Left to right: Annette Bening, Julianne Moore, Josh Hutcherson, Mia Wasikowska, Mark Ruffalo in THE KIDS ARE ALL RIGHT.

In my discussion with director Lisa Cholodenko about her new film, THE KIDS ARE ALL RIGHT — about a sperm donor (Mark Ruffalo) abruptly entering the lives of a lesbian couple (Annette Bening and Julianne Moore) whose children were spawned from his seed — I mentioned to her that the tone felt distinctly Southern Californian. Just to be clear: Despite my typical, knee-jerk attitude as a chauvinistic New Yorker, that comment wasn’t meant as a slap. It’s just that there’s something in the trappings of the characters’ lives, in their careers (Ruffalo plays a locavorish restaurateur; Moore is a landscaper), and in the overall sunny feel of the film even as relationships are being fractured and reassembled, that left me feeling that, though this story could really have taken place anywhere, it couldn’t have played out quite as it does in this particular setting.

Which is good, I think. The left coast locale provides context to the way Bening and Moore style themselves as models of a progressive, twenty-first century couple, and a affords a certain, reassuring optimism as the complications thrown in the characters’ paths become increasingly challenging. As with her previous film, HIGH ART, Cholodenko knows how to dig under the skin of modern relationships, without shortchanging her characters or overselling the drama. Turns out it’s not suprising that this is coming out in the summer — KIDS is a cool counterpoint to all the massive explosions and CG aliens that have invaded theaters elsewhere.

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THE KIDS ARE ALL RIGHT
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More Relationship Insights.

Bent Elements and Straight Love: THE LAST AIRBENDER (left) and THE TWILIGHT SAGA: ECLIPSE.

It’s a double-dose of photodramatic discussion, disputation, and dissention on this week’s episode of the the Cinefantastique Podcast, as Dan Persons, Steve Biodrowski, and Lawrence French take on romantic vampires, macho werewolves, and elemental airbenders. Does THE TWILIGHT SAGA: ECLIPSE deliver? Can the post-production 3-D conversion process add depth to M. Night Shyamalan’s live-action adaptation of Nickelodeon’s THE LAST AIRBENDER? Plus: an interview with director Nimrod Antal about his work on the upcoming PREDATORS, and other news from the worlds of science fiction, fantasy, and horror, all delivered with lightning rounds of rapier wit and incisive analysis.

Genuine Gold: PSYCHO (left); PEEPING TOM (center); and HOUSE OF USHER celebrate their 50th anniversaries.

With no new horror, fantasy, and science fiction films opening nationwide this week, the Cinefantastique Podcast turns its eye on the 50th anniversary of a trio of terror from the year 1960: Alfred Hitchcock’s PSYCHO, Michael Powell’s PEEPING TOM, and Roger Corman’s HOUSE OF USHER. Relax and sit back in your time machine as Dan Persons, Lawrence French, and Steve Biodrowski offer their retrospective analysis of these classic films. Also this week: an interview with Richard Clabaugh, director of EYEBORGS, due on home video on July 6. Plus the usual compilation of news, events, and upcoming releases.

IN THIS EPISODE:

1. News
2. Opening in Theaters
3. Interview: Richard Clabaugh on EYEBORGS
4. Discussion: The 50th Anniversaries of PSYCHO, HOUSE OF USHER, and PEEPING TOM
5. New on Home Video
6. New at cfqmag.com

Ahead to the Past: Tilda Swinton in a retro-future moment from I AM LOVE.

Before going on a brief hiatus (explained further in the show; we’ll be back at the end of July, latest), we were lucky enough to get some time with Luca Guadagnino, director of the captivating drama, I AM LOVE.

The film comes out of Italy, and — in its story of a well-to-do woman (Tilda Swinton) being reawakened to life’s possibilities, to both tragic and positive ends — manages at once to embrace the country’s classic filmmakers while paving a new direction with Guadagnino’s distinctly bold, visual style and dynamic editing. Driven by the complex, densely-layered music of composer John Adams, this is a lush, emotional experience, and one of my favorite films so far this year.

Click on the player to hear the interview.

This Episode is Brought to You by:
STELLA ARTOIS
“Le CO2eux Soirée”

=============================

I AM LOVE
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One of the Legends.

Liberation's Forge: A tense moment from STONEWALL UPRISING.

