Curt Holman
Film and Theater Critic
Curt Holman was first published in Creative Loafing in 1993. A longtime film critic and former president of the Southeastern Film Critics Association, he also writes about television, theater, books and Southern culture. He has been published in local and national publications and has won the Green Eyeshades Award for Criticism and the Association of Alternate Newspapers’ award for Arts Criticism. Since 2016 he has co-hosted the Comics Canon podcast, reviewing the great comic book stories of yesterday and today. Follow him on Twitter at @Curt_Holman and on Letterboxd at Curt_Holman.
Articles By This Writer
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string(6622) "A major part of Atlanta culture was defined in the past decade by the massive influx of television and film production to Georgia. Some significant chapters in this volume of local history are scheduled to close in 2022.
One of the first major events of the Y’allywood era began in October of 2010 with “The Walking Dead.” AMC’s zombie show was a sensation on its debut and has been a steady local employer, even as it lost its buzz ages ago. It’s currently airing its 11th and final season, with the final episodes expected to air later this year, although at least one spin-off is tapped for 2023. It may never die…
While “The Walking Dead’s” Atlanta-based apocalypse signaled that Georgia was open for business, the premiere of Netflix’s “Stranger Things” marked the increased importance of the streaming services as competitors to cable and the networks. Like “The Walking Dead,” it’s the kind of show that inspires guided tours and themed escape rooms, even as its brand of 1980s kids vs. monsters nostalgia has lost some of its spark over the years.
“Stranger Things’” rapidly-aging cast of young actors return for the fourth and final season, with episodes dropping in two parts on May 27 and then July 1.
Also in 2016, Donald Glover’s “Atlanta” debuted on FX and established itself as one of the city’s best creative exports. Ostensibly a sly, sharply-observed dramedy about the city’s hip-hop scene. “Atlanta” has proved to be a show of striking ambition, able to nimbly switch from situational comedy to Gothic horror to allegories on race and politics between episodes, while maintaining the same aesthetic sensibility.
After a two-year delay, “Atlanta’s” third season finds the show more ambitious than ever. Most episodes follow rapper Paper Boi (Bryan Tyree Henry), his manager Earn (creator Donald Glover) and their pals having weird confrontations and unexpected epiphanies while touring Europe. But “Atlanta” has also become a de facto anthology show, with some episodes having (apparently) nothing to do with the main ensemble, but everything to do with race in the 21st century.
The harrowing season premiere “Three Slaps” fictionalized a real-life tragedy to show Black children fostered by deranged white liberals into a kind of modern-day slavery. “The Big Payback,” offered a “Twilight Zone”-style take on the reparations issue – or, specifically, a satire of white anxiety over the issue. No matter the subject, Glover and his creative team have become masters at sustaining tensions, whether comedic or dramatic, and following their instincts to revelatory places.
“Atlanta’s” third season is scheduled to conclude May 19, with its fourth and final season currently expected to air later in 2022. The culminations of “The Walking Dead,” “Stranger Things” and “Atlanta” will feel like the end of an era. Hopefully these won’t be peaks of popularity and creativity for Atlanta-made television, but just the trail-blazers.
!!Fri., May 6
Dr. Strange in the Multiverse of Madness — Fresh from his supporting role in winter’s blockbuster hit Spider-man: No Way Home, Dr. Strange (Benedict Cumberbatch) returns to prevent a crisis on infinite Earths. “WandaVision’s” Elizabeth Olsen co-stars, but the most intriguing talent involved is director Sam Raimi, who launched Marvel superhero movies as we know them with his Spider-man trilogy. Can he save today’s Marvel Cinematic Universe from its persistently drab visuals and slavish continuity?
Opening May 6 at area theaters.
!!Wed., May 11
This Much I Know To Be True — Andrew Dominik’s documentary explores the creative process and live performances of artists Nick Cave and Warren Ellis in a one-time screening.
$15. 7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Fri., May 13
Memoria — Acclaimed Thai director Apichatpong Weerasethakul directs this Cannes Film Festival Jury Prize winner that stars Tilda Swinton as a woman uncovering a mystery in Columbia. The distributor originally announced a “never-ending release” at one theater at a time, but then adopted a more traditional release at multiple U.S. theaters.
$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com
!!Wed., May 18
Take Me To the River New Orleans — This music documentary showcases New Orleans’ diversity of music, from traditional jazz to contemporary hip-hop and more. — Curt Holman
7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Thu., May 19
Thrilling Bloody Sword — For years this insane-sounding Thai martial arts fantasy was only available to U.S. viewers on bootleg video. A new 2K digital version preserves this phantasmagoric, low-budget riff on Snow White and the Seven Dwarfs that adds demons and swordfights. It sounds like a must-see experience with a live audience.
$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com
!!Tue., May 24
Do the Right Thing — Landmark Midtown Art Cinema’s spring classics series winds up with 1989’s scorching, still-relevant take on race relations. In Spike Lee’s breakthrough film, an Italian-owned pizzeria in the majority black Bedford-Stuyvesant neighborhood becomes a flashpoint on the hottest day of the year. Now regarded as a classic, it was famously underrepresented at the Academy Awards, which gave Best Picture to Driving Miss Daisy that year. The cast includes Giancarlo Esposito, Danny Aiello, Rosie Perez, Samuel L. Jackson, Bill Nunn and Spike Lee himself.
$13. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Thu., May 26
Demons — Videodrome’s “Filmovond” series collaboration with Summerhill’s Halfway Crooks Beers presents free screenings – with popcorn on the house– at the outdoor biergarten. May’s installment is Demons, Lamberto Bava’s horror film about two college students trapped in a movie theater with a bunch of you-know-whats.
Halfway Crooks Beer, 60 Georgia Ave. SE, Atlanta, 30312. halfwaycrooks.beer
!!Fri., May 27-Sun., May 29
Atlanta DocuFest — The 17th annual Atlanta International Documentary Film Festival, a.k.a. Atlanta DocuFest, presents independent nonfiction feature films and shorts from around the world.
RoleCall Theater, 675 Ponce De Leon Ave. NE Atlanta, 30308. docufest.com"
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One of the first major events of the Y’allywood era began in October of 2010 with “The Walking Dead.” AMC’s zombie show was a sensation on its debut and has been a steady local employer, even as it lost its buzz ages ago. It’s currently airing its 11th and final season, with the final episodes expected to air later this year, although at least one spin-off is tapped for 2023. It may never die…
While “The Walking Dead’s” Atlanta-based apocalypse signaled that Georgia was open for business, the premiere of Netflix’s “Stranger Things” marked the increased importance of the streaming services as competitors to cable and the networks. Like “The Walking Dead,” it’s the kind of show that inspires guided tours and themed escape rooms, even as its brand of 1980s kids vs. monsters nostalgia has lost some of its spark over the years.
“Stranger Things’” rapidly-aging cast of young actors return for the fourth and final season, with episodes dropping in two parts on May 27 and then July 1.
Also in 2016, Donald Glover’s “Atlanta” debuted on FX and established itself as one of the city’s best creative exports. Ostensibly a sly, sharply-observed dramedy about the city’s hip-hop scene. “Atlanta” has proved to be a show of striking ambition, able to nimbly switch from situational comedy to Gothic horror to allegories on race and politics between episodes, while maintaining the same aesthetic sensibility.
After a two-year delay, “Atlanta’s” third season finds the show more ambitious than ever. Most episodes follow rapper Paper Boi (Bryan Tyree Henry), his manager Earn (creator Donald Glover) and their pals having weird confrontations and unexpected epiphanies while touring Europe. But “Atlanta” has also become a de facto anthology show, with some episodes having (apparently) nothing to do with the main ensemble, but everything to do with race in the 21st century.
The harrowing season premiere “Three Slaps” fictionalized a real-life tragedy to show Black children fostered by deranged white liberals into a kind of modern-day slavery. “The Big Payback,” offered a “Twilight Zone”-style take on the reparations issue – or, specifically, a satire of white anxiety over the issue. No matter the subject, Glover and his creative team have become masters at sustaining tensions, whether comedic or dramatic, and following their instincts to revelatory places.
“Atlanta’s” third season is scheduled to conclude May 19, with its fourth and final season currently expected to air later in 2022. The culminations of “The Walking Dead,” “Stranger Things” and “Atlanta” will feel like the end of an era. Hopefully these won’t be peaks of popularity and creativity for Atlanta-made television, but just the trail-blazers.
!!~~#0000ff:Fri., May 6~~
''__Dr. Strange in the Multiverse of Madness —__'' Fresh from his supporting role in winter’s blockbuster hit ''Spider-man: No Way Home'', Dr. Strange (Benedict Cumberbatch) returns to prevent a crisis on infinite Earths. “WandaVision’s” Elizabeth Olsen co-stars, but the most intriguing talent involved is director Sam Raimi, who launched Marvel superhero movies as we know them with his ''Spider-man'' trilogy. Can he save today’s Marvel Cinematic Universe from its persistently drab visuals and slavish continuity?
''Opening May 6 at area theaters.''
!!~~#0000ff:Wed., May 11~~
''__This Much I Know To Be True — __''Andrew Dominik’s documentary explores the creative process and live performances of artists Nick Cave and Warren Ellis in a one-time screening.
''$15. 7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema''
!!~~#0000ff:Fri., May 13~~
''__Memoria — __''Acclaimed Thai director Apichatpong Weerasethakul directs this Cannes Film Festival Jury Prize winner that stars Tilda Swinton as a woman uncovering a mystery in Columbia. The distributor originally announced a “never-ending release” at one theater at a time, but then adopted a more traditional release at multiple U.S. theaters.
''$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com''
!!~~#0000ff:Wed., May 18~~
''__Take Me To the River New Orleans — __''This music documentary showcases New Orleans’ diversity of music, from traditional jazz to contemporary hip-hop and more. — Curt Holman
''7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema''
!!~~#0000ff:Thu., May 19~~
''__Thrilling Bloody Sword — __''For years this insane-sounding Thai martial arts fantasy was only available to U.S. viewers on bootleg video. A new 2K digital version preserves this phantasmagoric, low-budget riff on ''Snow White and the Seven Dwarfs'' that adds demons and swordfights. It sounds like a must-see experience with a live audience.
''$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com''
!!~~#0000ff:Tue., May 24~~
''__Do the Right Thing — __''Landmark Midtown Art Cinema’s spring classics series winds up with 1989’s scorching, still-relevant take on race relations. In Spike Lee’s breakthrough film, an Italian-owned pizzeria in the majority black Bedford-Stuyvesant neighborhood becomes a flashpoint on the hottest day of the year. Now regarded as a classic, it was famously underrepresented at the Academy Awards, which gave Best Picture to ''Driving Miss Daisy'' that year. The cast includes Giancarlo Esposito, Danny Aiello, Rosie Perez, Samuel L. Jackson, Bill Nunn and Spike Lee himself.
''$13. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema''
!!~~#0000ff:Thu., May 26~~
''__Demons — __''Videodrome’s “Filmovond” series collaboration with Summerhill’s Halfway Crooks Beers presents free screenings – with popcorn on the house– at the outdoor biergarten. May’s installment is ''Demons'', Lamberto Bava’s horror film about two college students trapped in a movie theater with a bunch of you-know-whats.
''Halfway Crooks Beer, 60 Georgia Ave. SE, Atlanta, 30312. halfwaycrooks.beer''
!!~~#0000ff:Fri., May 27-Sun., May 29~~
__Atlanta DocuFest — __ The 17th annual Atlanta International Documentary Film Festival, a.k.a. Atlanta DocuFest, presents independent nonfiction feature films and shorts from around the world.
''RoleCall Theater, 675 Ponce De Leon Ave. NE Atlanta, 30308. docufest.com''"
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string(7121) " TWD S11Keyart Collection Banner 1920x814 1400x 2022-05-04T18:55:11+00:00 TWD-S11Keyart-Collection_Banner-1920x814_1400x.jpeg ‘Walking Dead,' ‘Stranger Things,’” and ‘Atlanta’ will all wind down in 2022 TWD S11Keyart Collection Banner 1920x814 1400x 2022-05-04T18:49:04+00:00 SCREEN TIME: End of an era? jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2022-05-04T18:49:04+00:00 A major part of Atlanta culture was defined in the past decade by the massive influx of television and film production to Georgia. Some significant chapters in this volume of local history are scheduled to close in 2022.
One of the first major events of the Y’allywood era began in October of 2010 with “The Walking Dead.” AMC’s zombie show was a sensation on its debut and has been a steady local employer, even as it lost its buzz ages ago. It’s currently airing its 11th and final season, with the final episodes expected to air later this year, although at least one spin-off is tapped for 2023. It may never die…
While “The Walking Dead’s” Atlanta-based apocalypse signaled that Georgia was open for business, the premiere of Netflix’s “Stranger Things” marked the increased importance of the streaming services as competitors to cable and the networks. Like “The Walking Dead,” it’s the kind of show that inspires guided tours and themed escape rooms, even as its brand of 1980s kids vs. monsters nostalgia has lost some of its spark over the years.
“Stranger Things’” rapidly-aging cast of young actors return for the fourth and final season, with episodes dropping in two parts on May 27 and then July 1.
Also in 2016, Donald Glover’s “Atlanta” debuted on FX and established itself as one of the city’s best creative exports. Ostensibly a sly, sharply-observed dramedy about the city’s hip-hop scene. “Atlanta” has proved to be a show of striking ambition, able to nimbly switch from situational comedy to Gothic horror to allegories on race and politics between episodes, while maintaining the same aesthetic sensibility.
After a two-year delay, “Atlanta’s” third season finds the show more ambitious than ever. Most episodes follow rapper Paper Boi (Bryan Tyree Henry), his manager Earn (creator Donald Glover) and their pals having weird confrontations and unexpected epiphanies while touring Europe. But “Atlanta” has also become a de facto anthology show, with some episodes having (apparently) nothing to do with the main ensemble, but everything to do with race in the 21st century.
The harrowing season premiere “Three Slaps” fictionalized a real-life tragedy to show Black children fostered by deranged white liberals into a kind of modern-day slavery. “The Big Payback,” offered a “Twilight Zone”-style take on the reparations issue – or, specifically, a satire of white anxiety over the issue. No matter the subject, Glover and his creative team have become masters at sustaining tensions, whether comedic or dramatic, and following their instincts to revelatory places.
“Atlanta’s” third season is scheduled to conclude May 19, with its fourth and final season currently expected to air later in 2022. The culminations of “The Walking Dead,” “Stranger Things” and “Atlanta” will feel like the end of an era. Hopefully these won’t be peaks of popularity and creativity for Atlanta-made television, but just the trail-blazers.
!!Fri., May 6
Dr. Strange in the Multiverse of Madness — Fresh from his supporting role in winter’s blockbuster hit Spider-man: No Way Home, Dr. Strange (Benedict Cumberbatch) returns to prevent a crisis on infinite Earths. “WandaVision’s” Elizabeth Olsen co-stars, but the most intriguing talent involved is director Sam Raimi, who launched Marvel superhero movies as we know them with his Spider-man trilogy. Can he save today’s Marvel Cinematic Universe from its persistently drab visuals and slavish continuity?
Opening May 6 at area theaters.
!!Wed., May 11
This Much I Know To Be True — Andrew Dominik’s documentary explores the creative process and live performances of artists Nick Cave and Warren Ellis in a one-time screening.
$15. 7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Fri., May 13
Memoria — Acclaimed Thai director Apichatpong Weerasethakul directs this Cannes Film Festival Jury Prize winner that stars Tilda Swinton as a woman uncovering a mystery in Columbia. The distributor originally announced a “never-ending release” at one theater at a time, but then adopted a more traditional release at multiple U.S. theaters.
$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com
!!Wed., May 18
Take Me To the River New Orleans — This music documentary showcases New Orleans’ diversity of music, from traditional jazz to contemporary hip-hop and more. — Curt Holman
7 p.m. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Thu., May 19
Thrilling Bloody Sword — For years this insane-sounding Thai martial arts fantasy was only available to U.S. viewers on bootleg video. A new 2K digital version preserves this phantasmagoric, low-budget riff on Snow White and the Seven Dwarfs that adds demons and swordfights. It sounds like a must-see experience with a live audience.
$13. Plaza Theatre, 1049 Ponce de Leon Ave NE, Atlanta, 30306. plazaatlanta.com
!!Tue., May 24
Do the Right Thing — Landmark Midtown Art Cinema’s spring classics series winds up with 1989’s scorching, still-relevant take on race relations. In Spike Lee’s breakthrough film, an Italian-owned pizzeria in the majority black Bedford-Stuyvesant neighborhood becomes a flashpoint on the hottest day of the year. Now regarded as a classic, it was famously underrepresented at the Academy Awards, which gave Best Picture to Driving Miss Daisy that year. The cast includes Giancarlo Esposito, Danny Aiello, Rosie Perez, Samuel L. Jackson, Bill Nunn and Spike Lee himself.
$13. Landmark Midtown Art Cinema, 931 Monroe Drive NE, Atlanta, 30308. landmarktheatres.com/atlanta/midtown-art-cinema
!!Thu., May 26
Demons — Videodrome’s “Filmovond” series collaboration with Summerhill’s Halfway Crooks Beers presents free screenings – with popcorn on the house– at the outdoor biergarten. May’s installment is Demons, Lamberto Bava’s horror film about two college students trapped in a movie theater with a bunch of you-know-whats.
Halfway Crooks Beer, 60 Georgia Ave. SE, Atlanta, 30312. halfwaycrooks.beer
!!Fri., May 27-Sun., May 29
Atlanta DocuFest — The 17th annual Atlanta International Documentary Film Festival, a.k.a. Atlanta DocuFest, presents independent nonfiction feature films and shorts from around the world.
RoleCall Theater, 675 Ponce De Leon Ave. NE Atlanta, 30308. docufest.com Courtesy of AMC Networks SCREEN TIME: End of an era? "
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SCREEN TIME: End of an era? Article
Wednesday May 4, 2022 02:49 PM EDT
‘Walking Dead,' ‘Stranger Things,’” and ‘Atlanta’ will all wind down in 2022
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string(5624) "The coronavirus sometimes seems like one of those inexplicably popular film franchises, like maybe the Kingsman movie turning around sequel after sequel faster than anyone wants or expects. The original Covid-19 lead to the Delta variant and then Omicron, which, like The King’s Man, is the newest installment. Here’s hoping there will be no more reboots or follow-ups in 2022.
As long as moviegoers observe safe practices, they have numerous options for celebrating the cinema of 2021 as well as breaking in 2021.
Licorice Pizza — This amiable, ambitious coming-of-age story from writer-director Paul Thomas Anderson is the best film of 2021, but don’t take my word for it. The 28 voting members of the Atlanta Film Critics Circle (which, admittedly, includes me) selected Licorice Pizza as the best film of 2021.
Set in Encino Valley in 1973, the loosely-plotted film traces a complicated relationship – more than a friendship, less than a romance – between two young people. Gary Valentine (Cooper Hoffman, son of Anderson’s frequent collaborator, the late Philip Seymour Hoffman) is a 15 year-old high schooler aging out of a successful career as a child actor, but remaining an entrepreneur comfortable in adult spaces. Alana Kane (Alana Haim of Grammy-winning trio Haim) is 10 years older, underemployed and still looking for her purpose in life. They become partners in unlikely ventures such as a waterbed business, and while they know they can’t be a couple, they seem unable to quit each other.
Licorice Pizza grooves on the nostalgic vibe of the early 1970s without glorifying the era, as Anderson matter-of-factly shows some casual sexism and racism that can be shocking to a 21st century audience. Occasionally, celebrities will come through their lives like wrecking balls, too narcissistic to notice the chaos they cause, particularly in Bradley Cooper’s turn as a high-strung producer.
Licorice Pizza covers similar ground as Anderson’s breakthrough Boogie Nights, but without that film’s violence or condescending humor. Licorice Pizza may or may not be Anderson’s best effort to date, but it’s definitely his most joyous.
Now playing at area theaters. Rated R.
The Tragedy of Macbeth — This chilly, stylish Shakespeare adaptation marks the possible break up of modern cinema’s greatest brother act. While the Coen Brothers have crafted modern masterpieces like Fargo since the 1980s, Ethan Coen has reportedly stepped back from moviemaking, making Macbeth Joel Coen’s first solo gig.
The brothers have long enjoyed exploring violence, greed and language in small-scale film noir terms, so a black-and-white take on the “vaulting ambition” of the Scottish king isn’t that much of a stretch. Denzel Washington plays the title role in an uncertain, often mournful key that fits the text, but is quieter than you’d expect from his volcanic work in the likes of Fences and Training Day.
Similarly, the supporting actors can seem overly restrained and the environments deliberately artificial looking, making The Tragedy of Macbeth feel more like an intellectual exercise than a crime of passion. Coen’s take really clicks with the performance of Kathryn Hunter, who plays all three witches with intensity and freaky body language of Gollum. And even on his own, Joel Coen remains a compelling cinematic craftsman who clearly delights in turning medieval Scotland into a haunted landscape.
Now playing at local theaters, debuting on Apple Streaming on Jan. 14. Rated R.
!!Fri. Jan. 14
Drive My Car — A grieving actor gradually bonds with his introverted driver in director Ryusuke Hamaguchi’s three-hour adaptation of Haruki Murakami’s short story of the same name. The winner of the Best International Film from the Atlanta Film Critics Circle, it’s one of the most acclaimed films of 2021.
$13. Opening Fri., Jan. 14. Plaza Theatre, 1049 Ponce de Leon Ave. plazaatlanta.com
!!Thu.-Sun., Jan 20-23
Buried Alive Film Festival, 7 Stages — The Atlanta-based horror film festival’s 2022 installment includes two feature films: Belgian found-footage chiller Duyster and the U.S. horror comedy What Happens Next Will Scare You. The line-up also includes a lively program of horror shorts, including entries in the Buried Alive Film Fest Sinema Challenge for films 5-8 minutes long.
Jan. 20-23. 7 Stages, 1105 Euclid Ave. BuriedaliveFilmFest.com
!!Fri., Jan. 21
Mystery Science Theater 3000 LIVE: The Time Bubble Tour, Coca-Cola Roxy — For the latest iteration of the esteemed movie-riffing franchise, Emily Marsh (co-star the show’s 2022 season) leads a cast of puppeteers and comics for live, rapid-patter mockery of a cheesy movie. For this tour, it’s reportedly 1985’s Making Contact, the first film from Roland Emmerich. “MST3K” is best-known as a TV show, but it can be very funny with a live audience.
$30-$55. Tue., Jan. 25, 7:30 p.m. Coca-Cola Roxy, 800 Battery Ave. cocacolaroxy.com
!!Thu.-Sat., Feb 3-5
SCAD TVFEST — For its 10th year, the Savannah College of Art & Design hosts a festival of television industry professionals. While last year’s event was virtual, this year offers an inperson gathering at Midtown’s IPIC Theater. The program had not been announced at press time, but previous festivals draw actors, directors, writers and producers from some of the Atlanta area’s most prominent TV productions.
Feb. 3-5. IPIC Theater, 1197 Colony Square. scadtvfest.com
Screen Time is a monthly column about film and video from the big screen to streaming services."
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As long as moviegoers observe safe practices, they have numerous options for celebrating the cinema of 2021 as well as breaking in 2021.
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Set in Encino Valley in 1973, the loosely-plotted film traces a complicated relationship – more than a friendship, less than a romance – between two young people. Gary Valentine (Cooper Hoffman, son of Anderson’s frequent collaborator, the late Philip Seymour Hoffman) is a 15 year-old high schooler aging out of a successful career as a child actor, but remaining an entrepreneur comfortable in adult spaces. Alana Kane (Alana Haim of Grammy-winning trio Haim) is 10 years older, underemployed and still looking for her purpose in life. They become partners in unlikely ventures such as a waterbed business, and while they know they can’t be a couple, they seem unable to quit each other.
''Licorice Pizza'' grooves on the nostalgic vibe of the early 1970s without glorifying the era, as Anderson matter-of-factly shows some casual sexism and racism that can be shocking to a 21st century audience. Occasionally, celebrities will come through their lives like wrecking balls, too narcissistic to notice the chaos they cause, particularly in Bradley Cooper’s turn as a high-strung producer.
''Licorice Pizza'' covers similar ground as Anderson’s breakthrough ''Boogie Nights'', but without that film’s violence or condescending humor. ''Licorice Pizza'' may or may not be Anderson’s best effort to date, but it’s definitely his most joyous.
''Now playing at area theaters. Rated R.''
~~#000000:__''The Tragedy of Macbeth —''__ ~~This chilly, stylish Shakespeare adaptation marks the possible break up of modern cinema’s greatest brother act. While the Coen Brothers have crafted modern masterpieces like ''Fargo'' since the 1980s, Ethan Coen has reportedly stepped back from moviemaking, making ''Macbeth'' Joel Coen’s first solo gig.
The brothers have long enjoyed exploring violence, greed and language in small-scale film noir terms, so a black-and-white take on the “vaulting ambition” of the Scottish king isn’t that much of a stretch. Denzel Washington plays the title role in an uncertain, often mournful key that fits the text, but is quieter than you’d expect from his volcanic work in the likes of ''Fences'' and ''Training Day''.
Similarly, the supporting actors can seem overly restrained and the environments deliberately artificial looking, making ''The Tragedy of Macbeth'' feel more like an intellectual exercise than a crime of passion. Coen’s take really clicks with the performance of Kathryn Hunter, who plays all three witches with intensity and freaky body language of Gollum. And even on his own, Joel Coen remains a compelling cinematic craftsman who clearly delights in turning medieval Scotland into a haunted landscape.
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''$13. Opening Fri., Jan. 14. Plaza Theatre, 1049 Ponce de Leon Ave. plazaatlanta.com ''
!!__Thu.-Sun., Jan 20-23__
__Buried Alive Film Festival, 7 Stages —__ The Atlanta-based horror film festival’s 2022 installment includes two feature films: Belgian found-footage chiller ''Duyster'' and the U.S. horror comedy ''What Happens Next Will Scare You''. The line-up also includes a lively program of horror shorts, including entries in the Buried Alive Film Fest Sinema Challenge for films 5-8 minutes long.
''Jan. 20-23. 7 Stages, 1105 Euclid Ave. BuriedaliveFilmFest.com''
!!__Fri., Jan. 21__
__Mystery Science Theater 3000 LIVE: The Time Bubble Tour, Coca-Cola Roxy —__ For the latest iteration of the esteemed movie-riffing franchise, Emily Marsh (co-star the show’s 2022 season) leads a cast of puppeteers and comics for live, rapid-patter mockery of a cheesy movie. For this tour, it’s reportedly 1985’s ''Making Contact'', the first film from Roland Emmerich. “MST3K” is best-known as a TV show, but it can be very funny with a live audience.
''$30-$55. Tue., Jan. 25, 7:30 p.m. Coca-Cola Roxy, 800 Battery Ave. cocacolaroxy.com''
!!__Thu.-Sat., Feb 3-5__
__SCAD TVFEST —__ For its 10th year, the Savannah College of Art & Design hosts a festival of television industry professionals. While last year’s event was virtual, this year offers an inperson gathering at Midtown’s IPIC Theater. The program had not been announced at press time, but previous festivals draw actors, directors, writers and producers from some of the Atlanta area’s most prominent TV productions.
''Feb. 3-5. IPIC Theater, 1197 Colony Square. scadtvfest.com''
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6284) " Licorice Pizza Sb Marketing Stills 12.00270346 CC CROPV1 2022-01-07T13:52:06+00:00 licorice-pizza-sb_marketing_stills_12.00270346_CC_CROPV1.jpg screen time ‘Licorice Pizza’ tops moviegoing in the New Year
Licorice Pizza Sb Marketing Stills 12.00270346 CC CROPV1 2022-01-06T21:56:02+00:00 SCREEN TIME: A ‘Pizza’ with everything jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2022-01-06T21:56:02+00:00 The coronavirus sometimes seems like one of those inexplicably popular film franchises, like maybe the Kingsman movie turning around sequel after sequel faster than anyone wants or expects. The original Covid-19 lead to the Delta variant and then Omicron, which, like The King’s Man, is the newest installment. Here’s hoping there will be no more reboots or follow-ups in 2022.
As long as moviegoers observe safe practices, they have numerous options for celebrating the cinema of 2021 as well as breaking in 2021.
Licorice Pizza — This amiable, ambitious coming-of-age story from writer-director Paul Thomas Anderson is the best film of 2021, but don’t take my word for it. The 28 voting members of the Atlanta Film Critics Circle (which, admittedly, includes me) selected Licorice Pizza as the best film of 2021.
Set in Encino Valley in 1973, the loosely-plotted film traces a complicated relationship – more than a friendship, less than a romance – between two young people. Gary Valentine (Cooper Hoffman, son of Anderson’s frequent collaborator, the late Philip Seymour Hoffman) is a 15 year-old high schooler aging out of a successful career as a child actor, but remaining an entrepreneur comfortable in adult spaces. Alana Kane (Alana Haim of Grammy-winning trio Haim) is 10 years older, underemployed and still looking for her purpose in life. They become partners in unlikely ventures such as a waterbed business, and while they know they can’t be a couple, they seem unable to quit each other.
