Every time a new Watchmen item is released I get more excited/worried about this film. Watchmen is my all time favorite comic book and one of my favorite books in general. It's a stunning psychological work, incredibly thought provoking and layered with meaning. Dark Knight proved that comic book movies don't have to be all action and silly costumes. Let's hope they get this one right as well.
Dear Pioneer Friends, Filmmakers, & Film Lovers,
Ten years ago, when we began construction on The Pioneer, we were told we were crazy - that no single screen, indie-oriented, 99 seat theater, east of Avenue A, could possible survive. But for nine years, we did - showcasing the best of truly independent cinema, presenting restored classics (from The Last Picture Show to Ace in the Hole), curating special programs (from Luis Guzman Night to the 42nd Street Smut Show), hosting guest filmmakers (from Robert Altman and Robert Downey to Steve Buscemi and Richard Kelly) and partnering with local film organizations including the IFP, Filmmaker’s Co-op, Cinema Tropical, Fangoria, Women in Film and Television, Cinewomen, Third I, Slamdance, Docfest, and many more...
We’ve been blessed that The Earth Mother, Mel Cooley, The Dude, and the other Two Boots pizzas have been able to support our labor of love all these years, but now, with our lease ending and a rent hike looming, it’s no longer economically feasible to keep the theater going. Friday, October 31st at midnight, will be our last regular screening, appropriately: Night of the Living Dead.
We want to thank our amazing staff, past and present, and we want to thank you, our loyal audience, for your patronage over the years. Please, PLEASE, keep supporting independent films and independent theaters.
Finally, on Friday, November 7th, we’ll be having a goodbye party starting at 6pm - free movies, popcorn, and reminiscences. Please come by!
I used to live a few short blocks from this theater, one of the only true "independent" art houses left in New York City. These guys showed everything, from
classic Kubrick and Sam Fuller, to pop horror, splatter, and grind, to thought provoking documentaries. They often supported local artists, allowing patrons to rent screens and arranging one-off screenings of no-budget features and shorts. They also screened a lot of Gay/Lesbian themed works and were a great outlet for progressive film-making.
One of my fondest memories of that place was the night I met Bill Plympton there. He was screening his latest feature Hair High (which is an incredible film, by the way, if you're an animation junkie like myself). I arrived like an hour or so early and got to sit with Bill and chat about animation, John Kricfalusi, New York, Plymptoons and much more. He signed a bunch of DVD's for me and was a truly gracious guy. To get to meet one of my heroes - and then watch him introduce his latest work - I can only thank the Pioneer for that.
The Pioneer is/was probably the only theater in New York still brave enough to house low-brow and high-art under one roof. The fact that they're closing down - regardless the reason - is a tragedy for the current New York cinema scene. It will truly be missed.
Another tip for the bad idea file: /film is reporting Will Smith & Steven Speilberg plan on remaking Chan-Wook Park's Oldboy
Speilberg & Will Smith to remake Oldboy?
There is no reason to remake this movie, but Hollywood's going to do it eventually anyway. It's been in the pipeline since the original was released in the states in 2005. But Will Smith is a very odd choice for this -- I don't think he has the gritty sneer to be able to pull of the titular character. Spielberg is an odd choice as well, considering the dark tone and feel of the film. And how will the hyper-but purposeful-violence of the original translate in a senseless Hollywood version?
Who knows. Who cares. Here's the side-scrolling hammer fight sequence that made the original Oldboy famous. Go rent this flick if you haven't seen it.
Hollywood, you disappoint me.
A Weinstein Company release 2008
Written & Directed by Kevin Smith
Lifelong platonic friends Zack (Seth Rogan) and Miri (Elizabeth Banks) look to solve their respective cash-flow problems by making an adult film together. 
You would think that crafting a painfully by-the-numbers romance story line would allow plenty of wiggle room for jokes. Not the case with Zack & Miri, which may go on record for being the most predictable romantic comedy disguised as raunch to come out in ages.
Zack and Miri are platonic best friends and are both broke. So when a video of Miri in some questionable attire becomes an internet sensation, of course it's only logical that they film a porno together to collect some quick cash.
Only, that doesn't make sense at all. And what follows is a trajectory of the most predictable kind: they have sex and realize they love each other, things get awkward for a moment, but it all works out.
Now a person could probably figure all that out from the trailer - it's called 'convention' for a reason. But assuming that is the template, what makes a movie standout is how it goes about utilizing that template. In this case, raunchy, disgusting, hilarious jokes.
Only there weren't many. There were lots of slow reaction shots of Seth Rogan and Elizabeth Banks. Lots of really awkward conversation scenes about whether they were/weren't in love. But very few jokes. The funniest parts of the film came from the performances - namely Craig Robinson & Justin Long - and weren't derived from the scenes or set pieces.
