As Above, So Below
It's that rare found-footage film with a strong premise, a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.
Lou Godfrey reflects on his memories of his mother and their movie-going.
Peter Sobczynski ranks 27 films by Brian De Palma.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Craig D. Lindsey is on the warpath against jerk cinema, in which arrogant heroes trample all over everybody and the film celebrates them as righteously awesome. Whatever happened to charm?
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
Marie writes: Holy crap! THE KRAKEN IS REAL!" Humankind has been looking for the giant squid (Architeuthis) since we first started taking pictures underwater. But the elusive deep-sea predator could never be caught on film. Oceanographer and inventor Edith Widder shares the key insight - and the teamwork - that helped to capture the squid on camera for the first time, in the following clip taken from her recent TED talk." And to read more about the story, visit Researchers have captured the first-ever video footage of a live giant squid at i09.com
Marie writes: It's a long story and it starts with a now famous video of a meteor exploding over Chelyabinsk, Russia. Followed by alien conspiracies fueled by the internet and which led me to investigate further. Where did it come from? Does anyone know..? Yes! According to The NewScientist, the rock came from the Apollo family of near-Earth asteroids, which follow an elongated orbit that occasionally crosses Earth's path.That in turn led me to yet another site and where I learned a team of scientists had discovered two moons around Pluto, and asked the public to vote on potential names. They also accepted write-in votes as long as they were taken from Greek and Roman mythology and related to Hades and the underworld - keeping to the theme used to name Pluto's three other moons. And how I eventually learned "Vulcan" has won Pluto's moon-naming poll! and thanks to actor William Shatner who suggested it. Behold Vulcan: a little dot inside a green circle and formally known as P5.
Marie writes: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
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Marie writes: The late John Alton is widely regarded as being one of greatest film noir cinematographers to have ever worked in Film. He perfected many of the stylized camera and lighting techniques of the genre, including radical camera angles, wide-angle lenses, deep focus compositions, the baroque use of low-level cameras and a sharp depth of field. His groundbreaking work with director Anthony Mann on films such "TMen" and "Raw Deal" and "He Walked by Night" is considered a benchmark in the genre, with "The Big Combo" directed by Joseph H. Lewis, considered his masterpiece. John Alton also gained fame as the author of the seminal work on cinematography: "Painting with Light".
The Big Combo (1955) [click to enlarge]
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
Happy New Year from the Ebert Club!TRAILERS
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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Marie writes: Behold a living jewel; a dragonfly covered in dew as seen through the macro-lens of French photographer David Chambon. And who has shot a stunning series of photos featuring insects covered in tiny water droplets. To view others in addition to these, visit here.
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Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
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Ben Affleck's "The Town" (2010) is an impressive effort from a third time director whose acting choices almost derailed his Hollywood career. With the clear exception of "Changing Lanes" (2002), this film is better than everything he ever did before and the reason is simple: instead of choosing to be involved in another blockbuster wannnabe, Affleck wrote, directed and starred in this heartfelt project about a fascinating borough that he seems familiar with. It is also a work of numerous, obvious inspirations, raising the question of whether said fact makes it any less worthy.
I love the Dark Knight Trilogy for one simple reason: it gave me the permission that I didn't know I was looking for to dislike all the rest of the Superhero movies. The high point of my dislike came in the highly ambitious "The Avengers" of this past summer. Don't get the wrong idea: as far as superhero movies go, it is one of the best, or at least it is one of the biggest. But something was wrong. It suffers from the same thing that the whole genre has suffered from. First and foremost, we are watching a bunch of costumed adults pretending that they're children in an expensive suburban Daycare. Second, the genre has otherwise exhausted itself to the point of exciting ritual. Third, the movies in the Dark Knight trilogy are solid and smart entertainment (though not without their flaws).
Marie writes: club member Sandy Kahn has found some more auctions! Go here to download a free PDF copy of the catalog.
"The Magic of Belle Isle" (109 minutes) is available via iTunes, Amazon, Comcast, DirecTV, VUDU and other outlets. A limited theatrical release begins July 1.
Rob Reiner's "The Magic of Belle Isle" is an Easy Button of a film, as generic and conventional as its title. If you ever wondered what a Hallmark Channel original movie would be like if you threw some A-list talent at it -- namely Morgan Freeman and Virginia Madsen instead of, say, Jeffrey Nordling and Kristy Swanson -- here's your answer.
