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I Give It A Year–Movie Review

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My I Give It A Year film review

Hey, look, a droll and properly cheeky romantic British comedy! Simon Baker, the scion to High Grant’s romantic lead throne—check! I Give It A Year, the new film by Borat writer Dan Mazer attempts to upend traditional rom-com plot structure by literally going about it backwards; instead of the ineluctable march to the altar, we have our characters walk away from it, literally and metaphorically. The question is whether this premise reversal alone helps the film escape well-trodden, trite territory. I gave it an hour and thirty minutes.


Newlyweds Nat (Rose Byrne) and Josh (Rafe Spall) appear to be as well matched for each as a Date Lab couple; following a seven month courtship, their marriage appears rather ill-conceived and, well, inevitably doomed. Nat works in brand management (how’s that for a nod to new media?) and Josh is an oafish writer with a Three Stooges-esque sense of humor and white boy dancing moves. Which brings us to the point of the profuse amounts of eye-rolling in this film: Nat is rolling her eyes at her hubby’s antics even at the wedding! This sort of Daria-esque behavior is so pervasive throughout I Give It A Year, with all the couples seemingly hating each other to no end. Mazer hammers the point that being married sucks so resoundingly that the cliché denouement rings hollow even by rom-com standards.

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But back to the movie—Mazer has literally jam-packed it with one liners, as in think every line is a one-liner. Zingy indeed. It’s meant to be jaunty and light-hearted, but some it comes off as heavy-handed and contrived. Bawdy humor abounds, too, complete with the requisite, “Oh, look, I am in awkward threesome,” and, “Oh, no, our parents saw the dirty pictures from our honeymoon.” And Minnie Driver’s character has a ridiculous crush on Justin Bieber, so she affectionately calls her husband a bell end. Occasionally, Mazer runs up dangerously close to clumsy Mr. Bean territory, as in the scene where doves are released in a room and the results are less than romantic, shall we say. All the married couples in the film are not exactly a glowing commentary on the institution, either, with the marriage counselor of Nat and Josh’s husband-bashing proving to be one of the comedic highlights.
One surprising place where I Give It A Year is quite trenchantly on the mark is its commentary on the state of modern marriage (yes, seriously). The past several years, a lot of movies have been made with the rather melodramatic trope of, “We are so impossibly in love, but now we hate each other’s guts and we won’t explain to you why. Just watch and share in our joint misery.” Good examples are Blue Valentine and Like Crazy. I Give It A Year presents the more humorous answer to that very same phenomenon: Nat and Josh are at a crossroads because they were so desperate to get married in the first place! All of the characters in the movie keep referring to the dreaded 30s like some death knell, tolling for the immediate donning of a ring and latching on the nearest future wife or hubby. In modern romantic parlance, I  think we can all agree that the 30s have been identified as the, “You must settle down age.”
One only needs to take a look at My Friends Are Married to see that the non-married 30-somethings are still somewhat of a minority and rom-coms would have us think that single 30s somethings should make it their life’s goal to reverse their dreadful state of single-dom. As Nat explains to her better-matched romantic interest, “You are a Ferrari and he is a Volvo. I needed a Volvo.” Hardly romantic but definitely something we recognize; without meaning to, perhaps, the film offers some rather astute observations on relationships. The rush to the altar proves rather unwise for our leading couple, but I Give It A Year is still a nod to romance, as one would expect from flicks of its ilk. It offers a good bit of unusual British humor that proves to be amusing… most of the time.

Reviews

Pandora’s Promise–A Movie Review

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Pandora’s Promise Review

Pandora’s Promise is an exposé on the past and future of nuclear energy that readjusts a lot of public assumptions in a rather explosive way. By featuring a coterie of respected, world-renowned environmentalists who have had a change of heart on the issue, the film, although clearly on the pro side of the debate, shines light on a paradigm shift afoot. The crux of its argument is “to be anti-nuclear is to be in favor of using fossil fuel.” In other words, despite all the strides made towards renewable energy sources, we remain mired in the climate-destroying reality of oil and coal usage for energy production and this state of affairs is not tenable from any perspective. The film astutely observes that nuclear power has been forever imprinted into the public’s psyche as a “weapon we feel badly about” and seeks to destigmatize it, remove it from its Armageddon-esque milieu, and put it in a different and less malevolent context.


Pandora’s Promise does rely a bit heavily on the “if these environmentalists and scientists had a change of heart, does that not indicate the general public should as well” persuasion tactic. The film features appearances from Stewart Brand (The Whole Earth Catalog), Richard Rhodes (The Making of the Atomic Bomb), Mark Lynas (formerly of Earth First and Six Degrees: Our Future on a Hotter Planet), and Gwyneth Cravens (Power to Save the World). It also has references to extra star power for added ammunition – Richard Branson and Microsoft’s Paul Allen have joined in – and Bill Gates has formed a nuclear power company that is working on a reactor for use in the developing world. Nonetheless, it occasionally veers into the territory of portraying the anti-nuclear movement as stodgy fear- mongers in a rather sweeping sense.

