Avatar

I was so set up to be disappointed, but I was so very not.  Yes, it's a very predictable plot.  It's the exact same plot as at least two different films I've seen before.  But that's ok.  Think about a movie you love, one you've seen a dozen times and can quote along with the dialog.  I think of my first viewing of Avatar in that way - totally predictable but emphatically compelling.

Avatar in 3D
2009, 162 minutes, directed by James Cameron

Zombieland

I avoided this during Fantastic Fest, choosing instead to see the secret screening that turned out to be the forgettable RoboGeisha.  This one turned out to be a great, campy, fun zombie-killed show, which I'm sure played well at the Paramount.  They could have cut out the random cameo bit entirely though, sadly.  You know what I mean.

When you can't nuke it from orbit, double tap to be sure.

Zombieland
2009, 88 minutes, directed by Ruben Fleischer

Alas, I didn't feel well enough earlier today to be sure I'd want to go out tonight, and when I did the drafthouse had sold out.  Why does this theater think that people seeing Zombieland want to see  a special behind-the-scenes preview of Did You Hear About the Morgans?  Hello market?

Daybreakers

Eh, this was a decent action film but the story was neither fresh nor well told. Such an easy solution would have been reproduced accidentally many times over, and would spread rapidly. And I just don't understand the parts the picked from vampire lore. So vampirism is a virus, right? They ignore all the religious aspects. They don't mention garlic. But vampires invisible in mirrors? That's just stupid.

Daybreakers
2009, directed by Michael Spierig and Peter Spierig

Universal Soldier: A New Beginning

This is surprisingly good for a bridge story. I usually prefer they let a series lay fallow for longer, then do a clean reboot with a nod to the original. Still, JCVD is as good as ever, the action and pacing is solid, and the film is totally awesome.

Universal Soldier: A New Beginning
2009, directed by John Hyams

Down Terrace

Psychoanalyzing life. This film reminds me so much of A Serious Man, except it's about British gangsters and features the occasional hit. Really, that's all it takes to change something boring into something great.

Down Terrace
2009, directed by Ben Wheatley

K-20: Kaijin niju menso den (The Fiend with Twenty Faces)

The drama, the story, the action, the music - it's all over the top in all the right ways. This Japanese alternative-history superhero film is damn awesome.

K20: Kaijin niju menso den (The Fiend with Twenty Faces)
2008, 137 minutes, directed by Shimako Sato

Sweet Karma

Wow. Potent revenge, but no campy attitude.

Sweet Karma
2009, 85 minutes, directed by Andrew Thomas Hunt

A Serious Man

Larry Gopnik stumbles through life, letting anyone and everyone trod upon him. And then... nothing. He does nothing.

I think there are people that like this sort of film, since they seem to be made frequently. But I don't.

A Serious Man
2009, 105 minutes, directed by Ethan Coen and Joel Coen

Salvage

This dark and gory film doesn't need aliens or zombies or demons to show the depths of human depravity. Some horrors could be entirely man made...

Salvage
2009, directed by Lawrence Gough

[REC] 2

Having seen the first installment just last week, I was frightened to think of the many ways that the writers/directors of this film could screw it up in a sequel. But I have to say that I am almost entirely satisfied with the premise, the mechanics, and the twists it takes to continue telling the same tale. Although it picks up five minutes after the conclusion of [REC], with the same first-person camera work, the film has a very different feel while being part of a small, happy family. I do just wish this second installment had the decisive conclusion of the first so it didn't feel quite as made-for-sequel ready.

[REC] 2
2009, 85 minutes, directed by Jaume Balagueró and Paco Plaza

Metropia

This film is an existential journey across dystopian Europe crafted with intriguing photo-animation. I loved the feel of the destitute world, and the resignation of most inhabitants to their fate. This was a fantastic film and I'm happy to have the privilege to see it on a theater screen.

