "real". Another character accepts that what she sees are just tricks, but enjoys the feeling she gets from them. She speaks of having a little faith in the unbelievable, and being a more tolerable person because of it. A professional trickster that calls you stupid for thinking what he does is real and an adult woman who just goes along with the tricks despite knowing that they're just tricks. What was it that Obi Wan Kenobi said about fools?

The crime I mentioned above was part of a Las Vegas stage performance. Calling themselves The Four Horsemen, these four (of course) showmen play out a trick where they transport a man to a European bank, and have him rob a safe. The FBI and Interpol investigate, but are always just a few steps behind this crew. Are they modern day Robin Hoods, or is there something more to their act?

Well, that something more is the trick (or twist) the movie has up its sleeve. A very short sleeve. I don't mean that the finale is easy and cheap but that the whole story is. The way the tricks unfold are implausible and kinda dumb for a popular magic act to achieve. They go to lengths like hypnotizing a man days in advance, switching out real money with flash paper and guessing that an entire audience were victims of an insurance company. Sure, I get it that the performances are just a cover for what they're "really" doing, but what they're "really" doing is "really" not clever. 

Jesse Eisenberg plays one of the Four Horsemen, in what I would call the best acting of the movie (the neurotic tendencies I would expect from him are swapped for confidence and flash). He regularly says that the closer you look, the easier it is to trick you. When a character is seemingly trapped in a car chase on a bridge, we see how the crew pulled off his escape. And it's something straight out of the Fast & Furious mentality. What worked in a movie that could care less about smarts, doesn't work in a movie that depends on you believing it's smart.

This must be similar to the problems people have with the new Star Trek movies. Every personality and theme from the original shows and films are heightened to almost extreme lengths. Whatever subtlety there used to be is gone. Nothing is subtle about Now You See Me, which would be ok (it IS a movie about flashy stage performers pulling off heists) if the tricks played out in and by the story hadn't been delivered in a Happy Meal. 

Now I remember; "Who's the more foolish, the fool, or the fool who follows him?" Fun razzle dazzle is fine and all, but only if you don't ask questions. When I was a kid, I hardly ever accepted something without being a little inquisitive. And you know what? I grew up to like movies ranging from the thoughtful to the silly. You CAN have fun while being mature. No need to be a Toys R Us kid forever.

2/5 *s

@Twitter #Thoughts: "Green Lantern"

Not knowing what to tackle for my next live tweet screening, I asked a friend on facebook to pick something. He chose the Ryan Reynolds starrer, New Orleans shot Green Lantern. I picked the extended cut, thinking it would be an improvement. Was it?

@NOFS Review: "Upstream Color"

It feels a little awkward to compare a one of a kind film to anything else. Somehow, by putting it side by side with a similar movie - maybe one that is highly regarded - you are putting your knowledge of cinema and ability to express that knowledge on the line. An argument can be made about almost anything, but can you be convincing? Basically, you’ll either be thought of in a scholarly manner, or looked at as a weirdo from Room 237.

With that, I will now make the following case: Upstream Color is the successor to Inland Empire.

This is difficult for me, as David Lynch’s Inland Empire is one of my all time favorite films. On the surface, it is a 3 hour trial of confounding and crazy scenes; beneath all of that, it is an “Alice in Wonderland” meets Sunset Boulevard style odyssey. Lynch started his career by taking 5 years to shoot a black and white film, and may have concluded it by taking several years to shoot with Sony PD150’s. Everything has come full circle.

Along with coming full circle is the end. And, with every end comes a new beginning. Shane Carruth’s sophomore feature Upstream Color might not be as long as Lynch’s digital opus, but it’s a bit more absorbing. Oh, and just as confusing.

The tagline “A woman in trouble” was used to promote Empire, but the same could be said of Color. A young woman is drugged with a parasite, and hypnotized into giving all of her money to a thief. Coming out of her stupor, she forms a relationship with a man that may have also been infected. At the same time, a farmer who makes noize albums puts these extracted parasites into pigs, and observes the memories of former victims. The woman finds that her thoughts and feelings are shared somehow, and looks to solve this mystery.

The female leads in this and Empire share some things in common: both are in the movie industry, both get brainwashed, both experience the emotions of others and both confront their respective villains with a gun. The journey in Color might not be like at the end of a certain rabbit hole, but the stars do go through an Alice type adventure.

Everything is meticulously shot and designed, and executed in a very free flowing manner; scenes that don’t appear to make sense at first, feel as if they must soon afterwards because of the construction. There is a wonderful sequence where the farmer cuts from walking amongst pigs to walking around a married couple. The husband is cold to his wife, and the farmer sees the man’s regret when the wife becomes ill. All without leaving the farm. This is more than just a Body Snatchersadaptation, folks.

