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Strike a Pose Before Striking Your Enemy: Henry Cavill (right) wages decorous war in IMMORTALS.

It’s a good week for lush, exquisite cinematography and vividly stylized worlds; maybe not so good a week for compelling narratives. In IMMORTALS, director Tarsem Singh Dhandwar uses Greek mythology as the raw material upon which to invest his skill with staging beautiful, beautiful actors in elaborate tableaux, all in the service of the tale of a lowly peasant (Henry Cavil) who, with the blessings of the gods (including former Apollo Luke Evans), rallies the bedraggled forces of Greece against a sadistic warlord (Mickey Rourke, and are you surprised?). Come join Cinefantastique Online’s Steve Biodrowski, Lawrence French, and Dan Persons as they admire the scenery and debate whether anything exists past the pretty facade.

Then, Larry and Dan briefly discuss the strengths and weaknesses of Lars von Trier’s elegant science fiction drama, MELANCHOLIA, in which a despondent Kirsten Dunst must cope with her own sense of inertia and the threat of a rogue planet on a collision course with Earth. Plus: What’s coming in theaters.

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Untitled (Slide) (2011)

I’m a lucky guy. I’ve wanted a reason to break out of my cramped, unkempt studio and check out Carsten Höller: Experience, the new exhibit at the New Museum that provides a comprehensive survey of the German-born artist known for his immersive, sensory-confounding — and sometimes adrenaline-pumping — installations, and along comes Air France to sponsor my coverage.

And why not? Not only is Air France the gateway to Paris, New York’s only equal as a cultural capital (I’m not saying which city is actually better, but only one of them has original Picassos and Shake Shack), but the airline tends to express the romantic thrill of travelling to their home turf (yeah, there may be grungy areas in France, but I can’t think of any, offhand) by coming up with imagery like this:

Which is just a lovely way of expressing the feeling through pure kinetics.

Giant Triple Mushrooms (2010)

Interestingly, Carsten Höller is himself no stranger to employing kinetics as part of his toolset for provoking intense, and frequently visceral, responses from his viewers. Having left a career in science in the early 90′s, Höller has translated his clinical background into works that range from the grandly whimsical — the lobby of the New Museum boasts a garden of oversized mushrooms that Lewis Carroll would have felt right at home in — to the powerfully immersive. “Viewers” rarely remain passive observers in the artist’s efforts: Included in the exhibit are such works as Experience Corridor, a series of rooms containing strange, sensory experiments (most curious: The Pinocchio Effect, in which strategic application of a medical vibrator convinces one that one’s nose is growing); Giant Psycho Tank, a sensory deprivation pool; Mirror Carousel, in which the glistening replication of a stock, amusement park thrill-ride is paradoxically trimmed to a serene pace; and — the big draw for this exhibition — Untitled (Slide), a corkscrewing tube that briskly transports daring visitors from the museum’s fourth floor down to the second, landing them into the visual bombardment of a pulsing, Höller light installation.

The works have a singularly unique way of cutting through intellectual concerns to provoke pure, emotional responses — interesting for pieces that frequently present themselves as the products of an especially fanciful laboratory. I wanted to find out more about Höller’s motivations, so in addition to getting some interesting pics of the exhibit, I also spoke with associate curator Gary Carrion-Murayari. Click on the player to hear the discussion, and check out the link to the slide show below that

CHECK OUT FULL SLIDE & VIDEO SHOW
AT THE HUFFINGTON POST

BTW: I’m not likely to be shaken from my conviction that New York was, is, and forever will be the center of the cultural universe, but if anyone wants to check out what’s doing in Paris, hit up Air France, get yourself over there, and compile the evidence that’ll make me eat my words.

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Page to Page: Jim Henson's typewriter conjures a cinematic establishing shot in TALE OF SAND.

Lest we forget that Jim Henson was about more than Kermit and Big Bird (ahem, DARK CRYSTAL, THE STORYTELLER, and on, and on…), this year’s New York Comic Con staged a panel in which Henson archivist Karen Falk and Archaia Editor-in-Chief Stephen Christy exhibited footage from the Muppet-master’s experimental short films, commercials, and TV plays, and discussed the imminent publication of Tale of Sand, a wry, surreal, Kafkaesque graphic novel based on an unfilmed script co-written by Henson and frequent writing partner Jerry Juhl.

After the presentation, Falk and Christy granted us a few minutes to discuss Henson’s eclectic soul, how that translated into the furiously antic/ominous vision that became TALE OF SAND, and how Henson’s history is tied inextricably to that of CFQ. Click on the player to hear the interview.

