list http://www.spout.com/ Recent community activity around Team Picture on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Team_Picture/342337/default.aspx Title: Team Picture
Year: 2007
Director: Kentucker Audley
Plot: Praised as one of Filmmaker Magazine's 25 New Faces of Independent Film, Audley stars as an aimless young musician who passively floats through his own life, most days spent writing songs or lounging by the kiddie pool in the yard. Along with his self-proclaimed "tall guy with a really cool personality" of a roommate (Tim Morton), these awkwardly hilarious neo-slackers just go with the flow, even in the throes of a break-up, a brand new fling, or an open-mic performance.
Times Tagged: 4
Number of Lists: 2
Number of blog posts: 3
Number of discussion threads: 5
SpoutRating: 2
]]>Mon, 08 Jun 2009 15:54:38 GMTTeam Picture2007Kentucker AudleyPraised as one of Filmmaker Magazine's 25 New Faces of Independent Film, Audley stars as an aimless young musician who passively floats through his own life, most days spent writing songs or lounging by the kiddie pool in the yard. Along with his self-proclaimed "tall guy with a really cool personality" of a roommate (Tim Morton), these awkwardly hilarious neo-slackers just go with the flow, even in the throes of a break-up, a brand new fling, or an open-mic performance. 4Slightly Tagged (1-5)2352http://www.spout.com/ProductImages/s342337.jpghttp://www.spout.com/films/Team_Picture/342337/default.aspxFilm http://www.spout.com/groups/Spout_Mavens/Re_Movies_available_for_review/366/42567/1/ShowPost.aspx Post By: Risselada
Post To: Spout Mavens
Post Date: 6/8/2009 11:54:38 AM
Body: [quote user="csprague"] [quote user="Risselada"] Do you still have a copy of Faster or The Brandon Teena Story? [/quote] Hey Rizzo, Yes, they are available. I will get those in the mail some time today. Cheers, Christi [/quote] Sweet! Thanks.
]]>Mon, 08 Jun 2009 15:54:38 GMTRisseladaSpout Mavens6/8/2009 11:54:38 AM[quote user="csprague"] [quote user="Risselada"] Do you still have a copy of Faster or The Brandon Teena Story? [/quote] Hey Rizzo, Yes, they are available. I will get those in the mail some time today. Cheers, Christi [/quote] Sweet! Thanks. http://www.spout.com/groups/Spout_Mavens/Re_Movies_available_for_review/366/42566/1/ShowPost.aspx Post By: csprague
Post To: Spout Mavens
Post Date: 6/8/2009 11:42:52 AM
Body: [quote user="Risselada"] Do you still have a copy of Faster or The Brandon Teena Story? [/quote] Hey Rizzo, Yes, they are available. I will get those in the mail some time today. Cheers, Christi
]]>Mon, 08 Jun 2009 15:42:52 GMTcspragueSpout Mavens6/8/2009 11:42:52 AM[quote user="Risselada"] Do you still have a copy of Faster or The Brandon Teena Story? [/quote] Hey Rizzo, Yes, they are available. I will get those in the mail some time today. Cheers, Christi http://www.spout.com/groups/Spout_Mavens/Re_Movies_available_for_review/366/42455/1/ShowPost.aspx Post By: Risselada
Post To: Spout Mavens
Post Date: 5/29/2009 11:59:56 AM
Body: Do you still have a copy of Faster or The Brandon Teena Story?