Licorice Pizza grooves on the nostalgic vibe of the early 1970s without glorifying the era, as Anderson matter-of-factly shows some casual sexism and racism that can be shocking to a 21st century audience. Occasionally, celebrities will come through their lives like wrecking balls, too narcissistic to notice the chaos they cause, particularly in Bradley Cooper’s turn as a high-strung producer.
Licorice Pizza covers similar ground as Anderson’s breakthrough Boogie Nights, but without that film’s violence or condescending humor. Licorice Pizza may or may not be Anderson’s best effort to date, but it’s definitely his most joyous.
Now playing at area theaters. Rated R.
The Tragedy of Macbeth — This chilly, stylish Shakespeare adaptation marks the possible break up of modern cinema’s greatest brother act. While the Coen Brothers have crafted modern masterpieces like Fargo since the 1980s, Ethan Coen has reportedly stepped back from moviemaking, making Macbeth Joel Coen’s first solo gig.
The brothers have long enjoyed exploring violence, greed and language in small-scale film noir terms, so a black-and-white take on the “vaulting ambition” of the Scottish king isn’t that much of a stretch. Denzel Washington plays the title role in an uncertain, often mournful key that fits the text, but is quieter than you’d expect from his volcanic work in the likes of Fences and Training Day.
Similarly, the supporting actors can seem overly restrained and the environments deliberately artificial looking, making The Tragedy of Macbeth feel more like an intellectual exercise than a crime of passion. Coen’s take really clicks with the performance of Kathryn Hunter, who plays all three witches with intensity and freaky body language of Gollum. And even on his own, Joel Coen remains a compelling cinematic craftsman who clearly delights in turning medieval Scotland into a haunted landscape.
Now playing at local theaters, debuting on Apple Streaming on Jan. 14. Rated R.
!!Fri. Jan. 14
Drive My Car — A grieving actor gradually bonds with his introverted driver in director Ryusuke Hamaguchi’s three-hour adaptation of Haruki Murakami’s short story of the same name. The winner of the Best International Film from the Atlanta Film Critics Circle, it’s one of the most acclaimed films of 2021.
$13. Opening Fri., Jan. 14. Plaza Theatre, 1049 Ponce de Leon Ave. plazaatlanta.com
!!Thu.-Sun., Jan 20-23
Buried Alive Film Festival, 7 Stages — The Atlanta-based horror film festival’s 2022 installment includes two feature films: Belgian found-footage chiller Duyster and the U.S. horror comedy What Happens Next Will Scare You. The line-up also includes a lively program of horror shorts, including entries in the Buried Alive Film Fest Sinema Challenge for films 5-8 minutes long.
Jan. 20-23. 7 Stages, 1105 Euclid Ave. BuriedaliveFilmFest.com
!!Fri., Jan. 21
Mystery Science Theater 3000 LIVE: The Time Bubble Tour, Coca-Cola Roxy — For the latest iteration of the esteemed movie-riffing franchise, Emily Marsh (co-star the show’s 2022 season) leads a cast of puppeteers and comics for live, rapid-patter mockery of a cheesy movie. For this tour, it’s reportedly 1985’s Making Contact, the first film from Roland Emmerich. “MST3K” is best-known as a TV show, but it can be very funny with a live audience.
$30-$55. Tue., Jan. 25, 7:30 p.m. Coca-Cola Roxy, 800 Battery Ave. cocacolaroxy.com
!!Thu.-Sat., Feb 3-5
SCAD TVFEST — For its 10th year, the Savannah College of Art & Design hosts a festival of television industry professionals. While last year’s event was virtual, this year offers an inperson gathering at Midtown’s IPIC Theater. The program had not been announced at press time, but previous festivals draw actors, directors, writers and producers from some of the Atlanta area’s most prominent TV productions.
Feb. 3-5. IPIC Theater, 1197 Colony Square. scadtvfest.com
Screen Time is a monthly column about film and video from the big screen to streaming services. COURTESY UNITED ARTSTS BEST FILM OF 2021: Cooper Hoffman and Alana Him get their ‘coming of age’ on in ‘Licorice Pizza.’ 0,0,5 "screen time" SCREEN TIME: A ‘Pizza’ with everything "
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string(6224) "Before Atlanta became the capitol of Southern hip-hop, Athens enjoyed a reputation as the coolest, most creative place in Georgia. The success of R.E.M., The B-52’s and other 1980s alternative rockers shaped Athens’ image as a place of both cutting-edge artistry and sunny Southern hospitality.
In 1987 the documentary Athens, GA: Inside/Out took a loose, unstructured approach to capturing the sounds and personalities of the scene, largely avoiding thesis statements in favor of performances from R.E.M., critical darlings Pylon and more. The new documentary Red Turns Into Blue: Athens/Inside-Out 2, directed by Bill Cody, reconsiders the city’s culture for the 21st century, filling in some of the previous film’s blind spots.
At first, Red Turns Into Blue seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.
After those segments, however, the film spends more time with younger artists, frequently finding their musical interests entwined with political activism. If a single person embodies the film’s vision of Athens, it’s Mariah Parker, a University of Georgia Ph.D. candidate who raps under the name Linqua Franqa and won election to the Athens-Clarke County commission.
Parker speaks passionately about racial reconciliation in one scene, then gives an electric performance of the song “Gold Bike” in another. Later, she has a cross-generational dialogue about politicized songwriting with veteran rocker Patterson Hood of the Drive-By Truckers, whose song “What It Means” addresses the Trayvon Martin shooting.
The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, Red Turns Into Blue draws on a greater diversity of musicians.
Red Turns Into Blue was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as Summer of Soul and The Sparks Brothers. Todd Haynes’ excellent The Velvet Underground makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.
Red Turns Into Blue seems more inclined to let the music speak for itself, rather than lean in for deeper analysis. It’s like a mixtape of young punk bands, Latinx folk singers, rappers and more, an interdependent community of artists with divergent interests but still inclined to reach across borders.
Titles inform the viewer that the film finished principle photography in January 2020, shortly before Athens and the rest of the world went into quarantine. A cover of R.E.M.’s “Losing My Religion” offers a melancholy epilogue while holding out hope that Athens will rise again.
Seeing Red and Deadshot
The weekend Red Notice debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.
This was not meant as praise.
It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)
It’s true that Red Notice is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. Red Notice was filmed on Atlanta soundstages, along with some international location work.
While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the Fast and the Furious franchise, practically remaking sequences with torture and prison breaks.
In this case, criticizing Red Notice, or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. Red Notice is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.
Deadshot: Speaking of Netflix, the streaming service’s new Western The Harder They Fall stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.
The Harder They Fall offers fictionalized versions of Black outlaws and heroes of the old West, neglected by the history books. Deadwyler gives a genuinely excellent performance as Cuffee, a character inspired by Cathay Williams, a Black woman who posed as a man in the U.S. Army. Deadwyler gives a excellent performance full of sparking unpredictable energy.
Plus, she stands out in a film that unfolds as a stylish but fairly conventional Western revenge story. Most of the cast, however talented, leans into ultimately familiar archetypes of heroes and villains. Deadwyler stands out by introducing us to someone we’ve never met before. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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In 1987 the documentary ''Athens, GA: Inside/Out'' took a loose, unstructured approach to capturing the sounds and personalities of the scene, largely avoiding thesis statements in favor of performances from R.E.M., critical darlings Pylon and more. The new documentary ''Red Turns Into Blue: Athens/Inside-Out 2'', directed by Bill Cody, reconsiders the city’s culture for the 21st century, filling in some of the previous film’s blind spots.
At first, ''Red Turns Into Blue'' seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.
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Parker speaks passionately about racial reconciliation in one scene, then gives an electric performance of the song “Gold Bike” in another. Later, she has a cross-generational dialogue about politicized songwriting with veteran rocker Patterson Hood of the Drive-By Truckers, whose song “What It Means” addresses the Trayvon Martin shooting.
The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, ''Red Turns Into Blue'' draws on a greater diversity of musicians.
''Red Turns Into Blue'' was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as ''Summer of Soul'' and ''The Sparks Brothers''. Todd Haynes’ excellent ''The Velvet Underground'' makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.
''Red Turns Into Blue'' seems more inclined to let the music speak for itself, rather than lean in for deeper analysis. It’s like a mixtape of young punk bands, Latinx folk singers, rappers and more, an interdependent community of artists with divergent interests but still inclined to reach across borders.
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__Seeing Red and Deadshot__
The weekend ''Red Notice'' debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.
This was not meant as praise.
It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)
It’s true that ''Red Notice'' is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. ''Red Notice'' was filmed on Atlanta soundstages, along with some international location work.
While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the ''Fast and the Furious'' franchise, practically remaking sequences with torture and prison breaks.
In this case, criticizing ''Red Notice'', or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. ''Red Notice'' is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.
__Deadshot:__ Speaking of Netflix, the streaming service’s new Western ''The Harder They Fall'' stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.
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Plus, she stands out in a film that unfolds as a stylish but fairly conventional Western revenge story. Most of the cast, however talented, leans into ultimately familiar archetypes of heroes and villains. Deadwyler stands out by introducing us to someone we’ve never met before. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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At first, Red Turns Into Blue seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.
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The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, Red Turns Into Blue draws on a greater diversity of musicians.
Red Turns Into Blue was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as Summer of Soul and The Sparks Brothers. Todd Haynes’ excellent The Velvet Underground makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.
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Seeing Red and Deadshot
The weekend Red Notice debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.
This was not meant as praise.
It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)
It’s true that Red Notice is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. Red Notice was filmed on Atlanta soundstages, along with some international location work.
While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the Fast and the Furious franchise, practically remaking sequences with torture and prison breaks.
In this case, criticizing Red Notice, or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. Red Notice is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.
Deadshot: Speaking of Netflix, the streaming service’s new Western The Harder They Fall stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.
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Screen Time is a monthly column about film and video from the big screen to streaming services. HANNAH HAY VOLUME IS STILL PLEASANT: The Pylon Reenactment Society performs in ‘Red Turns Into Blue: Athens/Inside-Out 2.’ 0,0,2 "screen time" SCREEN TIME: Radio Free Georgia "
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Friday December 3, 2021 11:49 AM EST
“Red Turns Into Blue” Revisits Athens Music Scene
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string(5197) "People complain that Hollywood doesn’t make original movies anymore, but the lack of originality isn’t really the problem. Most major movies tend to be based on well-established intellectual properties to justify their huge budgets. Thus, nearly everything produced for theatrical release is some kind of sequel, remake, or adaptation of a familiar name like, say, Jungle Cruise, based on the theme park ride.
But adapted screenplays aren’t inherently compromised, depending on what they adapt and how they adapt it. The new, low-budget comedy-thriller Zola draws on a unique source: a notorious 2015 Twitter thread recounting how two exotic dancers spent a sordid, disastrous weekend in Tampa. Stranger than fiction, the 148 tweets from A’Ziah King, a.k.a. “Zola,” found viral fame and led to a Rolling Stone article that more or less confirmed their veracity. King, now based in Atlanta, serves as an executive producer of the energetic, inventive movie directed by Janicza Bravo.
The film’s voiceover narration from Taylour Paige in the title role draws directly from the tweets: “Y’all wanna hear a story about why me and this bitch here fell out? It’s kind of long but full of suspense,” she announces at the outset. While waitressing, Zola she strikes up a friendship with a young customer named Stefani (singer Riley Keough), and they bond over their shared experience as occasional pole dancers.
Stefani invites Zola on a road trip to Florida to earn thousands of dollars a night stripping at a club. “We just met yesterday and you already trying to take ho trips together?” Zola replies. The screenplay by Bravo and Jeremy O. Harris relishes slangy dialogue, like its use of social media-style shorthand and the way the word “bitch” can have subtly different meanings.
When the trip begins, Zola almost immediately detects a weird, tense dynamic between Stefani, her frivolous boyfriend (“Succession’s” Nicholas Braun), and her mysterious “roommate” (Coleman Domingo) known only as “X.” As they journey from fleabag motels to seedy clubs to sleek hotel suites, Zola discovers that Stefani’s been dishonest with her and “X” is far more threatening than she imagined. Domingo, recently seen in Netflix’s Ma Rainey’s Black Bottom, gives a terrifying, mercurial performance, with soft-spoken charm that belies a capacity for volcanic rage.
Bravo makes an impressive directorial debut, effectively switching the tone from comedy to suspense to moments of surprisingly quiet lyricism on ugly highways and stripper poles. Zola’s depictions of nudity and sexuality never feel tailored to the male gaze, instead reflecting the women’s point of view and feelings about their own bodies.
Throughout the 48-hour odyssey of fraught, sleazy situations, Zola maintains her integrity and personal code of conduct. When she finds out that the Tampa club has a “pasties and panties” policy, she objects that she’s a fully-nude dancer. She draws the line at prostituting herself, but advocates that, if a woman is a sex worker, she should get paid what she’s worth.
At times, Zola can seem self-consciously stylish and a little too impressed with itself for being based on a social media story, when the script could dig a little deeper into the characters of the women. Fortunately, in dialogue-free moments Paige and Keough’s performances help bring out the nuances in their relationship and how they perceive each other. Stefani may be a liar, but the audience realizes that she’s also a victim in the situation.
At its best, Zola takes viewers on a wild ride through an extralegal underworld, while conveying how modern social media shapes interpersonal discourse. And even though it’s adapted from another medium, Zola feels vastly fresher and more original than Hollywood’s billion-dollar franchises.
Zola. B+. Stars Taylour Paige and Riley Keough. Directed by Janicza Bravo. Rated R. Released theatrically on June 30.
Matinee Idols: Any chance to see old movies in a theater should be seized, and Landmark Midtown Art Cinema’s Summer Mega Matinees, held Saturdays and Sundays at 11 a.m. through August15, offers a particularly lively lineup. In previous years the series has emphasized the films of Studio Ghibli, with this year offering five of its animated classics, including the epic Princess Mononoke.
But the 2021 slate also digs a little deeper into beloved film series from Hong Kong and Japan, programming Bruce Lee movies, kaiju films like Destroy All Monsters, two of Jackie Chan’s Police Story thrillers, and a pair of the Lone Wolf and Cub samurai flicks.
Chan and Lee’s martial arts choreography and “practical” stunt work never fail to impress. And even Godzilla’s rubber monster suits and model buildings can be deliriously fun when watched with a crowd on a big screen. Don’t let the morning showtime fool you, as the Mega Matinee films are too entertaining to be just for kids. (See landmarktheatres.com/atlanta/midtown-art-cinema for full schedule.) —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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But adapted screenplays aren’t inherently compromised, depending on what they adapt and how they adapt it. The new, low-budget comedy-thriller ''Zola'' draws on a unique source: a notorious 2015 Twitter thread recounting how two exotic dancers spent a sordid, disastrous weekend in Tampa. Stranger than fiction, the 148 tweets from A’Ziah King, a.k.a. “Zola,” found viral fame and led to a ''Rolling Stone'' article that more or less confirmed their veracity. King, now based in Atlanta, serves as an executive producer of the energetic, inventive movie directed by Janicza Bravo.
The film’s voiceover narration from Taylour Paige in the title role draws directly from the tweets: “Y’all wanna hear a story about why me and this bitch here fell out? It’s kind of long but full of suspense,” she announces at the outset. While waitressing, Zola she strikes up a friendship with a young customer named Stefani (singer Riley Keough), and they bond over their shared experience as occasional pole dancers.
Stefani invites Zola on a road trip to Florida to earn thousands of dollars a night stripping at a club. “We just met yesterday and you already trying to take ho trips together?” Zola replies. The screenplay by Bravo and Jeremy O. Harris relishes slangy dialogue, like its use of social media-style shorthand and the way the word “bitch” can have subtly different meanings.
When the trip begins, Zola almost immediately detects a weird, tense dynamic between Stefani, her frivolous boyfriend (“Succession’s” Nicholas Braun), and her mysterious “roommate” (Coleman Domingo) known only as “X.” As they journey from fleabag motels to seedy clubs to sleek hotel suites, Zola discovers that Stefani’s been dishonest with her and “X” is far more threatening than she imagined. Domingo, recently seen in Netflix’s ''Ma Rainey’s Black Bottom'', gives a terrifying, mercurial performance, with soft-spoken charm that belies a capacity for volcanic rage.
Bravo makes an impressive directorial debut, effectively switching the tone from comedy to suspense to moments of surprisingly quiet lyricism on ugly highways and stripper poles. ''Zola’s'' depictions of nudity and sexuality never feel tailored to the male gaze, instead reflecting the women’s point of view and feelings about their own bodies.
Throughout the 48-hour odyssey of fraught, sleazy situations, Zola maintains her integrity and personal code of conduct. When she finds out that the Tampa club has a “pasties and panties” policy, she objects that she’s a fully-nude dancer. She draws the line at prostituting herself, but advocates that, if a woman is a sex worker, she should get paid what she’s worth.
At times, ''Zola'' can seem self-consciously stylish and a little too impressed with itself for being based on a social media story, when the script could dig a little deeper into the characters of the women. Fortunately, in dialogue-free moments Paige and Keough’s performances help bring out the nuances in their relationship and how they perceive each other. Stefani may be a liar, but the audience realizes that she’s also a victim in the situation.
At its best, ''Zola'' takes viewers on a wild ride through an extralegal underworld, while conveying how modern social media shapes interpersonal discourse. And even though it’s adapted from another medium, ''Zola'' feels vastly fresher and more original than Hollywood’s billion-dollar franchises.
''Zola. B+. Stars Taylour Paige and Riley Keough. Directed by Janicza Bravo. Rated R. Released theatrically on June 30.''
''Matinee Idols:'' Any chance to see old movies in a theater should be seized, and Landmark Midtown Art Cinema’s Summer Mega Matinees, held Saturdays and Sundays at 11 a.m. through August15, offers a particularly lively lineup. In previous years the series has emphasized the films of Studio Ghibli, with this year offering five of its animated classics, including the epic ''Princess Mononoke''.
But the 2021 slate also digs a little deeper into beloved film series from Hong Kong and Japan, programming Bruce Lee movies, kaiju films like ''Destroy All Monsters'', two of Jackie Chan’s ''Police Story'' thrillers, and a pair of the ''Lone Wolf and Cub'' samurai flicks.
Chan and Lee’s martial arts choreography and “practical” stunt work never fail to impress. And even Godzilla’s rubber monster suits and model buildings can be deliriously fun when watched with a crowd on a big screen. Don’t let the morning showtime fool you, as the Mega Matinee films are too entertaining to be just for kids. (See landmarktheatres.com/atlanta/midtown-art-cinema for full schedule.) __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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The film’s voiceover narration from Taylour Paige in the title role draws directly from the tweets: “Y’all wanna hear a story about why me and this bitch here fell out? It’s kind of long but full of suspense,” she announces at the outset. While waitressing, Zola she strikes up a friendship with a young customer named Stefani (singer Riley Keough), and they bond over their shared experience as occasional pole dancers.
Stefani invites Zola on a road trip to Florida to earn thousands of dollars a night stripping at a club. “We just met yesterday and you already trying to take ho trips together?” Zola replies. The screenplay by Bravo and Jeremy O. Harris relishes slangy dialogue, like its use of social media-style shorthand and the way the word “bitch” can have subtly different meanings.
When the trip begins, Zola almost immediately detects a weird, tense dynamic between Stefani, her frivolous boyfriend (“Succession’s” Nicholas Braun), and her mysterious “roommate” (Coleman Domingo) known only as “X.” As they journey from fleabag motels to seedy clubs to sleek hotel suites, Zola discovers that Stefani’s been dishonest with her and “X” is far more threatening than she imagined. Domingo, recently seen in Netflix’s Ma Rainey’s Black Bottom, gives a terrifying, mercurial performance, with soft-spoken charm that belies a capacity for volcanic rage.
Bravo makes an impressive directorial debut, effectively switching the tone from comedy to suspense to moments of surprisingly quiet lyricism on ugly highways and stripper poles. Zola’s depictions of nudity and sexuality never feel tailored to the male gaze, instead reflecting the women’s point of view and feelings about their own bodies.
Throughout the 48-hour odyssey of fraught, sleazy situations, Zola maintains her integrity and personal code of conduct. When she finds out that the Tampa club has a “pasties and panties” policy, she objects that she’s a fully-nude dancer. She draws the line at prostituting herself, but advocates that, if a woman is a sex worker, she should get paid what she’s worth.
At times, Zola can seem self-consciously stylish and a little too impressed with itself for being based on a social media story, when the script could dig a little deeper into the characters of the women. Fortunately, in dialogue-free moments Paige and Keough’s performances help bring out the nuances in their relationship and how they perceive each other. Stefani may be a liar, but the audience realizes that she’s also a victim in the situation.
At its best, Zola takes viewers on a wild ride through an extralegal underworld, while conveying how modern social media shapes interpersonal discourse. And even though it’s adapted from another medium, Zola feels vastly fresher and more original than Hollywood’s billion-dollar franchises.
Zola. B+. Stars Taylour Paige and Riley Keough. Directed by Janicza Bravo. Rated R. Released theatrically on June 30.
Matinee Idols: Any chance to see old movies in a theater should be seized, and Landmark Midtown Art Cinema’s Summer Mega Matinees, held Saturdays and Sundays at 11 a.m. through August15, offers a particularly lively lineup. In previous years the series has emphasized the films of Studio Ghibli, with this year offering five of its animated classics, including the epic Princess Mononoke.
But the 2021 slate also digs a little deeper into beloved film series from Hong Kong and Japan, programming Bruce Lee movies, kaiju films like Destroy All Monsters, two of Jackie Chan’s Police Story thrillers, and a pair of the Lone Wolf and Cub samurai flicks.
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Screen Time is a monthly column about film and video from the big screen to streaming services. COURTESY OF A24 POLAR OPPOSITES: Riley Keough and Taylour Paige play Stefani and Zola in the comedy-thriller ‘Zola.’ 0,0,10 screentime SCREEN TIME: Riders on the tweetstorm "
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string(5093) "Like migratory birds, superheroes have been flocking back to Atlanta. For most of the 2010s, Georgia has provided a happy habitat for movies and TV series about caped crusaders … until the pandemic put them on hold.
Many paused productions resumed last summer but have not been released until recently, along with completed films that were either postponed or shuffled to streaming services. But as of early 2021, audiences have been able to see Atlanta as the backdrop for superpowered heroism. The Krog Street Tunnel doubled for the lawless nation of Madripoor in “The Falcon and the Winter Soldier” on Disney Plus. Local landmarks like the Little Five Points Community Center and the First United Methodist Church made cameos in Netflix’s wan superhero comedy Thunder Force.
Major Marvel and DC films shot locally will screen theatrically this summer, with the thrice delayed Black Widow scheduled for July 9 and The Suicide Squad on August 6. The most impressive local heroes, however, may be the Good Samaritans of the comedy Bad Trip, who show no superpowers but common decency.
Currently available on Netflix, the hidden-camera road movie has a scripted through-line, as an underachiever (Eric Andre) resolves to drive from Miami to New York to pursue an old flame. He convinces his best friend (Lil Rey Howery) to “borrow” a car belonging to his convict sister (Tiffany Haddish), but she breaks out of jail and pursues them in a rage.
Films based on pranking or deceiving unsuspecting passersby, like Borat or parts of the Jackass franchise, can have a mean-spirited quality: They treat onlookers like unwitting improv partners, provoking them to get a reaction. Bad Trip definitely captures people getting flustered with Andre, Howery, and Haddish’s antics. In one of the first scenes shot, Andre and Howery have their penises connected in a Chinese finger trap, then go into an Atlanta barbershop and are chased out at knifepoint.
For the most part, Bad Trip avoids making innocent bystanders the butt of the joke, instead setting up elaborate public disasters to befall the actors. It can be quite touching — as well as laugh-out-loud funny — to see people step up to help them, like the woman to tries to save Howery from sinking into a portable toilet, or the nurse who rushes to Andre’s side after he suffers a spectacular fall at Kennesaw’s now-closed Electric Cowboy. An army recruiter consoles a heartbroken, seemingly-deranged Andre at a low point.
Directed by Kitao Sakurai, Bad Trip demonstrates how to make a cross-country movie primarily in the Metro Atlanta area. It was filmed between October 2017 and December of 2018 in Georgia (along with scenes in New York, California, and South Carolina). While establishing shots and on-camera maps place the cast moving up the East Coast, many unscripted gags were filmed at relatively nondescript Atlanta locales. A title says “Trenton, N.J.” but cuts to Midtown Atlanta’s The Original J.R. Crickets, where diners seemed thrilled to have ringside seats to the characters’ messy drama. Near the end, Haddish chases Andre from a New York gallery, down a few blocks and up a rooftop, where their conflict plays out in view of customers of the Atlanta-based food truck, The Blaxican.
The closing credits include scenes of Andre and company revealing the truth to their victims, the laughter and hugging ending the film on a note of good cheer. Of course, these are the happy responses: Reportedly, the final scene at a fancy gala had to be reshot in California because the dupes at the Atlanta-filmed version were too angry to sign permission forms afterward. But even though Bad Trip makes sport of ordinary people, it also has the attitude that they’re the real heroes.
Hello, I Must Be Going: With U.S. vaccinations well underway, Atlanta moviegoing is inching closer to normalcy. Many local cinemas have reopened under safety protocols, with the main holdouts, the Regal theater chain, scheduled to open their doors this month. Such venues as Atlantic Station and Regal Hollywood 24 are set for May 7, Perimeter Pointe on May 14, and the Tara Cinema on May 21.
But while the movie theaters are coming back, the moviemakers might be leaving. After the passage of Georgia’s restrictive voting rights laws, SB202, many filmmakers are opting to boycott the state. Ford v. Ferrari director James Mangold has vowed not to film in Georgia, while Will Smith and director Antoine Fuqua announced that their historical drama Emancipation would be relocated to another state.
Other screen artists are critiquing SB202 while doubling down on their support for the local filmmaking community. Director Ryan Coogler announcing that Black Panther 2 would stay in Atlanta while calling out SB202 for “its shameful roots in Jim Crow.” It’s a relief that Atlanta will continue to double for the nation of Wakanda even as other superheroes may choose to fly elsewhere. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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Major Marvel and DC films shot locally will screen theatrically this summer, with the thrice delayed ''Black Widow'' scheduled for July 9 and ''The Suicide Squad'' on August 6. The most impressive local heroes, however, may be the Good Samaritans of the comedy ''Bad Trip'', who show no superpowers but common decency.
Currently available on Netflix, the hidden-camera road movie has a scripted through-line, as an underachiever (Eric Andre) resolves to drive from Miami to New York to pursue an old flame. He convinces his best friend (Lil Rey Howery) to “borrow” a car belonging to his convict sister (Tiffany Haddish), but she breaks out of jail and pursues them in a rage.
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For the most part, ''Bad Trip'' avoids making innocent bystanders the butt of the joke, instead setting up elaborate public disasters to befall the actors. It can be quite touching — as well as laugh-out-loud funny — to see people step up to help them, like the woman to tries to save Howery from sinking into a portable toilet, or the nurse who rushes to Andre’s side after he suffers a spectacular fall at Kennesaw’s now-closed Electric Cowboy. An army recruiter consoles a heartbroken, seemingly-deranged Andre at a low point.
Directed by Kitao Sakurai, ''Bad Trip'' demonstrates how to make a cross-country movie primarily in the Metro Atlanta area. It was filmed between October 2017 and December of 2018 in Georgia (along with scenes in New York, California, and South Carolina). While establishing shots and on-camera maps place the cast moving up the East Coast, many unscripted gags were filmed at relatively nondescript Atlanta locales. A title says “Trenton, N.J.” but cuts to Midtown Atlanta’s The Original J.R. Crickets, where diners seemed thrilled to have ringside seats to the characters’ messy drama. Near the end, Haddish chases Andre from a New York gallery, down a few blocks and up a rooftop, where their conflict plays out in view of customers of the Atlanta-based food truck, The Blaxican.
The closing credits include scenes of Andre and company revealing the truth to their victims, the laughter and hugging ending the film on a note of good cheer. Of course, these are the happy responses: Reportedly, the final scene at a fancy gala had to be reshot in California because the dupes at the Atlanta-filmed version were too angry to sign permission forms afterward. But even though ''Bad Trip'' makes sport of ordinary people, it also has the attitude that they’re the real heroes.
__Hello, I Must Be Going__: With U.S. vaccinations well underway, Atlanta moviegoing is inching closer to normalcy. Many local cinemas have reopened under safety protocols, with the main holdouts, the Regal theater chain, scheduled to open their doors this month. Such venues as Atlantic Station and Regal Hollywood 24 are set for May 7, Perimeter Pointe on May 14, and the Tara Cinema on May 21.
