The Five Year Engagement |Yellow||||Yellow
The Raven |||||Yellow
Bernie (limited) |Yellow||||Green
Sound of My Voice (limited) ||||Green|
Headhunters (Magnolia) (limited) |Green||||Yellow
The Pirates! Band of Misfits |||Yellow||
Elles (limited) |Yellow||||
Warriors of Rainbow (limited) |Green||||
Author Archive
Critics Roundup – April 26
Friday, April 27th, 2012Adventures in Filmmaking: Bunker Goes to SIFF
Friday, April 27th, 2012
I can finally announce that my short film, Bunker, will be premiering at the Seattle International Film Festival in their shorts competition. Can I get a huzzah?! I’m over the moon to have my film screening at SIFF. It’s a tough fest to get into, and it’s Oscar-eligible in the shorts categories. My cast and crew are mostly here in Seattle, so I’m hoping we’ll have a solid hometown turn-out when we screen as part of the SeaTown Stories section during Memorial weekend’s Shortsfest at SIFF.
Huge congrats to my terrific cast, Rachel Delmar and Stefan Hajek, my husband and business partner Mike Hodge, co-producer Melanie Addington, DP Sam Graydon, editor Joe Shapiro, sound wizard Vinny Smith, colorist John Davidson and composer Ken Stringfellow, and the entire, enormously talented crew who helped take my little script and make it into a little movie that we can all be proud to have our names on. You guys rock.
Who Was Amos Vogel?
Wednesday, April 25th, 2012Over on Film Comment, Film Society of Lincoln Center’s Eugene Hernandez has a nice piece up about independent film vanguard Amos Vogel, who passed away today at the age of 91, and if you don’t know much about Vogel you should go read it. Eugene’s piece points to this excellent documentary about Vogel, Film as a Subversive Art, which you can watch in its entirety for free on Vimeo. It’s roughly 56 minutes long, and you’ll likely learn something about this amazing man to whom independent cinema owes a debt of eternal gratitude. Most of it is Vogel, just talking to the camera about his life and career. It’s pretty awesome. Check it out.
RIP, Amos Vogel.
Catching Up
Wednesday, April 25th, 2012It’s been a busy couple weeks for me, with tech week for two casts of Grease gearing up for performances this past weekend (and one of my kids in each of the casts), watching a stack of screeners for the narratives jury for IFF Boston, and a busy trip down to Dallas to serve on the Texas Competition jury for the Dallas International Film Festival in the midst of that. So I’ve been a little swamped and thus not getting a whole lot else done around here.
So, Dallas. This year was the sixth year of this fest and the sixth I’ve trekked to Dallas to be there, and it’s always one of the most interesting and fun fests of the travel year for me. It feels a bit like going home since it’s so close to my hometown of Oklahoma City, and it certainly bears more in common with the Sooner state than it does with Seattle. I always pack much dressier for this trip, and even so I inevitably feel under-dressed at some point; this town dresses up for its events, whereas in Seattle “dressing up” mostly means, “I’m changing into my good/designer jeans and my spiffiest Chucks.”
One of the things I like most about hitting the regional fests is seeing how each of them painstakingly programs a schedule that covers an eclectic spectrum of what’s going around the fest circuit, drawing their particular audience in to see films they may have heard about, while also challenging them with films they otherwise wouldn’t get to see at all. James Faust and Sarah Harris do an exceptional job of knowing the Dallas audience their festival is there to serve, and I was impressed with the films we had to consider on the our jury. Ultimately, we gave a Special Jury Mention to David Zellner’s Kid-Thing and the Grand Jury Prize to Ya’Ke Smith’s Wolf, a searing portrait of the impact on a family when they learn their beloved and trusted pastor has been sexually abusing their teenage son for years. In certain ways, Wolf evoked Spike Lee’s Red Hook Summer, which I saw at Sundance this year, but Wolf is a much, much better film in pretty much every respect (sorry, ‘strue).
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Life in Time Lapse
Monday, April 23rd, 2012God, I wish I’d done this with my kids. This guy took a video of his daughter every week from the time she was born until age 12 (with the rest of it to be continued, natch). The result is this awesome 2 minute 45 second time lapse video that captures the essence of what every parent knows: They grow up so damn fast. Enjoy.
Box Office Hell — April 20
Friday, April 20th, 2012Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
The Lucky One |n/a|15.2|17.0|16.5|21.0
Think Like a Man |n/a|9.4|17.0|19.0|24.0
The Hunger Games |n/a|13.6|13.0|13.0|13.0
Titanic in 3-D|n/a|7.9|n/a|n/a|7.7
Chimpanzee|n/a|7.3|7.0|n/a|6.5
Critics Roundup – April 19
Thursday, April 19th, 2012Think Like a Man |||Green||
Darling Companion |||Yellow||Green
Goodbye First Love (limited) |||Green|Green|
My Way |||Green|Green|Green
Oki’s Movie (NY) |||Green||
Review: Goodbye First Love
Thursday, April 19th, 2012Note: This review was originally published as a part of our TIFF 2011 coverage. I’m re-running to now in conjunction with the film’s opening this weekend. You should go see it.