]]>Fri, 29 May 2009 15:59:56 GMTRisseladaSpout Mavens5/29/2009 11:59:56 AM Do you still have a copy of Faster or The Brandon Teena Story? http://www.spout.com/blogs/jjgittes/archive/2009/2/27/40675.aspx Post By: jjgittes
Post To: jjgittes Blog
Post Date: 2/27/2009 3:02:12 PM
Body: Mumblecore rears its ugly head (and I do mean ugly) once again on Reel 13 with TEAM PICTURE, which proves just how interchangeable the films within this emerging genre tend to be. Just change the city (here, it's Memphis, TN) and the protagonist and then use the same formula – drifting twentysomething deals with a potential romance and a lack of career or direction. While the plight of the aimless does have implicit dramatic tendencies, the trend is getting to be disturbingly repetitive, especially given how TEAM PICTURE takes the aimlessness to an extreme, mirroring the character's meandering with its narrative structure. At least a film like QUIET CITY had an objective – to find the friend that the girl was supposed to meet. TEAM PICTURE, conversely, is as lost as its main character.As far as that protagonist is concerned, director/star Kentucker Audley (Kentucker?) seems perpetually high (as in, on drugs) and the film seems to hope that we would mistake his quirk for depth. David, as played by Audley, eventually becomes an impossible character to root for. His inability to communicate with people in a normal way or perhaps more importantly, to the audience, is initially interesting, but it evolves into being extremely frustrating. I felt myself giving up on him three-quarters of the way through the sixty-minute main narrative and that is a sign of death for any narrative. Furthermore, I get the sense that Audley, like many of his mumblecore counterparts, is not acting so much as he is playing himself with a different name. In doing so, however, he fails to communicate the dimensions of his character/himself that would give us enough of a window into his psyche that would allow us to careThis leads me to another issue I have with the mumblecore movement that Team Picture epitomizes. While the genre is supposed to more representative of reality than most narrative films, this becomes a stylization in and of itself that many films of the genre take to an unnecessary extreme, which makes them less realistic than they think, just on the other side of the spectrum. In other words, the supposed "realism" is forced. Conversations are rarely as random as they are here and in other films of its kind. The discussions about fingernails and flowers that take place in this movie are just as crafted as regular dialogue, but here with the intention of seemingly like it wasn't as contrived. But, in my mind, they are overcompensating. I'll take a well-shaped scene that advances the narrative any day over a wandering conversation about something uninteresting. Along the same lines, technical snafus like boom shadows and breaking the 180-degree rule aren't cool or rich. It's just sloppy.I don't even know what to say about the epilogue to TEAM PICTURE, entitled GINGER SAND. After TEAM PICTURE ends suddenly after only an hour, GINGER SAND begins and seems to take place much later, reuniting two of the main characters from the main film, but it also features two characters that Audley doesn't bother to introduce or explain. Once again, he rudely eschews the need for traditional exposition, probably as some form of rebellion against "Hollywood storytelling". The ensuing ten minutes of GINGER SAND has absolutely nothing to do with the story of TEAM PICTURE and gives us no insight as to where David is in his life, what he is doing with his time, etc. All it manages to do is convey that his new relationship isn't working out, even though we just met this new girlfriend and have no sense of their history. So why should we care? And that goes for TEAM PICTURE as well. (For more information on this or any other Reel 13 film, check out their website at www.reel13.org)
]]>Fri, 27 Feb 2009 20:02:12 GMTjjgittesjjgittes Blog2/27/2009 3:02:12 PMMumblecore rears its ugly head (and I do mean ugly) once again on Reel 13 with TEAM PICTURE, which proves just how interchangeable the films within this emerging genre tend to be. Just change the city (here, it's Memphis, TN) and the protagonist and then use the same formula – drifting twentysomething deals with a potential romance and a lack of career or direction. While the plight of the aimless does have implicit dramatic tendencies, the trend is getting to be disturbingly repetitive, especially given how TEAM PICTURE takes the aimlessness to an extreme, mirroring the character's meandering with its narrative structure. At least a film like QUIET CITY had an objective – to find the friend that the girl was supposed to meet. TEAM PICTURE, conversely, is as lost as its main character.As far as that protagonist is concerned, director/star Kentucker Audley (Kentucker?) seems perpetually high (as in, on drugs) and the film seems to hope that we would mistake his quirk for depth. David, as played by Audley, eventually becomes an impossible character to root for. His inability to communicate with people in a normal way or perhaps more importantly, to the audience, is initially interesting, but it evolves into being extremely frustrating. I felt myself giving up on him three-quarters of the way through the sixty-minute main narrative and that is a sign of death for any narrative. Furthermore, I get the sense that Audley, like many of his mumblecore counterparts, is not acting so much as he is playing himself with a different name. In doing so, however, he fails to communicate the dimensions of his character/himself that would give us enough of a window into his psyche that would allow us to careThis leads me to another issue I have with the mumblecore movement that Team Picture epitomizes. While the genre is supposed to more representative of reality than most narrative films, this becomes a stylization in and of itself that many films of the genre take to an unnecessary extreme, which makes them less realistic than they think, just on the other side of the spectrum. In other words, the supposed "realism" is forced. Conversations are rarely as random as they are here and in other films of its kind. The discussions about fingernails and flowers that take place in this movie are just as crafted as regular dialogue, but here with the intention of seemingly like it wasn't as contrived. But, in my mind, they are overcompensating. I'll take a well-shaped scene that advances the narrative any day over a wandering conversation about something uninteresting. Along the same lines, technical snafus like boom shadows and breaking the 180-degree rule aren't cool or rich. It's just sloppy.I don't even know what to say about the epilogue to TEAM PICTURE, entitled GINGER SAND. After TEAM PICTURE ends suddenly after only an hour, GINGER SAND begins and seems to take place much later, reuniting two of the main characters from the main film, but it also features two characters that Audley doesn't bother to introduce or explain. Once again, he rudely eschews the need for traditional exposition, probably as some form of rebellion against "Hollywood storytelling". The ensuing ten minutes of GINGER SAND has absolutely nothing to do with the story of TEAM PICTURE and gives us no insight as to where David is in his life, what he is doing with his time, etc. All it manages to do is convey that his new relationship isn't working out, even though we just met this new girlfriend and have no sense of their history. So why should we care? And that goes for TEAM PICTURE as well. (For more information on this or any other Reel 13 film, check out their website at www.reel13.org) http://www.spout.com/blogs/smooth_j/archive/2008/10/5/35909.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 10/5/2008 7:05:58 PM
Body: I had no idea what the term "mumblecore" meant before I saw this movie. I had a general idea--the type of stuff that is seen frequently on IFC and is worshipped in smaller circles but would never last two seconds in the fleeting interest of the mainstream (or even the very fringe of it). This movie cemented what it means to be completely meaningless in my brain. The plotline: Two young whipper-snappers (Kentucker Audley and Tim Morton) live together in Memphis and do absolutely nothing all day, except Kentucker Audley has a job at a sporting goods store that his mom's boyfriend owns. However, he soon quits that job to "pursue...uhm...other things", such as spending more time around the kiddy pool in his front yard. Or, possibly, playing the guitar and singing. He and his roommate soon meet girls, they fall for them, and then get screwed over and realize that they're going to move. Everything else is white-noise. It has the picture quality of a home-made movie (which it basically is) but the actors are all surprisingly convincing. Kentucker Audley is excellent, but one gets the feeling that he is portraying himself onscreen, as are all of the other characters. It doesn't take much ability to mumble repetitive and brain-fried lines, but towards the end of the film where actual emotions are shown for the first time, Audley and co-star Tim Morton show commendable skill in bringing a small sense of longing and sadness to their heartbroken characters. The other characters don't have very much screen time, except for possibly Kentucker's fling, who does a respectable job. The film's meaninglessness is its only strong point--it's just a story, a parable about the ethics of doing absolutely nothing. It's when the resemblance of a plot develops that the film sputters and loses its blissful sense of nothingness. In the first half of the movie, almost no expressions (not even laughter) are shown any of the character's faces, besides a well-acted portrayal of Kentucker's mom's boyfriend, who is an obnoxiously upbeat type, the kind that angers even the most calm of slackers. Luckily, Kentucker IS the most calm (or heavily sedated--it's never specified) of slackers, and he just gets rid of his presence in the simplest of ways--he quits his job, in which the boyfriend is his boss. However, it's when a sense of sadness acutally enters the facial expressions of the characters that something is lost in the movie. The viewer feels the intentionally melancholy nature of the film, with its meandering players and overly stressed mediocrity; but the film breaks that artful barrier when the viewer begins to actually see this realization on the character's faces. As I mentioned before, the actors do a good job, even when they actually have to act. The subplots of Kentucker's parents, obviously divorced, are pretty run-of-the-mill, and the film seems to be imposing too much on itself--meaning that it is not so whimsical, not quite so enchantingly pointless. The best scenes are the ones that show complete vacuity, and some of them are actually pretty beautiful, such as a scene where Kentucker wanders through a bug-ridden meadow, sipping a cup of coffee (most likely containing whisky as well) and looking vacantly at his surroundings. Kentucker sees nothing in it, and neither does the viewer. And that's strangely comforting. The film's not necessarily original. I was constantly reminded of Stranger Than Paradise, with its completely inactive characters and artfully aimless dialogue. What makes STP so much better is that the character interactions are far more meticulously rendered, and the improvisation of Jarmush's characters brings an originality and unpredictability to the seemingly senseless exchanges. STP is also one of the most wonderfully shot films I have ever seen, with its rambling black and white photography perfectly capturing the foreign atmosphere of an American landscape. Team Picture is shot with the home-grown feeling of 'been there, done that' and does not dwell on the romanticism and artistic possibilties of aimlessness; which is fresh in a way, but also somewhat disappointing. I guess an opinion on Team Picture really depends on what you would define artfulness as; I would still consider Team Picture to be an adreftly intriguing film, but it fails to reach a level even close to previous efforts in similar subjects. It is just not a particularly profound, and it's just not a very strong movie, despite an obviously noble effort by Kentucker Audley. Recommendations: The far superior Stranger Than Paradise, and now that I think about it, it's thematically similar to Kicking and Screaming, just minus the intellectuals.
]]>Sun, 05 Oct 2008 23:05:58 GMTSmooth_JSmooth_J Blog10/5/2008 7:05:58 PMI had no idea what the term "mumblecore" meant before I saw this movie. I had a general idea--the type of stuff that is seen frequently on IFC and is worshipped in smaller circles but would never last two seconds in the fleeting interest of the mainstream (or even the very fringe of it). This movie cemented what it means to be completely meaningless in my brain. The plotline: Two young whipper-snappers (Kentucker Audley and Tim Morton) live together in Memphis and do absolutely nothing all day, except Kentucker Audley has a job at a sporting goods store that his mom's boyfriend owns. However, he soon quits that job to "pursue...uhm...other things", such as spending more time around the kiddy pool in his front yard. Or, possibly, playing the guitar and singing. He and his roommate soon meet girls, they fall for them, and then get screwed over and realize that they're going to move. Everything else is white-noise. It has the picture quality of a home-made movie (which it basically is) but the actors are all surprisingly convincing. Kentucker Audley is excellent, but one gets the feeling that he is portraying himself onscreen, as are all of the other characters. It doesn't take much ability to mumble repetitive and brain-fried lines, but towards the end of the film where actual emotions are shown for the first time, Audley and co-star Tim Morton show commendable skill in bringing a small sense of longing and sadness to their heartbroken characters. The other characters don't have very much screen time, except for possibly Kentucker's fling, who does a respectable job. The film's meaninglessness is its only strong point--it's just a story, a parable about the ethics of doing absolutely nothing. It's when the resemblance of a plot develops that the film sputters and loses its blissful sense of nothingness. In the first half of the movie, almost no expressions (not even laughter) are shown any of the character's faces, besides a well-acted portrayal of Kentucker's mom's boyfriend, who is an obnoxiously upbeat type, the kind that angers even the most calm of slackers. Luckily, Kentucker IS the most calm (or heavily sedated--it's never specified) of slackers, and he just gets rid of his presence in the simplest of ways--he quits his job, in which the boyfriend