Metropia
2009, 86 minutes, directed by Tarik Saleh

Mandrill

This film delivers a raw one-two punch of raw brutal rage and deep sensuality. The team of director Ernesto Díaz Espinoza and star Marko Zaror continues to evolve, producing a film more refined than their fantastic Mirageman of 2007. This film is a James Bond omage, taken to the next level. I look forward to continued production from this team, and am especially proud that they are able to retain control over their own U.S. remake of Mirageman, set to be titled Defender 3D.

Mandrill
2009, 90 minutes, directed by Ernesto Díaz Espinoza

Cropsey

Documentaries don't usually fit into Fantastic Fest's lineup. But a documentary about an abandoned hospital where New York City used to dump its mental patients, and where a series of missing youth led to the conviction of a "drifter" and former hospital worker? Yeah, it's pretty good.

Cropsey
2009, 84 minutes, directed by Barbara Brancaccio and Joshua Zeman

The Imaginarium of Doctor Parnassus

This is good. You'll like it. Go see it. Thank you Terry. Thank you Heath.

The Imaginarium of Doctor Parnassus
2009, 122 minutes, directed by Terry Gilliam

Truffe

When small furry creatures try to dominate the Montreal truffle industry, only one woman can stand in their way. The director's cut, only 65 minutes long, is tight and crisp, with the trance-induced plot elements woven into a traditional three-act play. I especially appreciated the black-and-white film, allowing contrast to dominate the cinematography.

Truffe
2008, 65 minutes, directed by Kim Nguyen

Buratino, Son of Pinocchio

"Whether you're made of wood or plastic, when love is in the air you make it for sure."

This kooky musical narrative of growing up on the wrong side of town is a modern whimsical fairy tale crafted as an Estonian/Russian co-production. It's light and buoyant in a fanciful world even when confronted with the grime and poverty of Badville.

Buratino, Son of Pinocchio
2009, 76 minutes, directed by Rasmus Merivoo

The Legend Is Alive

Day four. I skipped my first film of the morning to get a good night's sleep, clearing the headache that plagued me yesterday. I'll likely skip tonight's midnight feature as well, so I'll be truly rested and ready to go for more midnight madness during the week.

In this Vietnamese film, a young man struggles with his physical and mental difficulties, the loss of his mother, and his vow to live a peaceful life, all while faced with the harsh realities of human trafficking. It's a good story told well, but don't expect roaring action, as the protagonist strives to use his training only for self defense or to help those in danger. When action does arrive, it feels like it comes from the heart.

The Legend Is Alive
2009, 90 minutes, directed by Luu Huynh

The Revenant

I was so looking forward to this one as a new take on the undead outbreak. What happens when you find yourself a newly-minted walking dead, with full mental capabilities, but no idea what you are or what you can and cannot do? It starts great, continues strong, then just takes a turn down a path I don't favor and fades away.

The Revenant
2009, 118 minutes, directed by D. Kerry Prior

Yesterday

"I was myself yesterday. I don't know who I am now."

Check this out for an ultra-low-budget take on zombie outbreak. It could be epic - but they're just too stupid.

Yesterday
2009, 95 minutes, directed by Rob Grant

Cirque du Freak: The Vampire's Assistant

The night of the undead begins with the first installment in this, the latest vampire franchise to be milked for teenage girls. This is the story of Darren, a boy who is led to give up his normal life and join a freak show as the assistant to a 200-year vampire. Little does he know that fate has plans for him as the instigator of renewed war with the more-bloodthirsty vampanese.

The Paramount was stacked with junior high and high school girls for this premiere, leaving us regular Fantastic Fest badge holders far outnumbered. The audience however seemed to really get into the film and the stars on hand for its premiere. The film was at its worst when it tried to be serious with itself, and best when playing on inside jokes between the script and the audience. While I may not seek out the remaining installments (until my daughter(s) beg me too in 10+ years), I hope the film succeeds and can continue the story.

Cirque du Freak: The Vampire's Assistant
2009, directed by Paul Weitz

Under the Mountain

I see a lot of films that try to be something and fail. This film attempts to be a modern children's fantasy adventure, along the lines of Labyrinth or E.T., and succeeds admirably. The good guys are 100% noble or attain redemption, the bad guys are bad but a bit comically so, the urgency is dire and the adventure roars.

Under the Mountain
2009, 91 minutes, directed by Jonathan King

Fish Story

This wasn't at all what I expected. This slow, winding story leaps across time to what appear to be events only barely related by an unknown 1975 song by an unknown Japanese punk rock band. But watching the first hour and a half is so very much worth it to see the last half hour when they bring it all home.

Fish Story
2009, 112 minutes, directed by Yoshihiro Nakamura

Doghouse

Finally, some kick ass film to wake me up. The action starts fast and never stops. "Now is not the time to stop objectifying women." Fantastic.

Doghouse
2009, 89 minutes, directed by Jake West

Men Who Stare at Goats

As a secret screening, I had no idea what this one would be. It turned out to be marginal. It's a spiritual journey through the Iraq desert, weaving the tales of the U.S. military's 1980s-era New Earth Army and the fate of its solders. It's a "finding yourself" comedy where you aren't meant to laugh (often) but are supposed to feel good about yourself when its over. It's a bit baffling, really. The whole audience was left a big surprised when it just... ended.

Men Who Stare at Goats
2009, 90 minutes, directed by Grant Heslov

(Second time that last-second CGI has marred a film this festival.)

RoboGeisha

Well, this is the screening for which I'm giving up Zombieland. I suspect it's going to be RoboGeisha... and I'm right. Part geisha film, part splatter fest, part body modification, part giant robots, the film seems to be none of those things very well. And while the director warned us that he wasn't allowed to show humans spewing blood, the use instead of CG blood was downright distracting. (Though, having buildings bleed instead was novel.) Eh, given the limitations he should have shelved this script for later.

RoboGeisha
2009, directed by Noboru Iguchi

While they claim contractual obligations prevent this from being called the "world premiere", no one outside cast and crew have seen it before. That's good enough for me.

Krabat

This middle-ages sorcery tale drags in at two full hours long. While it's a good story - and would make a great novel, it's a bit slow for the screen. I did enjoy the imagery.

Krabat
2008, 120 minutes, directed by Marco Kreuzpaintner

Kamogawa Horumo - Battle League in Kyoto

It's a bit too slot and bit too long, but, as the Tim League recommended in the Fantastic Fest guide, if you're going to see this the best bet is to go in totally blind. What happens after 42 minutes should be a total surprise.

Kamogawa Horumo - Battle League in Kyoto
2009, directed by Katsuhide Motoki

Paranormal Activity

This film is generating so much hype here today. Together with the industry presence (30+ seats blocked off for cast and crew) and enhanced security, it's either going to be a huge blockbuster or a serious disappointment.

...watches...

Eh, it was ok, but not worth the hype. It was very predictable and lacked the stick-with-you creepy factor of similar films like The Blair Witch Project. I didn't go to sleep thinking about ghosts, I went to sleep thinking up a better ending. I overheard the guy sitting next to me say that there are eight endings, and he described one of them. Sadly, the one he gave was better than the one they used.

Paranormal Activity
2007, 99 minutes, directed by Oren Peli

read on for spoiler thoughts
The CG in the last second was totally out of place, and the ending was 100% predictable from the moment of the slashed picture. Come on, when she decides to not leave it's obvious she's been possessed. Rather than all of that, wind back to when she's dragged down the hall. Instead of having her pulled into a back bedroom until Micah rescues her, let's see her (via an arm, whatever) get pulled up into the attic through that back closet just before the door slam. Then Micah shouldn't be able to rescue her. He ends up alone. After the tension (and the activity) mounts over five minutes of him frantically figuring out what to do, she should reappear, just give a little grin, and then plug in the she-slaughters-him ending of choice.