I think that Inland Empire was more than an expression of wacky ideas - it was a challenge for someone to one up it. An open invitation to grab the torch, if you will. It took some years, but Upstream Color did it. Where Empire was a horror showing a traditional hero tale, Color is a sci fi that depicts connections between people, environments and emotions. Both are similar in their creative obtuseness, but only Color can be said to have loftier goals. Success has been achieved.

Don’t be afraid to put yourself out there with movie discussions, but do be careful and elaborate as much as possible. Now, I pass this next case onto you: Shane Carruth is the successor to David Lynch.

5/5 *s

The New Orleans Film Society will be presenting Upstream Color from May 19th - 21st at Chalmette Movies. Click here for more information.

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.

A Festival for "Steve Chong..."

The New Orleans Film Festival, run by the New Orleans Film Society, was recently listed as one of MovieMakers’ film festivals worth the entry fee for filmmakers. While I have never submitted a movie to the fest (I’m a critic), I can tell you that the NOLA audience appreciates indie cinema. And if you have an exceptional indie film, the benefits you receive will match the quality you give.

Like most fests, there is a submission process, where a plethora of films are whittled down to dozens. Competition is fierce on the festival circuit. The more organizations turn your movie down, the more youtube looks like a viable option. Good movies ought to be viewed on good screens.

To the people behind NOFS, allow me to recommend a good movie for this years fest, during this submission season - Steve Chong Finds Out That Suicide is a Bad Idea. 

I reviewed this local indie a while back, using a rough cut as my source. Since then, the filmmakers have continued editing, and have produced what I feel is a much better movie.

Steve Chong has reached a dead end in his life. Having just been fired from a sushi restaurant, he is heavily considering suicide. At the last minute, he organizes a weekend vacation with his closest friends. They drink, they goof off, they reveal secrets and they grow as people. But will all of this help Steve? Is he going to go through with his plan?

This new cut is much more polished, and features some excellent edits; an opening credit sequence that hints at a very dark moment works really well. But nothing about the story is sacrificed with more cutting. If anything, the story is streamlined, unfolding in a much smoother way. And any movie that uses a Silent Cinema song is a winner in my book. 4/5 *s all the way.

Lots of people in the region know about Steve Chong (some strangers I talked with over a year ago brought it up out of nowhere), but few have seen it complete and on a big screen. Lets make it happen at NOFF. 

Contact NOFS here, and like Steve Chong on facebook.

No Classified Ads for Critics

What outlet do you write for?

And you work at...?

I've been asked the above questions often when meeting with other NOLA area reviewers. Of course, I'm proud to plug MovieBoozer and my own blog, but when they drop the names of their home outlets, I admit a little jealousy on my part.

Why? Because they are local outlets.

With a family deeply rooted in the area, and an industry that I want to help flourish, working at a local publication would fill me with great pride. Now, don't misunderstand me - I love MovieBoozer and will be contributing for them well into the future (such an awesome format and concept), but I really want to make what I do into a career that I can live off of without having to move out of state.

Unfortunately, classified ads for film critics are hard to find. Previously, on this blog, I wrote two pieces that helped me in advancing towards my goal a bit. So, maybe third time's a charm?

Here are some ideas for how my movie blogging can be incorporated into the content of two local outlets:

Off Beat Magazine

This publication is mostly known for providing news and reviews about the music industry, from Louisiana and beyond. They also cover culture, which the booming Hollywood South is part of. However, there is zip to none film coverage to be found on their site.

I'd like to help change that.

I understand that print space might be limited, so how about a blog to kick things off? OffBeat.com is a pretty user friendly domain that's easy to navigate and read. They also use social networking pretty well, so I get that writing for the digital audience is something they're cool with.

Here's what I propose:

• We set up a film blog on the site, perhaps called Off Beat Film, along with a facebook page and twitter account. 
• The blog will cover reviews of independent/obscure (or "off beat") movies, as well as the ones opening theatrically in the area. It can also feature editorial pieces on the NOLA moviegoing scene, as well as special screening recaps (Timecode:NOLA and NOFS events, or backyard/community showings).
• If interested, a youtube account can be created, where video conversations on movies would be hosted. This would provide more content and engage the audience beyond the webpage, should they choose to participate.
• Live tweet-a-thons (where I watch a movie or awards show, and use a hashtag to link all of the tweets together) can be posted on the blog, using Storify.

