TPB AFK: The Pirate Bay Away from Keyboard

This "slice of life" documentary (no narration, no post-interviews, just film and a few on-screen comments and glossary) covers Peter, Fredrik, and Gottfrid, the founders of The Pirate Bay, from their 2009 trial in Sweden through the loss of their finals appeals in 2012. Told almost entirely from their perspective, it presents one view (the correct view) on the legality of the case against them. If you've ever been interested in TPB from a legal or political perspective, I encourage you to check this out.

And yes, in accordance with the wishes of the filmmakers, feel free to find, download, and share the film online.

TPB AFK: The Pirate Bay Away from Keyboard
2013, 82 minutes, directed by Simon Klose

Johnny Mnemonic

Here we are, a few weeks after the end of Fantastic Fest, and I'm finally able to stomach watching a movie again.  This week's Netflix special is Johnny Mnemonic, a not-so-futuristic look at data smuggling in the head of one serious and pissed Keanu Reeves.  Overloaded with a whole 320 gigabytes of data (oh my!), Johnny has to find the pass code and get it out before it leaks into his brain, bursting it.  Meanwhile the Yakuza and various local scum (including a cyborg street preacher) a trying to hunt him down to "retrieve" the information, guillotine-style.

It's funny watching old sci fi action films try to be futuristic, but still mess up so many key things.  The sad part about this one is that it didn't come out in the 80s when such things were forgivable - it came out the year I graduated high school.  They should have known better and I feel old.

Johnny Mnemonic
1995, 103 minutes, directed by Robert Longo

Doomsday Book

This film is actually a series of three shorts, created together as a single motion picture, all focused on (as you may guess) doomsday scenarios - from a Korean perspective.  The first - Brave New World - is a straight-up zombie scenario as told via patient zero.  For the second short - Heavenly Creature - the definition of "doomsday" is stretched to include singularity, as a UR International robot awakens as Buddha.  Finally the third film - Happy Birthday - takes a new look at asteroid apocalypse in the modern age.

I won't call the film epic or particularly enthralling, but if you like the Future States shorts or similar looks at future probability - and are willing to tolerate a little silliness on the side - then this film provides more footage for you.

Doomsday Book
2012, 115 minutes, directed by Jee-woon Kim and Pil-Sung Yim

WE ARE LEGION: The Story of the Hacktivists

This feel-good activism documentary chronicles the story of Anonymous and it's offshoots, from its origins on 4chan, early operations against Hal Turner and Scientology, through the Lulzsec activities of 2011. It does a good job of marketing the Freedom ethos, but there's little time spent on opposing viewpoints if you want an apolitical account.

If you don't believe the government will always protects ALL your freedoms, you too rely on Anonymous. I expect though that only those who agree with film will ever see it.

WE ARE LEGION: The Story of Anonymous
2012, 89 minutes, directed by Brian Knappenberger

Live Free or Die Hard

This week's Netflix special is 2007's Live Free or Die Hard.  I liked the first movie quite a bit, and I remember being somewhat let down by the second and distinctly disappointed in the third.  I didn't think the fourth film, set and released some 12 years after the third, was worth a trip to the theater.  Honestly, I was right.

I can watch a shoot 'em up, if the shooting is good.  I can watch a big explosion film, if the explosions are good.  I can watch an action comedy, if the action's good or the comedy makes sense.  Big story arcs don't have to be perfect, but basic plot points just need to make sense.  Where did the cars come from that filled the side of the tunnel with the helicopter hovering just overhead?  Why does BMW vehicle assist work when the cell phone network is down?  Why is Bruce Willis' dialog just so plain awful, and his joy at each kill somewhat creepy?  And when did we get to the point that they have to dub in the curse words?

Let this series return fallow.  It's done.

Live Free or Die Hard
2007, 129 minutes (unrated version), directed by Len Wiseman

Erasing David

It's SXSW again, and while we had every intent to skip this year due to whatevers, a pair of badges landed in our laps earlier this morning.  After a flurry of organizing it up and amazingly being denied at the Paramount for the opening night film, my wife and I ended up at the cozy little Hideout for the U.S. Premiere of this British documentary.

Filmmaker David Bond, having been notified that his government lost information about him and his daughter, starts to wonder just exactly what part of his life is out there to be discovered.  Each piece of information shared with the government or a business becomes part of a collection, one that when compiled can reveal far more than desired.  Putting this to the test, he chooses to disappear for 30 days.  Meanwhile, he has hired two private investigators to track him down, starting with only his name and face.  Can he last the month, or is there already far too much out there waiting to be found?

The film jumps between David alone on the run, his investigators as they gather up his life and try to predict his moves, and interviews and research on privacy conducted before the adventure began.  I thought it was a well-edited, solid documentary, very well suited for the blend of film and interactive content that is the first weekend of SXSW.  Privacy has become a choice of how much you are willing to reveal to get the services you desire.

Erasing David
2009, directed by David Bond and Melinda McDougall

Edit 3/22/10: It's rather hilarious that this story came out just a week later:
http://abcnews.go.com/International/facebook-finds-mafia-boss/story?id=10124958

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

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