Solomon Kane

Harry and the director wanted to be clear right off the bat that this film was new material, not drawn from any source novel, so as to preclude offense taken by the fanboys in the room. As I have no history with the content, that was unimportant to me. What I wanted to see was a kickass sword and sorcery adventure without the silliness or self-mocking-awareness all too often present in such films, and I got just what I wanted. The director shaped the film brilliantly with the resources he had, and the acting and photography brought it home. If it hits as well with a general audience (fingers crossed) as it did with me, this should become a series to follow.

Michael J. Bassett is a very eloquent director able to convey his passion for this material. Were I a producer, I'd want to bring him on and unleash that passion on my intellectual property.

Solomon Kane
2009, directed by Michael J. Bassett

Gentlemen Broncos

This Fantastic Fest, I wanted to see one of the big gala premieres. It would be Zombieland except Harry scheduled a secret screening on top of it, something I can't resist. So instead I'm here at the beautiful Paramount theater, a wonderful place to look at ... the place, but an awful place to watch a movie. As usual, all four good seats are reserved for cast and crew. My view is only partially blocked, and at least I'm on the end of a row so I can breath and move my legs.

So, Gentlemen Broncos. Small town kid in uncomfortable situations finds himself and wins big. If you liked Napolean Dynamite, well you'll get to see part two. If you didn't, like I didn't, well meh.

Gentlemen Broncos
2009, directed by Jared Hess

Первый отряд (First Squad)

The blend of survivor interviews, historian and "psychoanalyst" commentary, and kickass Japanese animation make this Russian adventure a dynamic success.

Первый отряд (First Squad)
2009, 73 minutes, directed by Yoshiharu Ashino

[REC]

As usual I neglected to plan ahead to see my Fantastic Fest prequels via Netflix. I expected to find only the U.S. remake Quarantine at the local Blockbuster, but to my surprise they had not just one but two copies of [REC].

This is a delightful low-budget shakey-cam survival horror flick. I quite recommend it in its original version and native tongue, as the actual low-quality tape (instead of the via-special-effects fake stuff that Hollywood would use) and low-budget effects leave room for the imagination to take over.

Next week, we'll have to see how much I like the convoluted plot they'll have to use to make a sequel...

[REC]
2007, 78 minutes, directed by Jaume Balagueró and Paco Plaza

9

I'm really disappointed. The film starts with far too little time spent introducing the audience to the environment - the newly formed lead character intrinsically knows too much too quickly, and the action commences before the characters have context. Going back later and filling in the history with movie reels is no excuse for writing a poor exposition. This really just ruins the film.

It's billed as an adventure for adults and children, but I think anyone over 8 will be disappointed by the clumsily advanced plot, and anyone under 8 will be scared by the imagery. The saddest part is that, since the film is SO short, they could have had plenty of time to create a good story with proper pacing. Did they run out of money? I expected better.

9
2009, 79 minutes, directed by Shane Acker

Goldfinger

Ahh, the impractical gadgets, the unbelievable villains, the wild locations, the improbably plots, the chauvinistic star. Bond at its pre-Craig finest.

Goldfinger
1964, 110 minutes, directed by Guy Hamilton

District 9

From the popping-head school of kill shots comes a refreshingly-independent film with big-budget ambitions. The first half of this film is brilliant science fiction, with an intriguing story, seamless mix of multiple camera feeds for a realistic-documentary style, and a fantastic performance from Sharlto Copley as Wikus Van De Merwe. The second half devolves a bit too much into a shoot-em-up but still retains the quality cinematography and special effects, and does an exemplary job of winding up a story that clearly starts out with little chance for a happy ending.

I enjoyed this tremendously and dearly hope that there is never a big-budget sequel.

District 9
2009, 112 minutes, directed by Neill Blomkamp

G.I. Joe: The Rise of Cobra

Yet another of an interchangeable mix of generic high-explosive action movie loosely based on a half-nostalgic exploitable source. It's very . . . siffy. Like 80% of SyFy's programming: watchable but lacking.