Freeman stars as Monte Wildhorn, an alcoholic in a wheelchair and "writer (of westerns) nobody reads." His books, once popular, are now out of print. Monte's nephew (Keenan Thompson) deposits him in the idyllic lakeside town of Belle Isle to housesit. Nephew's ulterior motive, of course, is that he will be inspired to stop drinking and start writing again, but the embittered Monte is a hard case. "Toss it in the garbage," he says of his typewriter. "She's a black-hearted whore, and I'm done with her."
So what will it take to turn this curmudgeon into a softie? Guy Thomas' simplistic script leaves nothing to chance. How about saddling Monte with a lazy old dog named Ringo (yes, Ringo) that has a penchant for licking itself? No? Well then, how about introducing a single mother (Madsen) who is going through a divorce with three -- count 'em -- daughters: one adorable, one precocious, and one sullen? Still not enough? Well then how about adding to the mix a mentally challenged boy who hops around the neighborhood and whom Monte takes under his wing as his "sidekick?"
A young black boy deemed suspicious for wearing a hoodie. A black head of state depicted as a primate. Extremist political parties masking bigotry behind nationalism. Google the word "racism" and you'll find a vast array of news items showing that this most basic form of bigotry is alive and well.
There have been many films big and small which have addressed the subject. But only one comes to mind with racism as an actual character: the controversial drama "White Dog," directed by Samuel Fuller, based on the novel by Romain Gary.
Marie writes: Recently, we enjoyed some nice weather and inspired by the sunshine, I headed out with a borrowed video camera to shoot some of the nature trails up on Burnaby Mountain, not far from where I live. I invariably tell people "I live near Vancouver" as most know where that is - whereas Burnaby needs explaining. As luck would have it though, I found a great shot taken from the top of Burnaby Mountain, where you can not only see where I live now but even Washington State across the Canadian/US border...
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There are two good films at Toronto about the same thing: Romance that begins during the last months of life for a person with cancer. I wrote earlier about Gus Van Sant's "Restless," and now here is "50/50" by Jonathan Levine, with a screenplay by Will Reiser that is said to be semi-autobiographical. As a person who has been in love while dealing with cancer, these films inspire introspection, and while I admire them I realize they are to some degree escapism--poised at the "Bargaining" position at the center of Elisabeth Kübler-Ross's five stages of grief.
A horror or science-fiction movie without subtext is like Dr. Frankenstein's laboratory without electricity. The inner metaphor is what gives it life and resonance. Otherwise, it's just a story about stitched-together people parts. Or take David Cronenberg's "The Fly," a riveting, poignant horror/science-fiction/romance about an ambitious scientist who accidentally gets his DNA mixed up with that of a housefly. Everything about the movie is first-rate, from the direction to the performances to the effects. But what really grabs hold of you is the universal theme: We are all Brundlefly, sentient, self-aware beings whose bodies are going to decay and die. In 1986, a lot of people assumed the subtext was AIDS; Cronenberg later said he was thinking in more general terms about the process of aging. It doesn't matter. The movie works on those levels.
Cronenberg is particularly ingenious at making the word flesh, and the ways he develops his ideas are often even scarier than the explicit horrors: "The Brood" is a masterpiece about the psychosomatic effects of rage turned inward, and about the legacy of emotional abuse passed down from one generation to the next; "Videodrome" is about technology as an extension of the body and the brain; "Dead Ringers" is about mutant forms of psychological and sexual intimacy; "Naked Lunch" is about a writer who has to internalize his own sexuality before he can create art.... Cronenberg is an organic, visionary thinker, storyteller, filmmaker. His movies have meat on their bones. Other filmmakers whose work strikes me as insubstantial lack this ability to flesh-out their pictures with compelling, animating ideas. Their plots are meticulously plotted, but they're skin-deep and there's nothing to sink your imaginative teeth into.
Which brings me to this summer's hits, "Transformers: Dark of the Moon" and "Rise of the Planet of the Apes," neither of which I have much interest in seeing. Instead I'm intrigued by a few things I've read about them -- specifically about their subtext, or lack thereof. In a piece about the racial themes of "The Help" ("Why Can't Critics Just Get Along?"), David Poland writes: