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  • Karina on ReelerTV

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    Under discussion:

    Goya's Ghosts  (2006)

    Hairspray  (2007)

    Way back in April, Spout partnered with The Reeler to bring you video coverage of the Tribeca Film Festival. Now S.T. VanAirsdale and friends have re-launched ReelerTV as a weekly show, and I had the honor of being a guest on this week’s installment. After a rundown of the week’s news and a man-on-the-street segment, I join The Reeler himself in the lobby of the Pioneer Theater, to discuss two films opening this week: Hairspray and Goya’s Ghosts. I’ve embedded the episode above; you should also be sure to check out TheReeler.com to watch and/or subscribe to past and future installments.


    Originally posted on:Spoutblog

  • A Gay Old Time

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    Under discussion:

    Punch-Drunk Love  (2002)

    The gay marriage debate seems to have been relegated to the back-burner of late (apparently, there’s a war going on). Could Adam Sandler help bring it back?

    At AfterElton.com [via GreenCine Daily] Alonso Duralde says I Now Pronounce You Chuck and Larry “will probably do more for the national debate on gay marriage than every book written by conservative gay writer Andrew Sullivan and every letter you’ve sent to your senator put together.” He goes on to explain that this is mostly because “average” Americans are apparently willing to pay money to see Adam Sandler do just about anything, regardless of whether or not the themes of his films jibe with their personal preferences or political beliefs. It seems like a valid point, even if Paul Thomas Anderson might disagree.

    But at the Village Voice, Nathan Lee has much more fun nailing Chuck and Larry’s potential power; the openly gay critic boldly claims that the film is “as eloquent as Brokeback Mountain, and even more radical.” (Lee, it should be noted, famously defended Brokeback’s “middle-brow man-on-man masochistic romanticism” around the time of that film’s release.) The whole review is basically begging to be blockquoted, but here’s a choice excerpt:

    This sodomite had a gay old time. The coup of the movie is that Sandlerites will, too. They’re the ones unmistakably addressed in the courtroom climax, the moment when Chuck and Larry confess their deceptions and assert their principles. Momentarily possessed by remarkable authenticity, Sandler seems to step out of character as he appeals to the crowd to stop using the word “faggot.” I’ve used it a lot myself in the past, he says in a manner less like a line reading than a mea culpa, but it hurts the same way it does if you called me a kike.

    Meanwhile, Jeff Wells links to a clip of Washington Blade editor Kevin Naff promoting his boycott of Hairspray on The O’Reilly Factor. Naff says Scientology is anti-gay, and since John Travolta is a Scientologist, ergo, a film that began life as a Broadway musical based on a cult film starring a drag queen and written/directed by the most successful openly-gay filmmaker of the last thirty years is — wait for it — also anti-gay. “Gay people are not so desperate for entertainment that we should be lining the pockets of those who want to cure us,” Naff huffs. Adam Shankman, director of the new Hairspray, responded: “Everybody involved in Hairspray - all the creators - are gay…me, the writers, composer, John Waters - all gay.”

    I guess the only question is this: how many gay pockets do you need to line to outweigh the damage done by putting cash in the pants of one Scientologist?


    Originally posted on:Spoutblog

  • Google on the Spot: Trade Roughage, 07/18/07

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    ***The National Legal and Policy Center has released a report intended to “shame” Google for failing to block access to pirated films on Google Video. Among other things, the NLPC charges that Google gives preferential treatment to copyright holders “it makes business deals with.” In response, a Google spokesman implied that some companies don’t want their copyright material removed from the site. “Copyright status can only be determined by the copyright holder, and their preferences vary widely.”

    ***Michael Tolkin, the author of The Player, has been hired to adapt the Fellini-inspired Broadway musical Nine for the screen. The Weinstein Company is producing the film; Chicago helmer Rob Marshall will direct.

    ***September’s Toronto Film Festival will host a Gala screening of David Cronenberg’s Eastern Promises. The thriller re-teams the director with his History of Violence star, Viggo Mortensen.


    Originally posted on:Spoutblog

  • Southland Tales has a release date!!!

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    Under discussion:

    Donnie Darko  (2001)

    It’s the news Richard Kelly geeks have been waiting 15 months for: Southland Tales, the long-awaited film from the Donnie Darko auteur, has been given a release date. According to indieWIRE, Sony, Destination Films and Samuel Goldwyn are partnering to put the film in U.S. theaters on November 9th. November and December are usually reserved for “prestige” releases. Could this mean that a year and quarter worth of editing has somehow managed to transform Southland from Cannes pariah to possible awards contender? We can’t wait to find out.

    More on Southland Tales:

    Southland Tales still in limbo

    Southland Tales: What’s The Deal?


    Originally posted on:Spoutblog

  • Dziva Vertov Reloaded

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    Dziga Vertov’s 1929 silent Soviet classic The Man With a Movie Camera has outlived the grand majority of films from its epoch to become a staple of film schools and retrospectives, a landmark of personal/political documentary and even a kind of style guide for avant garde filmmaking and design. Now, British artist Perry Bard is putting together a “global remake” of the film, to screen at the UK Big Screen touring film festival in 2007-2008.

    Bard is using his website to solicit collaborations from around the world. He’s posted every scene from the film, as well as thumbnails representing each scene’s beginning, middle and end. The basic idea is to have volunteers pick a scene from the original to re-interpret by creating their own footage. Within those parameters, Bard is encouraging experimentation:

    Use what you have at your disposal. If you don\’t have a video camera, a succession of still images will work. Text is also o.k. The database will reflect the shape of the wired world on the 21st century stage…Vertov\’s footage was shot in the industrial landscape of the 20\’s. What images translate the world today? e.g. instead of the mining scene if you\’re living in Silicon Valley you might film inside Apple headquarters, etc.

    This approach makes a lot of sense. Not only was the original Movie Camera a love letter of sorts to collaborative labor, but as a one-man movie studio using a prosumer technology to document his vision of the world, Vertov sort of prefigured the YouTube generation by about 85 years.

    If you’d like to participate, all the relevant info can be found here. Bard says he’ll start accepting submissions in August, but you’re advised to keep it clean–he reserves the right to “eliminate inappropriate material.”

    [Via Michael Z. Newman on Twitter]


    Originally posted on:Spoutblog

  • FilmCouch #29

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    Under discussion:

    Network  (1976)

    The Party's Over  (2001)

    Sicko  (2007)

    In the last ten years, movie screens have squashed podiums as the place for politicians to build a voter base. Should old entertainment formulas be used in politics? Do these politi-dramas spur us to action or whining? Under discussion: Sicko (2007), The Party’s Over (2000), Network (1976) and the sprawling entity known as Michael Moore.

    Download FilmCouch #29 or subscribe in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday. Join the FilmCouch group


    Originally posted on:Spoutblog

 


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