G.I. Joe: The Rise of Cobra
2009, 118 minutes, directed by Stephen Sommers

The Hangover

While I usually limit my cheesy adult comedy exposure to SXSW, I'm alone for the weekend and the ads for this one seemed vaguely funny. Perhaps it's the aura of Fear and Loathing in Las Vegas that permeates the preview.

It had some good laughs, but alas, it just wasn't good as I hoped. Maybe it's that male nudity ran its course in Forgetting Sarah Marshall, and the -multiple- instances is just too much. Maybe it's because of the rampant uncomfortable situations that leave me cringing. Or maybe it's because of stupid people acting stupidly.

The Hangover
2009, 100 minutes, directed by Todd Phillips

Harry Potter and the Half-Blood Prince

One thing that has disappointed me about the Harry Potter film series has been how much of the Hogwarts content they needed to cut to squeeze the plot into the allotted time. After the first film it seems the kids barely have time for class.

By this point, though, the books themselves veered significantly darker, and away from the frivolity of school life. The film matches. These are dark times for Harry, and they will only get darker.

Harry Potter and the Half-Blood Prince
2009, 153 minutes, directed by David Yates

Harry Potter and the Order of the Phoenx

The story takes a turn for the dark in the fifth installment, which I last saw in the theater. I don't tolerate fools on film, and this story is full of them, blindly ignoring the truth while hampering those that see.

Now that I'm back up to speed on the series, let's see about the next one tomorrow night.

Harry Potter and the Order of the Phoenix
2007, 138 minutes, directed by David Yates

Harry Potter and the Goblet of Fire

When I originally saw this in the theater, all I could think of was how much they had to cut to make it into a film. The loss of all the Hogwart's color is an unfortunate hollowing of the rich story.

I know how much longer the sixth book was. At least it's been much longer since I read them this time, so I won't remember quite how much is left aside.

Harry Potter and the Goblet of Fire
2005, 157 minutes, directed by Mike Newell

Transformers: Revenge of the Fallen

The plot could be ok. The action could be ok. Even fuckin' Shia LaBeouf could be ok. Just fix the damn dialog! Cut out the jokes and the incessant yapping and tell the CGI-packed action-adventure story that your heart desires, Mr. Bay.

Transformers: Revenge of the Fallen
2009, 150 minutes, directed by Michael Bay

Star Trek

I very much appreciate the nod to continuity as part of the series reboot. I do wish they would stay away from the slapstick comedy and hope they'll work on the dialog for the expected sequels.

Star Trek
2009, 127 minutes, directed by J. J. Abrams

I didn't notice Majel Barrett Roddenberry as the voice of the computer, but caught it in the credits. I realized at that moment that it just felt natural.

X-Men Origins: Wolverine

So this is supposed to be the history of Wolverine. Why is the first 120 years of his life blown through in the opening credits? I can picture the storyboard meeting:

"Ok, we have to hit points A -> P that fanboys will recognize from the comic books, plus allow for sufficient action scenes with Logan. Since all that clearly won't fit into a mature, developed plot, let's just string them all back to back."

I admit, it's better than the shit Brett Rattner shoved down out throats a few years ago. Honestly, I'd rather they just didn't make any more since they've mucked it up so badly.

X-Men Origins: Wolverine
2009, 107 minutes, directed by Gavin Hood

Watchmen

It feels like the story has already been told, and we're merely lucky enough to see it again. Most movies touch a single time, a fleeting moment, but this is eternal. I realize that the hype preceded my viewing, but I don't think that colors my judgment. I will remember this one.

Watchmen
2009, 162 minutes, directed by Zach Snyder

Wonder music selection.

ExTerminators

I found this pretty funny. Sure, it's a "men-are-stupid" girl film, but most guys will enjoy it, too. Plus it's weird that the story revolves around ABC Pest and Lawn, what with that being a real company here in Austin - my neighbor even works for them.

