In this episode: Titus, Jared, and John discuss their Top 10 lists of 2011 and debate about what they think are the worthy, and unworthy, picks.

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by Jackie Richard

Dragonslayer is such an honest glimpse into a complex group of idealistic punk-metal, skate kids that are entirely focused on right now. They live to skate and party and be with friends. Nothing else really means anything.

I love documentaries where the filmmaker stays out of the way. This film was such an honest portrayal of the young skate legend Josh “Skreech” Sandoval, a 23-year-old Fullerton, CA native. Like many street skaters, Josh is a nomad. He bops around from couch to RV to tent to the woods to the streets. He isn’t driven by money, or food, or security, so his character is at times difficult to relate to. Especially because he’s too far gone half the time to say anything insightful. His only ambition is to skate, and to numb and suppress his emotions as much as possible with drugs and alcohol on a daily basis.

While he’s obviously flawed, there’s also such an intense sadness about him that makes his decisions seem more pathetic than outrageous. It was clear from the beginning of the film that his family wasn’t a priority or even present at all. And it’s unclear how many years that’s been the case. The guy definitely had the cards stacked against him.

Contrasting layers of reality helped add dimension to how Josh’s story is portrayed. Life for Josh and his entourage is gloomy and sporadic, but the backdrop of their lives is perpetual Southern California sunshine. Their whole life’s a never ending party, without rules or regulations, yet they appear trapped in their existence.

Director Tristan Patterson captured these complexities really well with the steady pacing, bumpy handheld camerawork, and quick cuts. The film’s editing really helped establish the mixed tone and subtle melancholy that left the viewer doubting how good of a time everyone was really having.

This film definitely offers a fresh look into a youthful subculture that’s existed for decades and that isn’t going anywhere. A subculture that almost feels more like an epidemic than a choice.

THEATRICAL SCREENINGS
OPENS NOVEMBER 4- NEW YORK, NY @ CINEMA VILLAGE
OPENS NOVEMBER 11- LOS ANGELES, CA @ DOWNTOWN INDEPENDENT
OPENS NOVEMBER 18- SAN FRANCISCO, CA @ ROXIE THEATER
OPENS NOVEMBER 18- DALLAS, TX @ TEXAS THEATRE
OPENS NOVEMBER 29, DECEMBER 6- MINNEAPOLIS, MN @ THE TRYLON
OPENS DECEMBER 2- SEATTLE, WA @ NORTHWEST FILM FORUM
OPENS DECEMBER 2- PORTLAND, OR @ HOLLYWOOD THEATRE
OPENS DECEMBER 2- BELLINGHAM, WA @ PICKFORD FILM CENTER
OPENS DECEMBER 9- SAN LUIS OBISPO, CA @ PALM THEATRE

by Ray Velez

Let’s get this out of the way first: “The Thing” (2011) is a good monster movie. It has the scary jump moments, the CGI creature effects, the gore…pretty much everything that would make it a good monster movie. The problem is that, in making it a prequel to an awesome film (John Carpenter’s ”The Thing”), you have asked me to at least expect your film to play by a particular set of rules. Rules that were set up in the 1982 film.

Like I said, this is a good monster movie. But what made the 1982 film so good was that it wasn’t necessarily a monster movie. It was a film that played with paranoia, and when the monster did appear, the practical effects (which will ALWAYS be better than CGI, in my opinion) made you cringe with disgust. This monster was really there. But again, the monster only appeared out of necessity! It wanted to survive, and the best way for that to happen was to lay low until it was called out by Kurt Russell’s magnificent beard! Which I hear can cure cancer, but that’s neither here nor there. In the prequel (or reboot or whatever they are calling it), the monster is almost predatory, spending most of the film giving itself away, hunting most of the crew in its monster form. One of the scenes is reminiscent of the raptors-in-the-kitchen scene in “Jurassic Park”, which is NOT what “The Thing” should be! The people behind this film had an opportunity to make a film on par with the John Carpenter version, dealing with claustrophobia and paranoia. Instead, they just turned it into a loud affair, with very little subtlety.