And so now we catch up on a couple of very good films that opened last week, but — because there’s only so much podcasting I can do before my ears start to bleed — had to wait a week to be covered. In the case of the film featured in this episode, STONEWALL UPRISING, the delay turns out not to be too bad: We’re still in the midst of  Pride Week, after all, so this documentary remains relevant.

This is from Kate Davis and David Heilbroner, whom we met earlier this year with the release of their black metal documentary WAITING FOR ARMAGEDDON. There are fewer church burnings in STONEWALL, but that doesn’t mean the event depicted — a 1969, NYC riot sparked when the police raided a gay bar called the Stonewall Inn and the patrons decided they’d had their fill of harassment — didn’t stoke its own kind of fire, specifically the birth of the gay rights movement. Davis and Heilbroner rally some great, eyewitness interviews — including the vice cop who led the raid — and manage to put the story in context with considerable footage from news shows and “educational” films showing how, even in the mid- to late-sixties, attitudes towards homosexuality had barely advanced beyond the let’s-burn-’em-at-the-stake stage. If you paired this up with another great doc released last week — 8: THE MORMON PROPOSITION, about the Mormon church’s concerted efforts to have their institutionalized homophobia turned into law — you’d get a good view of how far gay rights have come, and how far they still need to go.

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This Episode is Brought to You by:
THE COLLECTOR
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===========================

STONEWALL UPRISING
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A Worthy Complement.

Household War: John C. Reilly (left) faces down Jonah Hill in CYRUS.

Wow. Four films worth talking about, all opening in the same week, and I’ve got interviews for all of them. I’m also pretty strung out to begin with, so I’m not going to attempt to get them all in within a single show, or even a couple of shows. Instead, we’ll start off with two comedies that are somewhat interrelated because they both break the mold in their own ways. Then, next week, we’ll be back with one episode looking at a fantastic documentary about the event that gave birth to the gay rights movement, and another episode about a beautiful and riveting drama from Italy starring Tilda Swinton. (Yeah, I could tell you titles, but, hell, listen to the show — they’re mentioned at the end).

Flawed Production: Agnès Jaoui (left) endures the ineptitudes of Jamel Debbouze (center) and Jean-Pierre Bacri in LET IT RAIN.

This week, we’ve got Agnès Jaoui discussing LET IT RAIN, her film about a politician (Jaoui herself) enduring an inept documentary crew (Jamel Debbouze and frequent Jaoui collaborator Jean-Pierre Bacri) in her public life, and family friction in her private one. As with the director’s previous effort, LISTEN TO ME, the interlocking havocs set the stage for a keenly nuanced view of the human condition, only this time with a considerably lighter tone.

Marisa Tomei (left) and John C. Reilly in CYRUS.

Then we’ll be talking with Jay and Mark Duplass about their new film CYRUS, wherein John C. Reilly tries to woo Marisa Tomei while fending off attacks from her passive-aggressive, live-at-home son, played by Jonah Hill. And if that log-line gives you chills, remember that the Duplasses were responsible for such cutting-edge, indie projects as THE PUFFY CHAIR and BAGHEAD. Here, they let that feeling of spontaneity — ganged to an exceptional cast — work its magic, and the result is a comedy with a refreshing sense of humanity.

Good stuff this week, with even more to come next. Click on the player to hear the show.

This episode is brought to you by:
GET HIM TO THE GREEK

============================

LET IT RAIN
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CYRUS
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When Reilly was Cyrus (sort of).

Tougher than You: Doctors at work in LIVING IN EMERGENCY

It’s getting to be that my fortitude is being tested on a weekly basis. I’ve witnessed the psychotic outrages of THE HUMAN CENTIPEDE (and liked it), the moral confrontation that is THE KILLER INSIDE ME (liked it), and the let’s-put-The-Rock-in-a-tutu TOOTH FAIRY (you’re kidding, right?). But all that was make-believe stuff. LIVING IN EMERGENCY is very real, a documentary, and at points can be rough going. But if you can work up the nerve to tough it out, your courage will be greatly rewarded.