Say what you will about Kevin Smith - self-aggrandizing, talentless, fat - his films characterized my youth. Growing up in Jersey, they spoke to me and many others at a very young age, and showed us that all you needed to make a movie was a simple, clever set up and some good dialogue.
Well, Zack & Miri doesn't have any good dialogue. It's not witty, nor clever, nor does it even make much sense. The performances are mildly amusing, but none of the actors are in top form. I simply can't recommend seeing it.
Mamet & Nichols to Remake Kurosawa's High & Low -- /film.com
Been a while since I've posted on here, but this news item prompted me out of retirement. Mike Nichols (Closer, The Graduate) and David Mamet (Glengarry Glen Ross) plan on remaking Kurosawa's classic 1963 drama High & Low. The remake is supposedly going to be produced by Scott Rudin and Martin Scorsese.
This is probably my favorite Kurosawa film, one that's made with a lot of heart and technical skill. The film tells the story of a rich man who must pay ransom for the son of one of his employees. It explores the economic disparity between rich & poor in post-war Japan. Kurosawa's first film to be shot in widescreen, his staging is absolutely incredible. He knew just where to put his actors to maximize each shots impact. And the presentation of geography and the city landscape is also unbelievable.
Normally I'm flat out against remakes of perfect films (and this film is perfect), but my feelings are mixed on this one. While it could never hold a candle to the original, it could be very interesting thematically, considering the current political and economic climate.
Give the original film a look, if you haven't already. You won't be disappointed.
Also, expect more regular posts from here on out. I'm watching more movies and want to make a better record of what I've seen.
My favorite films of the year thus far:
And there are still many more I have to see... Things may change after voting for this year's Independent Spirit Awards begins.
Here's this year's NYC Screening Room dates
A Look at Female Spectatorship & Genre
The role of the female in cinema as both screen presence and spectator exists as a highly debated struggle between filmic representation and psychological theory. In her essay Visual Pleasure in Narrative Cinema, Luara Mulvey explores the power of the female image in relation to cinema and psychoanalysis. Early in this essay, she writes: "Woman then stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of a woman still tied to her place as bearer of meaning, not maker of meaning" (Mulvey 838). In simpler terms, Mulvey describes the woman as an object of fantastic lust trapped in a male-oriented society. She furthers this concept by discussing Freud's notions of scopophilia and the voyeuristic gaze. According to Freud, it is natural human instinct to regard other people as objects, often subjecting them to controlling, curious, or erotic gazes. Mulvey aligns this with the cinema, considering film a stimulant of the voyeuristic instinct and separating it into a contradition between the libido and ego. Out of this contradiction, she surmises, forms identification processes and elicits sexual desire. From there she continues to outline the cinematic functions of the female: "as erotic object for the characters within the screen story, and as erotic object for the spectator" (Mulvey 841-42). She describes the current Hollywood narrative format as supportive of the male role in accelerating story, and thus controlling fantasy and gaze. She writes: "the male protagonist is free to command the stage, a stage of spatial illusion in which he articulates the look and creates the action" (Mulvey 842). Consequentially, spectatorss can identify with male protagonists, and indrectly possess the sexualized female. Mulvey broadens these ideas with more psychoanalysis; the threat of sexual castration, represented by the female screen presence, forces the male to escape this anxiety via the destruction or fetishizing of the female.
Mary Ann Doane's essay Film & the Masquerade: Theorizing the Female Spectator takes these concepts one step further, allowing room for the female audience. Like Mulvey, Doane channels her theories through Freud and psychoanalysis. She writes that the voyeur must maintain distance between objects and self in order to create desire, and that the female spectator can never form this distance because of a "claustrophobic closeness" to the female body present on screen (Doane 24). Too easily related to the objectified, female spectators must therefore readily accept a masculinized form of spectatorship. Doane likens this to the transvestite; mobile in their sexual identity, females can steal masculine traits, and often compensate for this masculinity by excessively flaunting femininity. This explains the creation of the femme fatale character, a sort of sexually empowered distinctly feminine mask. Doane fuels her article with cinematic examples of desirous, gaze controlling females - all of whom are punished or meet untimely deaths. She concludes by almost dismissing the feminine spectral gaze entirely.
My interest in these theories lies not in general assessments of feminine spectatorship, but rather as they apply to specific film genres. Though it is fair to characterize the female role in cinema, both as spectator and image, according to current pyschological practices, I do not feel it is worthwhile to apply these theories to cinema as a whole. Rather, it is of great necessity to study the feminine gaze in relation to genre and the evolving trends of cinematic practice. Genre, defined as the categorical division of artistic works based on specific criterion, shapes a great deal of cinematic traditions and representations. How an object appears and functions on screen depends significantly on the genre or genres in which a film is based. For example, a gun in a horror film might signify death or fear to the spectator, while at the same time affirming safety or security in an action thriller. This does not stand to negate Mulvey or Doane's claim that women are assigned certain (often surface or erotic) positions in cinema, but rather calls for the further exploration of these positions as they are related to distinct filmic types.
