Month: October 2016

Phil Tippett’s MAD GOD VR Experience!

At the 2013 Telluride Horror Show, we met legendary stop-motion animator Phil Tippett, who was presenting his latest work: Mad God.

Now, that work has been translated into a VR experience in a collaboration with Transport. Find out how you can insert yourself into Phil’s amazing stop-motion creation at https://transport.wevr.com/mad-god!

There’s another good video on Phil’s blog that describes how they brought his work to life in the VR world.

Filmsplosion Halloween Special

The Reel Nerds celebrate Halloween by each listing their favorite Halloween-themed movies!

Art House Asshole – I, Daniel Blake

You know how when you’re wanting to go to the movie theater and you look up all the films that are showing and there are alway at least three that you’ve never heard of, let alone have any interest in seeing? Well, good news! I’ve seen those movies. I spend most of my theater experiences in art house theaters watching those movies that you’ve never heard of and then never watch. Yeah, I’m that hipster asshole. My goal with this is to spread information out about these films, that way you can decide one of the following. “That actually sounds pretty cool! I want to see that now!” or “Man, I’m glad I decided to go see the new superhero movie!”. So without further ado, here is my article and review of I, Daniel Blake.

Really? This won the Palme d’Or at Cannes this year? This film? Not American Honey, Toni Erdmann, or even Hell or Highwater? This film was declared the best film at Cannes, the most prestigious film festival of the year. I mean, the film isn’t bad. But it all of the films I just listed are better films. And this isn’t even a matter of artistic choice and preference. Last year Dheepan won the Palme at Cannes, but I personally thought Youth was the best film of the year. Both were fantastic films, they both sit in my top ten of 2015. I personally liked the artistic choices in Youth better than Dheepan, but I can see why some would like Dheepan more. I, Daniel Blake is just an inferiorly made film. There are basic filmmaking issues in the film that I can look past but these are elements that are needed in a good film, especially the winner of the Palme d’Or.

I, Daniel Blake is a film directed by Ken Loach at the prime age of 80 years old. I will admit that I have not seen any other films by Ken Loach, so if I complain about something in this that sounds like his style then I apologize but I will say that his style is poor here. The film follows Daniel Blake, played by Dave Johns, an old widowed man who is attempting to find any kind of income while he heals from a heart attack that leaves him without work. Daniel Blake soon befriends a mother of two who is dealing with her own financial struggles, played by Hayley Squires. The film follows them on their endeavors and their dissatisfaction with the house tax and the Employment and Support Allowance in the UK.

The film ends up being “Let’s Watch Daniel Blake Get Annoyed With The ESA And Build Things For This Unfortunate Family: The Movie”. You get to see him talk to people in person who don’t help him! You get to see him try to work a computer! You get to see him wait while his call is on hold! Were you disappointed in how loud and fast American Honey was? Then this film is just for you! I say that as a joke, but the target audience for this film and American Honey are complete opposites of each other.

I understand if you say that, “Oh but this film is accurate to the reality of the ESA”! I’m sure it is, but you have to do something to win me over to want to watch it unfold. The acting in the film is okay but sometimes slips into flat out bad. Dave Johns and Hayley Squires, where I haven’t seen them in anything else, do an okay job but the writing is so bland and sometimes annoying that it is hard for me to relate to the characters. The suspension of disbelief never fully reached it’s potential for me to care.

One of the biggest issues I had in the film is that it makes everyone who works with the ESA to be a mustache twirling villain. They all hate everyone without showing any other sign of emotion or understanding. Even the one who feels bad for Daniel Blake is later brought in by her boss and is yelled at for being nice. You might think “That’s how it’s supposed to be, that’s realistic”. Except it’s not. It’s hard to describe if you haven’t seen the film, but it is comical how much these people talk with an attitude of not understanding or caring. It just doesn’t make sense and rips me out of the film.

The film has a very uninspired look to it as well. It feels very much like there was no love or emotion put into the film. As the film ended I realized that this is nothing more than a glorified Lifetime Movie. Every shot, I’ve seen before. Every scene, I’ve seen before. There is almost nothing original about this film. There are a total of two scenes that I genuinely enjoyed. The first being a scene in a food bank and the second being the scene where the film gets it’s title from. But those two scenes don’t warrant the film being called fantastic in my mind. There are too many other clichés for me to truly enjoy it.