As SXSW waned, I slacked off on my movie blog. I'm finally getting this posted in mid-July. The film was good enough to warrant a better review, but to come up with the text I'll just have to see it again.

ExTerminators
2009, directed by John Inwood

Black

Who'd have thought that France would resurrect the funkiest of 70s genres - the blaxspoitation film - and remake it to such grand success? This film has all the traditional elements but feels fresh. Action. Adventure. Mysticism. Groovy Bass. Oh yeah.

Black
2009, 115 minutes, directed by Pierre Laffargue

Note to self: buy the soundtrack

The Slammin' Salmon

Stupid people. Stupid jokes. Sometimes slightly funny.

The Slammin' Salmon
2009, 93 minutes, directed by Kevin Heffernan

Edit: Ok, now a few days after seeing the film, I have to admit that I look back on it as funnier than I know it was at the time. I could see situations at film parties with the right group of friends and alcohol that this could be a hit.

The Least of These

In 2006, as the U.S. government ended the catch-and-release program for illegal immigrants, they created a facility to detain families that had entered the country to seek asylum. These are exclusively non-Mexican families who fled their homelands due to violence, such as those fleeing torture, mutilation, religious persecution, or domestic abuse. Their home countries could not protect them, so, like millions of others in the last three hundred years, they came to America to seek a better life.

Upon arrival they are arrested, handcuffed, and taken to a "converted" prison facility in Williamson County, Texas, where for nearly two years children of any age, housed with their parents, were treated as prisoners. Parents are expected to eat and feed all their children in fifteen minutes. Play time consists of being marched out single file to a yard, being told to sit, then being told to stand up and file back inside. Education is an hour a day. And all of this costs four to five times as much as a half-way-house-style facility, where families can live in monitored homes and retention until hearings runs over 90%. It's not that we need to open the doors of the country to anyone claiming asylum, but there are so, so many better ways.

After a lawsuit and settlement with the ACLU, conditions at the detection facility have improved. It's still a heartbreaking story. Thank you, ACLU.

The Least of These
2009, 62 minutes, directed by Clark Lyda and Jesse Lyda

Make-Out with Violence

Imagine a story about a girl who dies, and comes back as a zombie. She's found by some former friends, and held while they figure out what to do with someone who only eats living creatures (including her friends, if she could) and is slowly but surely rotting away.

Then imaging a story about teen angst, coming-of-age, learning about life and love in the last days of summer.

Then put the two together, but make sure it's not funny in any way, as it's supposed to be a serious emotional drama. Voila, you've created a festival film. I readily admit it's the least-creepy creepy film I've seen in some time, and overall it wasn't bad, but it left me wondering "Why film this?"

Make-Out with Violence
2008, 105 minutes, directed by the Deagol Brothers

Lesbian Vampire Killers

Do you like Shaun of the Dead, but wish for more variety in your British gore-comedies? You're in luck! Lesbian Vampire Killers offers the same Thin Serious Guy and his Fat Goofy Friend (in this case, Gavin and Stacey stars Mathew Horne and James Corden), as they encounter a centuries-old cult of lady vampires who want nothing more than world domination. Ok, maybe the do want something more...

Lesbian Vampire Killers
2009, 84 minutes, directed by Phil Claydon

Afterschool

I was rather impressed with the interesting imagery chosen to tell this story. From long camera takes to not filming the actors to curious use of focus, their choices made my cringe less at the uncomfortable coming-of-age story. The film leads you through quite a build up towards a controversial end.

Afterschool
2008, 120 minutes, directed by Antonio Campos

Drag Me to Hell

100% predictable

200% cheesy

3000% awesome

Drag Me to Hell
2009, 96 minutes (as a work in progress), directed by Sam Raimi

Four Boxes

This internet-age mystery thriller starts off in a predictable fashion, with cliche characters Serious Guy, Goofy Guy, and Mututal Love Interest. It goes for predictable gags, shocks, and twists, and winds to what seems near a predictable conclusion.