Continue reading »]]> I won’t hide it: I’m New York City born-and-bred. Concrete was my cradle, and carbon-monoxide-tinged air my mother’s milk (a strained analogy, but apt). Which is to say that I know squat about life on the farm. Don’t know how reap, don’t know how to herd, don’t even think of approaching me about animal husbandry. When I want produce, I get myself to the supermarket two blocks away; when I want milk, I want to pour a glass, not squeeze a teat. Bottom line: There may be grit under my fingernails, but it’s the asphalt captured from clawing my way to survival in these mean, mean streets. And that’s just the way I like it.

So when our sponsor, Samsung, came up with the following video…

…I have to admit I felt deeply for the office drones. I know how I’d be feeling if I was cast out of my element to that extreme, and I’m just glad those guys brought their Galaxy Tabs along to help them cope.

Much to my surprise, though, it turns out that not everyone here in the five boroughs shares my genetic deficiencies in the field of agriculture. Turns out there are people city-wide who have taken relatively small plots of earth bared from the metropolis’ concrete heart and turned them into veritable cornucopias of hearty produce. And when GreenThumb, the city office that oversees these urban farms, invited me out to the Bronx to witness their annual harvest celebration, I had to go and have a look. Here’s what I found:

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Saving the Memory: A fading world is celebrated in GENERAL ORDERS NO. 9.

I tend to lose patience with people who go the “words cannot describe…” route when they’re talking about something. There are always words, if you know how to use them. I gotta admit, though, GENERAL ORDERS NO. 9, the enigmatic debut work of filmmaker Robert Persons (no relation), is something of a challenge. A meditation on small-town South — Georgia in specific — its connection to the natural world and its death at the hands of growing populations and commercial interests, the film is quiet, beautiful, and strangely moving. It’s also the kind of thing you have to sit down and experience for yourself, ideally when (like a certain film journalist who has maybe overindulged on CG-gorged, three-explosions-per-minute summer fare) you’re ready for something that repays your rapt attention with still, thoughtful grace.

Click on the player to hear my interview with Robert Persons.

Trailer
GENERAL ORDERS NO. 9

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OFFICIAL SITE
generalordersno9.com

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History Repeats: Gael Garcia Bernal faces a conflict between art and politics in EVEN THE RAIN.

Columbus did not land in Bolivia. But a Spanish film crew has chosen that country to shoot their historic recreation of that event — and how some priests fought against the subsequent enslavement of the natives — because, well, it’s cheaper. That initial bit of convenient exploitation is only the start of the parallels in EVEN THE RAIN, a film in which the 2000 Bolivian “Water War” — in which the citizenry fought against the privatization of their water supplies — coincides with the filming of an historical epic, forcing everyone involved, including the driven director played by Gael Garcia Bernal and a cynical producer played by Luis Tosar, to confront how far a dedication to one’s art applies in the face of genuine, human turmoil.

The complex scenario mixes reenactments of 15th century conquest, behind-the-scenes drama of the film’s cast and crew, and a gritty envisioning of the battle over a prime element of life. It was written by Scottish author Paul Laverty (Ken Loach’s BREAD AND ROSES and THE WIND THAT SHAKES THE BARLEY), and directed by Spanish director Iciar Bollain (TAKE MY EYES, MATAHARIS). I was lucky enough to speak to both of them for this episode — click on the player to hear the interviews.

EVEN THE RAIN
Trailer
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eventherainmovie.com

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May We Suggest a Trip to Lenscrafters?: HEREAFTER's glimpse past the veil.

Big show this week, chock-a-block full of genre film goodness! First, Dan Persons sits down with director Gareth Edwards to talk about his uncommonly soulful and sharply observed alien infestation film, MONSTERS. Then, we’ll take a journey into the HEREAFTER, as special guest John W. Morehead, of Theofantastique, joins Dan, Lawrence French, and Steve Biodrowski for an in-depth discussion of Clint Eastwood’s drama of people confronting the afterlife, scripted by Peter Morgan and starring Matt Damon. Is this another Oscar-worthy contender from the director of UNFORGIVEN and BILLION DOLLAR BABY, or does it disappoint? Listen in and find out.

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Tougher than You: Doctors at work in LIVING IN EMERGENCY

It’s getting to be that my fortitude is being tested on a weekly basis. I’ve witnessed the psychotic outrages of THE HUMAN CENTIPEDE (and liked it), the moral confrontation that is THE KILLER INSIDE ME (liked it), and the let’s-put-The-Rock-in-a-tutu TOOTH FAIRY (you’re kidding, right?). But all that was make-believe stuff. LIVING IN EMERGENCY is very real, a documentary, and at points can be rough going. But if you can work up the nerve to tough it out, your courage will be greatly rewarded.

‘Course, if you want to talk about courage, you have to talk about the subjects of the film: four doctors who have volunteered to work for Doctors without Borders (aka Médecins Sans Frontières) in two, war-ravaged countries: the Democratic Republic of Congo and Liberia. Director Mark Hopkins — making his feature documentary debut having previously produced numerous docs — takes his cameras into the exam, operating, and break rooms, and doesn’t flinch from showing both the staggering challenges the volunteers face, and the effect those challenges sometimes have on them (one doctor compares the attitude of another to Heart of Darkness — that’s never a good thing). The film winds up an unwavering, credible evaluation of why the organization has justly received a Nobel Peace Prize — one of the best docs I’ve seen so far this year. It also reminded me why I need to stop whining when I have to watch movies like TOOTH FAIRY.