Like I said before, this film feels like a Lifetime Movie. If you see it on television, I imagine you would like it a fair amount. But when I went in think it would be in my best of the year list, I was highly disappointed. Maybe the film needs a re-watch in the future. Maybe I should have lowered my expectations. But nothing hit it home for me. I think that people should know about the problems the film is trying to express, concerning the ESA and how hard it is for lower class citizens of the UK. But I, Daniel Blake fails in making me care for the subjects in the film. This is something that would have worked much better if it was a documentary and not a fictional story.

Introducing New “Alamo For All” Sensory Family Screenings

INTRODUCING NEW “ALAMO FOR ALL” SENSORY FRIENDLY SCREENINGS

“Baby Day” grows up into a new all-ages format designed to better accommodate both parents with infants and guests with special sensory needs

(Austin, TX | October 25, 2016) – Alamo Drafthouse prides itself on providing a moviegoing experience free of disruptions, built on a policy of zero tolerance for talking and texting in its theaters. However, Alamo Drafthouse also prides itself on being an inclusive, welcoming environment for all in the community and recognizes that some guests — like parents with infants and those with autism — need just a bit of leeway when it comes to these rules. Alamo Drafthouse has long offered designated “Baby Day” screenings on weekdays for parents with infants to enjoy the moviegoing experience and allow babies to be, well, babies. Now, Alamo Drafthouse is pleased to announce it’s expanding the scope of this popular program to welcome and accommodate guests with autism and other special sensory needs, too — while also helping to better fit the schedules of working parents.

The new “Alamo for All” are sensory friendly screenings open to all ages, including infants. Like its “Baby Day” predecessor, at these specially designated screenings the house lights are left a little brighter and the sound is turned down a little lower. The feature film will run without the Alamo Drafthouse’s signature preshow and without trailers. Moving around the theater and noise will be allowed. Alamo Drafthouse’s normally strict rule against latecomers will also be relaxed at these screenings. The use of cell phones or other devices, however, will still be discouraged.

And, working parents rejoice: “Alamo for All” screenings will be found not just on weekdays, but on weekend mornings as well.

“We heard from parents, and the resounding comment was one ‘Baby Day’ a week wasn’t enough,” says Amy Averett, Alamo Drafthouse Director of Family and Community Engagement. “‘Alamo for All’ screenings are for anyone who wants to enjoy a day at the movies and great Alamo Drafthouse food and beverage but needs a little wiggle room on our regular policies.  Truly, everyone is welcome,” says Averett.

Finding a sensory friendly screening at Alamo Drafthouse and planning your next trip will also be much easier, thanks to a new page on the Alamo Drafthouse’s website — drafthouse.com/alamoforall — where guests can find an up-to-the-minute list of screenings in their area as well as full details on sensory friendly policies. The page will also link to upcoming Open Caption screenings for hearing impaired guests.

The launch of “Alamo for All” also comes with a new, clarified approach to the Alamo Drafthouse’s “No Talking” policy, ensuring that guests with autism or other needs who are not able to strictly adhere to the rules are given a bit of leeway — not just at sensory friendly screenings, but at ALL Alamo Drafthouse shows.

“We strive to be a fully inclusive environment. ANYONE should be able to set foot in an Alamo Drafthouse and feel welcomed, comfortable and a part of the family,” says Alamo Drafthouse CEO and Founder Tim League.  “Our policies are not designed to exclude or alienate; rather, they’ve always been intended to curb blatantly rude behavior.”

About Alamo Drafthouse

Tim and Karrie League founded Alamo Drafthouse Cinema in 1997 as a single-screen mom and pop repertory theater in Austin.  Nineteen years later, the now 24-location chain has been named “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired. The Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including Drafthouse Films, founded in 2010, which has already garnered three Academy Award nominations and Birth.Movies.Death., an entertainment content platform for movie lovers and the pop culture obsessed.