The documentary thoroughly covers the history of the use of nuclear energy, bringing in many of the original nuclear scientists to speak about its development. Charles Till explains that in the 50s, two types of nuclear reactors were being developed: the breeder reactor, which breeds plutonium and recycles it, and the light water reactor, which creates much more waste. The selection of the light water reactor to use as a commercial reactor appears to have been made very short-sightedly and, not surprisingly, not by a scientist but by a military official. Since then, technology has progressed in a significant sense with many breeder reactors built successfully and progressing to a third generation reactor which recycles all waste. More importantly, disasters like Chernobyl and Three Mile Island are now much more preventable by implementing containment chambers and adequate cooling systems. The film also brings up a lot of lesser-known examples of how political pressure and public opinion has prevented a lot of facilities from opening—for example, a nuclear waste storage facility was constructed in Nevada and never used, despite the success of other such pilot projects in New Mexico. There were other plants which were built and never went into operation; the Integral Fast Reactor program was shut down.
The main point of Pandora’s Promise is that not until recently has it become apparent how huge the gap between fossil fuels and renewables is. Electricity is the one thing that causes the most significant improvement in the quality of life. With the growing development of the “Global South,” the need for energy is only expected to rise; energy consumption of the planet is expected to double by 2050. Use of coal is, shockingly, accelerating and it has cemented its role as both the most common source of energy and the fastest growing. The environmental effects of this fact are clearly destructive. One pound uranium is the equivalent of 5000 barrels of oil in energy output. Thus, it quickly becomes apparent why nuclear energy is viewed as “clean and efficient.” The film brings up the example of France which derives nearly 80% of its energy from nuclear power, has the cheapest energy in Europe, and the lowest carbon dioxide emissions.
The film stumbles when it addresses the specter of nuclear accidents and the eerie aftermath of contamination for generations, glossing over the dangers in a rather dismissive way. It argues that in terms of the mortality rate, nuclear is the safest industry, second only to wind. The assertion about Chernobyl and Fukushima that “there were so few casualties,” may be factually true but it does not really address the afterlife of radiation and its health risks. The assertion that “only” plutonium is long-lived and that nuclear waste is volumetrically non-significant (e.g. all the fuel rods could be fitted into a football field) is meant to assuage fears yet is not explored as in-depth as it could have.
Director Robert Stone relies on many detonative revelations to make a very compelling case for nuclear energy. The presence of environmentalists advocating for it certainly gives its credibility a strong boost. The assumptions we have held to be true for so long will indeed need some processing before they can be dispatched away as “we were wrong.” A more measured response might be that global warming is a serious threat and nuclear energy certainly poses a very promising solution, but one can’t help but feel as though it is a solution *only* because of our insatiable energy thirst and its ensuing pollution. With technical advances, the risk of accidents and toxic waste leaks is also decreasing; nevertheless, it will take some time before the general public can be thoroughly at ease about it. When Stone asks Lynas if he is still pro-nuclear when he visits Fukushima, his retort back to Robert Stone, “Are *you* still pro nuclear?” is not exactly entirely fear-allaying.

Reviews

Disconnect Movie Review

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My review of the film Disconnect

In some ways, Disconnect, the new film by Murderball director Henry Alex Rubin,
is American Beauty for our wired world, an arresting look at the complicated entanglements that technology can create. Merely calling it a cautionary tale about the dangers of the big bad Internet would be reductionistic, however–sure, none of the calamities that befall people in the movie are terribly novel and, in fact, seem directly plucked out of headlines, but it’s the acting that lends a very human touch to what could have otherwise run as a public service announcement. The film’s title could be interpreted as a reference to the disconnect and alienation the characters feel from each other and for the need for all of them to simply click the log-off button and disconnect from the webs they are so inexorably captured in.

Cindy (Paula Patton) and Derek (Alexander Skarsgard) are a married couple still mourning the loss of their baby. Their relationship strained by Derek’s stoic way of dealing with it (think the very male “I don’t want to talk about it” scenario), Cindy turns to an online support group for help, developing a cyber friendship with a man. When all of their assets are stolen by an identity thief and they seek to find the culprit, they are forced to face their own estrangement. This is one place where the movie mildly sputters, especially on the technological tip. For example, the private investigator tells them that this person “knows everything about you,” as though the fact that the thief has their vacation pictures is of the most relevance here when he has emptied out their bank accounts. Also, the explanation for how one can get a credit card number on the Internet and how a “Trojan” works was ham-handed at best and seemingly aimed at an audience that apparently has yet to learn what the definition of phishing is. The typing out of chat conversations on screen is also a bit clunky.

Jason Bateman turns in a compelling performance as a high-powered/Blackberry-indentured lawyer, oblivious to what is going on in his son’s life. When his son is the victim of cyber bullying, he plunges into a world of self-condemnation and guilt and turns to Facebook, ironically the very source of the tragedy, to “get to know” his son. Frank Grillo plays the overwrought father of Jason, the cyber bully. The film does a good job of showing how bully behavior is often a learned behavior and one that has roots at home. It also excellently portrays the vicious mean boys/mean girls school environment today’s youth have to contend with.

