So my roommates and I dressed up like the ninja turtles and went to see it on Friday night at the West Covina AMC. Our cast was as follows:
Casey-Raphael
Steve-Donotello
Jon-Leonardo
Tim-Michelangelo
Dominic-splinter
Jackson-Casey Jones
Matt-Foot soldier
Katie, Mellissa, and Kristen-themselves
We planned for the 9pm showing, but alas re arrived at the theatre at 8:30, thus the sold out showing forced us to wait an extra 1 and a half hours for the next show. We spent out time taking pictures with hundreds of jr. highers. Surprisingly, only three moderately adolescent boys gave into pathetic vocabulary with claims that we were gay. There were two bratty kids inside, but Master Splinter took care of those kids with his ancient words of wisdom about the ninja way. The majority of people loved it and wanted to take pictures with us. One such girl jumped and teared up like she had just met Justin Timberlake. Before the film began we all went to the bathroom, a teenager asked me what film we were going to see and I said, "Music and Lyrics," and walked away leaving the poor kid stumped. Everyone had a great time. The actual film was alright, it needed a better storyline. But the character chemistry was good-though Splinter's voice vaguely sounded like a New York godfather's. We all had a great time.
Monday, March 26, 2007
Monday, March 12, 2007
Year of the Fish (Sundance Film Review)
It’s Cinderella in New York’s Chinatown. But this Cinderella isn’t a daughter-in-law put to work for the evil stepsisters, she’s a immigrant from China that refused to do the usual work at a “massage” parlor, thus she was forced to do all the cleaning and cooking. Add to this a unique visual effect also found in Richard Linklater’s Waking Life and A Scanner Darkly, and this is a shoe-in for the “most indie film ever” award. Also, the fair godmother isn’t as much a nurturing figure as she is a creepy old witch that runs a sweatshop. Besides the intriguing visuals only, possible through painting over top of what was filmed, The Year of the Fish has a wonderful soundtrack created from within the film. The romantic interest is a professional accordion player, and his music becomes the music of the modern fairy tale. Just as the melody sung by Mercedes becomes the theme of Pan’s Labyrinth, the accordion consumes each scene’s mood and is then elevated when the full orchestra builds on what the accordion began. Unfortunately, this film does play on many stereotypes. All the Asian characters fall into the normal categories of bitch, slut, and innocent/ignorant/weak. While it may be argued that the leading lady defies these stereotypes because she is stronger, she begins from this stereotype and is really only elevated with the help of another man. And the conclusion does not defy the system of oppression that allowed Asian immigrants to be imprisoned in places like a “massage” parlor. It actually makes light of the system. However, it might be more appropriate to say that the film does not try to answer the question of oppression, but simply states that amidst such tragic circumstances people can still find love and happiness.
Padre Nuestro (Sundance Film Review)
Padre Nuestro won the Grand Jury Prize for Dramatic feature. This is the story of two Mexican illegal immigrants who sneak into New York. One is going to meet his father he hasn’t met, while the other is simply trying to get away from all the trouble he brings upon himself. The second boy then steals the identity of the first and poses as the son of someone that is not his father. The other boy survives on the street, befriending a homeless woman, and tries to find his father, while being forced to do low pay jobs and sexual favours to survive. What makes this film so unique is that it is a foreign language film set in New York. Unlike most films like this, the social oppression of illegal immigrants is in the backdrop of this film. The storyline takes a much larger role than any political statement. The end result is a compelling story about interlocking characters, leading to the climax with their final interaction.
Padre Nuestro was a very intriguing film, but it did not deserve to win best dramatic feature. There were several other films that were more deserving than this one. This film once because of its setting and story. Letters from Iwo Jima provided much the same response—telling the same story from a different perspective. And like Letters from Iwo Jima, Padre Nuestro was not a truly engaging and strong story but was just different enough to cause people to take notice.
Padre Nuestro was a very intriguing film, but it did not deserve to win best dramatic feature. There were several other films that were more deserving than this one. This film once because of its setting and story. Letters from Iwo Jima provided much the same response—telling the same story from a different perspective. And like Letters from Iwo Jima, Padre Nuestro was not a truly engaging and strong story but was just different enough to cause people to take notice.
Bugmaster (Sundance Film Review)
Bugmaster was the most difficult film to understand at Sundance. This film is one of director Katsuhiro Ôtomo’s (Akira and Steamboy) few live action features. It is a period piece set in a mystical Japan where people called “Bugmasters” travel and use their special herbs, potions, and powers to calm bugs that cause pain to humans. The film features two driving stories, one in the past and other in the present. The two stories are connected by the lead character. Unlike Ôtomo’s normal dose of anime, the special effects of this film are subtle. But like most anime, the storyline is thick. Many compared this film to those of Hayao Miyazaki (Spirited Away and Princess Mononoke), this comparison is only made by people that do not know enough about Japanese cinema. The only commonality between the Bugmaster and Miyazaki’s films is the purity of nature. Bugmaster looks at the spiritual realm of creation and discusses a growing spirit that exists deep in the forest. Unfortunately, this film becomes hard to follow at this point and ends rather abruptly, thus to say more would require a second viewing.