Other film critics seem to agree with me. Linda Williams writes: "this [feminine] victimization is very different in each type of film and cannot be accounted for simply by pointing to the sadistic power and pleasure of masculine subject positions punishing or dominating feminine objects" (Williams 732). In her essay Film Bodies: Gender, Genre & Excess, Williams complicates Doane's assertions about the female spectator by raising questions specific to genre. For example, Williams discusses Horror, a genre referred to by Doane as an example of defeating feminie gaze, claiming that even in the most violent of feminine suffering, there must always remain a component of either power or pleasure for the woman victim. Similarly, Williams argues that while melodrama might seem to drown female viewers in an excess of forced emotion, it also suggests and alignment with powerful matriarchal figures. Ultimately, she concludes: "the subject positions that appear to be constructed by each of the genres are not as gender-lionked and gender-fixed as has often been supposed" (Willaims 735).
But what happens when we remove the sexualized woman from the screen entirely? What if she is replaced by glorified male figures? What, if anything, shifts in gendered spectral gaze? In order to address these questions, we must find a film genre in which the female screen presence is rendered obsolete. The Macho Action film may fit this description. 
Developed out of Hollywood's displacement of art to action in the 1980's, the Macho film places and emphasis on a sort of surreal masculinity where the male body occupies the main narrative focus. Fueled by a sort of weightless politics, these hyper-male heroes obliterate their way through thinly outlined, special-effects-laden espionage scenarios. Starring buff body-builders such as Arnold Schwartzenegger, Sylvester Stallone, and Chuck Norris, the Macho film glorifies the sculpted male figure, often focusing on the charm and sex appeal of the Macho while still remaining action packed. Camera use in these films general accents physical size, featuring extreme close-ups of biceps, triceps, pecks and other impressive physical attributes. These male bodies can also withstand extreme physical pain, as if they posses superhuman tolerance and can refocus their agony towards eliminating the enemy. And, interestingly enough, sexualized female presence in these films appears almost non-existent (Vincente).
Look out for Macho Feminism Part II coming soon!
Screenwriter Irv Brecher (Meet Me In St. Louis, Shadow of the Thin Man, Marx Bros' At The Circus) offers his perspective on current WGA strike.
Longing for the days of the Drive-in? Grand Opening is Manhattan's only drive-in cinema - in a store. Choose your favorite film from the 60's - 90's, book a one-of-a-kind 1965 Ford Falcon convertible with seating for six and a full concession stand, and relax like it's the good old days all over again. Highlights include Dr. Strangelove, Cool Hand Luke, The Hustler, Pulp Fiction, and many more.
$75 per show
(Car seats up to 6 passengers)
2 shows per night (7pm and 10pm)
139 Norfolk Street
New York, NY 10002
Grand Opening
Primer: David Cronenberg
The Onion's AV Club has taken the liberty of dictating a pretty basic introduction to the works of one of my favorite filmmakers, David Cronenberg, for those of you unfamiliar with his body of work. Cronenberg is the genius behind some of the most psychologically twisted, reality-bending films of the past three decades, not to mention the inventor of 'body horror'. It's a great read, check it out.
There's an auction going on Ebay right now that offers the chance for a private dinner with director Brett Ratner. Right now the current bid is at US $8,643.73, which is a heck of a lot of money. The disclaimer says nothing about bodygaurds being present, so let's hope whomever wins this bad boy takes the opportunity to punch Ratner in the face. They'd be doing film fans everywhere a favor.
Lots of people have been asking me how I feel about the J.J. Abrams produced as-of-yet-untitled monster movie codenamed Cloverfield that's been driving the Infernets crazy these days. If you haven't heard about it, get on over to /film.com, who has the up to the minute skinny on this super secret, virally marketed flick. But back to my feelings... I think this photo sums it up pretty well:
Until they start releasing something more concrete than a two minute teaser, a no-name cast list and some blurry cell phone shots, I could care less about this 'mystery' project. After all, this is just a revised form of the marketing for Snakes on a Plane, and we all know how that turned out. Sorry, Paramount - Internet games and rumors are simply not enough to get this film nut in a frenzy. I'll get excited when I hear the film is actually watchable.
Here's a recent article written by Johnathan Foster discussing the two differing schools on Michael Bay: explosions vs art. Foster's makes a pretty simple argument
I gave up on Michael Bay movies having great stories or strong characters long ago, and yet, I find that he continually fails to deliver thrills. He wields explosions around as gracelessly as bad comedies do jokes, and yet his pyrotechnic fervor has wrongly come to symbolize the entire genre: the bigger the fireworks, the better the film.