is his boss. However, it's when a sense of sadness acutally enters the facial expressions of the characters that something is lost in the movie. The viewer feels the intentionally melancholy nature of the film, with its meandering players and overly stressed mediocrity; but the film breaks that artful barrier when the viewer begins to actually see this realization on the character's faces. As I mentioned before, the actors do a good job, even when they actually have to act. The subplots of Kentucker's parents, obviously divorced, are pretty run-of-the-mill, and the film seems to be imposing too much on itself--meaning that it is not so whimsical, not quite so enchantingly pointless. The best scenes are the ones that show complete vacuity, and some of them are actually pretty beautiful, such as a scene where Kentucker wanders through a bug-ridden meadow, sipping a cup of coffee (most likely containing whisky as well) and looking vacantly at his surroundings. Kentucker sees nothing in it, and neither does the viewer. And that's strangely comforting. The film's not necessarily original. I was constantly reminded of Stranger Than Paradise, with its completely inactive characters and artfully aimless dialogue. What makes STP so much better is that the character interactions are far more meticulously rendered, and the improvisation of Jarmush's characters brings an originality and unpredictability to the seemingly senseless exchanges. STP is also one of the most wonderfully shot films I have ever seen, with its rambling black and white photography perfectly capturing the foreign atmosphere of an American landscape. Team Picture is shot with the home-grown feeling of 'been there, done that' and does not dwell on the romanticism and artistic possibilties of aimlessness; which is fresh in a way, but also somewhat disappointing. I guess an opinion on Team Picture really depends on what you would define artfulness as; I would still consider Team Picture to be an adreftly intriguing film, but it fails to reach a level even close to previous efforts in similar subjects. It is just not a particularly profound, and it's just not a very strong movie, despite an obviously noble effort by Kentucker Audley. Recommendations: The far superior Stranger Than Paradise, and now that I think about it, it's thematically similar to Kicking and Screaming, just minus the intellectuals. http://www.spout.com/groups/Mumblecore/Re_What_are_your_favorite_Mumblecore_films/489/35908/1/ShowPost.aspx Post By: Smooth_J
Post To: Mumblecore
Post Date: 10/5/2008 6:20:16 PM
Body: I feel as though I am bit late to the game here...just a bit... But I just watched one of the Spout Mavens' discs, a movie called Team Picture, about hanging out and doing nothing in Memphis. I admit that I never knew what mumblecore meant until I saw this movie. To be honest, there's no deeper meaning to it whatsoever. But it's a mildly enjoyable experience, probably moreso for people who love the genre.
]]>Sun, 05 Oct 2008 22:20:16 GMTSmooth_JMumblecore10/5/2008 6:20:16 PMI feel as though I am bit late to the game here...just a bit... But I just watched one of the Spout Mavens' discs, a movie called Team Picture, about hanging out and doing nothing in Memphis. I admit that I never knew what mumblecore meant until I saw this movie. To be honest, there's no deeper meaning to it whatsoever. But it's a mildly enjoyable experience, probably moreso for people who love the genre. http://www.spout.com/groups/Spout_Mavens/Movies_available_for_review/366/34520/1/ShowPost.aspx Post By: rjsprague
Post To: Spout Mavens
Post Date: 8/29/2008 9:22:30 AM
Body: Here are a bunch of films that we only have one of currently. Team Picture Faster Gypsy Caravan Star Wreck: In the Pirkinning Prometheus' Garden Monster Road The Brandon Teena Story Mumia Abu-Jamal: A Case for Reasonable Doubt? The Guatemalan Handshake The Robert Drew KENNEDY FILMS COLLECTION August Most of these films are obviously not new. They are however free for your reviewing pleasure. If you are interested then drop a message here or send an e-mail to mavens@spout.com. First come first serve.
]]>Fri, 29 Aug 2008 13:22:30 GMTrjspragueSpout Mavens8/29/2008 9:22:30 AMHere are a bunch of films that we only have one of currently. Team Picture Faster Gypsy Caravan Star Wreck: In the Pirkinning Prometheus' Garden Monster Road The Brandon Teena Story Mumia Abu-Jamal: A Case for Reasonable Doubt? The Guatemalan Handshake The Robert Drew KENNEDY FILMS COLLECTION August Most of these films are obviously not new. They are however free for your reviewing pleasure. If you are interested then drop a message here or send an e-mail to mavens@spout.com. First come first serve. http://www.spout.com/blogs/spoutblog/archive/2007/8/23/18653.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/23/2007 8:02:07 PM