WWNO.org

Last year, the New Orleans Reporter initiative - a digital news coalition between WWNO, NOLAvie and The Lens - was announced. It has since morphed from a website to a content partnership. Changes are still being implemented, but what about film criticism?

WWNO is the only one of the three that I know has hosted reviews. While written very well, they were not done by NOLA critics, and some were about movies not coming to the area. Even an interview with Quvenzhané Wallis was not conducted by an area writer.

Here's what I propose:

• Reviews of movies coming to the local area, by a local critic. Specialty pieces (interviews, event recaps) can also be provided.
• WWNO.org is chock full of excellent audio podcasts. Currently, I take part in a podcast called #TeamNOLAFilm, where I and other industry members discuss the current Hollywood South happenings. It's mostly been an independent production, but we'd be more than happy to have an official home for the show, and be able to reach more listeners. 

More than likely, I'll be moving closer to the city soon. Also soon will be the official launch of the New Orleans Film Critics Association. Could I soon be sitting in a press screening as an official local critic?

@NOFS Review: "True Family"

Cross posted from the MoviePass blog:

When you think of New Orleans, what comes to mind? Food for some. Hurricanes for others. Movies for me. And, of course, no thought about the city should be without the most obvious answer - music. You don't even have to leave your stoop to hear a juicy tune playing. Without that element, this city wouldn't be as alive as it is.

And which performer best represents this?

Meschiya Lake is a sort of revivalist style jazz singer, belting out wonderful notes on street corners for tourists and city dwellers alike. She has a background in circus acts, a plethora of tattoos and looks/sounds dynamite. She bikes around town, joyfully training her voice for the next song. She is strong, fun and very talented. Alive is the perfect word to describe her.

Before watching "True Family", I had never heard of Meschiya (I ought to be shot). I knew of bands like Tuba Skinny (who were nice enough to let me use their music for my #TeamNOLAFilm podcast), but that was about it. Knowing what I know now, I'm hit with a wave of sadness that there was a whole musical community in the area that I was unaware of - This was followed by absolute happiness when I discovered her album on Spotify. But what really impresses me here is how, through this singer, we are given a novel glimpse of a thriving young creative crew.

You see, this is really more a profile on an artistic circle - one that works with one another. Musicians help each other out, floating from band to band, getting the word out and improving the culture. Others like dancers and designers get in on the act, contributing their talents not so much for the money (the little that is available), but for the joy of expression. This look at the New Orleans music culture makes my heart flutter. 

Recently, there was a tiny spat that spilled onto social networks between two local film organizations, with one accusing the other of monopolizing venues. Ironically, both groups encourage teamwork from everyone involved in the movie community, from directors to critics. Can we call the NOLA film community a true family? Well, sometimes families do argue...

3/5 *'s

"True Family" will be showing at this years New Orleans Film Festival on October 15th. Buy your tickets here.

@NOFS Review: "Dead Man's Burden"

Cross posted from MoviePass:

For most of New Orleans, Quentin Tarantino's "Django Unchained" will be THE western film event of the year. While I don't doubt that it will be an event, to call it a western is way too simple. I think it's obvious that Tarantino's works - especially since "Kill Bill" - have been beyond traditional notions of genre, and fit more under the term remix. I will most certainly be in line for that movie, but what flick should local (or any) western fans catch? What would I pick as a must see?

I would not only recommend "Dead Man's Burden" - which will be playing at this years New Orleans Film Festival - as a great western, but also as one of the best films of 2012. I'm not sure where it would be ranked exactly, but I would bet it'd be in my top 5.

The story is about a young married couple. The wife has just buried her father, and is ready to sell the land she lives on to an opportunistic mining company rep. Just before finishing business, her long thought dead brother shows up, wanting to catch up on time lost. Secrets are unearthed, justice is had and bonds dissolve. A real American tragedy unfolds.

There were two scenes in this movie that represent for me why this was extraordinary. In the first example, the mining company rep appears as the only person in the shot. No score, just the man. Suddenly, the brother moves from into the shot, and the score kicks in. I paused this moment and recorded the timecode - 00:49:50. While this bit might seem too silly (and maybe lame) as an example of a movie's great attributes, I assure you it is THAT GOOD, and just ONE OF MANY similar shots/edits. It's wonderful how a modern first time feature filmmaker has a knowledge and execution mastery of such filmmaking techniques. Too often will I see independent films that are just the screenplay on camera. Use ALL THE TOOLS at your disposal, and you will amaze!