This Week At Alamo Drafthouse Denver 10/24 – 10/30

Highlights
On Tuesday, October 25, author David Skal  will present Bram Stoker’s Dracula which will be accompanied by a four-course feast curated by Chef Seth Rexroad.
On Thursday, October 27, director Eric Red will present his films Body Parts and 100 Feet.
On Friday, October 28, John Darnielle of The Mountain Goats will present one of his favorite films, Targets.
Monday, October 24
AGFA Reel One Horror Party @ 7:30 p.m.
Tuesday, October 25
Bram Stoker’s Dracula Feast @ 7:30 p.m.
Kizumonogatari Part I2: Nekketsu  @ 8:00 p.m.
Wednesday, October 26
The Graveyard Shift: A Woman in a Lizard’s Skin @ 7:30 p.m.
Henry: Portrait of a Serial Killer @ 9:30 p.m.
Thursday, October 27
PBS Kids at the Alamo: Halloween Special @ 11:30 a.m.
Body Parts with director Eric Red @ 7:30 p.m.
100 Feet with director Eric Red @ 10:15 p.m.
Friday, October 28
Targets with John Darnielle @ 7:00 p.m.
Saturday, October 29
Dismember the Alamo 2016 @ 12:30 p.m.
Harry Potter and the Half-Blood Prince @ 8:00 p.m.
Sunday, October 30
Afternoon Tea: Rebecca @ 2:00 p.m.
Denver Silent Film Festival Benefit Screening: A Page of Madness @ 6:00 p.m.
Harry Potter and the Deathly Hallows Double Feature @ 12:00 p.m.
Now playing…
Opening Friday, October 28: Inferno
Jack Reacher: Never Go Back
Keeping Up with the Jones’
Ouija: Origin of Evil 
The Accountant
The Girl on the Train
Miss Peregrine’s Home for Peculiar Children
The Magnificent Seven
Next week’s sneak peek…
AGFA Reel One Horror Party – Results Show
Harry Potter and the Prisoner of Azkaban
Serenity Movie Party
Breckenridge Brewery Presents: Fargo (free screening)
KOSI Brunchtacular: The Devil Wears Prada

Five Obscure Horror Films to Watch on Halloween

I realized that the most recent Art House Asshole review will probably be considered the super spooky Art House Asshole because it comes out close to Halloween. Unfortunately, the film in question is I, Daniel Blake which isn’t very scary unless your biggest fear is financial instability. So I feel like spreading the spooky cheer and recommend you some Horror Films that also happen to be cool Art House Films. If you are into that kind of thing. These films might not be for everyone, like every Art House Asshole Review, but I’ll throw them up as something that you can pop in on Halloween as most of them you might not be aware of. These films might pop up later with their own Art House Asshole article. But for now, these are some of my favorite Obscure Horror films around.

 

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DARLING (2015)

As a heads up with this film, this one is the most “pretentious” of the bunch. If you hate Art House cinema, maybe consider this the least likely of the ones to watch. That being said, I do really enjoy parts of this film. Darling, directed by Mickey Keating, is a super-stylized horror film. The entire film is in Black and White and is more for the methodical horror fan rather than the slasher horror fan. It is under 90 minutes but is still a slow burning psychological horror. It follows this young woman who is pretty insane, and she then is hired to house-sit the oldest home in Manhattan. There was also a suicide in the home. As you can imagine, some spooky stuff is going to happen in this home. I recommend it if you want a more creeping and uncomfortable horror film, but if you want a faster pace and standard horror, I might pass on this one.

*** Local Caption *** A Girl Walks Home Alone at Night, , Ana Lily Amirpour, USA, 2014, V'14, Spielfilme

A GIRL WALKS HOME ALONE AT NIGHT (2014)

Recently talked about on the podcast, Ryan talked about how he had an interest in the film but was hesitant for a couple different reasons. So with that I will say this, I recommend Ryan watches this film. Not only because I really enjoy this film, but because I genuinely think he would like it. Yes, the film is in black and white. Yes, the film is in a different language. But here’s the catch about that. Firstly, the film is in black and white but I wouldn’t call any of the shots super artsy fartsy. I don’t think it would take you out of the film ever with you thinking about how great the director thinks she is. The film is beautifully shot, and the black and white is just something that was thrown in. Secondly, the film is in a different language, but it’s an American Film. The director is American, the film was shot in Los Angeles, hell the main producer was Elijah Wood. The only reason that it’s in another language is that it takes place in Iran so it would make sense for that to be the language. It’s a spaghetti western about vampires in the Middle East. It’s surprisingly fun. I’ve heard some compare the pacing of it with Drive, so with this information maybe check the film out. If even this sounds too artsy, I have a film for you as well.