With her latest film, Goodbye First Love, Mia Hansen-Løve handles her subject matter of adolescent love in a way that’s remarkably free of pretense and condescension, even as her youthful characters occasionally make choices that make you want to throttle them. The story is pretty simple: 15-year-old Camille (Lola Créton) and 18-year-old Sullivan (Sebastian Urzendowsky) are in love. Madly, desperately, in love, with an exuberance declared in the italics with which adolescents abundantly litter their emotional lives.
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Okay, Who Let the Filmmakers Have a Rifle?
Tuesday, April 17th, 2012Well, this one creates an interesting ethical dilemma for Tribeca Film Festival attendees who are also animal lovers/vegans/card-carrying members of PETA. Apparently two deer were illegally shot (and skinned and cooked, although that bit probably wasn’t illegal once the deer were already dead) in the filming of Tribeca Film Fest entry First Winter, about a group of Brooklyn new-age hippies/hipsters stranded in a remote farmhouse in the dead of winter with the food supply running out. And by “shot” I don’t mean “filmed,” or even “inadvertently shot by some PA screwing around with a loaded rifle.” I mean “shot” as in, the script called for a real live deer to be really shot and killed and skinned and roasted. For authenticity, I guess.
I know what my veggie and vegan friends would have to say about that … what do you say? Killing a wild animal just so you can record the killing (and skinning and roasting) for your film: Okay? Not cool, but not necessarily morally wrong? Or just flat-out ewwww?
Critics Roundup – April 12
Sunday, April 15th, 2012The Cabin in the Woods |||Green|Green|
The Three Stooges |Yellow||||
A Simple Life (limited) |Green|||Green|
Detention (limited) |||Green|Green|
Here (NY) |||Green||
Monsieur Lazhar |Green|||Green|
Life Happens |||Yellow||
The Lady (limited) |Red||||
A Kids’ Band Covering German Industrial Metal? Yes, Please.
Saturday, April 14th, 2012Happy Saturday, folks! I’m on vacation in lovely Port Townsend with my pack of kids and some friends, but I came across this little bit of awesomeness this morning and knew you’d appreciate it as much as I did. This is Children Medieval Band – Stefan (10) on guitar, violin, harmonica and vocals, Olga (8) on keys, and Cornelia (5) rocking out the drums, performing a cover of Rammstein’s Sonne. Enjoy a little German industrial metal with your weekend brunch. More cuteness, less pyrotechnics than the original. 100% awesome.
Box Office Hell – April 13
Friday, April 13th, 2012Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
The Hunger Games |18.0|19.8|18.0|20.0|19.5
The Three Stooges |15.6|9.5|11.0|12.0|13.5
The Cabin in the Woods |14.2|16.7|15.0|15.0|14.5
American Reunion|11.5|11.4|11.0|10.0|11.7
Titanic in 3-D|8.5|10.3|10.0|11.0|11.8
Review: The Cabin in the Woods (Spoiler-Free)
Friday, April 13th, 2012All you need to know at this point is this: You should absolutely go see The Cabin in the Woods. Yes, it’s been hyped so much that you’re probably thinking, “Oh, there’s no way it’s THAT good.” Whether you end up thinking it is that good or not, to miss this film is to render yourself mute at watercooler conversations and happy hours for at least the next couple weeks. You’ll just have to stand there nodding your head and trying to pretend you know what you’re talking about every time someone says, “Oh my God, Cabin in the Woods, right?!” and you’ll say something stupid about the movie you didn’t go see, and everyone will stop talking and give you that look. You don’t want to be that guy.
This is the kind of film you could watch over and over again and still find something you missed on the previous viewings, but the first time, you really should see it knowing as little as possible. The bare bones, so to speak: We have our requisite five good-looking kids who vaguely remind you of the Scooby Gang (coin toss on which of them is Scooby): Our players are The Sporto (Chris Hemsworth), The Beauty/Slut (Anna Hutchison), The Stoner (Fran Kranz, who brilliantly manages to simultaneously evoke Shaggy and be way cooler than Shaggy), The Nice Girl/Kinda-Sorta-Almost Virgin (Kristen Connolly) and The Handsome, Nice and Brainy Guy (Jesse Williams). We have our beat-up RV standing in for the Mystery Machine, the Creepy Old Guy Who Warns Those Darn Kids to Stay Away from the Mysterious Cabin. And of course, we have the titular Cabin itself, which you have no doubt seen on the movie posters flying in the air and turning itself into some kind of puzzle box. That, my friends, is absolutely all you should know, except for this:
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In Defense of Stay-at-Home Moms. Even Ann Romney.