The second example shows the level of tension. In the scene, the wife, husband and mining company rep are about to enjoy a drink and make their deal official. Before a drink could be enjoyed, the brother comes into the room, and drops a bullet into the reps drink. While he doesn't say it, we know - and the characters know - that he dug it out of his father's corpse(!). The mood is thick here. This is western storytelling at it's most hardcore. Emotions run as high as the heat in New Mexico...

"Django Unchained" comes out just before the year ends, but "Dead Man's Burden" is already making the festival rounds. The jury is still out on Tarantino's latest, but Director Jared Moshe's first is an expertly crafted cut of cinema. It is what I would pick as a must see.

5/5 *'s

He Said, I Said Review: "The Dark Knight Rises"

 

The first images we see are of the bat symbol being formed out of cracks in ice. No, it's not a hint at a Mr. Freeze appearance, but a summation of the story to come; about people on 'thin ice', falling through, but ready to rise to the surface. And, if anybody can rise when needed, it's Batman.

Yes, I very much liked "The Dark Knight Rises". Let's see what fellow #TeamNOLAFilm guest Mike Scott thinks:

By the time the film finally gets down to business in its soaring third act, it does, indeed, rise to the occasion, as Nolan crafts a fitting and exhilarating ending to what will be remembered as one of the best trilogies in Hollywood history.

For the most part, I agree. I didn't get to see this in IMAX, but I suspect I would've been blown away by the final 30 minutes of footage. I'm not sure how this stacks up with a Trilogy like, for instance, The Original "Star Wars" Trilogy, but this series is certainly up there.

For much of the bloated two hours that precede that final act, however, this "Dark Knight" doesn't rise as much as it flounders and frustrates, in what would appear to be a case of a filmmaker prioritizing ego over efficiency, and engaging in generally muddled storytelling.

...you mean you DIDN'T FULLY LIKE IT!?

No worries. After my first viewing, I too felt that the first act was paced wrong, and featured more characters and details than needed, which kinda pulled me out of the story. But, come the second viewing, everything cleared up. Not exactly sure why, but issues like editing choices, pacing and even amount of characters seemed to fit better and didn't bother me at all. I suggest giving it another shot.

That should by no means be seen as an indictment of the rich emotional layers Nolan has woven into the story since embarking on it with 2005's "Batman Begins." In his hands, this trilogy has become far more than your standard summertime blockbuster. This is Batman as metaphor, with Nolan elevating superhero myth-building to an art form rather than using it as a cheesy, breezy vehicle for, say, a tights-wearing Adam West or a nipplesuit-wearing George Clooney.

Indeed. For me, whatever negative the film has are vastly outweighed by the positives, which would be the characters and their conflicts. We get to see - and more importantly feel - the emotional turmoil facing Bruce and those around him. What I love about this movie in particular is how the turmoil brought upon Gotham by Bane can be partially blamed on Bruce and Commissioner Gordon; what started as a tragic lie to protect the city became the foundation for it's near demise. Their actions from the previous film have major consequences, and it's great to see them acknowledge and deal with it head on. 

Aint nothing wrong with good old' Adam West, btw.

As successful and bar-raising as "Dark Knight" was, and as hot a property as Nolan has become, I would suspect few people have earned the right to bluntly inform him during production when they thought he might be approaching that fine line separating art and self-indulgence.

Back to the ego thing, huh?

The big action sequences and grand scope was what helped this film differentiate itself from the previous movie, and the shadow of Heath Ledger's Joker; how do you top that? By putting a major city under siege. By giving us something rarely seen in a big Hollywood Superhero flick. Nolan is no Michael "Hey - let's put an explosion here and a racist joke here, and repeat for an hour" Bay, but perhaps it's a good thing that his series is over now. Maybe the reboot will be a smaller story involving Batman just fighting a crime syndicate, or something. Because the only way to top "The Dark Knight Rises" would be for Batman to fight Predator (which would be cool, I have to admit).

Nolan is a visionary filmmaker, and his smart, stylish and brooding treatment of the comics-inspired tale -- particularly in the film's third-act payoff -- transcends the genre.
The preceding two-thirds of the film feel bloated and often self-indulgent.

The final chapter in the Nolanverse Batman series is a thrilling, emotional and even thought provoking spectacle. Don't miss the forest for the trees by letting the small problems hinder your experience.

5/5 *'s

Only the 2nd on these reviews, and I'm really starting to like it. Maybe one day, Mike and I could do one for NOLA.com :)

Review: "Hot Cakes"

Cross posted from InvadeNola, where this will be appearing on June 16:

On the first episode of the #TeamNOLAFilmpodcast, we discussed the need for a real investment in local filmmakers and their projects. We have so many out of town productions coming IN to the area which is great, but not enough local projects coming OUT. Do producers need a good example of what New Orleans talent can make?