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The House of the Devil (2009)

Of the films on this list, this is probably the most fun while still being a straight up horror film. The film has a campy 80s feel to it, and I absolutely love that. It is a similar plot to Darling but much less pretentious. This is a film that you can watch with friends who aren’t into film and have fun with it. The film stars a bunch of indie darlings and the director is Ti West who is a cool stylized and messed up mind kind of director. I recommend it if you want a solid middle-ground horror film. This is also probably the most mainstream of the films I’m recommending here. Not a lot to say, if none of the other films here call to you, this is probably your safest bet.

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DUDE BRO PARTY MASSACRE 3 (2015)

I’ve probably recommended this film on the podcast before, but I will continue to recommend this film until people actually start seeing it. This is my favorite horror comedy of all time. I can re-watch this film multiple times and still laugh and love this film. It’s made by the same people who make 5 Second Films on Youtube, who are some of the funniest people out there. This is a parody of all slasher films from the 70s, 80s, 90s, etc. It really tackles so much of this genre in a really smart and hilarious way. Please watch this film if you want a horror comedy film. You will not regret it. The only issue is that this was a Kickstarter film. Which means there isn’t easy access to it (Netflix, Prime), the easiest way that I know of to watch it is that you can rent/buy it from their website. But it is completely worth it, it is also touring all the time so you might be able to see it in theaters at some point which is a ton of fun.

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JIGOKU or THE SINNERS OF HELL (1960)

Do you want and older horror film? Is the Criterion Collection more your taste? Well, this is one of the best Horror films the Criterion has. This is a Japanese film about a guy who accidentally kills someone and then in one way or another ends up in Hell. If you want an interesting look at what Hell might look like, this is something to definitely check out. It’s gross. It’s disturbing. It’s messed up. But that’s what you want, it’s hard to go wrong with this one.

Fall 2016 Fantasy Movie League – Week 8 Recap

People still really like those Madea movies as Boo! way over-performed, giving a couple teams some of their highest grosses ever! It’s surprising that, of all our teams, Tyler Perry’s A Madea Cineplex didn’t go all in on it. The Perfect Cinema this week was 4x Boo! 3x Storks and 1x Sully. Those damn Storks. They under-perform when you play them and over-perform when you don’t. And thus, no teams achieved the PC. But three came close, as Radley Cinemas and Jason’s Farthouse Cineplex both picked the same winning lineup. However, apparently, Jason’s Farthouse Cineplex claimed the official win because he locked in his lineup sooner. Which is fine. He can claim the title of the one so cocksure Boo! would be a hit while I fiddled with overloading Ouija or The Accountant but acquiescing to Boo! until the very last minute.

Next week will be tough. There are a lot of holdovers in the same value range and who knows what audience Inferno still has after all these years. Choose wisely.

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Ep. 273: Never Reach Back

The Reel Nerds reach for justice when they review Jack Reacher: Never Go Back.

Art House Asshole : 20th Century Women

You know how when you’re wanting to go to the movie theater and you look up all the films that are showing and there are alway at least three that you’ve never heard of, let alone have any interest in seeing? Well, good news! I’ve seen those movies. I spend most of my theater experiences in art house theaters watching those movies that you’ve never heard of and then never watch. Yeah, I’m that hipster asshole. My goal with this is to spread information out about these films, that way you can decide one of the following. “That actually sounds pretty cool! I want to see that now!” or “Man, I’m glad I decided to go see the new superhero movie!”. So without further ado, here is my article and review of 20th Century Women.

This film is difficult for me to review. Primarily because I don’t know if this film is poorly made and manipulative at the end, or if it’s a finely made film that ends really well. We’ll get into it, but I’m not sure how exactly the film is good.

20th Century Women is directed by Mike Mills from Beginners and Thumbsucker fame. I was able to attend the premiere of the film and close after I saw many reviews claiming this was the best film Mills has made. I disagree with this statement. I can understand if you think 20th Century Women is better than Thumbsucker, I personally like Thumbsucker for more personal and nostalgia based reasons. But I think it is in no way better than Beginners, which to date is Mike Mills most personal film. I think people are mistaking “best” with “most mainstream”. This film will be nominated for Academy Awards and will make a big splash at the end of the year. But I think it is the most average and plain film Mike Mills has made.