Thursday, April 12th, 2012God knows, I don’t want to say anything that could ever be construed as supporting Mitt Romney’s candidacy for president. But this Gawker story about Mitt’s wife Ann joining Twitter to rebut CNN commentator Hilary Rosen, who said of Ms. Romney that the mother of five has “never worked a day in her life” has too much potential to backfire on the Dems to let it slide.
Ms. Romney (or, to be fair, perhaps it’s someone Tweeting on her behalf) tweet-tweet-tweeted in response:
“I made a choice to stay home and raise five boys. Believe me, it was hard work.”
and
“I’ll be with @marthamaccallum this morning at 10:40 discussing Hilary Rosen’s comments. All moms are entitled to choose their path.”
Well, on this issue at least, I have to agree with Ann Romney. As a mom of five myself who has both done time as a stay-at-home mom and balanced working with having a pack of kids, I fully support women who have kids in making the choice that’s right for them. The reality is, once you go down the pregnancy path there’s no going back, and if you are both a mom and a woman who loves her job, you’re screwed no matter which choice you make. Your choices pretty much boil down to:
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On the Loss of Childhood Freedom
Tuesday, April 10th, 2012
I was having a conversation with another mom I don’t know too well when she said something that gave me pause. She was talking about this new family that had moved in on her street, and bemoaning that the parents let their kids “run wild” and that these new kids might be a bad influence on her own kids. Run wild? That sounded interesting. Were the kids committing acts of vandalism, bullying younger kids, terrorizing the neighborhood, running around naked with paintball guns? Nope. “Running wild” meant, to this woman, that these parents allowed their kids (all ages seven and older) to ride their bikes and scooters around the neighborhood, to play in their front yard, and — horror of horrors — to sometimes play outside wearing their pajamas and sneakers. For these transgressions, this woman was pondering calling CPS to report this family.
My mind was boggled.
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Trailering Goodbye First Love
Monday, April 9th, 2012Mia Hansen-Løve, introducing her latest film Goodbye First Love at TIFF last year, warned the audience that probably this film would not be what we expected it to be, that it was not sweet or soft or sentimental, but about the pain of learning that love doesn’t last. About that she was right … like her earlier film, Father of My Children, Goodbye First Love is often bleak and brooding and occasionally surprising; it’s also intimate and smart, honest and perceptive. The film opens April 20 in limited release, before becoming available nationwide through Sundance Selects VOD.
Here’s my review of the film from TIFF 2011.
And here’s the trailer.
Box Office Hell — April 6
Friday, April 6th, 2012Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
American Reunion |32.5|21.3|24.0|29.5|n/a
The Hunger Games |29.5|30.3|30.0|30.0|n/a
Titanic in 3-D|26.5|28.2|25.0|22.0|n/a
Wrath of the Titans|14.7|14.4|16.0|14.5|n/a
Mirror Mirror |10.0|10.6|11.0|11.0|n/a
Critics Roundup – April 5
Thursday, April 5th, 2012Titanic in 3-D |||||
American Reunion |||||
Damsels in Distress (NY, LA) |Green||Yellow|Yellow|
Surviving Progress (NY) |||Green||
We Have a Pope (limited) |Green||Green||Green
We the Party (limited) |||Green||
Keyhole (limited) |Green|||Yellow|
The Hunter (limited) |Yellow||||
Piracy, Again? Arrrrrggggh.
Saturday, March 31st, 2012When is pirating movies not stealing something you didn’t pay for out of a misguided sense of self-entitlement? According to Mike D’Angelo, it’s not stealing if he does it, at least. Or it is stealing, but he’s entitled to steal it. Or at the very least, hey, stealing’s not bad if you’re only pirating movies you really, really want to watch on Blu-ray but don’t want to buy. Or if you delete it after you watch it, if you don’t like it, or add to your wish list to purchase for when you decide you can afford it. Got it?
D’Angelo wrote an earlier post a little over a month ago, confessing his movie piracy (and getting duly attacked on Twitter for it), and then yesterday wrote this follow-up piece for Indiewire, further attempting to explain what he really meant. Which apparently boils down to: Yes, he pirates movies, and no, he doesn’t feel bad about it. I’ve read both pieces, and all the comments on both, and D’Angelo’s response to pretty much every argument against pirating really boils down to, “Too bad. I want to see these movies on Blu-ray. I am entitled to see these movies, which I do not own and did not create, for free if I want to. I don’t want to pay to buy them, but I’m still entitled to illegally download and watch them, because — were you not paying attention the first ten times I said this? Did you not read my blog post? I really want to watch them, on Blu-ray, right now. Period, end of line.”