But while the movie theaters are coming back, the moviemakers might be leaving. After the passage of Georgia’s restrictive voting rights laws, SB202, many filmmakers are opting to boycott the state. ''Ford v. Ferrari'' director James Mangold has vowed not to film in Georgia, while Will Smith and director Antoine Fuqua announced that their historical drama ''Emancipation'' would be relocated to another state.
Other screen artists are critiquing SB202 while doubling down on their support for the local filmmaking community. Director Ryan Coogler announcing that ''Black Panther 2'' would stay in Atlanta while calling out SB202 for “its shameful roots in Jim Crow.” It’s a relief that Atlanta will continue to double for the nation of Wakanda even as other superheroes may choose to fly elsewhere. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(5674) " Bad Trip 00 42 06 01 R Reduced 2021-05-05T14:28:53+00:00 Bad_Trip_00_42_06_01_R_reduced.jpg screentime Unsuspecting Atlantans prove to be the real heroes of the hidden-camera comedy Bad Trip 00 42 06 01 R Reduced 2021-05-05T14:27:32+00:00 SCREEN TIME: ‘Bad Trip,’ Good Samaritans jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2021-05-05T14:27:32+00:00 Like migratory birds, superheroes have been flocking back to Atlanta. For most of the 2010s, Georgia has provided a happy habitat for movies and TV series about caped crusaders … until the pandemic put them on hold.
Many paused productions resumed last summer but have not been released until recently, along with completed films that were either postponed or shuffled to streaming services. But as of early 2021, audiences have been able to see Atlanta as the backdrop for superpowered heroism. The Krog Street Tunnel doubled for the lawless nation of Madripoor in “The Falcon and the Winter Soldier” on Disney Plus. Local landmarks like the Little Five Points Community Center and the First United Methodist Church made cameos in Netflix’s wan superhero comedy Thunder Force.
Major Marvel and DC films shot locally will screen theatrically this summer, with the thrice delayed Black Widow scheduled for July 9 and The Suicide Squad on August 6. The most impressive local heroes, however, may be the Good Samaritans of the comedy Bad Trip, who show no superpowers but common decency.
Currently available on Netflix, the hidden-camera road movie has a scripted through-line, as an underachiever (Eric Andre) resolves to drive from Miami to New York to pursue an old flame. He convinces his best friend (Lil Rey Howery) to “borrow” a car belonging to his convict sister (Tiffany Haddish), but she breaks out of jail and pursues them in a rage.
Films based on pranking or deceiving unsuspecting passersby, like Borat or parts of the Jackass franchise, can have a mean-spirited quality: They treat onlookers like unwitting improv partners, provoking them to get a reaction. Bad Trip definitely captures people getting flustered with Andre, Howery, and Haddish’s antics. In one of the first scenes shot, Andre and Howery have their penises connected in a Chinese finger trap, then go into an Atlanta barbershop and are chased out at knifepoint.
For the most part, Bad Trip avoids making innocent bystanders the butt of the joke, instead setting up elaborate public disasters to befall the actors. It can be quite touching — as well as laugh-out-loud funny — to see people step up to help them, like the woman to tries to save Howery from sinking into a portable toilet, or the nurse who rushes to Andre’s side after he suffers a spectacular fall at Kennesaw’s now-closed Electric Cowboy. An army recruiter consoles a heartbroken, seemingly-deranged Andre at a low point.
Directed by Kitao Sakurai, Bad Trip demonstrates how to make a cross-country movie primarily in the Metro Atlanta area. It was filmed between October 2017 and December of 2018 in Georgia (along with scenes in New York, California, and South Carolina). While establishing shots and on-camera maps place the cast moving up the East Coast, many unscripted gags were filmed at relatively nondescript Atlanta locales. A title says “Trenton, N.J.” but cuts to Midtown Atlanta’s The Original J.R. Crickets, where diners seemed thrilled to have ringside seats to the characters’ messy drama. Near the end, Haddish chases Andre from a New York gallery, down a few blocks and up a rooftop, where their conflict plays out in view of customers of the Atlanta-based food truck, The Blaxican.
The closing credits include scenes of Andre and company revealing the truth to their victims, the laughter and hugging ending the film on a note of good cheer. Of course, these are the happy responses: Reportedly, the final scene at a fancy gala had to be reshot in California because the dupes at the Atlanta-filmed version were too angry to sign permission forms afterward. But even though Bad Trip makes sport of ordinary people, it also has the attitude that they’re the real heroes.
Hello, I Must Be Going: With U.S. vaccinations well underway, Atlanta moviegoing is inching closer to normalcy. Many local cinemas have reopened under safety protocols, with the main holdouts, the Regal theater chain, scheduled to open their doors this month. Such venues as Atlantic Station and Regal Hollywood 24 are set for May 7, Perimeter Pointe on May 14, and the Tara Cinema on May 21.
But while the movie theaters are coming back, the moviemakers might be leaving. After the passage of Georgia’s restrictive voting rights laws, SB202, many filmmakers are opting to boycott the state. Ford v. Ferrari director James Mangold has vowed not to film in Georgia, while Will Smith and director Antoine Fuqua announced that their historical drama Emancipation would be relocated to another state.
Other screen artists are critiquing SB202 while doubling down on their support for the local filmmaking community. Director Ryan Coogler announcing that Black Panther 2 would stay in Atlanta while calling out SB202 for “its shameful roots in Jim Crow.” It’s a relief that Atlanta will continue to double for the nation of Wakanda even as other superheroes may choose to fly elsewhere. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. Courtesy of Netflix WHAT’S THE WORST THAT COULD HAPPEN? Eric Andre and Lil Rey Howery in ‘Bad Trip.’ 0,0,10 screentime SCREEN TIME: ‘Bad Trip,’ Good Samaritans "
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SCREEN TIME: ‘Bad Trip,’ Good Samaritans Article
Wednesday May 5, 2021 10:27 AM EDT
Unsuspecting Atlantans prove to be the real heroes of the hidden-camera comedy
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string(5663) "In normal times, the 93rd Academy Awards would have happened by now, but Oscar scheduling is one more thing to be disrupted by COVID-19. In June, when the national cinema shutdown forced Hollywood to move its release dates, the Academy bumped its awards ceremony from February 28 to April 25, with nominations now to be announced March 15.
In retrospect, the Academy need not have bothered. No doubt it was expected that contenders bumped from mid-2020 would be released in early 2021 for Oscar-eligibility. But even though theaters have technically reopened in Atlanta and much of the country, major movies have either moved to streaming releases or, more likely, the releases have been kicked further down the road.
These extraordinary times may have created an opportunity for the Academy to better recognize diversity. In recent years, the world’s most prominent film award has been criticized for over-representing white artists, as expressed in the still-relevant 2016 hashtag #OscarsSoWhite, as well as in rewarding male directors over women.
But some lanes seem to have opened up this year. Normally the Academy tends to overvalue a certain kind of slick, star-driven period drama like The King’s Speech, which can seem “important” without being thematically or creatively adventurous. Whether these films were knocked from contention by the pandemic or simply fewer of them were made last year, this year’s contenders may hew closer to the favorites from critic’s groups, which can recognize more independent and challenging fare.
Any other year, Nomadland (now on Hulu) would be an Oscar long shot, as a downbeat, quietly naturalistic film about the struggles and occasional joys of life on America’s economic margins. This year, both the film and its director, Chinese filmmaker Chloé Zhao, are among the frontrunners in their categories.
Similarly, the nominations of this year’s Screen Actors Guild (whose membership can overlap with the Academy’s) recognized Spike Lee’s Da 5 Bloods, the August Wilson adaptation Ma Rainey’s Black Bottom, the Korean immigrant drama Minari, and One Night in Miami…, about a 1964 meeting between activist Malcolm X, singer Sam Cooke, football star Jim Brown, and boxer Cassius Clay (just before he took the name Muhammad Ali). Not all of these may make the Oscar cut, but they seem more competitive this year than they may have otherwise.
For a test case, look to the gritty biopic Judas and the Black Messiah (which came out simultaneously on HBO Max and in cinemas on February 14, but will leave the streaming service a month later). As Chicago Black Panther chairman Fred Hampton, Daniel Kaluuya may give the year’s single best performance by a male actor, capturing Hampton’s roof-rattling oratory but also his inner turmoil about leading a revolutionary movement.
Judas’ protagonists freely call police officers and FBI agents “pigs,” and the film’s conflicts feel uncomfortably — and appropriately — relevant in the era of Black Lives Matter. But the Academy tends to favor films that make their white membership feel better about racism, like the 2019 Best Picture Green Book. That film’s white-centric, condescending view of race relations shows how often the Academy can take a step back for every time it seems to move forward. This year offers the Oscars a chance to broaden its usual horizons, if only the Academy takes it.
Sundowning: With Hollywood spending so much of its resources on superheroes and other franchises in the 21st century, it seems like the Oscar contenders are getting smaller. Every year major nominations go to obscure, tame, low-budget fare that even attentive moviegoers may not have heard of, like The Wife or Still Alice.
The Father, opening in Atlanta on March 12 and VOD on the 26th, may come across as exactly that kind of film, but it has surprisingly sharp teeth. It takes a common premise, as Anthony, the titular father (Anthony Hopkins), slides further into dementia, to the sorrow of his dutiful daughter (Olivia Colman), and removes some of the signposts.
French playwright Florian Zeller adapts his stage play less for pathos than tension, effectively conveying Anthony’s limited point of view. Did a conversation happen five minutes ago, or five years? Is he staying in his longtime flat or did he move in with his daughter? Characters will appear who know him, but whom neither he nor the audience recognizes. At times the film feels comparable to Memento or other psychological thrillers in which the hero can’t trust reality. In Anthony’s case, his own failing memory is gaslighting him.
The Father serves as an example of a stage play that can retain its theatrical effectiveness after being adapted for film. By contrast, Ma Rainey’s Black Bottom has ferocious, larger-than-life performances, with Viola Davis and the late Chadwick Boseman almost assured to be Oscar contenders. On Netflix, August Wilson’s heightened language can seem overcooked. Another former play, One Night in Miami… (now on Amazon Prime), has more realistic performances, but must contrive to keep its four celebrity leads in a crummy hotel room to hash out their political differences.
The Father provides a terrific late-career showcase for Hopkins. Like a ticking time bomb, his character presents himself as quiet and harmless, only to explode into rage. Even while playing someone physically and mentally frail, the former Hannibal Lecter can still intimidate his co-stars and viewers. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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In retrospect, the Academy need not have bothered. No doubt it was expected that contenders bumped from mid-2020 would be released in early 2021 for Oscar-eligibility. But even though theaters have technically reopened in Atlanta and much of the country, major movies have either moved to streaming releases or, more likely, the releases have been kicked further down the road.
These extraordinary times may have created an opportunity for the Academy to better recognize diversity. In recent years, the world’s most prominent film award has been criticized for over-representing white artists, as expressed in the still-relevant 2016 hashtag #OscarsSoWhite, as well as in rewarding male directors over women.
But some lanes seem to have opened up this year. Normally the Academy tends to overvalue a certain kind of slick, star-driven period drama like ''The King’s Speech'', which can seem “important” without being thematically or creatively adventurous. Whether these films were knocked from contention by the pandemic or simply fewer of them were made last year, this year’s contenders may hew closer to the favorites from critic’s groups, which can recognize more independent and challenging fare.
Any other year, ''Nomadland'' (now on Hulu) would be an Oscar long shot, as a downbeat, quietly naturalistic film about the struggles and occasional joys of life on America’s economic margins. This year, both the film and its director, Chinese filmmaker Chloé Zhao, are among the frontrunners in their categories.
Similarly, the nominations of this year’s Screen Actors Guild (whose membership can overlap with the Academy’s) recognized Spike Lee’s ''Da 5 Bloods'', the August Wilson adaptation ''Ma Rainey’s Black Bottom'', the Korean immigrant drama ''Minari'', and ''One Night in Miami…'', about a 1964 meeting between activist Malcolm X, singer Sam Cooke, football star Jim Brown, and boxer Cassius Clay (just before he took the name Muhammad Ali). Not all of these may make the Oscar cut, but they seem more competitive this year than they may have otherwise.
For a test case, look to the gritty biopic ''Judas and the Black Messiah'' (which came out simultaneously on HBO Max and in cinemas on February 14, but will leave the streaming service a month later). As Chicago Black Panther chairman Fred Hampton, Daniel Kaluuya may give the year’s single best performance by a male actor, capturing Hampton’s roof-rattling oratory but also his inner turmoil about leading a revolutionary movement.
''Judas''’ protagonists freely call police officers and FBI agents “pigs,” and the film’s conflicts feel uncomfortably — and appropriately — relevant in the era of Black Lives Matter. But the Academy tends to favor films that make their white membership feel better about racism, like the 2019 Best Picture ''Green Book''. That film’s white-centric, condescending view of race relations shows how often the Academy can take a step back for every time it seems to move forward. This year offers the Oscars a chance to broaden its usual horizons, if only the Academy takes it.
__Sundowning:__ With Hollywood spending so much of its resources on superheroes and other franchises in the 21st century, it seems like the Oscar contenders are getting smaller. Every year major nominations go to obscure, tame, low-budget fare that even attentive moviegoers may not have heard of, like ''The Wife'' or ''Still Alice''.
''The Father'', opening in Atlanta on March 12 and VOD on the 26th, may come across as exactly that kind of film, but it has surprisingly sharp teeth. It takes a common premise, as Anthony, the titular father (Anthony Hopkins), slides further into dementia, to the sorrow of his dutiful daughter (Olivia Colman), and removes some of the signposts.
French playwright Florian Zeller adapts his stage play less for pathos than tension, effectively conveying Anthony’s limited point of view. Did a conversation happen five minutes ago, or five years? Is he staying in his longtime flat or did he move in with his daughter? Characters will appear who know him, but whom neither he nor the audience recognizes. At times the film feels comparable to ''Memento'' or other psychological thrillers in which the hero can’t trust reality. In Anthony’s case, his own failing memory is gaslighting him.
''The Father'' serves as an example of a stage play that can retain its theatrical effectiveness after being adapted for film. By contrast, ''Ma Rainey’s Black Bottom'' has ferocious, larger-than-life performances, with Viola Davis and the late Chadwick Boseman almost assured to be Oscar contenders. On Netflix, August Wilson’s heightened language can seem overcooked. Another former play, ''One Night in Miami…'' (now on Amazon Prime), has more realistic performances, but must contrive to keep its four celebrity leads in a crummy hotel room to hash out their political differences.
''The Father'' provides a terrific late-career showcase for Hopkins. Like a ticking time bomb, his character presents himself as quiet and harmless, only to explode into rage. Even while playing someone physically and mentally frail, the former Hannibal Lecter can still intimidate his co-stars and viewers. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6166) " Judas Reduced 2021-03-03T21:41:57+00:00 Judas_reduced.jpeg screentime Does it take a pandemic to make the Academy Awards more diverse? Judas Reduced 2021-03-03T21:31:20+00:00 SCREEN TIME: Oscars® still so white? jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2021-03-03T21:31:20+00:00 In normal times, the 93rd Academy Awards would have happened by now, but Oscar scheduling is one more thing to be disrupted by COVID-19. In June, when the national cinema shutdown forced Hollywood to move its release dates, the Academy bumped its awards ceremony from February 28 to April 25, with nominations now to be announced March 15.
In retrospect, the Academy need not have bothered. No doubt it was expected that contenders bumped from mid-2020 would be released in early 2021 for Oscar-eligibility. But even though theaters have technically reopened in Atlanta and much of the country, major movies have either moved to streaming releases or, more likely, the releases have been kicked further down the road.
These extraordinary times may have created an opportunity for the Academy to better recognize diversity. In recent years, the world’s most prominent film award has been criticized for over-representing white artists, as expressed in the still-relevant 2016 hashtag #OscarsSoWhite, as well as in rewarding male directors over women.
But some lanes seem to have opened up this year. Normally the Academy tends to overvalue a certain kind of slick, star-driven period drama like The King’s Speech, which can seem “important” without being thematically or creatively adventurous. Whether these films were knocked from contention by the pandemic or simply fewer of them were made last year, this year’s contenders may hew closer to the favorites from critic’s groups, which can recognize more independent and challenging fare.
Any other year, Nomadland (now on Hulu) would be an Oscar long shot, as a downbeat, quietly naturalistic film about the struggles and occasional joys of life on America’s economic margins. This year, both the film and its director, Chinese filmmaker Chloé Zhao, are among the frontrunners in their categories.
Similarly, the nominations of this year’s Screen Actors Guild (whose membership can overlap with the Academy’s) recognized Spike Lee’s Da 5 Bloods, the August Wilson adaptation Ma Rainey’s Black Bottom, the Korean immigrant drama Minari, and One Night in Miami…, about a 1964 meeting between activist Malcolm X, singer Sam Cooke, football star Jim Brown, and boxer Cassius Clay (just before he took the name Muhammad Ali). Not all of these may make the Oscar cut, but they seem more competitive this year than they may have otherwise.
For a test case, look to the gritty biopic Judas and the Black Messiah (which came out simultaneously on HBO Max and in cinemas on February 14, but will leave the streaming service a month later). As Chicago Black Panther chairman Fred Hampton, Daniel Kaluuya may give the year’s single best performance by a male actor, capturing Hampton’s roof-rattling oratory but also his inner turmoil about leading a revolutionary movement.
Judas’ protagonists freely call police officers and FBI agents “pigs,” and the film’s conflicts feel uncomfortably — and appropriately — relevant in the era of Black Lives Matter. But the Academy tends to favor films that make their white membership feel better about racism, like the 2019 Best Picture Green Book. That film’s white-centric, condescending view of race relations shows how often the Academy can take a step back for every time it seems to move forward. This year offers the Oscars a chance to broaden its usual horizons, if only the Academy takes it.
Sundowning: With Hollywood spending so much of its resources on superheroes and other franchises in the 21st century, it seems like the Oscar contenders are getting smaller. Every year major nominations go to obscure, tame, low-budget fare that even attentive moviegoers may not have heard of, like The Wife or Still Alice.
The Father, opening in Atlanta on March 12 and VOD on the 26th, may come across as exactly that kind of film, but it has surprisingly sharp teeth. It takes a common premise, as Anthony, the titular father (Anthony Hopkins), slides further into dementia, to the sorrow of his dutiful daughter (Olivia Colman), and removes some of the signposts.
French playwright Florian Zeller adapts his stage play less for pathos than tension, effectively conveying Anthony’s limited point of view. Did a conversation happen five minutes ago, or five years? Is he staying in his longtime flat or did he move in with his daughter? Characters will appear who know him, but whom neither he nor the audience recognizes. At times the film feels comparable to Memento or other psychological thrillers in which the hero can’t trust reality. In Anthony’s case, his own failing memory is gaslighting him.
The Father serves as an example of a stage play that can retain its theatrical effectiveness after being adapted for film. By contrast, Ma Rainey’s Black Bottom has ferocious, larger-than-life performances, with Viola Davis and the late Chadwick Boseman almost assured to be Oscar contenders. On Netflix, August Wilson’s heightened language can seem overcooked. Another former play, One Night in Miami… (now on Amazon Prime), has more realistic performances, but must contrive to keep its four celebrity leads in a crummy hotel room to hash out their political differences.
The Father provides a terrific late-career showcase for Hopkins. Like a ticking time bomb, his character presents himself as quiet and harmless, only to explode into rage. Even while playing someone physically and mentally frail, the former Hannibal Lecter can still intimidate his co-stars and viewers. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. Warner Brothers MORE RELEVANT THAN EVER : Daniel Kaluuya plays Fred Hampton in Judas and the Black Messiah 0,0,10 screentime SCREEN TIME: Oscars® still so white? "
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SCREEN TIME: Oscars® still so white? Article
Wednesday March 3, 2021 04:31 PM EST
Does it take a pandemic to make the Academy Awards more diverse?
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string(5984) "Almost immediately after Halloween my social media feeds become inundated with postings about Christmas movies, particularly the Hallmark Channel’s holiday slate. Plenty of my friends and family are fans of Hallmark Christmas movies and their formulaic wholesomeness, but the appeal is lost on me.
This year Hallmark is rolling out 40 new movies in its annual “Countdown to Christmas,” which seems like an insanely high number for such bland, interchangeable productions. But if viewers ever needed familiar, comforting fare, it’s in 2020. With the coronavirus still uncontrolled, holiday gatherings and group events should be downsized or discouraged altogether. For certain people stuck in their homes, Hallmark movies can be as welcome as CARE packages.
Whether you love them unironically or passionately hate-watch them, you can appreciate Dad’s Garage Theatre’s annual tradition, Improvised Made-for-TV Christmas Movie (dadsgarage.com), in which the Old Fourth Ward theater cast and crew collaborate with Atlanta playwright Topher Payne, screenwriter of such Hallmark originals as Broadcasting Christmas and A Gift to Remember.
This year, veteran improvisers and real-life married couple Amber Nash and Kevin Gillese will play mismatched singles destined to fall in love during the holidays. Instead of an in-person performance, Jon Carr will direct a virtual version, held via livestream at 8 p.m. Fridays and Saturdays through December 19. The improv element comes from pre-show audience questionnaires incorporated into the show. Expect the kind of pointed parody that comes from people who genuinely appreciate Hallmark’s output.
It’s certainly a better option than Netflix’s Atlanta-shot Holidate, a rom-com that’s significantly raunchier than Hallmark fare, but no less predictable. Christmas bookends a year-long will-they-or-won’t-they romance between Sloane (Emma Roberts) and Jackson (Luke Bracey). The hot singles make a deal to be each other’s “holidate,” i.e., platonic plus-ones for holiday parties that can alleviate the pressure from each other’s match-making family members. They meet-cute while trying to exchange unwanted Christmas presents (Gwinnett Place Mall provides a major location) and while they initially bicker, they’re clearly into each other by New Year’s Eve.
Roberts and Bracey (one of those Australian actors fated to be forever taken for a Hemsworth brother) have nice chemistry, but that just makes the outcome a foregone conclusion: Over the film’s run time they hang out at every major U.S. holiday, but we know things can’t make any progress until Christmas comes around again. Aggressively sarcastic delivery doesn’t make the weak jokes any funnier, but the film at least makes the effort to include some big comedic set pieces, such as a firecracker mishap that leads to the emergency room.
But it’s the kind of romantic comedy that has a character explicitly complain about rom-com clichés early on, as if to excuse itself from presenting the exact same clichés by the end. Holidate wants to have its holiday fruitcake and eat it too.
Hot Summer Nights:
The 2020 pandemic has had a devastating impact on the film industry, with few silver linings. A rare bright spot is that the postponement of so many major Hollywood films to 2021 has drawn attention to local independent films that might not otherwise enjoy the limelight. The low-budget rural thriller Becky, co-written by Atlanta’s Lane and Ruckus Skye, was a summer hit at drive-ins and is now available at your local Redbox.
David Raboy’s The Giant initially seems like it might play in a similar vein as Becky or Matthew Pope’s Blood on Her Name. A feature-length adaptation of a short film, The Giant’s story takes an oblique look at mystery and murder in a small Southern town. After graduating high school, teenage Charlotte (Odessa Young) spends the summer haunted by her mother’s suicide and the return of her enigmatic boyfriend, which coincides with brutal killings.
The Giant goes all-in on mood, and to his credit, Raboy has a very specific sense of the vibe of Southern teens hanging out on summer nights, cicadas whirring in the distance as they drink and smoke on still roadsides. But the film gradually chokes on its own atmosphere, with whispered dialogue so cryptic and scenes so dark and shadowy, it’s nearly impossible to follow. Young gives an effectively internalized performance, but The Giant leaves you feeling small and short-changed.
Netflix Giveth and Netflix Taketh Away:
In late fall, Netflix announced that the streaming service would not be renewing many promising shows, including “Teenage Bounty Hunters,” despite how the series seemed to have a well-received first season. The locally-filmed action comedy had a lot of promise, and you can follow the grassroots campaign to save the show at @renew_TBH.
The streaming service found a big hit in a different Atlanta-shot teen-oriented action-comedy with its acquisition of “Cobra Kai,” which debuted as a YouTube original but found a huge audience on Netflix. “Cobra Kai” offers a model for how to revive a well-known IP by subverting the premise of The Karate Kid. The show flips the script, as Ralph Macchio’s Danny LaRusso, the unlikely champ of the All-Valley Karate Tournament, has grown up to be a successful but fatuous car salesman, while William Zabka’s former bully, Johnny Lawrence, becomes a hilariously scuzzy underdog.
The second season, while similarly watchable, suggests the satirical elements are unsustainable as it becomes a more sincere and self-important retread of the film series. But Netflix has announced that “Cobra Kai’s” third season will debut January 8, and a fourth will be on the way, which should reveal the limits of 1980s nostalgia.—CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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string(6056) "Almost immediately after Halloween my social media feeds become inundated with postings about Christmas movies, particularly the Hallmark Channel’s holiday slate. Plenty of my friends and family are fans of Hallmark Christmas movies and their formulaic wholesomeness, but the appeal is lost on me.
This year Hallmark is rolling out 40 new movies in its annual “Countdown to Christmas,” which seems like an insanely high number for such bland, interchangeable productions. But if viewers ever needed familiar, comforting fare, it’s in 2020. With the coronavirus still uncontrolled, holiday gatherings and group events should be downsized or discouraged altogether. For certain people stuck in their homes, Hallmark movies can be as welcome as CARE packages.
Whether you love them unironically or passionately hate-watch them, you can appreciate Dad’s Garage Theatre’s annual tradition, ''Improvised Made-for-TV Christmas Movie'' (dadsgarage.com), in which the Old Fourth Ward theater cast and crew collaborate with Atlanta playwright Topher Payne, screenwriter of such Hallmark originals as ''Broadcasting Christmas'' and ''A Gift to Remember''.
This year, veteran improvisers and real-life married couple Amber Nash and Kevin Gillese will play mismatched singles destined to fall in love during the holidays. Instead of an in-person performance, Jon Carr will direct a virtual version, held via livestream at 8 p.m. Fridays and Saturdays through December 19. The improv element comes from pre-show audience questionnaires incorporated into the show. Expect the kind of pointed parody that comes from people who genuinely appreciate Hallmark’s output.
It’s certainly a better option than Netflix’s Atlanta-shot ''Holidate'', a rom-com that’s significantly raunchier than Hallmark fare, but no less predictable. Christmas bookends a year-long will-they-or-won’t-they romance between Sloane (Emma Roberts) and Jackson (Luke Bracey). The hot singles make a deal to be each other’s “holidate,” ''i.e.'', platonic plus-ones for holiday parties that can alleviate the pressure from each other’s match-making family members. They meet-cute while trying to exchange unwanted Christmas presents (Gwinnett Place Mall provides a major location) and while they initially bicker, they’re clearly into each other by New Year’s Eve.
Roberts and Bracey (one of those Australian actors fated to be forever taken for a Hemsworth brother) have nice chemistry, but that just makes the outcome a foregone conclusion: Over the film’s run time they hang out at every major U.S. holiday, but we know things can’t make any progress until Christmas comes around again. Aggressively sarcastic delivery doesn’t make the weak jokes any funnier, but the film at least makes the effort to include some big comedic set pieces, such as a firecracker mishap that leads to the emergency room.
But it’s the kind of romantic comedy that has a character explicitly complain about rom-com clichés early on, as if to excuse itself from presenting the exact same clichés by the end. ''Holidate'' wants to have its holiday fruitcake and eat it too.
__Hot Summer Nights:__
The 2020 pandemic has had a devastating impact on the film industry, with few silver linings. A rare bright spot is that the postponement of so many major Hollywood films to 2021 has drawn attention to local independent films that might not otherwise enjoy the limelight. The low-budget rural thriller ''Becky'', co-written by Atlanta’s Lane and Ruckus Skye, was a summer hit at drive-ins and is now available at your local Redbox.
David Raboy’s ''The Giant'' initially seems like it might play in a similar vein as ''Becky'' or Matthew Pope’s ''Blood on Her Name''. A feature-length adaptation of a short film, ''The Giant''’s story takes an oblique look at mystery and murder in a small Southern town. After graduating high school, teenage Charlotte (Odessa Young) spends the summer haunted by her mother’s suicide and the return of her enigmatic boyfriend, which coincides with brutal killings.
''The Giant'' goes all-in on mood, and to his credit, Raboy has a very specific sense of the vibe of Southern teens hanging out on summer nights, cicadas whirring in the distance as they drink and smoke on still roadsides. But the film gradually chokes on its own atmosphere, with whispered dialogue so cryptic and scenes so dark and shadowy, it’s nearly impossible to follow. Young gives an effectively internalized performance, but ''The Giant'' leaves you feeling small and short-changed.