Click on the player to hear the interview.

This Episode is Brought to You by
EXAM

LIVING IN EMERGENCY
Trailer

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www.livinginemergency.com

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No connection, but a great doc.

Continue reading »]]> Sorta weird how this became the globe-trotter episode. I’d seen BABIES a few weeks ago and was going to go with it as the sole focus of the show, then late last week I stumbled onto BEETLE QUEEN CONQUERS TOKYO and — despite the little voice whispering ever so delicately in the back of my head, “YOU SAID YOU WERE GOING TO BACK OFF THE WORKLOAD, M*TH*F***A!” — I realized I had to cover it as well. Hence, another double-up ep for ya (and just so you’re braced, we’ll be doing it again the week following next).

Going at a Crawl: BEETLE QUEEN director Jessica Oreck & friend.

What changed my mind about BEETLE QUEEN was debuting director Jessica Oreck’s approach to the subject of Japan’s seemingly nationwide fascination for insects. Oreck, who’s also an animal keeper and docent at New York’s American Museum of Natural History, lays the motivations out neatly — turns out much of Japanese culture is rooted historically in the observation and appreciation of creepy, crawly things — and examines how that veneration plays out in contemporary society through a healthy collector’s subculture; commercially marketed supplies for both the support and preservation of pet bugs; and vending machines that dispense live creatures into the eager clutches of the nation’s children (Japan, remember?). But then she takes it further, absorbing the animistic outlook of Shinto and such concepts as mono no aware and using them to model the film as a meta-presentation of the philosophies that drive the country’s appreciation of the natural world. More than just simple nature film or an anthropological examination, BEETLE QUEEN becomes the attitude itself, and a fascinating immersion into another society’s vision of the world.

Somebody Said There was Milk Around Here: Mongolian baby at home on the range in BABIES.

Director Thomas Balmès has a much simpler mission in BABIES, but with a somewhat similar goal: Travel the world, capture on film the first year-or-so of four babies from markedly different corners of the world, and let the viewer examine what in those initial months are universal, and what is markedly different. The four societies Balmès selects — a tribal group in Namibia; a farming family in Mongolia; and parents in urbane San Francisco and two-minutes-into-the-future Tokyo (again) — all form distinctive incubators for their newest residents. Yet for all that the environments leave their marks on these kids (in one particularly indelible moment, the overstimulated Japanese baby suffers a grand mal meltdown within a nest of playthings), what stands out most is how closely the recently arrived experience their entry into the world. That may not be a revolutionary concept, but it does make for a viewing experience that extends beyond just the obligatory, “Awwwwww.” (But you will probably go, “Awwwwww,” at least once.)

Click on the player to hear the interviews with Oreck and Balmès.

This Episode is Brought to You by
HALO: REACH – Autumn, 2010

BEETLE QUEEN CONQUERS TOKYO

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www.beetlequeen.com

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BABIES

Trailer

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Less Friendly Bugs

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The Magic's in the Details: Aisling (voiced by Kristen Mooney) and Brendan (Evan McGuire) in THE SECRET OF KELLS

I’m not sure when I first heard of THE SECRET OF KELLS. Probably last year, likely through AICN, definitely way before it wound up on the Oscar nominee list for animated feature (and everybody started going, “The what of who?”). At that time, the buzz was growing around this small, exquisitely designed film out of Ireland. Who imagined it getting any further than a small band of passionate geeks?

I got to finally see it courtesy of my friend Russ, who imported a U.K. region DVD and through channels too sinister to mention (I may be exaggerating a bit), had it converted to a U.S. region disk. The distributors announced press screenings not too long after, but I still felt Russ was well-justified in going to all that the effort. Over at Cinefantastique, we like to champion films with “a sense of wonder,” and THE SECRET OF KELLS meets that standard on nearly every front. Beautifully animated — imagine the simple but expressive designs of Genndy Tartakovsky (SAMURAI JACK; STAR WARS: CLONE WARS) wedded to the elaborate illuminations of the Book of Kells — and imbued with that rarefied magic that seems the sole domain of Ireland, the film well-earned its buzz, not to mention the Oscar nom and hopefully a growing audience as it is rolled out across the U.S. in the next few months.

I got to talk to KELLS’ Tomm Moore — who directed the film with Nora Twomey — a few days after the Oscar ceremonies, and we delved into matters both cultural and technical, as well as discussed the current state of the animation industry in Ireland. Click on the player to hear the interview.

Trailer

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By Genndy Tartakovsky