Then, it just gets weird. I readily admit that I haven't seen something like it before. But, I'm not so sure that's a bad thing. I recommend that you see it for yourself, but be prepared to be disappointed.

Four Boxes
2009, 75 minutes, directed by Wyatt McDill

Garbage Dreams

This documentary tells the tale of three youth, growing up as Zaballeen, a lower-class society of garbage collectors and recyclers in modern Cairo. They survive by selling recycled raw materials sorted from the refuse, and achieve a recycling rate as high as 80% for their efforts. As antagonists, foreign waste disposal companies have recently moved in to "modernize" garbage collection. With a 20% recycling rate but legal right to all trash on Cairo's streets, the two sides face off, the Zaballeen, now lawbreakers, fighting to survive. It's not healthy or glamorous work, but it's their life.

The documentary hypes the environment angle, but there's basis for it. When the local Recycling school gives two of the boys, Nabil and Adham, a chance to travel to Wales to see their modern recycling efforts, they are suprised by the waste in the automated systems.

Each of the youth adopt in their own ways to their changing world, and the documentary follows them for more than two years to see the story to a rightful end. While each of the three choose different paths, Adham steadfast passion for recycling instills in him a sense of restlessness, a lack of place in the new world. He, of the three, clearly wants to travel, find a purpose, and so it was quite pleasant to find that the film producers flew him to Austin for the world premiere of his film. The standing ovation he received was well deserved.

Garbage Dreams
2009, 82 minutes, directed by Mai Iskander

Artois the Goat

This locally-grown, kitchy comedy tells a compelling tale of need. The raw, base emotion that fuels the desire to create resonates in me strongly, and this film acts as inspiration for that desire. It's a very uplifting story.

Artois the Goat
2009, 96 minutes, directed by Cliff & Kyle Bogart

Pontypool

When our very words have been infected, what can one radio man say to save the world?

I'm amazed at the vivid imagery produced by this film, despite the lack of many special effects and, indeed, any images at all of the horrors described. It's a slower apocalypse horror film with little on-screen violence, but see it with a strong recommendation.

Pontypool
2008, 95 minutes, directed by Bruce McDonald

I'm drawn to think about how Cloverleaf, a film I didn't particularly dislike, had to use so much imagery to create the same kind of story that Pontypool did with so little.

Moon

As I've mentioned before (see Sunshine, Gattaca), there is far too little sci fi being created these days. Sure, there's soap opera in space (see Battlestar Galactica), there's western in space (see Firefly), and there's plenty of horror in space. I like all those types, too. But there's too little science fiction in the sense of the true masters. Sci fi is meant to push the boundaries of science, not necessarily a lot, but just a little, to create situations of tenuous morality. Then the science can be set aside and the story is about the people, and how mankind in its brilliance adapts and coexists.

Moon
2009, 97 minutes, directed by Duncan Jones

Objectified

I didn't notice that this was from the same director as Helvetica, a quality documentary from SXSW a few years past. He apparently, as he put it, "still had questions [he] wanted to explore about design."

This is a documentary style I like. Quality production, smooth pacing, a topic interesting yet unfamiliar, touching on cultural icons to which I readily relate. The directed did a wonderful job picking designers to feature.

From my notes, an enjoyable quote, from the designer of the Umbra trash can (of which we have two in our house): "There's been a million chairs designed. Why on earth is there an uncomfortable chair? There is no excuse."

And another quote, from another designer: Create a marketing campaign for things you already own. "Why not enjoy them today?"

I really liked this film, and I think my wife will like it a lot, too. Given his indication of a third design story underway, I look forward to completion of the trilogy.