__Netflix Giveth and Netflix Taketh Away__:
In late fall, Netflix announced that the streaming service would not be renewing many promising shows, including “Teenage Bounty Hunters,” despite how the series seemed to have a well-received first season. The locally-filmed action comedy had a lot of promise, and you can follow the grassroots campaign to save the show at @renew_TBH.
The streaming service found a big hit in a different Atlanta-shot teen-oriented action-comedy with its acquisition of “Cobra Kai,” which debuted as a YouTube original but found a huge audience on Netflix. “Cobra Kai” offers a model for how to revive a well-known IP by subverting the premise of ''The Karate Kid''. The show flips the script, as Ralph Macchio’s Danny LaRusso, the unlikely champ of the All-Valley Karate Tournament, has grown up to be a successful but fatuous car salesman, while William Zabka’s former bully, Johnny Lawrence, becomes a hilariously scuzzy underdog.
The second season, while similarly watchable, suggests the satirical elements are unsustainable as it becomes a more sincere and self-important retread of the film series. But Netflix has announced that “Cobra Kai’s” third season will debut January 8, and a fourth will be on the way, which should reveal the limits of 1980s nostalgia.__—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6542) " SCREEN Improvised Christmas Web 2020-12-07T23:02:50+00:00 SCREEN_Improvised_Christmas_web.jpg screentime Looking for laughs in Christmas movies SCREEN Improvised Christmas Web 2020-12-07T23:03:19+00:00 SCREENTIME: Holiday markdowns jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-12-07T23:03:19+00:00 Almost immediately after Halloween my social media feeds become inundated with postings about Christmas movies, particularly the Hallmark Channel’s holiday slate. Plenty of my friends and family are fans of Hallmark Christmas movies and their formulaic wholesomeness, but the appeal is lost on me.
This year Hallmark is rolling out 40 new movies in its annual “Countdown to Christmas,” which seems like an insanely high number for such bland, interchangeable productions. But if viewers ever needed familiar, comforting fare, it’s in 2020. With the coronavirus still uncontrolled, holiday gatherings and group events should be downsized or discouraged altogether. For certain people stuck in their homes, Hallmark movies can be as welcome as CARE packages.
Whether you love them unironically or passionately hate-watch them, you can appreciate Dad’s Garage Theatre’s annual tradition, Improvised Made-for-TV Christmas Movie (dadsgarage.com), in which the Old Fourth Ward theater cast and crew collaborate with Atlanta playwright Topher Payne, screenwriter of such Hallmark originals as Broadcasting Christmas and A Gift to Remember.
This year, veteran improvisers and real-life married couple Amber Nash and Kevin Gillese will play mismatched singles destined to fall in love during the holidays. Instead of an in-person performance, Jon Carr will direct a virtual version, held via livestream at 8 p.m. Fridays and Saturdays through December 19. The improv element comes from pre-show audience questionnaires incorporated into the show. Expect the kind of pointed parody that comes from people who genuinely appreciate Hallmark’s output.
It’s certainly a better option than Netflix’s Atlanta-shot Holidate, a rom-com that’s significantly raunchier than Hallmark fare, but no less predictable. Christmas bookends a year-long will-they-or-won’t-they romance between Sloane (Emma Roberts) and Jackson (Luke Bracey). The hot singles make a deal to be each other’s “holidate,” i.e., platonic plus-ones for holiday parties that can alleviate the pressure from each other’s match-making family members. They meet-cute while trying to exchange unwanted Christmas presents (Gwinnett Place Mall provides a major location) and while they initially bicker, they’re clearly into each other by New Year’s Eve.
Roberts and Bracey (one of those Australian actors fated to be forever taken for a Hemsworth brother) have nice chemistry, but that just makes the outcome a foregone conclusion: Over the film’s run time they hang out at every major U.S. holiday, but we know things can’t make any progress until Christmas comes around again. Aggressively sarcastic delivery doesn’t make the weak jokes any funnier, but the film at least makes the effort to include some big comedic set pieces, such as a firecracker mishap that leads to the emergency room.
But it’s the kind of romantic comedy that has a character explicitly complain about rom-com clichés early on, as if to excuse itself from presenting the exact same clichés by the end. Holidate wants to have its holiday fruitcake and eat it too.
Hot Summer Nights:
The 2020 pandemic has had a devastating impact on the film industry, with few silver linings. A rare bright spot is that the postponement of so many major Hollywood films to 2021 has drawn attention to local independent films that might not otherwise enjoy the limelight. The low-budget rural thriller Becky, co-written by Atlanta’s Lane and Ruckus Skye, was a summer hit at drive-ins and is now available at your local Redbox.
David Raboy’s The Giant initially seems like it might play in a similar vein as Becky or Matthew Pope’s Blood on Her Name. A feature-length adaptation of a short film, The Giant’s story takes an oblique look at mystery and murder in a small Southern town. After graduating high school, teenage Charlotte (Odessa Young) spends the summer haunted by her mother’s suicide and the return of her enigmatic boyfriend, which coincides with brutal killings.
The Giant goes all-in on mood, and to his credit, Raboy has a very specific sense of the vibe of Southern teens hanging out on summer nights, cicadas whirring in the distance as they drink and smoke on still roadsides. But the film gradually chokes on its own atmosphere, with whispered dialogue so cryptic and scenes so dark and shadowy, it’s nearly impossible to follow. Young gives an effectively internalized performance, but The Giant leaves you feeling small and short-changed.
Netflix Giveth and Netflix Taketh Away:
In late fall, Netflix announced that the streaming service would not be renewing many promising shows, including “Teenage Bounty Hunters,” despite how the series seemed to have a well-received first season. The locally-filmed action comedy had a lot of promise, and you can follow the grassroots campaign to save the show at @renew_TBH.
The streaming service found a big hit in a different Atlanta-shot teen-oriented action-comedy with its acquisition of “Cobra Kai,” which debuted as a YouTube original but found a huge audience on Netflix. “Cobra Kai” offers a model for how to revive a well-known IP by subverting the premise of The Karate Kid. The show flips the script, as Ralph Macchio’s Danny LaRusso, the unlikely champ of the All-Valley Karate Tournament, has grown up to be a successful but fatuous car salesman, while William Zabka’s former bully, Johnny Lawrence, becomes a hilariously scuzzy underdog.
The second season, while similarly watchable, suggests the satirical elements are unsustainable as it becomes a more sincere and self-important retread of the film series. But Netflix has announced that “Cobra Kai’s” third season will debut January 8, and a fourth will be on the way, which should reveal the limits of 1980s nostalgia.—CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. Dad’s Garage Theatre DECK THE HALLMARK: Kevin Gillese and Amber Nash star in “Improvised Made-for-TV Christmas Movie” at Dad’s Garage Theatre. 0,0,10 screentime SCREENTIME: Holiday markdowns "
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Monday December 7, 2020 06:03 PM EST
Looking for laughs in Christmas movies
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string(5669) "After months of lockdown, many cinemas and playhouses have reopened their doors, allowing audiences to see shows in theaters if they’re comfortable with new safety protocols. But first-run film releases, like major stage plays, are not yet returning in force, so most of us are likely to still get our entertainment at home.
For theater professionals using the internet to stay connected to their audiences, the pandemic has caused a pivot to video, making them effectively filmmakers as well as stage artists. The Object Group’s L’Etranger/The Stranger, debuting at 7 Stages’ website November 12-15, provides a case in point. Atlanta puppeteer Michael Haverty developed the show as a puppetry-based, multimedia adaptation of Albert Camus’ classic novel for live audiences at the theater in Little Five Points.
Over its two-year development process, The Object Group’s production department had completed the filmed and animated sequences intended to enhance the live performance — just in time for the March quarantine to go into effect. As the coronavirus continued to spread during the summer, Haverty and his colleagues realized that their planned live premiere might not happen in the fall. “Puppetry has a natural flow into cinematic expression, and our production was already half projections, so we decided to shift to a full film format for our premiere,” Haverty says.
In September, The Object Group’s small team rehearsed and filmed The Stranger over three weeks under careful safety protocols. The puppeteers had regular COVID-19 tests, took their temperatures daily, wore masks and gloves, and sanitized the puppets and sets throughout the day.
Based on viewing about five minutes of the work in progress, The Stranger looks comparable to Haverty’s innovative literary adaptations of As I Lay Dying and The Red Badge of Courage. Haverty has never shown interest in providing a Cliff Notes’ version of a classic, so reading the source material will enhance your appreciation of his wild creativity.
Camus’ novel depicts a seemingly emotionless man in French Algiers who is imprisoned after committing murder. The Object Group production uses Punch and Judy-style puppetry, perhaps as a way to literalize the book’s themes of existentialism and absurdism. Slapstick comedy can occur amid film noir atmosphere.
The virtual version of The Stranger may have an advantage over a filmed stage play with live actors. Traditional puppet stages can have proportions comparable to TV screens and are staged accordingly: It’s part of the reason why the Muppets on “Sesame Street” and other shows became enduring TV stars. At a time when all streaming content can feel like television, perhaps puppetry deserves more time in the spotlight.
The Stranger. The Object Group. Nov. 12-15. Free with online reservation. 7stages.org.
Twice in a Lifetime: Recordings of performances, whether theater or concerts, can require an enormous amount of artistry and resources to convey the excitement of the real thing. In 1984, director Jonathan Demme turned a Talking Heads concert into Stop Making Sense, which still has the reputation of the best concert film ever made. The term “concert film” seems too slippery and old-fashioned to be very meaningful now, excluding great performances never put on film or shown in cinemas. But Stop Making Sense’s unique approach to music and stagecraft remains uniquely irresistible.
American Utopia, now playing on HBO, feels like a worthy successor, if not necessarily equal. Spike Lee directs the film version of David Byrne’s most successful solo project, recorded during its Broadway run. Byrne’s terrific musical collaborators (including Atlanta back-up dancer/singer Tendayi Kuumba) could be called an art-rock version of a marching band. The performers carry all their instruments, encumbered by no cords, wires, or mic stands, freeing them up for elaborate choreography. No two songs have quite the same presentation, and the energy level never flags.
Always an endearingly quizzical stage presence, Byrne proves both warmer and more directly political than you might expect from his Talking Heads days. At one point he talks about getting Janelle Monáe’s permission to perform her protest song “Hell You Talmbout” before launching into an impassioned performance. In the HBO film, whenever the song namechecks Eric Garner or another victim of violence, Lee cuts to a parent holding their picture.
American Utopia not only proves locked in step with the year’s protest movements, it’s surprisingly resonant with the months of quarantine. In Talking Heads classics as well as more recent recordings, Byrne’s songs evoke imagery of houses, homes, television, and the struggle to connect with others. American Utopia brings the exuberance of a live show to people who might feel stuck at home. It’s just what we need exactly when we need it.
In Memoriam: One of Spike Lee’s go-to character actors was the late Thomas Jefferson Byrd III, who died at age 70 of multiple gunshot wounds in Atlanta on October 3. (A suspect was arrested on October 16.)
The Atlanta actor began collaborating with Lee in Clockers but appeared in eight more of the director’s films as well as the Netflix series “She’s Gotta Have It.” A 2003 Tony nominee for Ma Rainey’s Black Bottom, the tall, magnetic performer appeared many times in August Wilson productions at Atlanta’s Alliance Theatre. It’s a tragic and shocking loss. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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For theater professionals using the internet to stay connected to their audiences, the pandemic has caused a pivot to video, making them effectively filmmakers as well as stage artists. The Object Group’s ''L’Etranger/The Stranger'', debuting at 7 Stages’ website November 12-15, provides a case in point. Atlanta puppeteer Michael Haverty developed the show as a puppetry-based, multimedia adaptation of Albert Camus’ classic novel for live audiences at the theater in Little Five Points.
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In September, The Object Group’s small team rehearsed and filmed ''The Stranger'' over three weeks under careful safety protocols. The puppeteers had regular COVID-19 tests, took their temperatures daily, wore masks and gloves, and sanitized the puppets and sets throughout the day.
Based on viewing about five minutes of the work in progress, ''The Stranger'' looks comparable to Haverty’s innovative literary adaptations of ''As I Lay Dying'' and ''The Red Badge of Courage''. Haverty has never shown interest in providing a Cliff Notes’ version of a classic, so reading the source material will enhance your appreciation of his wild creativity.
Camus’ novel depicts a seemingly emotionless man in French Algiers who is imprisoned after committing murder. The Object Group production uses Punch and Judy-style puppetry, perhaps as a way to literalize the book’s themes of existentialism and absurdism. Slapstick comedy can occur amid film noir atmosphere.
The virtual version of ''The Stranger'' may have an advantage over a filmed stage play with live actors. Traditional puppet stages can have proportions comparable to TV screens and are staged accordingly: It’s part of the reason why the Muppets on “Sesame Street” and other shows became enduring TV stars. At a time when all streaming content can feel like television, perhaps puppetry deserves more time in the spotlight.
''The Stranger''. The Object Group. Nov. 12-15. Free with online reservation. 7stages.org.
__Twice in a Lifetime:__ Recordings of performances, whether theater or concerts, can require an enormous amount of artistry and resources to convey the excitement of the real thing. In 1984, director Jonathan Demme turned a Talking Heads concert into ''Stop Making Sense'', which still has the reputation of the best concert film ever made. The term “concert film” seems too slippery and old-fashioned to be very meaningful now, excluding great performances never put on film or shown in cinemas. But ''Stop Making Sense''’s unique approach to music and stagecraft remains uniquely irresistible.
''American Utopia'', now playing on HBO, feels like a worthy successor, if not necessarily equal. Spike Lee directs the film version of David Byrne’s most successful solo project, recorded during its Broadway run. Byrne’s terrific musical collaborators (including Atlanta back-up dancer/singer Tendayi Kuumba) could be called an art-rock version of a marching band. The performers carry all their instruments, encumbered by no cords, wires, or mic stands, freeing them up for elaborate choreography. No two songs have quite the same presentation, and the energy level never flags.
Always an endearingly quizzical stage presence, Byrne proves both warmer and more directly political than you might expect from his Talking Heads days. At one point he talks about getting Janelle Monáe’s permission to perform her protest song “Hell You Talmbout” before launching into an impassioned performance. In the HBO film, whenever the song namechecks Eric Garner or another victim of violence, Lee cuts to a parent holding their picture.
''American Utopia'' not only proves locked in step with the year’s protest movements, it’s surprisingly resonant with the months of quarantine. In Talking Heads classics as well as more recent recordings, Byrne’s songs evoke imagery of houses, homes, television, and the struggle to connect with others. ''American Utopia'' brings the exuberance of a live show to people who might feel stuck at home. It’s just what we need exactly when we need it.
__In Memoriam: __One of Spike Lee’s go-to character actors was the late Thomas Jefferson Byrd III, who died at age 70 of multiple gunshot wounds in Atlanta on October 3. (A suspect was arrested on October 16.)
The Atlanta actor began collaborating with Lee in ''Clockers'' but appeared in eight more of the director’s films as well as the Netflix series “She’s Gotta Have It.” A 2003 Tony nominee for ''Ma Rainey’s Black Bottom'', the tall, magnetic performer appeared many times in August Wilson productions at Atlanta’s Alliance Theatre. It’s a tragic and shocking loss. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6262) " ScreenTime 1 04 Web 2020-11-08T20:34:06+00:00 ScreenTime-1_04_web.jpg screentime The Object Group’s ‘The Stranger’ and David Byrne’s ‘American Utopia’ bring live performances to the small screen ScreenTime 1 04 Web 2020-11-08T20:34:52+00:00 Screen Time: When everything is television jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-11-08T20:34:52+00:00 After months of lockdown, many cinemas and playhouses have reopened their doors, allowing audiences to see shows in theaters if they’re comfortable with new safety protocols. But first-run film releases, like major stage plays, are not yet returning in force, so most of us are likely to still get our entertainment at home.
For theater professionals using the internet to stay connected to their audiences, the pandemic has caused a pivot to video, making them effectively filmmakers as well as stage artists. The Object Group’s L’Etranger/The Stranger, debuting at 7 Stages’ website November 12-15, provides a case in point. Atlanta puppeteer Michael Haverty developed the show as a puppetry-based, multimedia adaptation of Albert Camus’ classic novel for live audiences at the theater in Little Five Points.
Over its two-year development process, The Object Group’s production department had completed the filmed and animated sequences intended to enhance the live performance — just in time for the March quarantine to go into effect. As the coronavirus continued to spread during the summer, Haverty and his colleagues realized that their planned live premiere might not happen in the fall. “Puppetry has a natural flow into cinematic expression, and our production was already half projections, so we decided to shift to a full film format for our premiere,” Haverty says.
In September, The Object Group’s small team rehearsed and filmed The Stranger over three weeks under careful safety protocols. The puppeteers had regular COVID-19 tests, took their temperatures daily, wore masks and gloves, and sanitized the puppets and sets throughout the day.
Based on viewing about five minutes of the work in progress, The Stranger looks comparable to Haverty’s innovative literary adaptations of As I Lay Dying and The Red Badge of Courage. Haverty has never shown interest in providing a Cliff Notes’ version of a classic, so reading the source material will enhance your appreciation of his wild creativity.
Camus’ novel depicts a seemingly emotionless man in French Algiers who is imprisoned after committing murder. The Object Group production uses Punch and Judy-style puppetry, perhaps as a way to literalize the book’s themes of existentialism and absurdism. Slapstick comedy can occur amid film noir atmosphere.
The virtual version of The Stranger may have an advantage over a filmed stage play with live actors. Traditional puppet stages can have proportions comparable to TV screens and are staged accordingly: It’s part of the reason why the Muppets on “Sesame Street” and other shows became enduring TV stars. At a time when all streaming content can feel like television, perhaps puppetry deserves more time in the spotlight.
The Stranger. The Object Group. Nov. 12-15. Free with online reservation. 7stages.org.
Twice in a Lifetime: Recordings of performances, whether theater or concerts, can require an enormous amount of artistry and resources to convey the excitement of the real thing. In 1984, director Jonathan Demme turned a Talking Heads concert into Stop Making Sense, which still has the reputation of the best concert film ever made. The term “concert film” seems too slippery and old-fashioned to be very meaningful now, excluding great performances never put on film or shown in cinemas. But Stop Making Sense’s unique approach to music and stagecraft remains uniquely irresistible.
American Utopia, now playing on HBO, feels like a worthy successor, if not necessarily equal. Spike Lee directs the film version of David Byrne’s most successful solo project, recorded during its Broadway run. Byrne’s terrific musical collaborators (including Atlanta back-up dancer/singer Tendayi Kuumba) could be called an art-rock version of a marching band. The performers carry all their instruments, encumbered by no cords, wires, or mic stands, freeing them up for elaborate choreography. No two songs have quite the same presentation, and the energy level never flags.
Always an endearingly quizzical stage presence, Byrne proves both warmer and more directly political than you might expect from his Talking Heads days. At one point he talks about getting Janelle Monáe’s permission to perform her protest song “Hell You Talmbout” before launching into an impassioned performance. In the HBO film, whenever the song namechecks Eric Garner or another victim of violence, Lee cuts to a parent holding their picture.
American Utopia not only proves locked in step with the year’s protest movements, it’s surprisingly resonant with the months of quarantine. In Talking Heads classics as well as more recent recordings, Byrne’s songs evoke imagery of houses, homes, television, and the struggle to connect with others. American Utopia brings the exuberance of a live show to people who might feel stuck at home. It’s just what we need exactly when we need it.
In Memoriam: One of Spike Lee’s go-to character actors was the late Thomas Jefferson Byrd III, who died at age 70 of multiple gunshot wounds in Atlanta on October 3. (A suspect was arrested on October 16.)
The Atlanta actor began collaborating with Lee in Clockers but appeared in eight more of the director’s films as well as the Netflix series “She’s Gotta Have It.” A 2003 Tony nominee for Ma Rainey’s Black Bottom, the tall, magnetic performer appeared many times in August Wilson productions at Atlanta’s Alliance Theatre. It’s a tragic and shocking loss. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. The Object Group L’ETRANGER/THE STRANGER: The Object Group films a puppertry version of the Camus classic. 0,0,10 screentime Screen Time: When everything is television "
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Screen Time: When everything is television Article
Sunday November 8, 2020 03:34 PM EST
The Object Group’s ‘The Stranger’ and David Byrne’s ‘American Utopia’ bring live performances to the small screen
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string(5730) "It’s been great to see Georgia as a backdrop in Hollywood productions over the past decade.
It’s been less great to see Georgia as the face of voter suppression in documentaries and the news over the past few years.
Most recently, All In: The Fight for Democracy articulates the importance of voting rights and the efforts to undermine them — in the United States generally and in Georgia specifically — with enormous urgency. All In debuted recently on Amazon Prime and can be a grim, infuriating viewing experience, but it’s also an essential one.
Directors Liz Garbus and Lisa Cortés lay out in devastating detail the battles over voting rights from the signing of the U.S. Constitution to the multiple renewals of the Voting Rights Act, and the rolling back of those rights and protections over the past few years. Historian and Emory University professor Carol Anderson emerges as one of the most memorable commentators in the film as she describes the backlash to the election of Barack Obama as “Jim Crow 2.0” and says that “the Obama coalition became the hit list for voter suppression.”
The film also uses the life and career of Stacey Abrams as a through line, noting her parents’ and grandmother’s participation in the voting process as triumphs of the system. Then, her 2018 gubernatorial race against former Georgia secretary of state Brian Kemp provides a case study in the effectiveness of voter disenfranchisement. Ironically, both Abrams and Kemp were filmed having issues trying to cast their ballots in 2018.
On a craftsmanship level, All In is a conventional, workmanlike political documentary that alternates between talking heads and archival footage. Its occasional attempts to use animation to dramatize past episodes don’t really click. But in laying out the contemporary use of voter ID laws, roll purges, and precinct closures, it is devastatingly effective.
All In provides a kind of unplanned companion to John Lewis: Good Trouble from earlier this year, with the newer film also including archival footage of the violence on the Edmund Pettus Bridge. Where Good Trouble celebrated Lewis’ legacy, All In enumerates the ways some of his achievements are being undone. If you’re complacent about your ability to vote in Georgia this year — or anywhere — All In offers a wake-up call.
Breaking Quarantine:
Another local production, the science fiction film Only can be easier to watch than All In, which is saying something, given that Only is a downbeat depiction of a pandemic that wipes out nearly the entire female population. Atlanta filmmaker Takashi Doscher wrote and directed the low-key but effective film that had the weird fortune of being released on Netflix alongside an actual pandemic.
Like a low-budget equivalent of Children of Men, Only follows the couple Eva and Will (Freida Pinto and Leslie Odom Jr.) at different points in time during an airborne disaster. Partly, the film shows them during the initial outbreak and at different points thereafter as the world outside changes beyond recognition. We also see them in the “present” as Eva breaks quarantine for seemingly simple reasons that have huge consequences.
Doscher previously directed the rural thriller Still, which screened at the 2018 Atlanta Film Festival, and infuses parts of Only with a quiet tension and small details that hint at the scale of the health crisis. Early in the film, Will and Eva take a friend to the emergency room and gradually notice that more and more women are arriving. Later, Eva participates in an online chat group for surviving women, only to see their numbers inexorably drop over time.
Pinto and Odom capture how the characters love each other while under impossible pressures. Will becomes Eva’s de facto jailer as he tries to keep her safe from both infection and bounty hunters trying find “live American females” for $1 million. (Given the stakes, it is kind of maddening that Pinto has long, flowing hair that should be a giveaway to her gender.)
Completed before 2020, Only offers an example of how a film’s reception can be shaped by forces beyond the filmmaker’s control. Throughout the story, Eva chafes against quarantine and Will’s rules to ensure her safety. Had the film been released in a different year, her stance, which I’ll oversimplify as “freedom is more important than safety,” probably would have been seen, in the abstract, as quixotic but admirable. Viewed in the second half of 2020, though, Eva’s views seem like unintentional echoes of real-life anti-maskers who refuse to take the realities of COVID-19 seriously. A thoughtful, moody two-hander, Only’s sci-fi metaphors collide with difficult realities.
Coming Attractions:
Lane and Ruckus Skye’s thriller The Devil To Pay debuts in drive-ins on October 2 and on VOD on the October 6. Titled Reckoning when it played at the 2019 Atlanta Film Festival, it offers a modest but intriguing tale of crime and family in the Georgia mountains. It also feels of a piece with Becky, the thriller co-written by the Skyes that was a surprise success at drive-in theaters over the summer.
For a musical perspective on the career of a Georgia politician, Jimmy Carter: Rock & Roll President, being released on home video on October 9, reviews the relationship of the former president to American music.
The 14th Annual Atlanta Horror Film Festival is scheduled to be held October 15-17, primarily outdoors at the newly relocated Art & INDUSTRY, at 1269 Pryor Road SW. Check atlantafilmseries.com for updates. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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It’s been less great to see Georgia as the face of voter suppression in documentaries and the news over the past few years.
Most recently, ''All In: The Fight for Democracy'' articulates the importance of voting rights and the efforts to undermine them — in the United States generally and in Georgia specifically — with enormous urgency. ''All In'' debuted recently on Amazon Prime and can be a grim, infuriating viewing experience, but it’s also an essential one.
Directors Liz Garbus and Lisa Cortés lay out in devastating detail the battles over voting rights from the signing of the U.S. Constitution to the multiple renewals of the Voting Rights Act, and the rolling back of those rights and protections over the past few years. Historian and Emory University professor Carol Anderson emerges as one of the most memorable commentators in the film as she describes the backlash to the election of Barack Obama as “Jim Crow 2.0” and says that “the Obama coalition became the hit list for voter suppression.”
The film also uses the life and career of Stacey Abrams as a through line, noting her parents’ and grandmother’s participation in the voting process as triumphs of the system. Then, her 2018 gubernatorial race against former Georgia secretary of state Brian Kemp provides a case study in the effectiveness of voter disenfranchisement. Ironically, both Abrams and Kemp were filmed having issues trying to cast their ballots in 2018.
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''All In'' provides a kind of unplanned companion to ''John Lewis: Good Trouble'' from earlier this year, with the newer film also including archival footage of the violence on the Edmund Pettus Bridge. Where ''Good Trouble'' celebrated Lewis’ legacy, ''All In'' enumerates the ways some of his achievements are being undone. If you’re complacent about your ability to vote in Georgia this year — or anywhere — ''All In'' offers a wake-up call.
__Breaking Quarantine:__
Another local production, the science fiction film ''Only'' can be easier to watch than ''All In'', which is saying something, given that ''Only'' is a downbeat depiction of a pandemic that wipes out nearly the entire female population. Atlanta filmmaker Takashi Doscher wrote and directed the low-key but effective film that had the weird fortune of being released on Netflix alongside an actual pandemic.
Like a low-budget equivalent of ''Children of Men'', ''Only'' follows the couple Eva and Will (Freida Pinto and Leslie Odom Jr.) at different points in time during an airborne disaster. Partly, the film shows them during the initial outbreak and at different points thereafter as the world outside changes beyond recognition. We also see them in the “present” as Eva breaks quarantine for seemingly simple reasons that have huge consequences.
Doscher previously directed the rural thriller ''Still'', which screened at the 2018 Atlanta Film Festival, and infuses parts of ''Only'' with a quiet tension and small details that hint at the scale of the health crisis. Early in the film, Will and Eva take a friend to the emergency room and gradually notice that more and more women are arriving. Later, Eva participates in an online chat group for surviving women, only to see their numbers inexorably drop over time.
Pinto and Odom capture how the characters love each other while under impossible pressures. Will becomes Eva’s de facto jailer as he tries to keep her safe from both infection and bounty hunters trying find “live American females” for $1 million. (Given the stakes, it is kind of maddening that Pinto has long, flowing hair that should be a giveaway to her gender.)
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__Coming Attractions:__
Lane and Ruckus Skye’s thriller ''The Devil To Pay'' debuts in drive-ins on October 2 and on VOD on the October 6. Titled ''Reckoning'' when it played at the 2019 Atlanta Film Festival, it offers a modest but intriguing tale of crime and family in the Georgia mountains. It also feels of a piece with ''Becky'', the thriller co-written by the Skyes that was a surprise success at drive-in theaters over the summer.
For a musical perspective on the career of a Georgia politician, ''Jimmy Carter: Rock & Roll President'', being released on home video on October 9, reviews the relationship of the former president to American music.
The 14th Annual Atlanta Horror Film Festival is scheduled to be held October 15-17, primarily outdoors at the newly relocated Art & INDUSTRY, at 1269 Pryor Road SW. Check atlantafilmseries.com for updates. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6313) " 10 SCREENTime Abrams Rgb Web 2020-10-05T16:05:17+00:00 10_SCREENTime_Abrams_rgb_web.jpg screentime ‘All In’ presents the nightmare of voter suppression, ‘Only’ a fictional pandemic 10 SCREENTime Abrams Rgb Web 2020-10-08T16:05:00+00:00 SCREEN TIME: Georgian dystopia jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-10-08T16:05:00+00:00 It’s been great to see Georgia as a backdrop in Hollywood productions over the past decade.