‘Course, if you want to talk about courage, you have to talk about the subjects of the film: four doctors who have volunteered to work for Doctors without Borders (aka Médecins Sans Frontières) in two, war-ravaged countries: the Democratic Republic of Congo and Liberia. Director Mark Hopkins — making his feature documentary debut having previously produced numerous docs — takes his cameras into the exam, operating, and break rooms, and doesn’t flinch from showing both the staggering challenges the volunteers face, and the effect those challenges sometimes have on them (one doctor compares the attitude of another to Heart of Darkness — that’s never a good thing). The film winds up an unwavering, credible evaluation of why the organization has justly received a Nobel Peace Prize — one of the best docs I’ve seen so far this year. It also reminded me why I need to stop whining when I have to watch movies like TOOTH FAIRY.

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EXAM

LIVING IN EMERGENCY
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No connection, but a great doc.

The Father of This Child: Louis-Do de Lencquesaing and Alice de Lencquesaing keep it in the family in THE FATHER OF MY CHILDREN.

The reported death of the serious, small drama — the kind of things that major studios used to do before opening-weekend grosses became all-important; the kind of thing that indie production companies used to do before the major studios bought them up and made opening-weekend grosses all-important — may be a little premature, but that doesn’t mean that the genre isn’t going through some rough times. Within the world of THE FATHER OF MY CHILDREN, that poses a problem for Grégoire Canvel (Louis-Do de Lencquesaing), a producer who stakes his reputation on his unswerving commitment to serious filmmaking and now faces the collapse of everything he’s worked for. For the film itself, it means that the latest work by young director Mia Hansen-Løve enters a market where a serious and thoughtful approach to a story is always welcome.

That FATHER bears a striking resemblance to last year’s SUMMER HOURS isn’t really a surprise — Hansen-Løve has a personal relationship with HOURS’ director Olivier Assayas, and seems to parallel his skill in portraying with candid empathy how people handle tragic loss and deal with the practical decisions that have to be made regardless of such tragedy. Where FATHER diverges is in its tighter focus: looking primarily, as the title suggests, on the impact Canvel’s actions have on his wife, Sylvia (Chiara Caselli) and his children, particularly his similarly headstrong daughter Clémence (Alice de Lencquesaing — daughter of Louis-Do). The result remains a moving drama that demonstrates that there are still stories compelling enough to tell without the intervention of massive pyrotechnics and CG monsters, and filmmakers still agile enough to tell them.

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This Episode is Brought to You by:
SONY PICTURES HOME ENTERTAINMENT

THE FATHER OF MY CHILDREN
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Parallel Tales.

In MICMACS, Jeunet gives us a cockeyed protagonist in the person of Bazil (Dany Boon), a man who quite by chance winds up at the precipice of the eternal when a stray bullet gets lodged in his brain. This makes him not so charitably inclined towards the manufacturer of said bullet, a matter only exacerbated when he discovers that the land mine that killed his father in the Middle East was created by a neighboring company. His only recourse: Take down both corporations, with the help of a ragtag assortment of unusually talented junkyard misfits. For such a dire theme, the film turns out to be quite a lighthearted adventure, with Jeunet deploying all his powers of visual invention into the narrative, while also making copious nods to film history, particularly to the works of silent comedians and Sergio Leone.

George Romero is also taking a few pages from cinema history, most specifically from classic westerns. In SURVIVAL OF THE DEAD, the group of renegade guardsmen we met in DIARY OF THE DEAD — led by Alan Van Sprang — decides they’ve had enough of zombies, and aim themselves for a respite on an island off the coast of Delaware. Problem is: Not only is the place already infested with the walking dead, but they’ve become a rather peculiar stake in a kind-of range war between waged between two feuding clans. As always, Romero mixes zombie assaults with some particularly vivid death scenes — for both living and dead — along with some trenchant observations of our current, fractious times. Turns out the departed still have something to say to their survivors, and it has nothing to do with moving into the light.

Click on the player to hear the show.

This Episode is Brought to You by:
HALO: REACH – Autumn 2010

MICMACS
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www.sonyclassics.com/micmacs

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====================================

SURVIVAL OF THE DEAD
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It’ll make you smile.