The Annual New York Asian Film Festival starts this Friday at the IFC Center. Highlights include a screening of Takashi Miike's unreleased in the US Zebraman, anniversary showing of John Woo's Hard Boiled, shorts from Old Boy helmer Chan Wook Park, and more. This seventeen day orgy of new films will introduce you to buffalo-busting action flicks from Thailand, cartilage-cracking gangster films from Korea, and the first gore flick ever made in Pakistan!
You can find the full screening list and purchase tickets here.
Hard Boiled
Exiled
Four Eyed Monsters was one of last year's best and most innovative films, and now you can watch the whole thing for FREE on Youtube! I highly suggest checking it out, it's only 71 minutes and well worth the time and admission. But catch it soon, it's only gonna be available for one week. Also, be a good sport and sign up for Spout.com. It's free and for each person who signs up, Arin and Susan each get $1 towards paying off their debt. So help these guys out!
Lionsgate marketing exec and part-time photographer Tim Palen shot the photo as part of an upcoming book titled Guts: The Art of Marketing Horror Films. NYMag says that the book is “a collection of his creepiest work, including a pornographic, absolutely not-safe-for-work portrait of Roth”. The photo is called “Eli Roth Has the Biggest Dick in Hollywood.” The prosthetic was built by K.N.B. Effects, the same effects company that worked on The Chronicles of Narnia and The Island.
Coney Island is offering a summer of fantastic popcorn movies every Saturday night for discount prices. Highlights include Dog Day Afternoon, Fritz the Cat, Viva Las Vegas, Marx Brothers At the Circus, and my personal favorite, Killer Klowns from Outer Space.
Find the full list of screenings here
CONEY ISLAND SATURDAY NIGHT FILM SERIES 2007
presented by indiefilmpage.com & Coney Island USA
MAY 19TH - SEPTEMBER 8TH
at the Coney Island Museum 1208 Surf Ave.
between Stillwell Ave. and West 12th Street
Tickets $5, Free Popcorn! Shows start at 8:30pm, doors open 8pm.
Summer is usually a great time for the movies. Theaters always beat the heat as Hollywood puts forth the big bucks to blow audiences away with special effects extravanganzas and escapist fare. But unless you live in a city where Herzog films or Lee Marvin tributes abound, there isn't much to look forward to this year. Most of the movies coming out are unnecessary sequels or tired ideas. It's in these trying times that I am thankful for DVDs. While home entertainment will never quite match the theater-going experience, at least it puts you in control of the crap that's on screen. So this summer, instead of wasting seven dollars on another sequel, crank the A.C., curl up on the couch and enjoy these flicks:
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The original ogre, The Hunchback of Notre Dame is a classic story and was perhaps no better realized than in this 1939 film starring Charles Laughton. Laughton gives an impressive dramatic performance as the insufferable Quasimodo, whose damaged looks went on to set the standard for Hollywood make-up effects and inspired effects artists such as Rick Baker. The 1928 silent version is great as well.
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The original Rush Hour was noted for its plays on race relations, but people forget that this idea had already been perfected in the 1982 buddy pic 48 Hours. Much funnier than anything Brett Ratner could produce, 48 Hours features Eddie Murphy as a wise-cracking criminal turned cop who aids Nick Nolte in tracking down a killer. This one's almost a no-brainer - Eddie Murphy and Nick Nolte? Handled by The Warriors Walter Hill? Obviously better than a bunch of Jackie-Chan-No-Speaka-Da-English jokes any day.
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War and screwball comedy are often mixed with hellish results, but David O. Russel's best film manages to combine the two with biting results. Three Kings is as hilarious as it is critical, pertinent as it is pastiche. Besides, Larry the Cable Guy isn't funny.
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The brillance behind the 1993 kid's flick Surf Ninjas is incredibly understated. You see, it's about ninjas. Who surf. That's cooler than Penguins any day. The pic stars a young Rob Schneider and Leslie Neilson as the bumbling half-cyborg supervillian. Trust me, it's sweet.
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ANYTHING WITH ERROL FLYNN
Errol Flynn was the swashbuckler Johnny Depp wishes he could be. Don't get me wrong, Depp makes a great pirate and all, but those Carribean movies are crap. You're better off watching any number of Flynn's old flicks, including (but not limited to) Captain Blood, The Adventures of Robin Hood, The Dawn Patrol, The Prince and the Pauper, or The Sea Hawk.
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C'mon now. A PG-13 Die Hard? No one wants that.
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If you're going to watch a musical that features cross-dressing males in prominent roles, you might as well make it one that stars Marilyn Monroe as well. This classic screwball comedy follows two musicians on the run after witnessing a mob hit. It's countlessly referenced as one of the greatest comedies of all time, and is a great way to get started on the works of master director Billy Wilder.
More suggestions coming soon!