It’s been less great to see Georgia as the face of voter suppression in documentaries and the news over the past few years.
Most recently, All In: The Fight for Democracy articulates the importance of voting rights and the efforts to undermine them — in the United States generally and in Georgia specifically — with enormous urgency. All In debuted recently on Amazon Prime and can be a grim, infuriating viewing experience, but it’s also an essential one.
Directors Liz Garbus and Lisa Cortés lay out in devastating detail the battles over voting rights from the signing of the U.S. Constitution to the multiple renewals of the Voting Rights Act, and the rolling back of those rights and protections over the past few years. Historian and Emory University professor Carol Anderson emerges as one of the most memorable commentators in the film as she describes the backlash to the election of Barack Obama as “Jim Crow 2.0” and says that “the Obama coalition became the hit list for voter suppression.”
The film also uses the life and career of Stacey Abrams as a through line, noting her parents’ and grandmother’s participation in the voting process as triumphs of the system. Then, her 2018 gubernatorial race against former Georgia secretary of state Brian Kemp provides a case study in the effectiveness of voter disenfranchisement. Ironically, both Abrams and Kemp were filmed having issues trying to cast their ballots in 2018.
On a craftsmanship level, All In is a conventional, workmanlike political documentary that alternates between talking heads and archival footage. Its occasional attempts to use animation to dramatize past episodes don’t really click. But in laying out the contemporary use of voter ID laws, roll purges, and precinct closures, it is devastatingly effective.
All In provides a kind of unplanned companion to John Lewis: Good Trouble from earlier this year, with the newer film also including archival footage of the violence on the Edmund Pettus Bridge. Where Good Trouble celebrated Lewis’ legacy, All In enumerates the ways some of his achievements are being undone. If you’re complacent about your ability to vote in Georgia this year — or anywhere — All In offers a wake-up call.
Breaking Quarantine:
Another local production, the science fiction film Only can be easier to watch than All In, which is saying something, given that Only is a downbeat depiction of a pandemic that wipes out nearly the entire female population. Atlanta filmmaker Takashi Doscher wrote and directed the low-key but effective film that had the weird fortune of being released on Netflix alongside an actual pandemic.
Like a low-budget equivalent of Children of Men, Only follows the couple Eva and Will (Freida Pinto and Leslie Odom Jr.) at different points in time during an airborne disaster. Partly, the film shows them during the initial outbreak and at different points thereafter as the world outside changes beyond recognition. We also see them in the “present” as Eva breaks quarantine for seemingly simple reasons that have huge consequences.
Doscher previously directed the rural thriller Still, which screened at the 2018 Atlanta Film Festival, and infuses parts of Only with a quiet tension and small details that hint at the scale of the health crisis. Early in the film, Will and Eva take a friend to the emergency room and gradually notice that more and more women are arriving. Later, Eva participates in an online chat group for surviving women, only to see their numbers inexorably drop over time.
Pinto and Odom capture how the characters love each other while under impossible pressures. Will becomes Eva’s de facto jailer as he tries to keep her safe from both infection and bounty hunters trying find “live American females” for $1 million. (Given the stakes, it is kind of maddening that Pinto has long, flowing hair that should be a giveaway to her gender.)
Completed before 2020, Only offers an example of how a film’s reception can be shaped by forces beyond the filmmaker’s control. Throughout the story, Eva chafes against quarantine and Will’s rules to ensure her safety. Had the film been released in a different year, her stance, which I’ll oversimplify as “freedom is more important than safety,” probably would have been seen, in the abstract, as quixotic but admirable. Viewed in the second half of 2020, though, Eva’s views seem like unintentional echoes of real-life anti-maskers who refuse to take the realities of COVID-19 seriously. A thoughtful, moody two-hander, Only’s sci-fi metaphors collide with difficult realities.
Coming Attractions:
Lane and Ruckus Skye’s thriller The Devil To Pay debuts in drive-ins on October 2 and on VOD on the October 6. Titled Reckoning when it played at the 2019 Atlanta Film Festival, it offers a modest but intriguing tale of crime and family in the Georgia mountains. It also feels of a piece with Becky, the thriller co-written by the Skyes that was a surprise success at drive-in theaters over the summer.
For a musical perspective on the career of a Georgia politician, Jimmy Carter: Rock & Roll President, being released on home video on October 9, reviews the relationship of the former president to American music.
The 14th Annual Atlanta Horror Film Festival is scheduled to be held October 15-17, primarily outdoors at the newly relocated Art & INDUSTRY, at 1269 Pryor Road SW. Check atlantafilmseries.com for updates. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. Amazon Prime Video ALL IN: THE FIGHT FOR DEMOCRACY: Film includes a profile of former Georgia candidate for governor, Stacey Abrams. 0,0,7 screentime SCREEN TIME: Georgian dystopia "
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‘All In’ presents the nightmare of voter suppression, ‘Only’ a fictional pandemic
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string(5942) "The Atlanta Film Festival
The Atlanta Film Festival usual takes place in April, but the pandemic caused it to be postponed to September 17-27. (It seemed reasonable to assume that the virus would have abated by then.) The 44th Atlanta Film Festival, along with the 10th annual Creative Conference, will feature up to 150 short and feature-length narrative films and documentaries via drive-ins and digital screenings, as well as virtual educational events. While the schedule was being finalized at press time due to the format change, the program should include films from 40 countries, including 20 percent with Georgia connections.
Films with local hooks include The Outside Story, a wry character study starring “Atlanta”’s Brian Tyree Henry. Zach Lamplugh of Adult Swim directs a comedy with the memorable title 15 Things You Didn't Know About Bigfoot: Number 1 Will Blow Your Mind, in which a Vice-style web journalist reluctantly pursues a story with a Bigfoot expert in the North Georgia mountains. It’s a little like a Christopher Guest comedy by way of The Blair Witch Project. In addition, the shorts program “Stomping Grounds” also showcases Georgia productions.
Films already acclaimed through limited release include Flannery, a documentary about legendary Georgia author Flannery O’Connor, and Lucky Grandma, about an ornery, chain-smoking grandmother making an unexpected trek through the underworld of New York’s Chinatown.
Go to atlantafilmfestival.com for schedule, ticketing and other information.
Out on Film Festival
The ATLFF rescheduling means that it will overlap for the first weekend of this year’s Out on Film Festival, held September 24-October 4. The 33rd Atlanta celebration of LGBTQ cinema will include about 45 feature films and documentaries as well as 15 shorts programs. Local highlights include Surviving the Silence from Atlanta director Cindy L. Abel. The documentary profiles Col. Pat Thompson, who presided over Col. Margarethe Cammermeyer’s famous Army discharge hearing for being gay, although Thompson herself was a closeted lesbian at the time. The festival will host a 40th-anniversary screening of Fame, the musical drama directed by the recently deceased Alan Parker.
Go to outonfilm.org for schedule, ticketing and other information.
Atlanta Jewish Film Festival
While some smaller festivals, such as the November Buried Alive Film Festival, have been bumped to 2021, submissions are open for the 21st Atlanta Jewish Film Festival. (The dates have not yet been announced, but it’s normally held in February.) The annual showcase of films by Jewish filmmakers or about the Jewish experience reliably conveys a sense of glitz and glamor to rival any other film event on the calendar.
And 5. The Plaza Theatre and Videodrome
Each historic in their own way, these Poncey-Highland neighbors serve as the intersection for the most passionate but unpretentious facets of Atlanta film culture. The Plaza Theatre is Atlanta’s oldest continuously-operating movie house, while Videodrome remains an impeccably curated, brick-and-mortar video rental shop. Not to be missed are their “Plazadrome” collaborative film screenings of vintage cult movies, including the likes of 1988’s The Blob at socially-distant “pop-up” drive-in screenings. (But don’t overlook The Starlight Drive-In as a great option for seeing movies on a clear night.)
The Fabulous Fox Theatre
Currently best known as a live performance venue, this luxurious movie palace dating to 1929 conveys the old-fashioned grandeur of cinema’s golden age. In non-COVID times, every Atlantan should check out at least one screening at the Fox’s summer movie series, which regularly feature cartoons and a performance at the “Mighty Mo” pipe organ, as well as the chance to take in the theater’s breathtaking architectural flourishes.
IMAX Screens
Many cinemas claim to have IMAX theaters or high-resolution formats, which despite the upsell, can offer a better way to see a film compared to standard format. But in the Atlanta area, the Fernbank Museum has the only true combination of IMAX projection and a giant screen for a viewing experience that’s reliably breathtaking. While Fernbank’s nature documentaries are always impressive, the Mall of Georgia’s IMAX screen is worth the drive for first-run films crafted to take full advantage of the format.
Atlanta Film Tours
If you can’t go to the movies, a safe substitute can be to take a tour of Atlanta film and television locations. Over just a few blocks in downtown for instance, you can cross the paths of chases seen in “The Walking Dead,” Venom, Baby Driver, Ant-Man and the Wasp and more. atlantamovietours.com offers virtual tours as well as bus tours that take safety precautions.
Tyler Perry Studios
Tyler Perry’s films aren’t necessarily for everyone — but that’s exactly the point. The self-made media mogul (and Madea alter ego) crafted films and television series for underserved Black audiences and helped build a local film infrastructure long before Hollywood came calling in Georgia.
Local HBO Productions
While waiting for Donald Glover’s “Atlanta” to return, perhaps the two most important productions of film or television are two ambitious, complex HBO programs. While “Watchmen” (which garnered the most Emmy nominations of any show this year) looked at superheroes, and “Lovecraft Country” took on pulp horror, both used popular genres to address uncomfortable truths about race, police, and the American Dream. It’s hard to think of any works from the past few years that have so effectively planted themselves in the current zeitgeist while being on the right side of history. Plus, you can pay a visit to, say, the Decatur Square and feel like you’re in “Watchmen”’s alternative version of Tulsa, Oklahoma."
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If you can’t go to the movies, a safe substitute can be to take a tour of Atlanta film and television locations. Over just a few blocks in downtown for instance, you can cross the paths of chases seen in “The Walking Dead,” ''Venom, Baby Driver, Ant-Man and the Wasp'' and more. atlantamovietours.com offers virtual tours as well as bus tours that take safety precautions.
__Tyler Perry Studios__
Tyler Perry’s films aren’t necessarily for everyone — but that’s exactly the point. The self-made media mogul (''and'' Madea alter ego) crafted films and television series for underserved Black audiences and helped build a local film infrastructure long before Hollywood came calling in Georgia.
__Local HBO Productions__
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string(6534) " SEP Screen The Outside Story Web 2020-09-02T19:39:28+00:00 SEP_Screen_The_Outside_Story_web.jpg screentime What to do when the big screen is dark SEP Screen The Outside Story Web 2020-09-02T19:17:00+00:00 SCREENTIME — The Atlanta film scene list jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-09-02T19:17:00+00:00 The Atlanta Film Festival
The Atlanta Film Festival usual takes place in April, but the pandemic caused it to be postponed to September 17-27. (It seemed reasonable to assume that the virus would have abated by then.) The 44th Atlanta Film Festival, along with the 10th annual Creative Conference, will feature up to 150 short and feature-length narrative films and documentaries via drive-ins and digital screenings, as well as virtual educational events. While the schedule was being finalized at press time due to the format change, the program should include films from 40 countries, including 20 percent with Georgia connections.
Films with local hooks include The Outside Story, a wry character study starring “Atlanta”’s Brian Tyree Henry. Zach Lamplugh of Adult Swim directs a comedy with the memorable title 15 Things You Didn't Know About Bigfoot: Number 1 Will Blow Your Mind, in which a Vice-style web journalist reluctantly pursues a story with a Bigfoot expert in the North Georgia mountains. It’s a little like a Christopher Guest comedy by way of The Blair Witch Project. In addition, the shorts program “Stomping Grounds” also showcases Georgia productions.
Films already acclaimed through limited release include Flannery, a documentary about legendary Georgia author Flannery O’Connor, and Lucky Grandma, about an ornery, chain-smoking grandmother making an unexpected trek through the underworld of New York’s Chinatown.
Go to atlantafilmfestival.com for schedule, ticketing and other information.
Out on Film Festival
The ATLFF rescheduling means that it will overlap for the first weekend of this year’s Out on Film Festival, held September 24-October 4. The 33rd Atlanta celebration of LGBTQ cinema will include about 45 feature films and documentaries as well as 15 shorts programs. Local highlights include Surviving the Silence from Atlanta director Cindy L. Abel. The documentary profiles Col. Pat Thompson, who presided over Col. Margarethe Cammermeyer’s famous Army discharge hearing for being gay, although Thompson herself was a closeted lesbian at the time. The festival will host a 40th-anniversary screening of Fame, the musical drama directed by the recently deceased Alan Parker.
Go to outonfilm.org for schedule, ticketing and other information.
Atlanta Jewish Film Festival
While some smaller festivals, such as the November Buried Alive Film Festival, have been bumped to 2021, submissions are open for the 21st Atlanta Jewish Film Festival. (The dates have not yet been announced, but it’s normally held in February.) The annual showcase of films by Jewish filmmakers or about the Jewish experience reliably conveys a sense of glitz and glamor to rival any other film event on the calendar.
And 5. The Plaza Theatre and Videodrome
Each historic in their own way, these Poncey-Highland neighbors serve as the intersection for the most passionate but unpretentious facets of Atlanta film culture. The Plaza Theatre is Atlanta’s oldest continuously-operating movie house, while Videodrome remains an impeccably curated, brick-and-mortar video rental shop. Not to be missed are their “Plazadrome” collaborative film screenings of vintage cult movies, including the likes of 1988’s The Blob at socially-distant “pop-up” drive-in screenings. (But don’t overlook The Starlight Drive-In as a great option for seeing movies on a clear night.)
The Fabulous Fox Theatre
Currently best known as a live performance venue, this luxurious movie palace dating to 1929 conveys the old-fashioned grandeur of cinema’s golden age. In non-COVID times, every Atlantan should check out at least one screening at the Fox’s summer movie series, which regularly feature cartoons and a performance at the “Mighty Mo” pipe organ, as well as the chance to take in the theater’s breathtaking architectural flourishes.
IMAX Screens
Many cinemas claim to have IMAX theaters or high-resolution formats, which despite the upsell, can offer a better way to see a film compared to standard format. But in the Atlanta area, the Fernbank Museum has the only true combination of IMAX projection and a giant screen for a viewing experience that’s reliably breathtaking. While Fernbank’s nature documentaries are always impressive, the Mall of Georgia’s IMAX screen is worth the drive for first-run films crafted to take full advantage of the format.
Atlanta Film Tours
If you can’t go to the movies, a safe substitute can be to take a tour of Atlanta film and television locations. Over just a few blocks in downtown for instance, you can cross the paths of chases seen in “The Walking Dead,” Venom, Baby Driver, Ant-Man and the Wasp and more. atlantamovietours.com offers virtual tours as well as bus tours that take safety precautions.
Tyler Perry Studios
Tyler Perry’s films aren’t necessarily for everyone — but that’s exactly the point. The self-made media mogul (and Madea alter ego) crafted films and television series for underserved Black audiences and helped build a local film infrastructure long before Hollywood came calling in Georgia.
Local HBO Productions
While waiting for Donald Glover’s “Atlanta” to return, perhaps the two most important productions of film or television are two ambitious, complex HBO programs. While “Watchmen” (which garnered the most Emmy nominations of any show this year) looked at superheroes, and “Lovecraft Country” took on pulp horror, both used popular genres to address uncomfortable truths about race, police, and the American Dream. It’s hard to think of any works from the past few years that have so effectively planted themselves in the current zeitgeist while being on the right side of history. Plus, you can pay a visit to, say, the Decatur Square and feel like you’re in “Watchmen”’s alternative version of Tulsa, Oklahoma. Courtesy of Atlanta Film Festival “Atlanta”’s Brian Tyree Henry stars in the feature film 'The Outside Story' at this year’s Atlanta Film Festival. 0,0,10 screentime SCREENTIME — The Atlanta film scene list "
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Wednesday September 2, 2020 03:17 PM EDT
What to do when the big screen is dark
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string(6245) "If there’s a silver lining to the COVID-19 lockdown, it may be the resurgence of interest in drive-in theaters. A venue like the Starlight Drive-In allows film fans to enjoy movies while social distancing. As of this writing, some of the Starlight’s fun qualities are still restricted: The concession stand is closed (but not the bathroom), and viewers are required to stay in their cars, as opposed to watching from lawn chairs.
The Starlight, like the pop-up drive-ins hosted by the Plaza Theatre, will offer a warm-weather transition to indoor movie theaters reopening en masse, which could be weeks away. And until that time, new releases will still be limited: The Starlight is mostly showing films that were in theaters when the lockdown began, like The Invisible Man. Hollywood is wondering whether Tenet, a new thriller from Inception director Christopher Nolan, will open on July 17 and restart the summer movie season, or get kicked further down the road
In the meantime, some major motion pictures are going straight to video on demand (VOD) or streaming services, like the Judd Apatow’s The King of Staten Island on June 12 or the original Broadway cast film of Hamilton debuting July 3 on Disney Plus. Also, captive audiences can pay more attention to the kind of low-budget or independent releases that they’d otherwise scroll right past on a streaming platform menu or Redbox kiosk.
In May, The Vast of Night had preview screenings at drive-ins, with the justification that the venues’ retro vibe suited Andrew Patterson’s nostalgic sci-fi thriller. Released on Amazon Prime Video on May 28, The Vast of Night takes place in small-town New Mexico in the early 1950s, with a framing device presenting the story as an episode of a “Twilight Zone”-esque TV series.
While most of the town attends a high school basketball game, a teenage switchboard operator (Sierra McCormick) and a young disk jockey (Jake Horowitz) discover a mysterious signal, and the more they try to determine its source, the deeper they become embroiled in a mystery involving unidentified flying objects.
Once you get past the film’s mannered introductory scenes, The Vast of Night delivers some extremely eerie set pieces that frequently have the heroes listening to long, increasingly unsettling stories. Unfolding approximately in real time, the film expertly creates a mood of dread while serving as a low-key love letter to old-school technology like audio tape recorders.
While The Vast of Night feels like a cunning throwback, Becky refreshes some of the tropes of the home invasion genre. A band of racist convicts terrorizes a family at a Southern lake house, only to have one of their victims turn the tables. The twist with Becky is that the avenging protagonist is the 13-year-old title character, played with memorable intensity by Lulu Wilson.
Becky’s screenplay was co-written by Lane and Ruckus Skye, Atlanta filmmakers who recently relocated to Los Angeles and showed considerable promise with last year’s backwoods crime drama Reckoning. Even more tautly constructed, the new film introduces Becky as grieving her deceased mother, feeling alienated at school, and resenting her father (“Community’s” Joel McHale) and his fiancé. When the others are held captive by white supremacists, Becky gets to express her rage with violence and finds she has a knack for it.
Available June 5, Becky effectively casts comedy actor Kevin James against type as the white supremacists’ leader, and also exhibits a gleeful willingness to show off some graphic practical gore effects. And while the viewer’s sympathies lie completely with Becky, we also grow increasingly uncomfortable with her violent side. There’s a joke that in Home Alone, Kevin McCallister’s vicious booby traps suggest he might be a budding psychopath. Becky explores the dark implications of a similar situation.
Also available June 5, Josephine Decker’s Shirley offers a biographical portrait of author Shirley Jackson, renowned for such psychologically complex tales as The Haunting of Hill House. Shirley steers away from the horrific aspects of Jackson’s work — as well as the phony uplift of most biopics — to offer a knotty depiction of a famous artist and her creative process, as well as the constraints on women in mid-century America.
Not long after The New Yorker publishes her story “The Lottery,” Shirley and her husband (Michael Stuhlbarg) host a young professor (Logan Lerman) and his pregnant wife Rose (Odessa Young) as boarders. Rose initially finds Shirley both mean and highly perceptive, but the more she assists the reclusive author in both housework and in writing a new book, the more a bond develops between the two women.
With its dynamic of vicious behavior between two pairs of academics, Shirley echoes Who’s Afraid of Virginia Woolf?, with Moss digging fearlessly into Shirley’s self-loathing, resentments, and creative impulses. Her implosive performance is like the flip side of Moss’s explosive turn as a self-destructive rock star in 2019’s underseen gem Her Smell. Cluttered, claustrophobic, and at times difficult to pin down, Shirley is the kind of challenging film that deserves to be met halfway, even on VOD.
June 2 also sees the VOD release of Hallowed Be Thy Name, a thriller from Atlanta-based writer/director Taylor Ri’chard.
And speaking of local productions, the May release of “19 Covid Lane” on Youtube and the 19covidlane.com website showcases Atlanta film artists working in lockdown conditions.
A parody of quarantine-induced cabin fever clearly inspired by 10 Cloverfield Lane, the short depicts two young people sheltering in a bunker with a paranoid prepper. The three actors are very game, and the script crafts some good gags, with mundane tasks like taking out the weekly garbage presented with the menace worthy of a post-apocalyptic thriller by director Ryan Monolopolus. The only trouble with “19 Covid Lane” is that, if you’re already stressing about the virus, it doesn’t exactly offer escapism. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services."
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The Starlight, like the pop-up drive-ins hosted by the Plaza Theatre, will offer a warm-weather transition to indoor movie theaters reopening en masse, which could be weeks away. And until that time, new releases will still be limited: The Starlight is mostly showing films that were in theaters when the lockdown began, like ''The Invisible Man''. Hollywood is wondering whether ''Tenet'', a new thriller from ''Inception'' director Christopher Nolan, will open on July 17 and restart the summer movie season, or get kicked further down the road
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Once you get past the film’s mannered introductory scenes, ''The Vast of Night'' delivers some extremely eerie set pieces that frequently have the heroes listening to long, increasingly unsettling stories. Unfolding approximately in real time, the film expertly creates a mood of dread while serving as a low-key love letter to old-school technology like audio tape recorders.
While ''The Vast of Night'' feels like a cunning throwback, ''Becky'' refreshes some of the tropes of the home invasion genre. A band of racist convicts terrorizes a family at a Southern lake house, only to have one of their victims turn the tables. The twist with ''Becky'' is that the avenging protagonist is the 13-year-old title character, played with memorable intensity by Lulu Wilson.
''Becky''’s screenplay was co-written by Lane and Ruckus Skye, Atlanta filmmakers who recently relocated to Los Angeles and showed considerable promise with last year’s backwoods crime drama ''Reckoning''. Even more tautly constructed, the new film introduces Becky as grieving her deceased mother, feeling alienated at school, and resenting her father (“Community’s” Joel McHale) and his fiancé. When the others are held captive by white supremacists, Becky gets to express her rage with violence and finds she has a knack for it.
Available June 5, ''Becky'' effectively casts comedy actor Kevin James against type as the white supremacists’ leader, and also exhibits a gleeful willingness to show off some graphic practical gore effects. And while the viewer’s sympathies lie completely with Becky, we also grow increasingly uncomfortable with her violent side. There’s a joke that in ''Home Alone'', Kevin McCallister’s vicious booby traps suggest he might be a budding psychopath. ''Becky'' explores the dark implications of a similar situation.
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Also available June 5, Josephine Decker’s ''Shirley'' offers a biographical portrait of author Shirley Jackson, renowned for such psychologically complex tales as ''The Haunting of Hill House''. ''Shirley'' steers away from the horrific aspects of Jackson’s work — as well as the phony uplift of most biopics — to offer a knotty depiction of a famous artist and her creative process, as well as the constraints on women in mid-century America.
Not long after ''The New Yorker'' publishes her story “The Lottery,” Shirley and her husband (Michael Stuhlbarg) host a young professor (Logan Lerman) and his pregnant wife Rose (Odessa Young) as boarders. Rose initially finds Shirley both mean and highly perceptive, but the more she assists the reclusive author in both housework and in writing a new book, the more a bond develops between the two women.
With its dynamic of vicious behavior between two pairs of academics, ''Shirley'' echoes ''Who’s Afraid of Virginia Woolf?'', with Moss digging fearlessly into Shirley’s self-loathing, resentments, and creative impulses. Her implosive performance is like the flip side of Moss’s explosive turn as a self-destructive rock star in 2019’s underseen gem ''Her Smell''. Cluttered, claustrophobic, and at times difficult to pin down, ''Shirley'' is the kind of challenging film that deserves to be met halfway, even on VOD.
June 2 also sees the VOD release of ''Hallowed Be Thy Name'', a thriller from Atlanta-based writer/director Taylor Ri’chard.
And speaking of local productions, the May release of “19 Covid Lane” on Youtube and the 19covidlane.com website showcases Atlanta film artists working in lockdown conditions.
A parody of quarantine-induced cabin fever clearly inspired by ''10 Cloverfield Lane'', the short depicts two young people sheltering in a bunker with a paranoid prepper. The three actors are very game, and the script crafts some good gags, with mundane tasks like taking out the weekly garbage presented with the menace worthy of a post-apocalyptic thriller by director Ryan Monolopolus. The only trouble with “19 Covid Lane” is that, if you’re already stressing about the virus, it doesn’t exactly offer escapism. __—CL—__
''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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string(6761) " SCREEN BECKY 3 Web 2020-06-03T20:37:38+00:00 SCREEN_BECKY_3_web.jpg screentime Lockdown invites a closer look at 'Becky,' 'Shirley,' and other VOD releases SCREEN BECKY 3 Web 2020-06-02T12:00:00+00:00 SCREEN TIME: Covideo on Demand? jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-06-02T12:00:00+00:00 If there’s a silver lining to the COVID-19 lockdown, it may be the resurgence of interest in drive-in theaters. A venue like the Starlight Drive-In allows film fans to enjoy movies while social distancing. As of this writing, some of the Starlight’s fun qualities are still restricted: The concession stand is closed (but not the bathroom), and viewers are required to stay in their cars, as opposed to watching from lawn chairs.
The Starlight, like the pop-up drive-ins hosted by the Plaza Theatre, will offer a warm-weather transition to indoor movie theaters reopening en masse, which could be weeks away. And until that time, new releases will still be limited: The Starlight is mostly showing films that were in theaters when the lockdown began, like The Invisible Man. Hollywood is wondering whether Tenet, a new thriller from Inception director Christopher Nolan, will open on July 17 and restart the summer movie season, or get kicked further down the road
In the meantime, some major motion pictures are going straight to video on demand (VOD) or streaming services, like the Judd Apatow’s The King of Staten Island on June 12 or the original Broadway cast film of Hamilton debuting July 3 on Disney Plus. Also, captive audiences can pay more attention to the kind of low-budget or independent releases that they’d otherwise scroll right past on a streaming platform menu or Redbox kiosk.
In May, The Vast of Night had preview screenings at drive-ins, with the justification that the venues’ retro vibe suited Andrew Patterson’s nostalgic sci-fi thriller. Released on Amazon Prime Video on May 28, The Vast of Night takes place in small-town New Mexico in the early 1950s, with a framing device presenting the story as an episode of a “Twilight Zone”-esque TV series.
While most of the town attends a high school basketball game, a teenage switchboard operator (Sierra McCormick) and a young disk jockey (Jake Horowitz) discover a mysterious signal, and the more they try to determine its source, the deeper they become embroiled in a mystery involving unidentified flying objects.
Once you get past the film’s mannered introductory scenes, The Vast of Night delivers some extremely eerie set pieces that frequently have the heroes listening to long, increasingly unsettling stories. Unfolding approximately in real time, the film expertly creates a mood of dread while serving as a low-key love letter to old-school technology like audio tape recorders.
While The Vast of Night feels like a cunning throwback, Becky refreshes some of the tropes of the home invasion genre. A band of racist convicts terrorizes a family at a Southern lake house, only to have one of their victims turn the tables. The twist with Becky is that the avenging protagonist is the 13-year-old title character, played with memorable intensity by Lulu Wilson.
Becky’s screenplay was co-written by Lane and Ruckus Skye, Atlanta filmmakers who recently relocated to Los Angeles and showed considerable promise with last year’s backwoods crime drama Reckoning. Even more tautly constructed, the new film introduces Becky as grieving her deceased mother, feeling alienated at school, and resenting her father (“Community’s” Joel McHale) and his fiancé. When the others are held captive by white supremacists, Becky gets to express her rage with violence and finds she has a knack for it.
Available June 5, Becky effectively casts comedy actor Kevin James against type as the white supremacists’ leader, and also exhibits a gleeful willingness to show off some graphic practical gore effects. And while the viewer’s sympathies lie completely with Becky, we also grow increasingly uncomfortable with her violent side. There’s a joke that in Home Alone, Kevin McCallister’s vicious booby traps suggest he might be a budding psychopath. Becky explores the dark implications of a similar situation.
Also available June 5, Josephine Decker’s Shirley offers a biographical portrait of author Shirley Jackson, renowned for such psychologically complex tales as The Haunting of Hill House. Shirley steers away from the horrific aspects of Jackson’s work — as well as the phony uplift of most biopics — to offer a knotty depiction of a famous artist and her creative process, as well as the constraints on women in mid-century America.