Save Me (Sundance Film Review)
While For the Bible Tells Me So was very informational and well done, Save Me did a better job at presenting both sides of the “homosexuality” argument. The lead character Mark (Chad Allen) is put in a ministry meant to help gay men become straight. While there, he finds a community he loves and is able to kick drugs. But while there, Scott (Robert Gant) and him fall in love. While films like Saved portrays Christians as a completely irredeemable, dogmatic bunch, Save Me has a much healthier perspective. Once again, as opposed to Saved, which felt like it was made by a bitter person trying to get back at the private high school he or she went to, Save Me was made with the hope to bring people together. Many of those involved in making this film are Christians and gay (Chad Allen actually attends All Saints Episcopal Church in Pasadena). With this said, the Christians in the film that believe acting on homosexuality is wrong are portrayed as single-minded and evil but humans that, just like the gay Christians, have God in them as well. This is a powerful film because it does not answer any questions but simply concludes that God is with everyone. While the film did suffer from Lifetime channel production value, it remains a powerful piece of art that will bring about a conversation better than anything else.
Teethe (Sundance Film Review)
It’s hard to describe how bad this film was. The concept is great: a teenage girl, who runs a purity campaign, discovers that she has teethe in her vagina and begins to enjoy the power that comes with such a gift/curse. In a male dominated culture, it is easy to see the appeal of this film. It is summed up in the opening credits. The credits are a digital image of eggs and sperm swimming around. At key moments the music becomes very intense and several sperm attack one egg. This continually happens until the end the credits when one egg eats three of the sperm. Terms like “nail,” “penetrate,” and “prick” all reference the dominance of male masculinity. This rhetoric subtly works to keep women in subordinate roles. Thus, a film like Teethe becomes a powerful statement against male dominion over sex. It has the potential to reveal the power of women to “eat” men who do not see their sexual partner as an equal.
Alas, the end result was a very poor film. The acting was terrible. The music was overly dramatic. The plotline was weak. The character development was stereotypical at best. The only thing this film could do was make an audience laugh and convulse in the same breath. Three men were castrated and a gynecologist lost four fingers. Teethe was a film that did not know what it wanted to be, and the end result was mediocrity with a double-shot of shock value. Many women after the film laughed about how it redefines the term “chick-flick.” Unfortunately, this remains more true than most people will realize. This film is not a film about “girl-power.” It is a film that exploits girl, thus allowing women to enter the same game that men have been a part of for years. Thus, the same system this film may claim to go up against is actually the same system it is a part of. Thus, Teethe is just a like a “chick-flick” because it allows women to remain in their subordinate roles still playing the same game their supposed male rival is playing.
Alas, the end result was a very poor film. The acting was terrible. The music was overly dramatic. The plotline was weak. The character development was stereotypical at best. The only thing this film could do was make an audience laugh and convulse in the same breath. Three men were castrated and a gynecologist lost four fingers. Teethe was a film that did not know what it wanted to be, and the end result was mediocrity with a double-shot of shock value. Many women after the film laughed about how it redefines the term “chick-flick.” Unfortunately, this remains more true than most people will realize. This film is not a film about “girl-power.” It is a film that exploits girl, thus allowing women to enter the same game that men have been a part of for years. Thus, the same system this film may claim to go up against is actually the same system it is a part of. Thus, Teethe is just a like a “chick-flick” because it allows women to remain in their subordinate roles still playing the same game their supposed male rival is playing.
Banished (Sundance Film Review)
Racism is not a dead issue, and Banished is one of many documentaries that reminds people that it is not. This film focuses on the stories of several black families who try to trace their family roots back to their former family homes before their grandparents and/or great grandparents were run out of certain towns. The families found out that legal records could not justify the current ownership. One man tried to have his relative dug up to be given a proper burial, and upon requesting for the city to cover the burial costs, the city refused and tried to charge the man with stealing from the city.
While there are interesting parts to this documentary, it proves one of the classic flaws in many such films: too preachy. Michael Moore successfully ruined the documentary-director voiceover narration, and this film, like Moore’s, falls prey to the same awkward feel that leaves no room for dialogue. But this film does make incredibly sound points. In the hometown of the main leaders of the KKK, many people try to blame the KKK for creating a high image of racism. But the people do not want to admit that the KKK feels comfortable in this city for a reason. While some may argue that retribution for slavery is a dead issue, this film shows that it is not. The families interviewed in this film are not asking for reparations from slavery time but from 60 years ago. These are easily documented wrongs that only extreme denial can avoid. And the white people of the cities in this film do deny their responsibility.
While there are interesting parts to this documentary, it proves one of the classic flaws in many such films: too preachy. Michael Moore successfully ruined the documentary-director voiceover narration, and this film, like Moore’s, falls prey to the same awkward feel that leaves no room for dialogue. But this film does make incredibly sound points. In the hometown of the main leaders of the KKK, many people try to blame the KKK for creating a high image of racism. But the people do not want to admit that the KKK feels comfortable in this city for a reason. While some may argue that retribution for slavery is a dead issue, this film shows that it is not. The families interviewed in this film are not asking for reparations from slavery time but from 60 years ago. These are easily documented wrongs that only extreme denial can avoid. And the white people of the cities in this film do deny their responsibility.
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