20th Century Women follows a house in Santa Barbara in the late 1970s. The house is owned by a middle-aged mom, played by Annette Bening, and her son, played by Lucas Jade Zumann. In the home, Bening’s character rents to two individuals played by Greta Gerwig and Billy Crudup. All while this is happening, Zumann’s character’s friend but isn’t his girlfriend, played by Elle Fanning. Bening’s character feels like she needs help raising and teaching her son about the world, so she asks Fanning and Gerwig’s character to help teach him things. Then wacky adventures ensue. This is one of those films where there isn’t really a set plot, but instead you just watch these characters live and see what makes them tick.

This is the first problem with the film. Every scene feels like a great idea that isn’t executed well. For example, there is a scene where Fanning is teaching Zumann how to smoke and walk “cool”. This sounds like it could be interesting, having a female perspective on what a cool guy is and how to act like one. The problem is that the dialogue is often hit or miss. You will have this great idea for a scene but then have it just not fully take advantage of what it’s given. I don’t want to spoil a lot of the scenes but there is so much to play with in this time period and these proposed actions that it feels like it’s wasted on this boring script.

That being said, the acting is incredible in this film, for the most part. The three female leads in the film are all amazing. Greta Gerwig gives what I consider her best performance I have seen. I think it will be a travesty if she isn’t even considered for Best Supporting Actress. Elle Fanning is proving herself to be a fantastic actress, in the same league if not higher than her sister. And that’s not even talking about Annette Bening, who should be the frontrunner for Best Actress for the Academy Award this year. Despite all of the mediocre at worst writing the film has, these three actresses completely knock it out of the park, proving that a great performer can elevate a bad script.

On the flip side of things, however, the male lead played by Lucas Jade Zumann often is the weakest link to every scene. Which is unfortunate because he is in every scene. I’m not saying the Zumann is bad, or that he doesn’t have a future as a great actor. I think he has a lot of potential. The only problem is that he is acting in an Academy Award potential film, where all three of the female performers he acting with are grabbing for the gold. So what ends up happening is that the three female performers end up acting circles around him. It’s unfortunate but it took me out of the film multiple time due to his performance.

Another issue is that every character in this film feels like a character. That sounds dumb and doesn’t make any sense. I know, but let me explain. When I think about everyone and everything in this film, I picture the game of Clue in my head. Greta Gerwig isn’t playing a real person from the 70s but is playing what someone thinks someone would have been like in the 70s. The characters are fleshed out enough for me to feel like I care about them, but not fleshed out enough for them to feel real. It feels very calculated and without style in a lot of ways.

That being said there are certain flourishes that you can tell that Mike Mills put in that work really well. In some shots there is a glitchy and television-y type color effect that looks really cool and certain scenes are sped up for certain effects. There is no rhyme or reason to why these things pop up, but it is nice to have them come through. But with these stylistic parts, there are also other “flourishes” that don’t work. Throughout the film other pieces of art, whether it be written text or other films or public speeches, are spliced in to give a sense of the time and the people. I’m assuming this is to help move the story along as well as give a sense of time and context. But it always feels slightly out of place. Certain things work, such as the Carter speech. But most of it just feels out of place and in a way kind of lazy.

All of the previous negative things would lead you to think that I hated and or disliked this film. I don’t. The writing is really the only thing that is bad in the film. It’s shot well, the acting is great for the most part. It is very competent. It just lacks the fun flair that I’ve come to love from Mike Mills. It didn’t hit me as hard as Beginners and didn’t stick with me like it did with Thumbsucker. But when the last scene played, I don’t know what happened. I don’t know if it was emotionally manipulative. I don’t know if all of the puzzle pieces given from previous scenes just came together perfectly. But when the last scene happened, I was bawling. I can’t explain it because previously I never thought it was fantastic or anything. But it stuck a cord with me at the end.

My star rating of the film might go down in the future. But I’m sticking with it at four stars right now. I recommend the film if you love Academy Award films because this film was tailored to that crowd. It is going to be a big deal when it comes out, but don’t get your hopes too high. It’s good. Even if it is very basic.

Fall 2016 Fantasy Movie League – Week 7 Recap

This week, many teams put a lot of stock in Max Steel, which tanked hard, or Kevin Hart’s What Now?, while The Accountant over-performed, making this week’s Perfect Cinema 2x The Accountant, 3x Middle School, and 3x Don’t Breathe. Radley Cinemas came the closest to that combo and picked up his third win of the season.

FML Fall Week 7

This week also saw the debut of The Nerdy, our league trophy! All hail the Nerdy!

The Nerdy

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