Not long after The New Yorker publishes her story “The Lottery,” Shirley and her husband (Michael Stuhlbarg) host a young professor (Logan Lerman) and his pregnant wife Rose (Odessa Young) as boarders. Rose initially finds Shirley both mean and highly perceptive, but the more she assists the reclusive author in both housework and in writing a new book, the more a bond develops between the two women.
With its dynamic of vicious behavior between two pairs of academics, Shirley echoes Who’s Afraid of Virginia Woolf?, with Moss digging fearlessly into Shirley’s self-loathing, resentments, and creative impulses. Her implosive performance is like the flip side of Moss’s explosive turn as a self-destructive rock star in 2019’s underseen gem Her Smell. Cluttered, claustrophobic, and at times difficult to pin down, Shirley is the kind of challenging film that deserves to be met halfway, even on VOD.
June 2 also sees the VOD release of Hallowed Be Thy Name, a thriller from Atlanta-based writer/director Taylor Ri’chard.
And speaking of local productions, the May release of “19 Covid Lane” on Youtube and the 19covidlane.com website showcases Atlanta film artists working in lockdown conditions.
A parody of quarantine-induced cabin fever clearly inspired by 10 Cloverfield Lane, the short depicts two young people sheltering in a bunker with a paranoid prepper. The three actors are very game, and the script crafts some good gags, with mundane tasks like taking out the weekly garbage presented with the menace worthy of a post-apocalyptic thriller by director Ryan Monolopolus. The only trouble with “19 Covid Lane” is that, if you’re already stressing about the virus, it doesn’t exactly offer escapism. —CL—
Screen Time is a monthly column about film and video from the big screen to streaming services. Quiver Productions Lulu Wilson plays the title role in ‘Becky,’ co-written by Lane and Ruckus Skye. 0,0,10 screentime SCREEN TIME: Covideo on Demand? "
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string(8205) "The last movie I saw in a theater was The Invisible Man in late February, blissfully unaware that in a few weeks, the whole world would be worried about an invisible threat. After almost two months of sheltering in place due to the coronavirus, I’m wistfully remembering past times at the cinema.
One of my favorite experiences at the movies was a 2007 preview screening of Robert Rodriguez and Quentin Tarantino’s Grindhouse at the Plaza Theatre. Having opened in 1939 — and survived the changes its Poncey-Highland neighborhood has undergone in the years bookended by urban flight and gentrification — the Plaza has shown its share of B movies, XXX- rated fare and schlock in the ensuing decades. And, as usual for the vintage movie house that has survived such change, the evening brought out exactly the kind of film buffs who’d appreciate the double feature’s fake trailers, cameos, and simulations of old, scratched prints in a proudly resurrected film emporium that once screened exactly such pairings. It was a gory, raunchy delight.
And even though you can rent Rodriguez’ Planet Terror and Tarantino’s Death Proof, as well as find various bonus features online, home viewing can never match the charge of seeing Grindhouse with those people, in that venue. I find myself missing the ritual of passing under the Plaza’s art deco marquee, walking past the vintage movie posters in the lobby, smelling the fresh popcorn, and settling into the old-school cushioned seats before a show begins.
Atlanta has several theaters like the Midtown Art Cinema, part of the Landmark theater chain, that offer nice places to see art-house films. But the Plaza is the kind of independent theater that combines love of cinema with old-fashioned, idiosyncratic touches, feeling at once like a museum and a clubhouse, that make the mainstream cineplexes of the Regal or AMC chains feel cold and sterile. As a native Atlantan, I grew up in what now seems like a golden age of repertory movie houses, including the Film Forum, Garden Hills Cinema, the Screening Room, the Silver Screen and the Rhodes Theatre. With all of them long gone, the Plaza can feel like Atlanta’s last picture show.
The Plaza, like businesses worldwide, has been struggling to survive a landscape virtually bereft of customers now that the COVID-19 pandemic is holding hostage much of our daily lives. “This is the longest the Plaza has ever closed — by far,” said Chris Escobar, Plaza Theater owner and executive director of the Atlanta Film Society. “It’s never been closed more than a week, and that’s usually been for (repair) work or a filming.”
In mid-April, Escobar announced a partial but substantial furlough for the Plaza’s employees, with a limit of 12 working hours per week. He’s embarked on multiple different fundraising efforts and revenue streams, such as vouchers, concessions to go, and merchandise sales, as well as applying for such relief programs as the Federal Paycheck Protection Program (PPP) and the Art House Convergence relief fund.
“Right now I’d say we have a month left of being able to keep paying staff even on a limited basis without something big coming into play like the PPP program. Some of these things would add up and make that possible,” said Escobar, who acknowledged the uncertainty and enormity of the challenge facing the Plaza. He’s also negotiating with the theater’s property owner for flexibility: “They have a real opportunity to either be the hero or make it impossible for the Plaza to re-open.”
His choice was complicated by Georgia governor Brian Kemp’s April 20 announcement that movie theaters in the state could open on April 27. “I honestly didn’t think we would be allowed to re-open until June,” Escobar said in a statement on the theater’s Facebook page. “While nothing would make me happier than all of this being over and getting the ‘all clear,’ other than there being political pressure, I haven’t seen anything of the sort.
“This definitely feels like we’re getting pushed to sort this out on our own, and public health officials do not seem to be recommending this at this time,” the statement continued. “While we believe nothing is better than watching a movie in our theatre, we want to offer options that our customers are comfortable with and that keep our staff safe. We didn’t wait for government to start taking actions to operate more safely, and we aren’t going to drop our guard in any haste now.”
Escobar estimated that May 1 would be the earliest the theater would consider reopening in any capacity, most likely with some kind of alternate programming that permits safe social distancing, such as “Plaza Pop-Up Drive-In” screenings.
Meanwhile, the Plaza website (plazaatlanta.com) lists several ways to support the theater, including a page for GoFundMe donations toward a $25,000 goal as well as the option for private screening rentals of groups of less than 10 people. Subscribing to the Magnolia Selects curated film service using the code MOVIE589 will give the Plaza 100 percent of the proceeds.
While home viewing is no substitute for being there, the theater’s virtual screening room can at least connect Plaza supporters to films. In partnership with Kino Marquee, a nationwide initiative from the Kino Lorber film and video studio, the Plaza is virtually screening the kind of hot art-house fare it would show in better days, including the acclaimed socially-conscious Brazilian western Bacurau and the Irish supernatural comedy Extra Ordinary featuring Will Forte.
Capital in the Twenty-First Century opened May 1 and offers 50 percent of its ticket sales to the Plaza Theatre. Based on the influential book of the same name by French economist Thomas Piketty (who appears in the film), the documentary presents an energetic and devastating lesson in economic history. The historical material covers pretty familiar ground, but the latter half offers powerful depictions of how wealth inequities create an increasingly unequal society with decreasing options for social mobility.
In addition to Kino Marquee, Escobar says “We’re going to be launching a new digital platform in partnership with the Atlanta Film Society called ‘PlazaPlay,’ where our joined audiences can do individual rentals (and eventually a subscription) to a variety of indie, cult, and rep programming alongside companion content that includes special intros, Q&As, and more.”
Thinking back to the titles of Grindhouse, “Planet Terror” seems an apt way to describe the global attitude during the pandemic. One can only hope that, after 80 years, the Plaza will continue to be “Death Proof.”
Double Up: The Plaza had its own big-screen cameo last fall by appearing in a scene in Doctor Sleep, based on Stephen King’s sequel novel to The Shining. Audiences seemed to sleep on the spooky follow-up, but sheltering-in-place gives viewers a chance to catch up. Why not schedule an in-home double feature of Stanley Kubrick’s classic The Shining followed by Mike Flanagan’s Doctor Sleep? You can even mix “Redrum” cocktails to go with it.
For lighter fare, try an evening of Emma. Autumn de Wilde’s new adaptation of Jane Austen’s novel Emma was one of the first films to respond to the restrictions against gatherings to become a “first-run” online release on March 20. Pair it with Amy Heckerling’s take on the story, Clueless, transferring the comedy of manners from Regency England to 1990s Los Angeles, with a hilarious, career-defining performance from Alicia Silverstone. (You could even make it a triple with Douglas McGrath’s 1996 version of Emma, starring Gwyneth Paltrow.)
And for seemingly light musical-comedies with a bittersweet edge, That Thing You Do! (1996) and Josie and the Pussycats (2001) offer breezy satire of the pop music industry with contributions from Fountains of Wayne’s singer-songwriter Adam Schlesinger that sound like authentic chart-toppers. Schlesinger died of the coronavirus in April, and his joyful pop remains the perfect tribute. —CL—"
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One of my favorite experiences at the movies was a 2007 preview screening of Robert Rodriguez and Quentin Tarantino’s ''Grindhouse'' at the Plaza Theatre. Having opened in 1939 — and survived the changes its Poncey-Highland neighborhood has undergone in the years bookended by urban flight and gentrification — the Plaza has shown its share of B movies, XXX- rated fare and schlock in the ensuing decades. And, as usual for the vintage movie house that has survived such change, the evening brought out exactly the kind of film buffs who’d appreciate the double feature’s fake trailers, cameos, and simulations of old, scratched prints in a proudly resurrected film emporium that once screened exactly such pairings. It was a gory, raunchy delight.
And even though you can rent Rodriguez’ ''Planet Terror'' and Tarantino’s ''Death Proof'', as well as find various bonus features online, home viewing can never match the charge of seeing ''Grindhouse'' with those people, in that venue. I find myself missing the ritual of passing under the Plaza’s art deco marquee, walking past the vintage movie posters in the lobby, smelling the fresh popcorn, and settling into the old-school cushioned seats before a show begins.
Atlanta has several theaters like the Midtown Art Cinema, part of the Landmark theater chain, that offer nice places to see art-house films. But the Plaza is the kind of independent theater that combines love of cinema with old-fashioned, idiosyncratic touches, feeling at once like a museum and a clubhouse, that make the mainstream cineplexes of the Regal or AMC chains feel cold and sterile. As a native Atlantan, I grew up in what now seems like a golden age of repertory movie houses, including the Film Forum, Garden Hills Cinema, the Screening Room, the Silver Screen and the Rhodes Theatre. With all of them long gone, the Plaza can feel like Atlanta’s last picture show.
The Plaza, like businesses worldwide, has been struggling to survive a landscape virtually bereft of customers now that the COVID-19 pandemic is holding hostage much of our daily lives. “This is the longest the Plaza has ever closed — by far,” said Chris Escobar, Plaza Theater owner and executive director of the Atlanta Film Society. “It’s never been closed more than a week, and that’s usually been for (repair) work or a filming.”
In mid-April, Escobar announced a partial but substantial furlough for the Plaza’s employees, with a limit of 12 working hours per week. He’s embarked on multiple different fundraising efforts and revenue streams, such as vouchers, concessions to go, and merchandise sales, as well as applying for such relief programs as the Federal Paycheck Protection Program (PPP) and the Art House Convergence relief fund.
“Right now I’d say we have a month left of being able to keep paying staff even on a limited basis without something big coming into play like the PPP program. Some of these things would add up and make that possible,” said Escobar, who acknowledged the uncertainty and enormity of the challenge facing the Plaza. He’s also negotiating with the theater’s property owner for flexibility: “They have a real opportunity to either be the hero or make it impossible for the Plaza to re-open.”
His choice was complicated by Georgia governor Brian Kemp’s April 20 announcement that movie theaters in the state could open on April 27. “I honestly didn’t think we would be allowed to re-open until June,” Escobar said in a statement on the theater’s Facebook page. “While nothing would make me happier than all of this being over and getting the ‘all clear,’ other than there being political pressure, I haven’t seen anything of the sort.
“This definitely feels like we’re getting pushed to sort this out on our own, and public health officials do not seem to be recommending this at this time,” the statement continued. “While we believe nothing is better than watching a movie in our theatre, we want to offer options that our customers are comfortable with and that keep our staff safe. We didn’t wait for government to start taking actions to operate more safely, and we aren’t going to drop our guard in any haste now.”
Escobar estimated that May 1 would be the earliest the theater would consider reopening in any capacity, most likely with some kind of alternate programming that permits safe social distancing, such as “Plaza Pop-Up Drive-In” screenings.
Meanwhile, the Plaza website (plazaatlanta.com) lists several ways to support the theater, including a page for GoFundMe donations toward a $25,000 goal as well as the option for private screening rentals of groups of less than 10 people. Subscribing to the Magnolia Selects curated film service using the code MOVIE589 will give the Plaza 100 percent of the proceeds.
While home viewing is no substitute for being there, the theater’s virtual screening room can at least connect Plaza supporters to films. In partnership with Kino Marquee, a nationwide initiative from the Kino Lorber film and video studio, the Plaza is virtually screening the kind of hot art-house fare it would show in better days, including the acclaimed socially-conscious Brazilian western ''Bacurau'' and the Irish supernatural comedy ''Extra Ordinary'' featuring Will Forte.
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''Capital in the Twenty-First Century'' opened May 1 and offers 50 percent of its ticket sales to the Plaza Theatre. Based on the influential book of the same name by French economist Thomas Piketty (who appears in the film), the documentary presents an energetic and devastating lesson in economic history. The historical material covers pretty familiar ground, but the latter half offers powerful depictions of how wealth inequities create an increasingly unequal society with decreasing options for social mobility.
In addition to Kino Marquee, Escobar says “We’re going to be launching a new digital platform in partnership with the Atlanta Film Society called ‘PlazaPlay,’ where our joined audiences can do individual rentals (and eventually a subscription) to a variety of indie, cult, and rep programming alongside companion content that includes special intros, Q&As, and more.”
Thinking back to the titles of ''Grindhouse'', “Planet Terror” seems an apt way to describe the global attitude during the pandemic. One can only hope that, after 80 years, the Plaza will continue to be “Death Proof.”
''Double Up'': The Plaza had its own big-screen cameo last fall by appearing in a scene in ''Doctor Sleep'', based on Stephen King’s sequel novel to ''The Shining''. Audiences seemed to sleep on the spooky follow-up, but sheltering-in-place gives viewers a chance to catch up. Why not schedule an in-home double feature of Stanley Kubrick’s classic ''The Shining'' followed by Mike Flanagan’s ''Doctor Sleep''? You can even mix “Redrum” cocktails to go with it.
For lighter fare, try an evening of ''Emma''. Autumn de Wilde’s new adaptation of Jane Austen’s novel ''Emma'' was one of the first films to respond to the restrictions against gatherings to become a “first-run” online release on March 20. Pair it with Amy Heckerling’s take on the story, ''Clueless'', transferring the comedy of manners from Regency England to 1990s Los Angeles, with a hilarious, career-defining performance from Alicia Silverstone. (You could even make it a triple with Douglas McGrath’s 1996 version of ''Emma'', starring Gwyneth Paltrow.)
And for seemingly light musical-comedies with a bittersweet edge, ''That Thing You Do!'' (1996) and ''Josie and the Pussycats'' (2001) offer breezy satire of the pop music industry with contributions from Fountains of Wayne’s singer-songwriter Adam Schlesinger that sound like authentic chart-toppers. Schlesinger died of the coronavirus in April, and his joyful pop remains the perfect tribute. __—CL—__"
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string(8671) " Plaza 02 2020-05-11T15:55:01+00:00 Plaza_02.jpg screentime Saving a local landmark; screening double features at home Plaza 02 2020-05-01T04:00:00+00:00 SCREEN TIME: Protect the Plaza jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-05-01T04:00:00+00:00 The last movie I saw in a theater was The Invisible Man in late February, blissfully unaware that in a few weeks, the whole world would be worried about an invisible threat. After almost two months of sheltering in place due to the coronavirus, I’m wistfully remembering past times at the cinema.
One of my favorite experiences at the movies was a 2007 preview screening of Robert Rodriguez and Quentin Tarantino’s Grindhouse at the Plaza Theatre. Having opened in 1939 — and survived the changes its Poncey-Highland neighborhood has undergone in the years bookended by urban flight and gentrification — the Plaza has shown its share of B movies, XXX- rated fare and schlock in the ensuing decades. And, as usual for the vintage movie house that has survived such change, the evening brought out exactly the kind of film buffs who’d appreciate the double feature’s fake trailers, cameos, and simulations of old, scratched prints in a proudly resurrected film emporium that once screened exactly such pairings. It was a gory, raunchy delight.
And even though you can rent Rodriguez’ Planet Terror and Tarantino’s Death Proof, as well as find various bonus features online, home viewing can never match the charge of seeing Grindhouse with those people, in that venue. I find myself missing the ritual of passing under the Plaza’s art deco marquee, walking past the vintage movie posters in the lobby, smelling the fresh popcorn, and settling into the old-school cushioned seats before a show begins.
Atlanta has several theaters like the Midtown Art Cinema, part of the Landmark theater chain, that offer nice places to see art-house films. But the Plaza is the kind of independent theater that combines love of cinema with old-fashioned, idiosyncratic touches, feeling at once like a museum and a clubhouse, that make the mainstream cineplexes of the Regal or AMC chains feel cold and sterile. As a native Atlantan, I grew up in what now seems like a golden age of repertory movie houses, including the Film Forum, Garden Hills Cinema, the Screening Room, the Silver Screen and the Rhodes Theatre. With all of them long gone, the Plaza can feel like Atlanta’s last picture show.
The Plaza, like businesses worldwide, has been struggling to survive a landscape virtually bereft of customers now that the COVID-19 pandemic is holding hostage much of our daily lives. “This is the longest the Plaza has ever closed — by far,” said Chris Escobar, Plaza Theater owner and executive director of the Atlanta Film Society. “It’s never been closed more than a week, and that’s usually been for (repair) work or a filming.”
In mid-April, Escobar announced a partial but substantial furlough for the Plaza’s employees, with a limit of 12 working hours per week. He’s embarked on multiple different fundraising efforts and revenue streams, such as vouchers, concessions to go, and merchandise sales, as well as applying for such relief programs as the Federal Paycheck Protection Program (PPP) and the Art House Convergence relief fund.
“Right now I’d say we have a month left of being able to keep paying staff even on a limited basis without something big coming into play like the PPP program. Some of these things would add up and make that possible,” said Escobar, who acknowledged the uncertainty and enormity of the challenge facing the Plaza. He’s also negotiating with the theater’s property owner for flexibility: “They have a real opportunity to either be the hero or make it impossible for the Plaza to re-open.”
His choice was complicated by Georgia governor Brian Kemp’s April 20 announcement that movie theaters in the state could open on April 27. “I honestly didn’t think we would be allowed to re-open until June,” Escobar said in a statement on the theater’s Facebook page. “While nothing would make me happier than all of this being over and getting the ‘all clear,’ other than there being political pressure, I haven’t seen anything of the sort.
“This definitely feels like we’re getting pushed to sort this out on our own, and public health officials do not seem to be recommending this at this time,” the statement continued. “While we believe nothing is better than watching a movie in our theatre, we want to offer options that our customers are comfortable with and that keep our staff safe. We didn’t wait for government to start taking actions to operate more safely, and we aren’t going to drop our guard in any haste now.”
Escobar estimated that May 1 would be the earliest the theater would consider reopening in any capacity, most likely with some kind of alternate programming that permits safe social distancing, such as “Plaza Pop-Up Drive-In” screenings.
Meanwhile, the Plaza website (plazaatlanta.com) lists several ways to support the theater, including a page for GoFundMe donations toward a $25,000 goal as well as the option for private screening rentals of groups of less than 10 people. Subscribing to the Magnolia Selects curated film service using the code MOVIE589 will give the Plaza 100 percent of the proceeds.
While home viewing is no substitute for being there, the theater’s virtual screening room can at least connect Plaza supporters to films. In partnership with Kino Marquee, a nationwide initiative from the Kino Lorber film and video studio, the Plaza is virtually screening the kind of hot art-house fare it would show in better days, including the acclaimed socially-conscious Brazilian western Bacurau and the Irish supernatural comedy Extra Ordinary featuring Will Forte.
Capital in the Twenty-First Century opened May 1 and offers 50 percent of its ticket sales to the Plaza Theatre. Based on the influential book of the same name by French economist Thomas Piketty (who appears in the film), the documentary presents an energetic and devastating lesson in economic history. The historical material covers pretty familiar ground, but the latter half offers powerful depictions of how wealth inequities create an increasingly unequal society with decreasing options for social mobility.
In addition to Kino Marquee, Escobar says “We’re going to be launching a new digital platform in partnership with the Atlanta Film Society called ‘PlazaPlay,’ where our joined audiences can do individual rentals (and eventually a subscription) to a variety of indie, cult, and rep programming alongside companion content that includes special intros, Q&As, and more.”
Thinking back to the titles of Grindhouse, “Planet Terror” seems an apt way to describe the global attitude during the pandemic. One can only hope that, after 80 years, the Plaza will continue to be “Death Proof.”
Double Up: The Plaza had its own big-screen cameo last fall by appearing in a scene in Doctor Sleep, based on Stephen King’s sequel novel to The Shining. Audiences seemed to sleep on the spooky follow-up, but sheltering-in-place gives viewers a chance to catch up. Why not schedule an in-home double feature of Stanley Kubrick’s classic The Shining followed by Mike Flanagan’s Doctor Sleep? You can even mix “Redrum” cocktails to go with it.
For lighter fare, try an evening of Emma. Autumn de Wilde’s new adaptation of Jane Austen’s novel Emma was one of the first films to respond to the restrictions against gatherings to become a “first-run” online release on March 20. Pair it with Amy Heckerling’s take on the story, Clueless, transferring the comedy of manners from Regency England to 1990s Los Angeles, with a hilarious, career-defining performance from Alicia Silverstone. (You could even make it a triple with Douglas McGrath’s 1996 version of Emma, starring Gwyneth Paltrow.)
And for seemingly light musical-comedies with a bittersweet edge, That Thing You Do! (1996) and Josie and the Pussycats (2001) offer breezy satire of the pop music industry with contributions from Fountains of Wayne’s singer-songwriter Adam Schlesinger that sound like authentic chart-toppers. Schlesinger died of the coronavirus in April, and his joyful pop remains the perfect tribute. —CL— Courtesy of the Plaza Theatre KEEP THE LIGHTS ON: The Plaza Theatre’s vintage marquee on Ponce de Leon. 0,0,10 screentime SCREEN TIME: Protect the Plaza "
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SCREEN TIME: Protect the Plaza Article
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Saving a local landmark; screening double features at home
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string(5856) "As this was posted prior to concerns regarding the global coronavirus COVID-19 outbreak, please check to see if these events are still occurring. Be safe. Be healthy. Wash your hands.
Blood on Her Name and The Dark Red are a pair of low-budget, Georgia-filmed thrillers that you have to track down. Blood on Her Name was released on video on demand (with a stint at Studio Movie Grill in Marietta) on February 28, while The Dark Red screens at The Plaza Theatre on March 6 and makes its streaming debut the same date.
Blood and Red are both worth the hunt, proving that tightly-written screenplays and committed acting can still emerge from limited resources. Directed by local filmmakers Matthew Pope and Dan Bush, respectively, the taut tales each focus on compellingly flawed female protagonists.
In Blood on Her Name, Bethany Anne Lind plays Leigh Tiller, whom we first see in a garage alongside a recently murdered body. Like a Hitchcock suspense film, Blood captures the tension and dread of trying to conceal a crime without things spiraling out of control. And Leigh tends to be her own worst enemy, tempted to return the body to the victim’s family, despite the personal risk.
The screenplay, by Pope and Don M. Thompson, gradually reveals that Leigh is grappling with family issues on both sides. Her father (terrific character actor Will Patton) is a police officer near retirement with a history of secrets, while her son (Jared Ivers) has had troubles with the law that threaten to ruin his life. The viewer soon realizes that Leigh’s seemingly self-defeating motivations turn on the axis of those relationships. Lind’s performance is a tour de force of raw feeling, to the point that Leigh’s emotional transparency gives her no “poker face.” Her intensely mixed emotions are always clear as day.
The Dark Red’s structure is a little more complex, as we find young Sybil (April Billingsley) in a mental institution, trying to convince her psychiatrist (Kelsey Scott) that her unborn child was surgically removed and stolen by a cultlike organization. Sybil’s flashbacks reveal her increasingly horrific story, while her doctor warns that the only conspiracy may be her own tendency to schizophrenia.
Bush was one of the three directors of The Signal, a 2007 sleeper hit that helped establish Atlanta’s indie horror scene. (Another co-director, David Bruckner, recently screened his new film The Night House at this year’s Sundance Film Festival.) Bush shifts gears between genres in The Dark Red switching from paranoid thriller to horror to revenge flick.
Bush credits his creative partners with strengthening the film’s feminine point of view, saying in an email, “Our female ‘keys’ — director of photography, production designer, stunt choreographer, costume designer, and our female lead — all worked together to help me honor a female perspective while telling this story.”
The film’s themes of psychic powers feel a little undercooked, but Billingsley gives a wrenching, powerful performance, transforming herself from desperate victim to dedicated avenger, and longtime Atlanta actors Rhoda Griffis and Jill Jane Clements give strong moral support. Both Blood on Her Name and The Dark Red suggest, in very different ways, how bad an idea it can be to come between mother and child.
Blood on Her Name. B+. Stars Bethany Anne Lind and Will Patton. Directed by Matthew Pope. Available on demand.
The Dark Red. B. Stars April Billingsley. Directed by Dan Bush. Available on demand and screening at the Plaza Theatre on March 6.
No Strings Attached: An under-appreciated boon of our current streaming options is the increased outlets for short films — if you can find them. In January, Netflix released David Lynch’s “What Did Jack Do?” a self-conscious exercise in hard-boiled clichés, with Lynch interrogating a talking monkey. But usually, shorts pop up on platforms without warning.
Such is the case with Amazon Prime’s “Nature Calls,” billed as “a New Puppet Order live-action cartoon.” Directed by Darrell C. Hazelrig with Atlanta-based New Puppet Order, the short shows a young woman drop a cell phone during a hike, which disrupts the natural order as flora and fauna fight over it. A purposefully goofy homage to Looney Tunes animation, “Nature Calls” uses puppets for slapstick and puns: A tree stump gets the phone and starts dating on “Timber.” Its broad silliness is probably best suited to kids and puppetry fans, but it’s nice to know that “Nature Calls” is out there.
Coming Attractions: Landmark Midtown Art Cinema has an intriguingly diverse line-up for its Classics Series in March, showing Tuesday nights through March 31. On March 3, catch Wanda, the 1970 directorial debut of neglected female filmmaker Barbara Loden, March 10 features Putney Swope, a satire of U.S. race relations and advertising industry from cult director Robert Downey Sr. His A-list son, Robert Downey Jr., stars in Oliver Stone’s Natural Born Killers, a surreal meditation on violence and media, screening on March 17.
On March 24, Monty Python’s Life of Brian offers an irreverent but pointed spoof of Christianity that serves as a timely tribute to director Terry Jones, who died in January. And March 31 presents Do the Right Thing, Spike Lee’s blazingly creative, perpetually relevant drama on race relations, which celebrated its 30th anniversary last year.
And speaking of the classics, Silver Scream Spook Show brings its campy hijinks back to The Plaza Theatre on March 14 for a screening of 1935’s Bride of Frankenstein, the most highly regarded of the old-school Universal monster movies. —CL—
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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''Blood on Her Name'' and The ''Dark Red ''are a pair of low-budget, Georgia-filmed thrillers that you have to track down. ''Blood on Her Name'' was released on video on demand (with a stint at Studio Movie Grill in Marietta) on February 28, while ''The Dark Red'' screens at The Plaza Theatre on March 6 and makes its streaming debut the same date.
Blood and Red are both worth the hunt, proving that tightly-written screenplays and committed acting can still emerge from limited resources. Directed by local filmmakers Matthew Pope and Dan Bush, respectively, the taut tales each focus on compellingly flawed female protagonists.
In ''Blood on Her Name'', Bethany Anne Lind plays Leigh Tiller, whom we first see in a garage alongside a recently murdered body. Like a Hitchcock suspense film, Blood captures the tension and dread of trying to conceal a crime without things spiraling out of control. And Leigh tends to be her own worst enemy, tempted to return the body to the victim’s family, despite the personal risk.
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''The Dark Red''’s structure is a little more complex, as we find young Sybil (April Billingsley) in a mental institution, trying to convince her psychiatrist (Kelsey Scott) that her unborn child was surgically removed and stolen by a cultlike organization. Sybil’s flashbacks reveal her increasingly horrific story, while her doctor warns that the only conspiracy may be her own tendency to schizophrenia.
Bush was one of the three directors of The Signal, a 2007 sleeper hit that helped establish Atlanta’s indie horror scene. (Another co-director, David Bruckner, recently screened his new film ''The Night House'' at this year’s Sundance Film Festival.) Bush shifts gears between genres in ''The Dark Red ''switching from paranoid thriller to horror to revenge flick.