Objectified
2009, 76 minutes, directed by Gary Hustwit

Creative Nonfiction

This morning I delved into the world of true zero-budget film, for a "comedy/drama" of brief proportions. I can blame no one but myself for this transgression, as I failed to watch the trailer, and gave myself very different expectations based on the promo blurb.

Despite how good this film may or may not be, I am not partial to uncomfortable situational drama. The very cringe-worthy bits are broken up slightly by solid comedic insights into life and relationships. I wish them all the best, but it's just not for me.

Creative Nonfiction
2009, 60 minutes, directed by Lena Dunham

Zift

This wasn't what I expected. For a midnight feature set in gritty Eastern Europe, I want to see dirt, grime, and a healthy application of violence. I got those things, but they were intertwined with a tale of desperation and loss and betrayal. There was much more narrative, and much less action, than I prefer. I forgot how depressing films from this region can be. The Soviet era still hangs over the satellite countries' cultures like a plague. Maybe they can't yet move on. But I'm ready to.

Zift
2008, 92 minutes, directed by Javor Gardev

Know Your Mushrooms

This being the latest documentary by the director of 2006's Tales of the Rat Fink, I should have realized what I would get: a topic barely stretched to feature length, with intermixed cheesy graphics reused a bit too much.

But past the documentary style, I found tidbits of story interesting. Larry Evans, the "Indiana Jones of mushroom hunters", does well in the film and seems equally genuine in person. The Maitake mushroom, grown in Japan and found to significantly repress tumor growth, sounds like a reasonable addition my diet, given my family history with cancer.

Set the DVR to record this when it shows up on the Documentary channel, and watch it while ironing clothes or doing your taxes. It will be suitably enjoyable given the context.

Know Your Mushrooms
2008, 74 minutes, directed by Ron Mann

The 2 Bobs

SXSW has come again, and with it a week of movies that I've never heard of but will see and, maybe, enjoy. The vacation situation at work leaves me with none, so I'm juggling evening/weekend films with a full-time job this year.

The opening night film, Love You Man, is one-too-many Paul Rudd / Jason Segal comedies for me, so instead I went for locally made, no-budget comedy The 2 Bobs. Filled with language and nudity and local Austin product placement, the film does tremendously well for its resources. Note "Samurai Sam" in Vertical Bob's office; his usual locale is the reception area of my wife's former employer.

The film is a bit disjointed, and filled just a little too much with stupid people doing nonsensical things in a panicked fashion, with gratuitous nudity and language . Horizontal Bob, Devin Ratray, said in the Q&A, "It's the only time I've been on a set, where the writer is embarrased to hear his own dialog." It's funy, but very local, very independent - not suitable for wide consumption.

The 2 Bobs
2009, 86 minutes (SXSW cut), directed by Tim McCanlies

Taken

I liked this film for several reasons. The action is very well paced; they hit the scenes again and again with vigor, and the audience loves it. It never seems senseless, without cause. There is always one, key, ultimate point: to get his daughter back.

This is a fine action film. Go see it while you can still enjoy the big screen and have an audience to share the impact.

Taken
2008, 93 minutes, directed by Pierre Morel

Wal-Mart: The High Cost of Low Price

"Funnel Chinese goods directly to the American public."

Why? Why would people rather have one big store funneling foreign goods - no matter how cheap they are or their quality - as the entire life supply for their town? And when there's nothing left, the Wal-Mart employees have to take their paycheck and walk right back into the store. Cheap foreign goods from Wal-Mart are the only thing they can afford.

And it's not like Wal-Mart is helping out those foreign workers, either.

It's an over-the-top documentary styl that I don't appreciate, but looking past the method of delivery, the truth behind it is compelling.

Wal-Mart: The High Cost of Low Price
2005, 95 minutes, directed by Robert Greenwald

Gran Torino

This wasn't what I expected, but what did I expect? He's not 40 any more, but he does play a convincing angry, racist old man.

It's a poignant swan song for a life of violence. And it's done.

Gran Torino
2008, 116 minutes, directed by Clint Eastwood