All that said, the movie was nice to look at. The cinematography by Michel Abramowicz was beautiful, the direction by Matthijs van Heijningen Jr. was visually appealing, the script by Eric Heisserer was strong, and the actors were all very good. Mary Elizabeth Winstead takes the lead, with Joel Edgerton as the helicopter pilot, minus any sort of epic beard. The rest of the cast, filled with what I assume are popular Swedish/Danish/Norwegian actors, were all very good, and believable in their roles. The lack of any real stars made it less obvious who was going to perish. And bonus points to the director and writers for having a good portion of the film in Norwegian with subtitles.

The score evoked John Carpenter’s film in some of its score, but again, most of the time just turned into a loud mess. The CGI effects of the monster were good, but the 1982 film still holds up today because of its practical effects. Sadly, this film’s special effects will be outdated in a few years. There were a few questions that I did have throughout this film that kind of bugged me. When Mary Elizabeth Winstead discovers for the first time what the cells of the creature are actually doing, she doesn’t tell anyone except her friend. Why!? Call me crazy, but you would have caught me blaring it over the loud speaker, writing the message in the snow with my own urine, and leaving post-it notes for everyone to find! Also, if this is a Norwegian base, why are most of the items in the background in English?

All in all, “The Thing” (2011) is a good, effective monster movie. I just wish they would have played with more of the elements that made the John Carpenter film such a classic. And though they left the film open to a sequel, I highly doubt we’ll get the opportunity to see it due to this film’s low box office numbers. Sad really, given that when the new Twilight film comes out in a month, it will more than likely break records… I miss the horror films of the 80’s.

There are films that speak for us, and there are films that speak to us. The film “Some Days are Better than Others” successfully does both. Written and directed by Matt McCormick in his feature directing debut, this film is truly remarkable. Premiering at the South by Southwest Film Festival in 2010, “Some Days” functions as a love letter to Portland and, in some respects, to this generation.

I screened this film at the Portland Film Festival, and will be eternally grateful to PFF for an amazing experience. The film takes place in Portland and centers around three people all going through what I would call a “coming-of-age” experience… after you have came of age. I don’t necessarily know if I want to give away a lot of what the film is about because that element alone is what makes this film so special.

James Mercer plays Eli, a directionless pseudo-narrator for both the story and the times we live in today. Carrie Brownstein plays the lead character Katrina in a powerhouse performance that evokes a range of emotion that has to be seen to be believed. Her character, also in need of direction, hopes to be an actress while volunteering at the humane society. As sad as it may sound, the film has something that most today are lacking: heart.

The supporting cast shines as well with Renee Roman Nose as Camille, a simple thrift store clerk who says everything she ever needs to simply with her eyes. David Wodehouse plays Otis, a character based on two different people that director McCormick knows personally. That in a nutshell is what makes these characters so interesting and full of depth. McCormick writes these people as if he knows them because he truly does. Brownstein herself volunteered at the humane society with the director and was a reason, he said, she was cast. McCormick wanted the film to feel as if you weren’t watching actors, and he’s done just that.

From the subtle yet powerful dialogue to the beautiful score that accompanies it, “Some Days are Better Than Others” works almost like a symphony for the soul. To understand why I really enjoyed this film, it’s because I related to it. Like most of my generation related to this summer’s “Toy Story 3″, this film speaks to me.
The three characters chosen all have stories that interweave with one another’s, but not in the clichéd, Altman-wannabe type you would expect. The film is a revelation and feels like the “Annie Hall” for this generation. It is to Portland what “Annie Hall” was to New York.

“Some Days” will leave you with a sense of wonder and reflection. This film is a shining example of originality and hope for the future of cinema.

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The soundtrack will be released on April 26th soundtrack through Temporary Residence Limited

Screenings for “Some Days are Better Than Others”

Albuquerque: May 6-8 @ The Guild Cinema

Hartford, CT: May 6-12 @ Real Art Ways

North Charleston, SC: May 14 @ Greater Park Film Circle

New York City, NY: June 3-9 @ Cinema Village

Kansas City, MO: June 17-23 @ The Tivoli Theatre

www.somedaysthemovie.com

www.rodeofilmco.com

Production still from Michael Tully’s “Septien”

Recap of Day 4 at SXSW 2011.

• JOHN’S GONE
• SCENES FROM THE SUBURBS
• SEPTIEN
• THE OTHER F WORD

Production still from “Fightville”

Recap of Day 5 and wrap-up of SXSW 2011.

• FIGHTVILLE
• HOW TO DIE IN OREGON
• HESHER

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