Bush credits his creative partners with strengthening the film’s feminine point of view, saying in an email, “Our female ‘keys’ — director of photography, production designer, stunt choreographer, costume designer, and our female lead — all worked together to help me honor a female perspective while telling this story.”
The film’s themes of psychic powers feel a little undercooked, but Billingsley gives a wrenching, powerful performance, transforming herself from desperate victim to dedicated avenger, and longtime Atlanta actors Rhoda Griffis and Jill Jane Clements give strong moral support. Both ''Blood on Her Name'' and ''The Dark Red ''suggest, in very different ways, how bad an idea it can be to come between mother and child.
__''Blood on Her Name''__. B+. Stars Bethany Anne Lind and Will Patton. Directed by Matthew Pope. Available on demand.
__''The Dark Red''__. B. Stars April Billingsley. Directed by Dan Bush. Available on demand and screening at the Plaza Theatre on March 6.
__No Strings Attached:__ An under-appreciated boon of our current streaming options is the increased outlets for short films — if you can find them. In January, Netflix released David Lynch’s “What Did Jack Do?” a self-conscious exercise in hard-boiled clichés, with Lynch interrogating a talking monkey. But usually, shorts pop up on platforms without warning.
Such is the case with Amazon Prime’s “Nature Calls,” billed as “a New Puppet Order live-action cartoon.” Directed by Darrell C. Hazelrig with Atlanta-based New Puppet Order, the short shows a young woman drop a cell phone during a hike, which disrupts the natural order as flora and fauna fight over it. A purposefully goofy homage to Looney Tunes animation, “Nature Calls” uses puppets for slapstick and puns: A tree stump gets the phone and starts dating on “Timber.” Its broad silliness is probably best suited to kids and puppetry fans, but it’s nice to know that “Nature Calls” is out there.
__Coming Attractions__: Landmark Midtown Art Cinema has an intriguingly diverse line-up for its Classics Series in March, showing Tuesday nights through March 31. On March 3, catch ''Wanda'', the 1970 directorial debut of neglected female filmmaker Barbara Loden, March 10 features ''Putney Swope'', a satire of U.S. race relations and advertising industry from cult director Robert Downey Sr. His A-list son, Robert Downey Jr., stars in Oliver Stone’s ''Natural Born Killers'', a surreal meditation on violence and media, screening on March 17.
On March 24, Monty Python’s ''Life of Brian'' offers an irreverent but pointed spoof of Christianity that serves as a timely tribute to director Terry Jones, who died in January. And March 31 presents ''Do the Right Thing'', Spike Lee’s blazingly creative, perpetually relevant drama on race relations, which celebrated its 30th anniversary last year.
And speaking of the classics, Silver Scream Spook Show brings its campy hijinks back to The Plaza Theatre on March 14 for a screening of 1935’s'' Bride of Frankenstein'', the most highly regarded of the old-school Universal monster movies. __—CL—__
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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string(6328) " SCREEN 5 BOHN Web 2020-03-02T19:44:09+00:00 SCREEN_5_BOHN_web.jpg screentime Low-budget, locally-filmed indie thrillers showcase female protagonists SCREEN 5 BOHN Web 2020-03-02T19:37:16+00:00 SCREEN TIME: Two tough mothers will.cardwell Will Cardwell Curt Holman 2020-03-02T19:37:16+00:00 As this was posted prior to concerns regarding the global coronavirus COVID-19 outbreak, please check to see if these events are still occurring. Be safe. Be healthy. Wash your hands.
Blood on Her Name and The Dark Red are a pair of low-budget, Georgia-filmed thrillers that you have to track down. Blood on Her Name was released on video on demand (with a stint at Studio Movie Grill in Marietta) on February 28, while The Dark Red screens at The Plaza Theatre on March 6 and makes its streaming debut the same date.
Blood and Red are both worth the hunt, proving that tightly-written screenplays and committed acting can still emerge from limited resources. Directed by local filmmakers Matthew Pope and Dan Bush, respectively, the taut tales each focus on compellingly flawed female protagonists.
In Blood on Her Name, Bethany Anne Lind plays Leigh Tiller, whom we first see in a garage alongside a recently murdered body. Like a Hitchcock suspense film, Blood captures the tension and dread of trying to conceal a crime without things spiraling out of control. And Leigh tends to be her own worst enemy, tempted to return the body to the victim’s family, despite the personal risk.
The screenplay, by Pope and Don M. Thompson, gradually reveals that Leigh is grappling with family issues on both sides. Her father (terrific character actor Will Patton) is a police officer near retirement with a history of secrets, while her son (Jared Ivers) has had troubles with the law that threaten to ruin his life. The viewer soon realizes that Leigh’s seemingly self-defeating motivations turn on the axis of those relationships. Lind’s performance is a tour de force of raw feeling, to the point that Leigh’s emotional transparency gives her no “poker face.” Her intensely mixed emotions are always clear as day.
The Dark Red’s structure is a little more complex, as we find young Sybil (April Billingsley) in a mental institution, trying to convince her psychiatrist (Kelsey Scott) that her unborn child was surgically removed and stolen by a cultlike organization. Sybil’s flashbacks reveal her increasingly horrific story, while her doctor warns that the only conspiracy may be her own tendency to schizophrenia.
Bush was one of the three directors of The Signal, a 2007 sleeper hit that helped establish Atlanta’s indie horror scene. (Another co-director, David Bruckner, recently screened his new film The Night House at this year’s Sundance Film Festival.) Bush shifts gears between genres in The Dark Red switching from paranoid thriller to horror to revenge flick.
Bush credits his creative partners with strengthening the film’s feminine point of view, saying in an email, “Our female ‘keys’ — director of photography, production designer, stunt choreographer, costume designer, and our female lead — all worked together to help me honor a female perspective while telling this story.”
The film’s themes of psychic powers feel a little undercooked, but Billingsley gives a wrenching, powerful performance, transforming herself from desperate victim to dedicated avenger, and longtime Atlanta actors Rhoda Griffis and Jill Jane Clements give strong moral support. Both Blood on Her Name and The Dark Red suggest, in very different ways, how bad an idea it can be to come between mother and child.
Blood on Her Name. B+. Stars Bethany Anne Lind and Will Patton. Directed by Matthew Pope. Available on demand.
The Dark Red. B. Stars April Billingsley. Directed by Dan Bush. Available on demand and screening at the Plaza Theatre on March 6.
No Strings Attached: An under-appreciated boon of our current streaming options is the increased outlets for short films — if you can find them. In January, Netflix released David Lynch’s “What Did Jack Do?” a self-conscious exercise in hard-boiled clichés, with Lynch interrogating a talking monkey. But usually, shorts pop up on platforms without warning.
Such is the case with Amazon Prime’s “Nature Calls,” billed as “a New Puppet Order live-action cartoon.” Directed by Darrell C. Hazelrig with Atlanta-based New Puppet Order, the short shows a young woman drop a cell phone during a hike, which disrupts the natural order as flora and fauna fight over it. A purposefully goofy homage to Looney Tunes animation, “Nature Calls” uses puppets for slapstick and puns: A tree stump gets the phone and starts dating on “Timber.” Its broad silliness is probably best suited to kids and puppetry fans, but it’s nice to know that “Nature Calls” is out there.
Coming Attractions: Landmark Midtown Art Cinema has an intriguingly diverse line-up for its Classics Series in March, showing Tuesday nights through March 31. On March 3, catch Wanda, the 1970 directorial debut of neglected female filmmaker Barbara Loden, March 10 features Putney Swope, a satire of U.S. race relations and advertising industry from cult director Robert Downey Sr. His A-list son, Robert Downey Jr., stars in Oliver Stone’s Natural Born Killers, a surreal meditation on violence and media, screening on March 17.
On March 24, Monty Python’s Life of Brian offers an irreverent but pointed spoof of Christianity that serves as a timely tribute to director Terry Jones, who died in January. And March 31 presents Do the Right Thing, Spike Lee’s blazingly creative, perpetually relevant drama on race relations, which celebrated its 30th anniversary last year.
And speaking of the classics, Silver Scream Spook Show brings its campy hijinks back to The Plaza Theatre on March 14 for a screening of 1935’s Bride of Frankenstein, the most highly regarded of the old-school Universal monster movies. —CL—
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services. ‘BLOOD ON HER NAME’ WHAT’S MY NAME? Bethany Anne Lind stars in “Blood on Her Name.” 0,0,1 screentime SCREEN TIME: Two tough mothers "
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SCREEN TIME: Two tough mothers Article
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Low-budget, locally-filmed indie thrillers showcase female protagonists
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string(5406) "Event movies don’t have to involve star wars or superheroes, although those have been some of the most reliable blockbusters in recent years. Sam Mendes’ war film 1917, opening in Atlanta on January 10, offers a harrowing, one-of-a-kind spectacle that would be significantly diminished by home viewing.
Mendes, the director of Skyfall, loosely based the film on stories his grandfather told about his service in World War I. The story’s simplicity could suit a video game, as two British corporals (George MacKay and Game of Thrones’s Dean-Charles Chapman), take a dangerous mission to cross potentially hostile territory to deliver a message that could save more than a thousand fellow soldiers.
What could be called the gimmick of the film is that 1917 is presented essentially in real time, in what resembles one continuous shot. The viewer feels very much like a third person following the other two as they make an odyssey from an unspoiled pasture in Northern France to the muddy maze of the British trenches and then out across the hellscape of no man’s land and beyond.
Chapman and MacKay capture the mixture of camaraderie, fatalism, and sensible concerns of young, ordinary men under enormous pressure, although the script lacks the complexity of Christopher Nolan’s comparably stressful Dunkirk.
But you could say that with 1917, the style is the substance. Acclaimed cinematographer Roger Deakins provides some of his finest work by framing the dangers of frontline combat. 1917 changes the rhythms we’re used to in movies — we quickly realize that if something goes wrong, the perspective won’t cut away, and the viewer is as vulnerable as the characters. One of the best films of the year, 1917 gives the audience the uncanny, breathless feeling that the wartime peril is actually happening to them. You could call it the next-worst thing to being there.
1917. A-. Stars Dean-Charles Chapman and George MacKay. Directed by Sam Mendes. Rated R. Opens Jan. 10 at area theaters.
King of All Media: January 12 marks the debut of the HBO miniseries “The Outsider,” set and shot in Georgia, which serves as a reminder of the remarkably enduring career of writer Stephen King. With a name often synonymous with the horror genre, the 72-year-old writer is seeing a resurgence in adaptations, from theatrical films to streaming services.
The current wave began with the success of It, saw a recent financial disappointment with Doctor Sleep (an adaptation of King’s own sequel to The Shining) and includes Hulu’s “Castle Rock,” an uneven but sometimes fun original series that riffs on established King themes and locales.
Adapted by author/screenwriter Richard Price, HBO’s “The Outsider” has a sharply different vibe, and if you didn’t know it was based on a King novel from 2018, you wouldn’t guess based on the first episodes. “The Outsider” depicts detective Ralph Anderson (Ben Mendelsohn), who arrests beloved teacher and coach Terry Maitland (Jason Bateman, star of the locally-shot “Ozark”) for the horrific murder of a young boy. Maitland asserts his innocence, but for every piece of evidence that supports his alibi, more puts him at the crime scene.
The longer the show unfolds, the more likely it seems that something supernatural is at play. For Georgia viewers, “The Outsider” provides the diversion of watching out for local actors and settings, with the first episode giving Claire Bronson a wrenching turn as a mother of the murder victim.
From the outset, “The Outsider” plays less like one of King’s killer-clown thrill-rides, and more like a downbeat law-and-order procedural such as HBO’s “The Night Of,” another project written and produced by Price, who specializes in prestigious crime projects. “The Outsider” can be serious to the point of austerity, and specializes in dim lighting and compositions that put characters deep in the background or half-obstructed. It serves as a reminder of the sheer volume and diversity of King’s work in film and TV. Perhaps his own streaming service isn’t far away.
Coming Attractions: Other high-profile Atlanta productions are coming up this month. The comedy Like a Boss pairs Tiffany Haddish and Rose Byrne as small-business partners who sell out to a cosmetics mogul (Salma Hayek) and live to regret it.
Bad Boys for Life (January 17) reunites Will Smith and Martin Lawrence in the third entry of the buddy-cop series, with Belgian directors Adil El Arbi and Bilall Fallah taking over from Michael Bay. (Perhaps they’ll try to solve the mystery of why the studio didn’t save the title Bad Boys 4 Life for the fourth movie.)
And A Fall from Grace (January 17) offers the latest romantic thriller from Tyler Perry, making his first theatrical release for Netflix.
Finally, a non-Atlanta production worthy of note is Weathering With You (January 17 at Atlantic Station), an anime romance about a student who befriends a girl who seems capable of controlling the weather. Weathering, directed by Makoto Shinkai, is from the creators of 2016’s hit Your Name and seems like a comparable anime love story, bound to find a devoted following without crossing over to the U.S. mainstream. —CL—
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services.
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string(5524) "Event movies don’t have to involve star wars or superheroes, although those have been some of the most reliable blockbusters in recent years. Sam Mendes’ war film ''1917'', opening in Atlanta on January 10, offers a harrowing, one-of-a-kind spectacle that would be significantly diminished by home viewing.
Mendes, the director of ''Skyfall'', loosely based the film on stories his grandfather told about his service in World War I. The story’s simplicity could suit a video game, as two British corporals (George MacKay and ''Game of Thrones''’s Dean-Charles Chapman), take a dangerous mission to cross potentially hostile territory to deliver a message that could save more than a thousand fellow soldiers.
What could be called the gimmick of the film is that ''1917'' is presented essentially in real time, in what resembles one continuous shot. The viewer feels very much like a third person following the other two as they make an odyssey from an unspoiled pasture in Northern France to the muddy maze of the British trenches and then out across the hellscape of no man’s land and beyond.
Chapman and MacKay capture the mixture of camaraderie, fatalism, and sensible concerns of young, ordinary men under enormous pressure, although the script lacks the complexity of Christopher Nolan’s comparably stressful ''Dunkirk''.
But you could say that with ''1917'', the style is the substance. Acclaimed cinematographer Roger Deakins provides some of his finest work by framing the dangers of frontline combat. ''1917'' changes the rhythms we’re used to in movies — we quickly realize that if something goes wrong, the perspective won’t cut away, and the viewer is as vulnerable as the characters. One of the best films of the year, ''1917'' gives the audience the uncanny, breathless feeling that the wartime peril is actually happening to them. You could call it the next-worst thing to being there.
''1917''. A-. Stars Dean-Charles Chapman and George MacKay. Directed by Sam Mendes. Rated R. Opens Jan. 10 at area theaters.
__King of All Media:__ January 12 marks the debut of the HBO miniseries “The Outsider,” set and shot in Georgia, which serves as a reminder of the remarkably enduring career of writer Stephen King. With a name often synonymous with the horror genre, the 72-year-old writer is seeing a resurgence in adaptations, from theatrical films to streaming services.
The current wave began with the success of ''It'', saw a recent financial disappointment with ''Doctor Sleep'' (an adaptation of King’s own sequel to ''The Shining'') and includes Hulu’s “Castle Rock,” an uneven but sometimes fun original series that riffs on established King themes and locales.
Adapted by author/screenwriter Richard Price, HBO’s “The Outsider” has a sharply different vibe, and if you didn’t know it was based on a King novel from 2018, you wouldn’t guess based on the first episodes. “The Outsider” depicts detective Ralph Anderson (Ben Mendelsohn), who arrests beloved teacher and coach Terry Maitland (Jason Bateman, star of the locally-shot “Ozark”) for the horrific murder of a young boy. Maitland asserts his innocence, but for every piece of evidence that supports his alibi, more puts him at the crime scene.
The longer the show unfolds, the more likely it seems that something supernatural is at play. For Georgia viewers, “The Outsider” provides the diversion of watching out for local actors and settings, with the first episode giving Claire Bronson a wrenching turn as a mother of the murder victim.
From the outset, “The Outsider” plays less like one of King’s killer-clown thrill-rides, and more like a downbeat law-and-order procedural such as HBO’s “The Night Of,” another project written and produced by Price, who specializes in prestigious crime projects. “The Outsider” can be serious to the point of austerity, and specializes in dim lighting and compositions that put characters deep in the background or half-obstructed. It serves as a reminder of the sheer volume and diversity of King’s work in film and TV. Perhaps his own streaming service isn’t far away.
__Coming Attractions:__ Other high-profile Atlanta productions are coming up this month. The comedy ''Like a Boss'' pairs Tiffany Haddish and Rose Byrne as small-business partners who sell out to a cosmetics mogul (Salma Hayek) and live to regret it.
''Bad Boys for Life'' (January 17) reunites Will Smith and Martin Lawrence in the third entry of the buddy-cop series, with Belgian directors Adil El Arbi and Bilall Fallah taking over from Michael Bay. (Perhaps they’ll try to solve the mystery of why the studio didn’t save the title ''Bad Boys 4 Life'' for the fourth movie.)
And ''A Fall from Grace'' (January 17) offers the latest romantic thriller from Tyler Perry, making his first theatrical release for Netflix.
Finally, a non-Atlanta production worthy of note is ''Weathering With You'' (January 17 at Atlantic Station), an anime romance about a student who befriends a girl who seems capable of controlling the weather. ''Weathering'', directed by Makoto Shinkai, is from the creators of 2016’s hit ''Your Name'' and seems like a comparable anime love story, bound to find a devoted following without crossing over to the U.S. mainstream. __—CL—__
''Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services.''
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string(5985) " 1917 3 Res Web 2020-01-03T16:05:43+00:00 1917-3_res_web.jpg screentime World War I film brings combat to life; Stephen King returns to Georgia with “The Outsider” 1917 3 Res Web 2020-01-03T16:04:08+00:00 SCREEN TIME: ‘1917’ puts viewers in the trenches jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2020-01-03T16:04:08+00:00 Event movies don’t have to involve star wars or superheroes, although those have been some of the most reliable blockbusters in recent years. Sam Mendes’ war film 1917, opening in Atlanta on January 10, offers a harrowing, one-of-a-kind spectacle that would be significantly diminished by home viewing.
Mendes, the director of Skyfall, loosely based the film on stories his grandfather told about his service in World War I. The story’s simplicity could suit a video game, as two British corporals (George MacKay and Game of Thrones’s Dean-Charles Chapman), take a dangerous mission to cross potentially hostile territory to deliver a message that could save more than a thousand fellow soldiers.
What could be called the gimmick of the film is that 1917 is presented essentially in real time, in what resembles one continuous shot. The viewer feels very much like a third person following the other two as they make an odyssey from an unspoiled pasture in Northern France to the muddy maze of the British trenches and then out across the hellscape of no man’s land and beyond.
Chapman and MacKay capture the mixture of camaraderie, fatalism, and sensible concerns of young, ordinary men under enormous pressure, although the script lacks the complexity of Christopher Nolan’s comparably stressful Dunkirk.
But you could say that with 1917, the style is the substance. Acclaimed cinematographer Roger Deakins provides some of his finest work by framing the dangers of frontline combat. 1917 changes the rhythms we’re used to in movies — we quickly realize that if something goes wrong, the perspective won’t cut away, and the viewer is as vulnerable as the characters. One of the best films of the year, 1917 gives the audience the uncanny, breathless feeling that the wartime peril is actually happening to them. You could call it the next-worst thing to being there.
1917. A-. Stars Dean-Charles Chapman and George MacKay. Directed by Sam Mendes. Rated R. Opens Jan. 10 at area theaters.
King of All Media: January 12 marks the debut of the HBO miniseries “The Outsider,” set and shot in Georgia, which serves as a reminder of the remarkably enduring career of writer Stephen King. With a name often synonymous with the horror genre, the 72-year-old writer is seeing a resurgence in adaptations, from theatrical films to streaming services.
The current wave began with the success of It, saw a recent financial disappointment with Doctor Sleep (an adaptation of King’s own sequel to The Shining) and includes Hulu’s “Castle Rock,” an uneven but sometimes fun original series that riffs on established King themes and locales.
Adapted by author/screenwriter Richard Price, HBO’s “The Outsider” has a sharply different vibe, and if you didn’t know it was based on a King novel from 2018, you wouldn’t guess based on the first episodes. “The Outsider” depicts detective Ralph Anderson (Ben Mendelsohn), who arrests beloved teacher and coach Terry Maitland (Jason Bateman, star of the locally-shot “Ozark”) for the horrific murder of a young boy. Maitland asserts his innocence, but for every piece of evidence that supports his alibi, more puts him at the crime scene.
The longer the show unfolds, the more likely it seems that something supernatural is at play. For Georgia viewers, “The Outsider” provides the diversion of watching out for local actors and settings, with the first episode giving Claire Bronson a wrenching turn as a mother of the murder victim.
From the outset, “The Outsider” plays less like one of King’s killer-clown thrill-rides, and more like a downbeat law-and-order procedural such as HBO’s “The Night Of,” another project written and produced by Price, who specializes in prestigious crime projects. “The Outsider” can be serious to the point of austerity, and specializes in dim lighting and compositions that put characters deep in the background or half-obstructed. It serves as a reminder of the sheer volume and diversity of King’s work in film and TV. Perhaps his own streaming service isn’t far away.
Coming Attractions: Other high-profile Atlanta productions are coming up this month. The comedy Like a Boss pairs Tiffany Haddish and Rose Byrne as small-business partners who sell out to a cosmetics mogul (Salma Hayek) and live to regret it.
Bad Boys for Life (January 17) reunites Will Smith and Martin Lawrence in the third entry of the buddy-cop series, with Belgian directors Adil El Arbi and Bilall Fallah taking over from Michael Bay. (Perhaps they’ll try to solve the mystery of why the studio didn’t save the title Bad Boys 4 Life for the fourth movie.)
And A Fall from Grace (January 17) offers the latest romantic thriller from Tyler Perry, making his first theatrical release for Netflix.
Finally, a non-Atlanta production worthy of note is Weathering With You (January 17 at Atlantic Station), an anime romance about a student who befriends a girl who seems capable of controlling the weather. Weathering, directed by Makoto Shinkai, is from the creators of 2016’s hit Your Name and seems like a comparable anime love story, bound to find a devoted following without crossing over to the U.S. mainstream. —CL—
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services.
Courtesy of Universal Pictures LIFE DURING WARTIME: Dean-Charles Chapman and George MacKay go behind the lines in 1917. 0,0,10 screentime SCREEN TIME: ‘1917’ puts viewers in the trenches "
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World War I film brings combat to life; Stephen King returns to Georgia with “The Outsider”
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string(5512) "Audiences have multiple choices for Christmas movies this Yuletide season, including the rom-com Last Christmas, the slasher remake Black Christmas, and numerous streaming debuts on Netflix, Disney+, and, inescapably, Lifetime. FYI, Lifetime’s Cherished Memories: A Gift to Remember 2, by Atlanta playwright and screenwriter Topher Payne, premiered in November.
Perhaps the most usual and affecting new movie to watch at the holidays has almost no apparent Christmas content at all. The dramedy A Beautiful Day in the Neighborhood eschews wrapping-paper color schemes and remixed Christmas carols, but provides a uniquely powerful exploration of such ideas as good will and forgiveness, which often receive little more than lip service in the average holiday movie.
Tom Hanks plays Fred Rogers, the beloved, cardigan-wearing creator of “Mister Rogers’ Neighborhood.” The film is no biopic, though, but draws inspiration from the 1998 Esquire magazine profile “Can You Say… Hero?” by journalist Tom Junod (currently a Marietta resident). Matthew Rhys plays Lloyd Vogel, a fictionalized version of Junod who’d rather write a hard-hitting expose than a 400-word puff piece on a saintly children’s TV host.
But Fred Rogers proves more complex than Lloyd expects, less interested in talking about the burden of fame than probing Lloyd’s own personal problems, which include raising a baby son while harboring deep resentments over his deadbeat dad (Chris Cooper). Lloyd and Rogers’ interview scenes unfold like lightly comedic power struggles, with Rogers’ blithe kindness deflecting Lloyd’s confrontational interrogation. It’s initially jarring to hear Hanks speak in Rogers’ trademark lilt, but Hanks’ innate affability perfectly matches Rogers’ gentle spirit.
The screenplay, directed by Marielle Heller, frames the story as an episode of “Mister Rogers’ Neighborhood,” with Lloyd, incongruously, as a special focus. Transitions show New York City and Rogers’ Pittsburgh home as miniature models in the style of the show’s opening. Rather than play as ironic comedy, Neighborhood embraces a more bittersweet surrealism, tonally comparable to Spike Jonze’s Where the Wild Things Are. Rogers famously avoided talking down to children in exploring how to deal with emotions and occasionally difficult issues such as death and divorce; the film uses vintage videos and an extended dream sequence to apply a similar sensibility to a grown-up audience.
Perhaps Neighborhood spends more time with Lloyd’s family scenes than it really needs, but it earns its moments of catharsis. As Rogers dismantles Lloyd’s cynicism, it doesn’t over-sentimentalize Rogers. He makes time for young fans no matter how much it puts his show behind schedule, to his colleagues’ consternation, and emphasizes that niceness is a practice: Being Mister Rogers is something he loves, but also something he works at.
Late in the film, Lloyd and Rogers share a moment of therapeutic silence that, in its softness and duration, feels boldly different from a conventional Hollywood movie scene. Hanks holds an extended, wordless close-up that would be uncomfortable if the actor weren’t as beatific as Buddha. It’s one of many moments that can bring a viewer up short, to wonder “Why not try and treat other people with more compassion?” A Beautiful Day in the Neighborhood can make you reconsider your own behavior, no matter what time of year you see it.
A Beautiful Day in the Neighborhood. B+. Stars Matthew Rhys and Tom Hanks. Directed by Marielle Heller. Rated PG-13. Now playing at area theaters.
Coming Attractions: On December 8, the Atlanta Comedy Film Festival at Wild Heaven Beer offers a showcase of short films, television episodes, music videos, and “micro shorts” all meant to make you laugh. facebook.com/AtlantaComedyFilmFestival
The latest Star Wars film, The Rise of Skywalker, opens December 20 and has not screened at press time. But if you crave a family-friendly sci-fi spectacle that’s closer to home than a galaxy far, far away, local writer Jon Waterhouse has published a story in the 22nd issue of the comic book Star Wars Adventures focusing on the tauntauns — those goatlike alien steeds Luke Skywalker rode in The Empire Strikes Back. Waterhouse will be signing copies of the issue on Thursday, December 12 at Decatur’s Little Shop of Stories.
December 12 will also see a special screening of the 1984 horror comedy Gremlins at the Plaza Theater. Star Zach Galligan is scheduled to be on hand for director Joe Dante’s bratty but beloved film about how a band of little monsters wreak havoc over Christmas at a small town.
Fans of reality television and unusual documentaries should check out 63 Up when it opens at Landmark Midtown Art Cinema on December 13. The ongoing project began in 1964 when the BBC profiled 14 seven-year-old children, and director Michael Apted revisited them with a new film every seven years since. The ninth episode, 63 Up, finds the subjects in their 60s, measuring their youthful dreams against their middle-aged realities, and offers a one-of-a-kind portrayal of life across half a century.
Finally, if you’re looking for holiday gift ideas with an Atlanta movie fan in mind, consider a T-shirt from the venerable video store Videodrome, which offers three designs at $25 a piece. You can support a landmark of local film culture by both buying one and wearing one. -CL-"
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Perhaps the most usual and affecting new movie to watch at the holidays has almost no apparent Christmas content at all. The dramedy ''A Beautiful Day in the Neighborhood'' eschews wrapping-paper color schemes and remixed Christmas carols, but provides a uniquely powerful exploration of such ideas as good will and forgiveness, which often receive little more than lip service in the average holiday movie.
Tom Hanks plays Fred Rogers, the beloved, cardigan-wearing creator of “Mister Rogers’ Neighborhood.” The film is no biopic, though, but draws inspiration from the 1998 ''Esquire'' magazine profile “Can You Say… Hero?” by journalist Tom Junod (currently a Marietta resident). Matthew Rhys plays Lloyd Vogel, a fictionalized version of Junod who’d rather write a hard-hitting expose than a 400-word puff piece on a saintly children’s TV host.
But Fred Rogers proves more complex than Lloyd expects, less interested in talking about the burden of fame than probing Lloyd’s own personal problems, which include raising a baby son while harboring deep resentments over his deadbeat dad (Chris Cooper). Lloyd and Rogers’ interview scenes unfold like lightly comedic power struggles, with Rogers’ blithe kindness deflecting Lloyd’s confrontational interrogation. It’s initially jarring to hear Hanks speak in Rogers’ trademark lilt, but Hanks’ innate affability perfectly matches Rogers’ gentle spirit.