Body: Surveying the Mumblecore-manic media coverage of the last week or so, three features are in danger of slipping through the cracks. Totally coincidentally, these are the three films of the fest that I’m currently most interested in. At the risk of sounding like a Swanbergian heroine (and more on the Ladies of Mumblecore from me next week), my crushes on individual films and filmmakers come and go in manic waves, and right now, I’m crushing heavily on Team Picture (directed by Kentucker Audley, who appears to be the same person as the film’s star, Andrew Nehringer), and Frank V. Ross’ Hohokam and Quietly on By. These are the least-known films on the schedule for sure, although all three have made appearances at Harvard Film Archive’s Independents Week. Seen as a unit, the three films point in an exciting new direction: towards the suburbs. As has been widely noted, films like Hannah Takes the Stairs, Quiet City and Mutual Appreciation are, unabashedly, about white, largely post-collegiate urban youth. In LOL, Kissing on the Mouth and Quiet City, no one seems to really have to work; elsewhere occupations are ancillary to relationships and artistic pursuits. In Hannah Takes the Stairs, Hannah is an intern and her roommate, Rocco, is unemployed. They can’t afford air conditioning, but someone (Daddy?) is paying for the city apartment and the beer. Class is a deliberate non-issue in a lot of these films, for the same reason that it’s deliberately not mentioned in most of Woody Allen’s movies that aren’t murder mysteries: when your characters don’t have to struggle to satisfy basic needs, they have a lot of time leftover to screw and be screwed. And most of that screwing takes place in cities. Hannah and her first boyfriend recline on a beach under towering Chicago skyscrapers; Hannah and her third boyfriend discuss their “chronic dissatisfaction” to the sounds of buses and sirens and neighbors outside the window. Bujalski’s films take place in hipster villages reminiscent of Slacker Austin; the Brooklyn Alan wanders in Mutual Appreciation is virtually the same territory traversed on the G train in Quiet City. Both Brooklyns are occupied by artists, musicians, and the carefully-coiffed knockouts who love them. (more…) Originally posted on:Spoutblog
]]>Fri, 24 Aug 2007 00:02:07 GMTSpoutBlogSpoutBlog on spout.com8/23/2007 8:02:07 PMSurveying the Mumblecore-manic media coverage of the last week or so, three features are in danger of slipping through the cracks. Totally coincidentally, these are the three films of the fest that I’m currently most interested in. At the risk of sounding like a Swanbergian heroine (and more on the Ladies of Mumblecore from me next week), my crushes on individual films and filmmakers come and go in manic waves, and right now, I’m crushing heavily on Team Picture (directed by Kentucker Audley, who appears to be the same person as the film’s star, Andrew Nehringer), and Frank V. Ross’ Hohokam and Quietly on By. These are the least-known films on the schedule for sure, although all three have made appearances at Harvard Film Archive’s Independents Week. Seen as a unit, the three films point in an exciting new direction: towards the suburbs. As has been widely noted, films like Hannah Takes the Stairs, Quiet City and Mutual Appreciation are, unabashedly, about white, largely post-collegiate urban youth. In LOL, Kissing on the Mouth and Quiet City, no one seems to really have to work; elsewhere occupations are ancillary to relationships and artistic pursuits. In Hannah Takes the Stairs, Hannah is an intern and her roommate, Rocco, is unemployed. They can’t afford air conditioning, but someone (Daddy?) is paying for the city apartment and the beer. Class is a deliberate non-issue in a lot of these films, for the same reason that it’s deliberately not mentioned in most of Woody Allen’s movies that aren’t murder mysteries: when your characters don’t have to struggle to satisfy basic needs, they have a lot of time leftover to screw and be screwed. And most of that screwing takes place in cities. Hannah and her first boyfriend recline on a beach under towering Chicago skyscrapers; Hannah and her third boyfriend discuss their “chronic dissatisfaction” to the sounds of buses and sirens and neighbors outside the window. Bujalski’s films take place in hipster villages reminiscent of Slacker Austin; the Brooklyn Alan wanders in Mutual Appreciation is virtually the same territory traversed on the G train in Quiet City. Both Brooklyns are occupied by artists, musicians, and the carefully-coiffed knockouts who love them. (more…) Originally posted on:Spoutblog http://www.spout.com/members/0/tags/musician/MemberTagFilms.aspxmusician
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]]>Fri, 13 Nov 2009 18:31:33 GMT9971530Tag http://www.spout.com/members/0/tags/memphis/MemberTagFilms.aspxmemphis
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]]>Mon, 26 Jan 2009 21:11:31 GMT622Tag http://www.spout.com/members/0/tags/kiddy-pool/MemberTagFilms.aspxkiddy-pool
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