]]> http://mightymoviepodcast.com/blog/2010/05/21/survival-of-the-dead-and-micmacs/feed/ 0 Activism,Art,Comedy,Death,Emotion,Explosions,Fantasy,Gore,Horror,Indie,Justice,Love Y'know, people probably shouldn't be this gleeful about issues of mortality, but in the cases of the movies being discussed in this episode, we're kinda glad they are. This episode features interviews with Jean-Pierre Jeunet and George A. Romero, Y'know, people probably shouldn't be this gleeful about issues of mortality, but in the cases of the movies being discussed in this episode, we're kinda glad they are. This episode features interviews with Jean-Pierre Jeunet and George A. Romero, both of whom have previously addressed matters of life-and-death in their own, unique ways, and have decided that there's still more sport to be had from the subject. Twisted Love: Dany Boon (left) and Julie Ferrier meet peculiar in MICMACS. In MICMACS, Jeunet gives us a cockeyed protagonist in the person of Bazil (Dany Boon), a man who quite by chance winds up at the precipice of the eternal when a stray bullet gets lodged in his brain. This makes him not so charitably inclined towards the manufacturer of said bullet, a matter only exacerbated when he discovers that the land mine that killed his father in the Middle East was created by a neighboring company. His only recourse: Take down both corporations, with the help of a ragtag assortment of unusually talented junkyard misfits. For such a dire theme, the film turns out to be quite a lighthearted adventure, with Jeunet deploying all his powers of visual invention into the narrative, while also making copious nods to film history, particularly to the works of silent comedians and Sergio Leone. Home on Deranged (Sorry): Joris Jarsky (left) wrangles Kathleen Munroe in SURVIVAL OF THE DEAD. George Romero is also taking a few pages from cinema history, most specifically from classic westerns. In SURVIVAL OF THE DEAD, the group of renegade guardsmen we met in DIARY OF THE DEAD -- led by Alan Van Sprang -- decides they've had enough of zombies, and aim themselves for a respite on an island off the coast of Delaware. Problem is: Not only is the place already infested with the walking dead, but they've become a rather peculiar stake in a kind-of range war between waged between two feuding clans. As always, Romero mixes zombie assaults with some particularly vivid death scenes -- for both living and dead -- along with some trenchant observations of our current, fractious times. Turns out the departed still have something to say to their survivors, and it has nothing to do with moving into the light. Click on the player to hear the show. This Episode is Brought to You by: HALO: REACH - Autumn 2010 MICMACS Trailer [youtube TjKW0tG7I8s nolink] www.sonyclassics.com/micmacs IMDB Listing ==================================== SURVIVAL OF THE DEAD Trailer [youtube aFqUbY-pWqQ nolink] www.magnetreleasing.com/survivalofthedead IMDB Listing Subscribe to MMP on iTunes Sign Up for E-Mail Updates [amazonify]B0000640VO[/amazonify] It'll make you smile. Dan Persons no 38:48 http://mightymoviepodcast.com/blog/2010/05/18/lance-bangs-on-the-lazarus-effect/ http://mightymoviepodcast.com/blog/2010/05/18/lance-bangs-on-the-lazarus-effect/#comments Tue, 18 May 2010 20:48:51 +0000 Dan Persons http://mightymoviepodcast.com/blog/?p=1838

Living Proof: A beneficiary of ARV treatment poses with her former self, from THE LAZARUS EFFECT.

Before the big show this weekend (Jean-Pierre Jeunet on MICMACS and George Romero on SURVIVAL OF THE DEAD, yippee!), here’s a bonus episode focusing on a special, short documentary that HBO will be debuting next Monday, May 24th, at 9 PM, eastern time.

It’s called THE LAZARUS EFFECT, it was produced in cooperation with (RED), a private sector organization that works with the Global Fund to Fight AIDS, Tuberculosis and Malaria to help curb the spread of HIV/AIDS in Africa. At the behest of Spike Jonze, who executive produced, filmmaker Lance Bangs (DAVID CROSS: BIGGER AND BLACKERER; THE BLACK KEYS LIVE AT THE CRYSTAL BALLROOM) travelled to Lusaka, Zambia, and met with the men, women, and children who are being treated with antiretroviral (ARV) drugs provided by these funds. Over the span of months, Bangs captured some dramatic before-and-after footage showing how these people’s lives were being restored by the treatments — the so-called Lazarus Effect. It’s moving stuff, particularly for a film that runs just over thirty minutes.

Director Bangs spared a few minutes to talk with us about the experience of capturing these near-miracles on film, and also of exploring how help is still desperately needed. Click on the player to hear the interview.

THE LAZARUS EFFECT

Trailer

THE LAZARUS EFFECT on hbo.com

www.joinred.com