The screenplay, directed by Marielle Heller, frames the story as an episode of “Mister Rogers’ Neighborhood,” with Lloyd, incongruously, as a special focus. Transitions show New York City and Rogers’ Pittsburgh home as miniature models in the style of the show’s opening. Rather than play as ironic comedy, ''Neighborhood'' embraces a more bittersweet surrealism, tonally comparable to Spike Jonze’s ''Where the Wild Things Are''. Rogers famously avoided talking down to children in exploring how to deal with emotions and occasionally difficult issues such as death and divorce; the film uses vintage videos and an extended dream sequence to apply a similar sensibility to a grown-up audience.
Perhaps ''Neighborhood'' spends more time with Lloyd’s family scenes than it really needs, but it earns its moments of catharsis. As Rogers dismantles Lloyd’s cynicism, it doesn’t over-sentimentalize Rogers. He makes time for young fans no matter how much it puts his show behind schedule, to his colleagues’ consternation, and emphasizes that niceness is a practice: Being Mister Rogers is something he loves, but also something he works at.
Late in the film, Lloyd and Rogers share a moment of therapeutic silence that, in its softness and duration, feels boldly different from a conventional Hollywood movie scene. Hanks holds an extended, wordless close-up that would be uncomfortable if the actor weren’t as beatific as Buddha. It’s one of many moments that can bring a viewer up short, to wonder “Why ''not'' try and treat other people with more compassion?” ''A Beautiful Day in the Neighborhood'' can make you reconsider your own behavior, no matter what time of year you see it.
__''A Beautiful Day in the Neighborhood''__. B+. Stars Matthew Rhys and Tom Hanks. Directed by Marielle Heller. Rated PG-13. Now playing at area theaters.
__Coming Attractions:__ On December 8, the Atlanta Comedy Film Festival at Wild Heaven Beer offers a showcase of short films, television episodes, music videos, and “micro shorts” all meant to make you laugh. ''[http://facebook.com/AtlantaComedyFilmFestival|facebook.com/AtlantaComedyFilmFestival]''
The latest ''Star Wars'' film, ''The Rise of Skywalker'', opens December 20 and has not screened at press time. But if you crave a family-friendly sci-fi spectacle that’s closer to home than a galaxy far, far away, local writer Jon Waterhouse has published a story in the 22nd issue of the comic book ''Star Wars Adventures'' focusing on the tauntauns — those goatlike alien steeds Luke Skywalker rode in ''The Empire Strikes Back''. Waterhouse will be signing copies of the issue on Thursday, December 12 at Decatur’s Little Shop of Stories.
December 12 will also see a special screening of the 1984 horror comedy ''Gremlins'' at the Plaza Theater. Star Zach Galligan is scheduled to be on hand for director Joe Dante’s bratty but beloved film about how a band of little monsters wreak havoc over Christmas at a small town.
Fans of reality television and unusual documentaries should check out ''63 Up'' when it opens at Landmark Midtown Art Cinema on December 13. The ongoing project began in 1964 when the BBC profiled 14 seven-year-old children, and director Michael Apted revisited them with a new film every seven years since. The ninth episode, ''63 Up'', finds the subjects in their 60s, measuring their youthful dreams against their middle-aged realities, and offers a one-of-a-kind portrayal of life across half a century.
Finally, if you’re looking for holiday gift ideas with an Atlanta movie fan in mind, consider a T-shirt from the venerable video store Videodrome, which offers three designs at $25 a piece. You can support a landmark of local film culture by both buying one and wearing one. __-CL-__"
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string(6165) " SCRN Neighborhood2 Web 2019-12-03T22:36:09+00:00 SCRN_neighborhood2_web.jpg screentime movies film “A Beautiful Day in the Neighborhood” ignores biopic clichés for surprisingly perfect holiday fare SCRN Neighborhood2 Web 2019-12-03T22:30:46+00:00 SCREEN TIME: Mister Rogers movie offers “Neighborhood” watch jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2019-12-03T22:30:46+00:00 Audiences have multiple choices for Christmas movies this Yuletide season, including the rom-com Last Christmas, the slasher remake Black Christmas, and numerous streaming debuts on Netflix, Disney+, and, inescapably, Lifetime. FYI, Lifetime’s Cherished Memories: A Gift to Remember 2, by Atlanta playwright and screenwriter Topher Payne, premiered in November.
Perhaps the most usual and affecting new movie to watch at the holidays has almost no apparent Christmas content at all. The dramedy A Beautiful Day in the Neighborhood eschews wrapping-paper color schemes and remixed Christmas carols, but provides a uniquely powerful exploration of such ideas as good will and forgiveness, which often receive little more than lip service in the average holiday movie.
Tom Hanks plays Fred Rogers, the beloved, cardigan-wearing creator of “Mister Rogers’ Neighborhood.” The film is no biopic, though, but draws inspiration from the 1998 Esquire magazine profile “Can You Say… Hero?” by journalist Tom Junod (currently a Marietta resident). Matthew Rhys plays Lloyd Vogel, a fictionalized version of Junod who’d rather write a hard-hitting expose than a 400-word puff piece on a saintly children’s TV host.
But Fred Rogers proves more complex than Lloyd expects, less interested in talking about the burden of fame than probing Lloyd’s own personal problems, which include raising a baby son while harboring deep resentments over his deadbeat dad (Chris Cooper). Lloyd and Rogers’ interview scenes unfold like lightly comedic power struggles, with Rogers’ blithe kindness deflecting Lloyd’s confrontational interrogation. It’s initially jarring to hear Hanks speak in Rogers’ trademark lilt, but Hanks’ innate affability perfectly matches Rogers’ gentle spirit.
The screenplay, directed by Marielle Heller, frames the story as an episode of “Mister Rogers’ Neighborhood,” with Lloyd, incongruously, as a special focus. Transitions show New York City and Rogers’ Pittsburgh home as miniature models in the style of the show’s opening. Rather than play as ironic comedy, Neighborhood embraces a more bittersweet surrealism, tonally comparable to Spike Jonze’s Where the Wild Things Are. Rogers famously avoided talking down to children in exploring how to deal with emotions and occasionally difficult issues such as death and divorce; the film uses vintage videos and an extended dream sequence to apply a similar sensibility to a grown-up audience.
Perhaps Neighborhood spends more time with Lloyd’s family scenes than it really needs, but it earns its moments of catharsis. As Rogers dismantles Lloyd’s cynicism, it doesn’t over-sentimentalize Rogers. He makes time for young fans no matter how much it puts his show behind schedule, to his colleagues’ consternation, and emphasizes that niceness is a practice: Being Mister Rogers is something he loves, but also something he works at.
Late in the film, Lloyd and Rogers share a moment of therapeutic silence that, in its softness and duration, feels boldly different from a conventional Hollywood movie scene. Hanks holds an extended, wordless close-up that would be uncomfortable if the actor weren’t as beatific as Buddha. It’s one of many moments that can bring a viewer up short, to wonder “Why not try and treat other people with more compassion?” A Beautiful Day in the Neighborhood can make you reconsider your own behavior, no matter what time of year you see it.
A Beautiful Day in the Neighborhood. B+. Stars Matthew Rhys and Tom Hanks. Directed by Marielle Heller. Rated PG-13. Now playing at area theaters.
Coming Attractions: On December 8, the Atlanta Comedy Film Festival at Wild Heaven Beer offers a showcase of short films, television episodes, music videos, and “micro shorts” all meant to make you laugh. facebook.com/AtlantaComedyFilmFestival
The latest Star Wars film, The Rise of Skywalker, opens December 20 and has not screened at press time. But if you crave a family-friendly sci-fi spectacle that’s closer to home than a galaxy far, far away, local writer Jon Waterhouse has published a story in the 22nd issue of the comic book Star Wars Adventures focusing on the tauntauns — those goatlike alien steeds Luke Skywalker rode in The Empire Strikes Back. Waterhouse will be signing copies of the issue on Thursday, December 12 at Decatur’s Little Shop of Stories.
December 12 will also see a special screening of the 1984 horror comedy Gremlins at the Plaza Theater. Star Zach Galligan is scheduled to be on hand for director Joe Dante’s bratty but beloved film about how a band of little monsters wreak havoc over Christmas at a small town.
Fans of reality television and unusual documentaries should check out 63 Up when it opens at Landmark Midtown Art Cinema on December 13. The ongoing project began in 1964 when the BBC profiled 14 seven-year-old children, and director Michael Apted revisited them with a new film every seven years since. The ninth episode, 63 Up, finds the subjects in their 60s, measuring their youthful dreams against their middle-aged realities, and offers a one-of-a-kind portrayal of life across half a century.
Finally, if you’re looking for holiday gift ideas with an Atlanta movie fan in mind, consider a T-shirt from the venerable video store Videodrome, which offers three designs at $25 a piece. You can support a landmark of local film culture by both buying one and wearing one. -CL- Courtesy of Sony Pictures HI, NEIGHBOR: Matthew Rhys (left) and Tom Hanks in A Beautiful Day in the Neighborhood. 0,0,10 screentime movies film SCREEN TIME: Mister Rogers movie offers “Neighborhood” watch "
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Tuesday December 3, 2019 05:30 PM EST
“A Beautiful Day in the Neighborhood” ignores biopic clichés for surprisingly perfect holiday fare
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If you've got a copy of this week's print edition of Creative Loafing, you'll notice a tidy little Holiday Guide "themed" issue that includes our cover package as well as related items in our Vibes, Flicks, Arts and Food & Drink sections. Please enjoy!
But for all you hip, savvy readers online, there's lagniappe aplenty, including expanded versions of the top five events of the season in...
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Omnivore - CL (weirdly) lays off Besha Rodell Article
Thursday March 15, 2012 09:57 AM EDT
Scott Henry, Chante LaGon, and Curt Holman also laid off
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more...
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[http://atlanta.creativeloafing.com/gyrobase/campy_white_zombie_harks_back_to_pre_romero_living_dead/Content?oid=1151988|Continue Reading "Campy ''White Zombie'' harks back to pre-Romero living dead"]"
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Campy White Zombie harks back to pre-Romero living dead (1) Article
Thursday October 29, 2009 06:30 PM EDT
image-1Zombies have become so popular that the corridors of our pop culture resound with ravenous moans for “Braaaiinns!” White Zombie, screening Saturday at the Plaza Theatre’s Silver Scream Spook Show, offers a kitschy reminder that the living dead weren’t always the decomposing cannibals of George Romero.
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[http://atlanta.creativeloafing.com/gyrobase/crude_examines_the_amazon_chernobyl_/Content?oid=1207534|Continue reading "''Crude'' examines the 'Amazon Chernobyl'" »]
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Crude examines the 'Amazon Chernobyl' (1) Article
Thursday November 26, 2009 02:24 PM EST
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In the documentary Crude, Brothers Keeper director Joe Berlinger presents a courtroom drama that never takes place in a courtroom. The grim but engrossing film recounts the tactics and history of a civil lawsuit filed by thousands of native Ecuadoreans who allege that Texaco (now Chevron) polluted vast areas of the rain forest with oil, leading to contaminated drinking water and...
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The establishment seems more firmly established in England than anywhere else. Two terrific new British films depict prodigiously intelligent characters who challenge entrenched English institutions and nearly outsmart themselves along the way. The protagonists of the soccer movie The Damned United and the coming-of-age romance An Education fit in the rebellious, angry young man tradition of English drama — although Michael Sheen’s Brian Clough isn’t exactly young, and Carey Mulligan’s Jenny is most definitely not a man. Both learn the lesson that pride goeth before a fall.
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Continue Reading "Damned United and An Education pit youthful smarts against English establishment"
(Photo Courtesy Kerry Brown/Courtesy of Sony Pictures Classics)"
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[http://atlanta.creativeloafing.com/gyrobase/damned_united_and_an_education_pit_youthful_smarts_against_english_establishment/Content?oid=1148882|Continue Reading "''Damned United'' and ''An Education'' pit youthful smarts against English establishment"]
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The establishment seems more firmly established in England than anywhere else. Two terrific new British films depict prodigiously intelligent characters who challenge entrenched English institutions and nearly outsmart themselves along the way. The protagonists of the soccer movie The Damned United and the coming-of-age romance An Education fit in the rebellious, angry young man tradition of English drama — although Michael Sheen’s Brian Clough isn’t exactly young, and Carey Mulligan’s Jenny is most definitely not a man. Both learn the lesson that pride goeth before a fall.
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Continue Reading "Damned United and An Education pit youthful smarts against English establishment"
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Wednesday November 4, 2009 12:00 PM EST
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The establishment seems more firmly established in England than anywhere else. Two terrific new British films depict prodigiously intelligent characters who challenge entrenched English institutions and nearly outsmart themselves along the way. The protagonists of the soccer movie The Damned United and the coming-of-age romance An Education fit in the rebellious, angry young man...
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Medical narratives often depict ordinary people who turn to alternative healing methods when traditional Western health care fails. Seldom can you find families that go to the lengths of Rupert Isaacson and Kristen Neff, who traveled from Austin, Texas, to the steppes of Mongolia with the hopes of improving their son Rowan’s autistic condition.
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Continue reading "Family goes to extremes to alleviate autism in The Horse Boy" »"
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[http://atlanta.creativeloafing.com/gyrobase/family_goes_to_extremes_to_alleviate_autism_in_the_horse_boy/Content?oid=1195929|Continue reading "Family goes to extremes to alleviate autism in ''The Horse Boy''" »]"
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Medical narratives often depict ordinary people who turn to alternative healing methods when traditional Western health care fails. Seldom can you find families that go to the lengths of Rupert Isaacson and Kristen Neff, who traveled from Austin, Texas, to the steppes of Mongolia with the hopes of improving their son Rowan’s autistic condition.
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Family goes to extremes to alleviate autism in The Horse Boy (1) Article
Friday November 20, 2009 11:35 PM EST
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Medical narratives often depict ordinary people who turn to alternative healing methods when traditional Western health care fails. Seldom can you find families that go to the lengths of Rupert Isaacson and Kristen Neff, who traveled from Austin, Texas, to the steppes of Mongolia with the hopes of improving their son Rowan’s autistic condition.
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Even if you’ve never heard the name Oliver Hirschbiegel, there’s a strong chance you’ve seen his work. The German filmmaker directed Downfall, the superb 2004 drama about the Third Reich's final days. Last year, a clip of Bruno Ganz’s Hitler chewing out his underlings became a YouTube hit when an online prankster rewrote the subtitles so the scene depicted then-presidential candidate Hillary Clinton raging against her campaign staff. Now you can find dozens of remixes that show Adolf hating on, say, the Avatar trailer.
Hirschbiegel can’t claim credit or blame for the pop appropriation of Downfall, but the original scene's dramatic power no doubt supports its viral following. Downfall’s depiction of the besieged Nazis combined epic battle scenes with more soft-spoken moments that illuminated Hitler’s historical legacy, such as Frau Goebbels quietly killing her own children rather than have them see an Allied victory. Hirschbiegel’s latest film, Five Minutes of Heaven, treats a confrontation between two men as another kind of microcosm for a historic event: the violence in Northern Ireland.
Continue Reading "Five Minutes of Heaven goes mano a mano with Northern Ireland conflict"
(Photo Courtesy Reconciliation Limited 2009/An IFC Films release)"
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Even if you’ve never heard the name Oliver Hirschbiegel, there’s a strong chance you’ve seen his work. [http://atlanta.creativeloafing.com/gyrobase/Content?oid=oid:18747|The German filmmaker directed ''Downfall'', the superb 2004 drama about the Third Reich's final days]. Last year, a clip of Bruno Ganz’s Hitler chewing out his underlings became a YouTube hit when an online prankster rewrote the subtitles so the scene depicted then-presidential candidate Hillary Clinton raging against her campaign staff. Now you can find dozens of remixes that show Adolf hating on, say, [../2009/08/21/which-tv-show-avatar-the-last-airbender/|the ''Avatar'' trailer].
Hirschbiegel can’t claim credit or blame for the pop appropriation of ''Downfall'', but the original scene's dramatic power no doubt supports its viral following. ''Downfall''’s depiction of the besieged Nazis combined epic battle scenes with more soft-spoken moments that illuminated Hitler’s historical legacy, such as Frau Goebbels quietly killing her own children rather than have them see an Allied victory. Hirschbiegel’s latest film, ''Five Minutes of Heaven'', treats a confrontation between two men as another kind of microcosm for a historic event: the violence in Northern Ireland.
[http://atlanta.creativeloafing.com/gyrobase/five_minutes_of_heaven_goes_mano_a_mano_with_northern_ireland_conflict/Content?oid=1159638|Continue Reading "''Five Minutes of Heaven'' goes mano a mano with Northern Ireland conflict"]
(Photo Courtesy Reconciliation Limited 2009/An IFC Films release)"
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Even if you’ve never heard the name Oliver Hirschbiegel, there’s a strong chance you’ve seen his work. The German filmmaker directed Downfall, the superb 2004 drama about the Third Reich's final days. Last year, a clip of Bruno Ganz’s Hitler chewing out his underlings became a YouTube hit when an online prankster rewrote the subtitles so the scene depicted then-presidential candidate Hillary Clinton raging against her campaign staff. Now you can find dozens of remixes that show Adolf hating on, say, the Avatar trailer.
Hirschbiegel can’t claim credit or blame for the pop appropriation of Downfall, but the original scene's dramatic power no doubt supports its viral following. Downfall’s depiction of the besieged Nazis combined epic battle scenes with more soft-spoken moments that illuminated Hitler’s historical legacy, such as Frau Goebbels quietly killing her own children rather than have them see an Allied victory. Hirschbiegel’s latest film, Five Minutes of Heaven, treats a confrontation between two men as another kind of microcosm for a historic event: the violence in Northern Ireland.
Continue Reading "Five Minutes of Heaven goes mano a mano with Northern Ireland conflict"
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Wednesday November 11, 2009 12:00 PM EST
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Even if you’ve never heard the name Oliver Hirschbiegel, there’s a strong chance you’ve seen his work. The German filmmaker directed Downfall, the superb 2004 drama about the Third Reich's final days. Last year, a clip of Bruno Ganz’s Hitler chewing out his underlings became a YouTube hit when an online prankster rewrote the subtitles so the scene depicted...
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I learned more from Chris Rock's documentary Good Hair than I did from all the other films and plays I’ve seen about African-American beauty parlors and barbershops put together. As a white guy with straight hair (and seemingly less of it every day), subjects like weaves and relaxers tend to be terra incognita. Even black audiences might view African-American hairstyle issues to be a narrow, niche subject for a full-length nonfiction film. Neverthless, narrator Chris Rock provides cutting commentary that reveals some surprisingly deep sociological roots.
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(Image courtesy Roadside Attractions)"
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[http://atlanta.creativeloafing.com/gyrobase/good_hair_gets_to_roots_of_black_community_s_image_issues/Content?oid=1088295|Continue reading "''Good Hair'' gets to roots of black community’s image issues"]
(Image courtesy Roadside Attractions)"
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I learned more from Chris Rock's documentary Good Hair than I did from all the other films and plays I’ve seen about African-American beauty parlors and barbershops put together. As a white guy with straight hair (and seemingly less of it every day), subjects like weaves and relaxers tend to be terra incognita. Even black audiences might view African-American hairstyle issues to be a narrow, niche subject for a full-length nonfiction film. Neverthless, narrator Chris Rock provides cutting commentary that reveals some surprisingly deep sociological roots.
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Continue reading "Good Hair gets to roots of black community’s image issues"
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Good Hair gets to roots of black community's image issues (1) Article
Thursday October 8, 2009 01:00 PM EDT
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I learned more from Chris Rock's documentary Good Hair than I did from all the other films and plays I’ve seen about African-American beauty parlors and barbershops put together. As a white guy with straight hair (and seemingly less of it every day), subjects like weaves and relaxers tend to be terra incognita. Even black audiences might view African-American hairstyle issues...
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Though only 17 years old, Clareece “Precious” Jones (Gabourey Sidibe) suffers enough misfortunes for several Greek tragedies remounted in 1987 Harlem. Precious’ title character endures obesity, illiteracy, a baby with Down syndrome and a sociopathically hostile, selfish mother (Mo’Nique) — and those are just the preliminaries. When Precious gets warmed up, it becomes almost unbearably grim, but its passionate performances raise it above contemporary motivational melodrama clichés.
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[http://atlanta.creativeloafing.com/gyrobase/grim_precious_treasures_passionate_actresses/Content?oid=1153368|Continue Reading "Grim ''Precious'' treasures passionate actresses"]
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Though only 17 years old, Clareece “Precious” Jones (Gabourey Sidibe) suffers enough misfortunes for several Greek tragedies remounted in 1987 Harlem. Precious’ title character endures obesity, illiteracy, a baby with Down syndrome and a sociopathically hostile, selfish mother (Mo’Nique) — and those are just the preliminaries. When Precious gets warmed up, it becomes almost unbearably grim, but its passionate performances raise it above contemporary motivational melodrama clichés.
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Writer/director Ti West winks at the era’s fashions, local news trends and even movie-credit styles, but The House of the Devil is deadly serious as a tribute to 1970s and ’80s lo-fi horror styles. Released on DVD Feb. 2, The House of the Devil makes its Atlanta theatrical debut Feb. 15-21 at Georgia State University’s Cinefest.
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[http://www.avclub.com/articles/ti-west,38002/” http://www.avclub.com/articles/ti-west,38002/|Writer/director Ti West] winks at the era’s fashions, local news trends and even movie-credit styles, but ''The House of the Devil'' is deadly serious as a tribute to 1970s and ’80s lo-fi horror styles. Released on DVD Feb. 2, ''The House of the Devil'' makes its Atlanta theatrical debut Feb. 15-21 at Georgia State University’s Cinefest.
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[http://atlanta.creativeloafing.com/gyrobase/horror_throwback_the_house_of_the_devil_thrills_and_chills/Content?oid=1376878|Continue reading "Horror throwback ''The House of the Devil'' thrills and chills" »]
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An amusing YouTube montage culls the horror films of the 2000s for all the clichés of conveniently inoperative cell phones: “No service!” “I can’t get a signal!” etc. The new cult film The House of the Devil avoids such contrivances by taking place in the mid-1980s and finding menace in a clunky rotary dial and a sinister pay phone on a college campus.
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Continue reading "Horror throwback The House of the Devil thrills and chills" »
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Horror throwback The House of the Devil thrills and chills (1) Article
Monday February 15, 2010 09:40 PM EST
Is Jocelin Donahue this generation's Jamie Lee Curtis?
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Continue Reading "Jonze and Eggers’ Sendak adaptation proves Wild at heart"
(Photo Courtesy Warner Bros. Pictures)"
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[http://atlanta.creativeloafing.com/gyrobase/jonze_and_eggers_sendak_adaptation_proves_wild_at_heart/Content?oid=1117241|Continue Reading "Jonze and Eggers’ Sendak adaptation proves ''Wild'' at heart"]
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Continue Reading "Jonze and Eggers’ Sendak adaptation proves Wild at heart"
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Jonze and Eggers' Sendak adaptation proves Wild at heart (1) Article
Friday October 16, 2009 12:00 PM EDT
image-1Spike Jonze and Dave Eggers’ Where the Wild Things Are remembers something most adults have forgotten: A huge gulf lies between the simplicity of children’s entertainment and the complexity of actual childhood. Growing up may be a time of pure delight, but it also features stretches of agonizing boredom, sudden fright, occasional sorrow and general perplexity at the arbitrary... |
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New York, I Love You, you suck (1) Article
Thursday October 15, 2009 06:00 PM EDT
image-1Any cultural inferiority the United States feels toward the French will only be exacerbated by New York, I Love You. The anthology film follows the same model as 2008’s art house hit Paris, Je t’aime in offering a series of tales, mostly about love, on the streets of a cosmopolitan city. Both films showcase directors from around the world, but where Paris features work from such... |
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A decade after filling America with pants-wetting fear, The Blair Witch Project still haunts Hollywood. Filmmakers emulate its faux-documentary, first-person narrative style, while studios seek the next no-budget horror flick that can become a $100 million word-of-mouth hit. Paramount Pictures bets that Oren Peli’s Paranormal Activity will similarly set pulses and bladders racing.
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Continue reading "Paranormal Activity projects Blair Witch-style chills"
(Image courtesy Paramount Pictures)"
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A decade after filling America with pants-wetting fear, ''The Blair Witch Project'' still haunts Hollywood. Filmmakers emulate its faux-documentary, first-person narrative style, while studios seek the next no-budget horror flick that can become a $100 million word-of-mouth hit. Paramount Pictures bets that Oren Peli’s ''Paranormal Activity'' will similarly set pulses and bladders racing.
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[http://atlanta.creativeloafing.com/gyrobase/paranormal_activity_projects_blair_witch_style_chills/Content?oid=1125746|Continue reading "''Paranormal Activity'' projects ''Blair Witch''-style chills"]
(Image courtesy Paramount Pictures)"
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A decade after filling America with pants-wetting fear, The Blair Witch Project still haunts Hollywood. Filmmakers emulate its faux-documentary, first-person narrative style, while studios seek the next no-budget horror flick that can become a $100 million word-of-mouth hit. Paramount Pictures bets that Oren Peli’s Paranormal Activity will similarly set pulses and bladders racing.
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Continue reading "Paranormal Activity projects Blair Witch-style chills"
(Image courtesy Paramount Pictures) "The Blair Witch Project" "Paranormal Activity" "Oren Peli" "curt holman" 1442977 13043610 Paranormal Activity projects Blair Witch-style chills (1) "
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Paranormal Activity projects Blair Witch-style chills (1) Article
Monday October 19, 2009 09:15 PM EDT
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A decade after filling America with pants-wetting fear, The Blair Witch Project still haunts Hollywood. Filmmakers emulate its faux-documentary, first-person narrative style, while studios seek the next no-budget horror flick that can become a $100 million word-of-mouth hit. Paramount Pictures bets that Oren Peli’s Paranormal Activity will similarly set pulses and bladders...
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The prologue to the warm-n-fuzzy sports story The Blind Side plays so well, it’s like seeing a team return an opening kickoff to score a touchdown. A Southern-accented Sandra Bullock narrates an insider’s perspective on the five fateful seconds that cost the Washington Redskins’ Joe Theismann his career. Michael Lewis’ book The Blind Side: Evolution of a Game provides the film with tasty tidbits about football machinations on and off the field, but director John Lee Hancock fumbles the rags-to-riches story of Michael Oher (Quinton Aaron).
The film’s early scenes find mountainous Michael adrift in the impoverished corners of Memphis with a crack-addicted mother and no real home. When a Christian school bends the rules to enroll him, Michael attracts the notice of Leigh Anne Touhy (Sandra Bullock), the take-charge socialite wife of a fast-food mogul (Tim McGraw). Leigh Anne whisks Michael to the family McMansion and offers him clothes, a Thanksgiving invitation, and even a strategy for success on the gridiron.
Continue Reading "Sandra Bullock Blind Sides Atlanta"
(Photo Courtesy Ralph Nelson/Warner Bros. Picture)"
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[http://atlanta.creativeloafing.com/gyrobase/sandra_bullock_blind_sides_atlanta/Content?oid=1177542|Continue Reading "Sandra Bullock ''Blind Sides'' Atlanta"]
(Photo Courtesy Ralph Nelson/Warner Bros. Picture)"
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The prologue to the warm-n-fuzzy sports story The Blind Side plays so well, it’s like seeing a team return an opening kickoff to score a touchdown. A Southern-accented Sandra Bullock narrates an insider’s perspective on the five fateful seconds that cost the Washington Redskins’ Joe Theismann his career. Michael Lewis’ book The Blind Side: Evolution of a Game provides the film with tasty tidbits about football machinations on and off the field, but director John Lee Hancock fumbles the rags-to-riches story of Michael Oher (Quinton Aaron).
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Continue Reading "Sandra Bullock Blind Sides Atlanta"
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Friday November 20, 2009 05:00 AM EST
image-1
The prologue to the warm-n-fuzzy sports story The Blind Side plays so well, it’s like seeing a team return an opening kickoff to score a touchdown. A Southern-accented Sandra Bullock narrates an insider’s perspective on the five fateful seconds that cost the Washington Redskins’ Joe Theismann his career. Michael Lewis’ book The Blind Side: Evolution of a Game...
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Continue Reading "Speakeasy with Megan Gogerty"
(Photo © 2009 Megan Gogerty)"
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[http://atlanta.creativeloafing.com/gyrobase/speakeasy_with_megan_gogerty/Content?oid=1148733|Continue Reading "''Speakeasy'' with Megan Gogerty"]
(Photo © 2009 Megan Gogerty)"
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Continue Reading "Speakeasy with Megan Gogerty"
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Speakeasy with Megan Gogerty (1) Article
Saturday October 31, 2009 02:00 PM EDT
image-1About five years ago, the Alliance Theatre asked me, possibly due to a clerical error, to take part in a panel discussion with the winner and runners-up in its first Kendeda Graduate Playwriting Competition. The clear winner for “funniest person in the room” that day was Megan Gogerty, whose Kendeda contender Love Jerry was produced — to no little controversy — at... |
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