I’ve been accused at times of being too black-and-white in my own moralistic viewpoint on certain issues, but for me, the issue of piracy is just a no-brainer. If you don’t own it, you don’t have the right to set the terms under which you or anyone else gets to have it or watch it, period. I don’t care how hard or impossible it is to find pre-2000 movies for rental on Blu-ray. Big fucking deal. So you don’t get to rent Anatomy of a Murder on Blu-ray. Life’s hard. If you want it, you have to actually buy it. Cry me a river, dude. Get over your overblown sense of self-entitlement and find a real problem to deal with.
Reality check: People around the world are dealing with civil war and unrest, famine, joblessness, homelessness, no health care, terminal illness, people dying from diseases that no one in 2012 should have to worry about, crushing poverty and oppression by military dictatorships. The GOP is attacking women’s rights at every possible opportunity, trying to take control of abortion and birth control. There are people around the world — dare I say, a LOT of people — who don’t even have access to books or a basic education. For the much of the world, there are more pressing problems to deal with than whether one can afford to own a region-free DVD player or watch Anatomy of a Murder on Blu-ray. People are too busy figuring out how to keep food in their kids’ bellies, or schlepping five miles with a water jug on their heads to get access to something we can just turn on at a tap in our kitchens and bathrooms to worry about piddly shit like access to Blu-ray rentals. But hey. Being able to rent Blu-rays of every single movie you might want to see is a Really Pressing Fucking Issue that we should all take up arms and fight for. Give me a break. Talk about a First World “problem.”
We are at a period in our history where we are at the cusp of either uniting for a major revolution that will profoundly shift the way in which our societal structure is organized, or plummeting headfirst into a future where the Christian right controls our lives and sets the rules under which we live, or possibly just destroying our planet over religious differences, war and good old-fashioned avarice. And your biggest problem is whether you’re able to rent Anatomy of a Murder on freaking Blu-ray? For real? Look, for me, piracy is one of those issues in which there really is very little wiggle room or moralistically grey ground. Whatever justifications pirates come up for for their stealing, however intellectual they try to make their arguments sound, really it all comes down to, “But … I want what I want, when I want it and how I want it, so that makes it all okay.” Sorry, kids. It doesn’t.
You are absolutely free to make your own movie and put it out there freely accessible by all, as Nina Paley did with her film Sita Sings the Blues, which she, as the owner and creator, chose to make freely available for viewing and sharing under a Creative Commons License. The key words here are “owner and creator,” as in, she had the right to decide everyone can watch her movie for free. She, the owner. Not a film journalist who felt entitled to watch her work because he really, really wanted to watch it. So you can download and watch Sita Sings the Blues all day and night, without worrying about stealing what doesn’t belong to you. And there are probably plenty of indie filmmakers out there who would be happy to make their films freely available to you because they just care about someone, anyone who’s not their friends or family, seeing the work they created.
Unfortunately most movies are not freely available under Creative Commons or anything else. They are owned by companies, which either paid to make them or paid to buy them from the people who made them, who in turn had the right to sell their creation to the highest bidder. If it’s not easy to rent the Blu-ray version of a given film, well, too damn bad. You’re free to write the distributor and tell them you’d really like them to make this or that movie available for rental, on Blu-ray. You’re certainly free to come up with a solution yourself for how to offer such rentals to anyone else who might also have a pressing, urgent need to rent a Blu-ray of Anatomy of a Murder or Killer of Sheep right now. What you’re not free to do is blatantly steal what doesn’t belong to you, and then essentially brag about what you’re doing, thumbing your nose at the people who own what you’re stealing, and then wrap it all up in a pretty package of self-righteous indignation about how essential it is to your life and well-being that you be able to see whatever movies you want on Blu-ray, whenever you want to see them, without paying the owners of said property for that privilege.
Honestly. Reading the debate in the comments threads on both these posts is a lot like listening to a parent arguing with a two-year-old at playgroup:
PARENT: No honey, you can’t just take Tommy’s toy, it’s his.
2YO: But I WANT it! It’s mine!
PARENT: I’m sorry, you can’t have it. It doesn’t belong to you.
2YO: Why?
PARENT: Because it belongs to Tommy. It’s his. If he wants to let you play with it, he can, but you can’t just take it.
2YO: But I WANT it! It’s mine! I want it NOW! Wahhhh!
Exactly.
Box Office Hell — March 29
Friday, March 30th, 2012Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
The Hunger Games |64.5|76.8|69.0|70.0|72.0
Wrath of the Titans|40.8|35.8|36.0|36.0|37.5
Mirror Mirror |24.8|18.3|20.0|27.0|24.0
21 Jump Street|12.3|12.4|12.0|13.0|11.8
Dr. Seuss’ The Lorax |8.0|7.7|7.0|7.5|7.8