"I have been waiting all morning for a man with half a heart."

Marty, fresh out of prison, visits his regular post jail release diner.  His body language says he's yearning for a calmer future, but the scars on his face suggest something different; something deeper. Two other ex cons see this as well, and soon the three men are conversing over plates of pancakes. But there is more to their encounter than just short stacks...

Described as a sort of neo noir / urban western, "Hot Cakes" has a surreal nature to it; at times like Lynch, other times like Aronofsky. The appropriately timed music, the cryptic at times dialogue, the interesting framing (there is a Knight suit behind Marty in some shots) and even the setting - which comes off like a purgatory type meeting place for these characters - all makes the audience ask "what's this all leading to?" and "what does this all mean?".

Well, what DOES it all mean? What IS it leading to? A fortune teller in the diner is drawn to Marty, and makes a startling prediction for him; will it turn out to be correct? Will Marty be forced into a compromising position? His new friends certainly wish to pull him back into his harsh past. Will they succeed? The film's aesthetic gives everything - including eating breakfast - a sense of impending doom. And by the time the end credits roll, this sense still lingers; things just don't look good for Marty, in OR out of the diner. Is he in trouble no matter what? I absolutely loved this.

"No one should ever come here. I had teeth when I came here."

My only complaint is that it ended. I would like to see what the director Jo Custer could do with a feature length script. She's an example of the kind of local talent who deserve a shot. For Hollywood South to move forward, out of town producers bringing projects to the area need to make a meaningful investment in local filmmakers. Is an example of good local work needed? I just provided one.

4/5 *'s

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.

@NOFS Review: "A Por Por Funeral for Ashirifie"

My grandfather’s name was Willie Laurendine, but we called him Paw Paw. He was a bus driver for the city of New Orleans. In Ghana, there is a style of music played by a union of bus and truck drivers known as Por Por, which is pronounced Paw Paw. This music is only performed by them at the funerals of fellow workers – funerals that share similarities with the jazz funerals of New Orleans.

Despite this almost Six Degrees of Kevin Bacon style connection I had with “A Por Por Funeral for Ashirifie”, there was little else for me to latch on to.

It’s not the fault of the subject matter – a variation of a jazz funeral, performed with antique car horns and played exclusively by an African driver’s union – which I was excited to learn more about; it was the presentation. There is no attempt to tell the audience about the history of this music, its importance in the area, or even who Nelson Ashirifie Mensah (this was his funeral) was as a person. We are only treated to what has to be at least 45 minutes of nonstop horn honking and street dancing (the movie is just under an hour) and a few title cards that describe the upcoming action. That’s it. Were they just dead set on making this almost feature length?

I know it’s easy to just point your one camera and shoot, but if you’re making a documentary about a little known subject, you HAVE to give the audience some information outside of a few words on a screen; interviews, historical archive materials, narration and editing are all helpful tools. Most audiences aren’t interested in the raw footage of a trip you once took.

The Por Por music reminded me of the wonderful intrusiveness of the whistle tip craze (google it); both are loud and proud. When a member of this union dies, the whole town knows, and – at least for the rest of the day – the noise will not let anyone forget. That I like.

The filmmakers are coming to New Orleans on March 23 to screen the film, and will be accompanied by a live demonstration and panel discussion. This is an excellent opportunity to learn more about this unique culture. I guarantee it’ll be more informative than the movie itself.

1/5 *'s

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.

Contributions Part 1

Along with this blog, I've also been contributing articles for Invade Nola. Below are previews of those articles:

3 Underrated Movies You Could Be Watching On Netflix

If the recent announcement of increased fees for Netflix users wanting both DVD and streaming services hasn’t pushed you into a boycott, chances are you’re a major movie nerd. As a fellow movie nerd, I enjoy giving people viewing recommendations, and appreciate some being given to me (as long as the words Michael Bay aren’t involved, of course). Recently, I watched three films that, in one way or another, could be considered “underrated”, and I would consider “entertaining”. So, if you are looking for something to watch that may be outside of your comfort zone, I have a few recommendations that you may want to add to your queue (if you still have one) Continue Reading

N.O. Dollar Theatres

I was recently reminded of an old local tv commercial I once saw. In this commercial, a man rummages his home for loose change; under and in the couch, behind the fridge, in the laundry, etc. By the end of his search, holding a few bucks in change, He announces, “We’re goin’ to the movies tonight”. After reminiscing on this, I wondered; when was the last time anybody in the New Orleans area was able to go to the movies with a handful of pocket change? Continue Reading