Nina (Andrea Riseborough) is a career-minded, unscrupulous TV reporter who convinces Kyle (Max Thieriot), an 18-year-old webcam model, to participate in her piece on the underage sex webcam industry. Initially, she appears to mean well, but quickly finds herself way in over her head and her motives become increasingly loathsome and self-serving. She uses Kyle to further her career yet does nothing to really extricate him from the life he is trapped in, especially when her actions literally endanger his life.

Disconnect thrums with suspense and maintains an undercurrent of threat to the very end. The acting is engrossing even though the character development leaves a bit to be desired. Ultimately, it does a good job of portraying just how elusive “reality” is starting to become in the superficial world of Facebook and social networking. Are the characters revealing their true selves and unspoken truths when shielded behind a screen or are they acting out an alternate identity in the digital playground? And while they somehow manage to weave their way back towards at each other, the costs are undoubtedly high. Disconnect manages to avoid the pitfall of being overly didactic and preachy, even if the subject matter could have been something plucked out of cyber security awareness month brochure.

Reviews

Baltimore Tattoo Convention 2013 Report

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My Report On the 2013 Baltimore Tattoo Convention

 This year’s Baltimore Tattoo Convention was slightly less raucous and frenetic than last year’s, but what it lacked in hype and clamor, it certainly compensated with the sights and sounds of hundreds of buzzing needles—almost all of the artists were assiduously tattooing, which is quite unusual considering how large the convention is. In other words, the “we are so busy” mantra I kept hearing translated to the convention as well. Tattoos are in(k) and they are here to stay, boldly splashing across the public’s imagination and remaining intensely personal yet defiantly public in their statements. Tattoos have firmly solidified their place in what is considered “art” and the artists who create them have fully reveled in the opportunity to showcase their work on mobile canvasses.
Tattoo conventions are truly communal and inclusive. They present opportunities for people to show support for their favorite artists by getting tattooed there or entering competitions. For others, it’s a chance to meet and see the work of artists they would otherwise not be able to. Then, of course there is the entertainment—sideshows, like The Enigma and Serana Rose, and suspensions (not for the faint of heart).
This year’s convention featured a lot of the local shops who were also at the DC Tattoo Expo, as well as some “celebratooists” like Ink Master winner, Shane O’Neill, and Ink Master finalist, James Vaughn, as well as the crew from VH1’s reality show Black Ink, who were funnily enough attracting Justin Bieber-like-hysteria levels of photo-op-seekers. Piercing guru Steve Truitt was also in attendance.
Marlowe Ink’s Steph Damiano and I shared a laugh over her being erroneously featured on the site as Stephanie Damiand, which she promptly called a “stripper name.” Anything referencing gemstones or diamonds definitely fits that category. James Marlowe, a really respected and sought-out artist, has been tattooing for 25 years and the shop attracts people looking for his custom work. Steph has “only” been tattooing for 5 years, but her folky, vintage-leaning style is really singular, fresh, and indelibly her own. “I have been getting a lot of requests for women’s faces with animals engulfing the top of their heads. Even though 5 years is not a terribly long time, I am going to stick with this. There is no other job where you feel like you are constantly learning and growing.”
Citizen Ink’s Joe Khay, who is originally from Georgia and has been tattooing for the last 10 years, also specializes in neo-traditional, Americana-influenced tattoos. “The tattoo industry has really changed from the 80s and 90s. The clientele has wizened up and we get a lot of people approaching us with this very European type mentality to the work—they have an idea of what they want, but also trust the artist to draw the piece. They give us more liberty and have done their homework more—it’s a matter of trust. Of course, we still get the kids that want to have ‘faith’ tattooed on their arm, but they are no longer the norm.”
Springfield’s Way Of Ink received several honors during the tattoo competition—1st place for large black & gray and 3rd place for small color. Duong has been tattooing for 15 years and specializes in Asian-themed pieces. The Way Of Ink table is also a testament to the bond that people develop with their artist—there is always a large crew, an extended family, really, who are all too happy to keep entering competitions and promoting the work of their favorite artist.
Virginia-based Rick’s Tattoos is the oldest shop in the area, having been around for 33 years.Rhiannon August, apprenticed with Rick, who has been tattooing for 43 years.  In response to what she has been tattooing a lot of this year, she responded “lots of pin ups and some abstract flower pieces.”
British Ink’s Aaron Trimiar was working for close to 4 hours on a beautiful back piece of a ship on a client who had literally just met him. “I have been doing a lot of Afro-centric pin ups this year, a lot of black and gray work. I feel like I am right where I need to be with tattooing. It allows me to constantly learn and grow as an artist. I am a tattoo artist, but I am also an artist, period. I am always working on sketchbooks and developing my art this way. It’s really the best occupation anybody could have.”
And that is a sentiment that seemed to be shared by many of his comrades in needles.

Reviews

BYT Spring/Summer 2013 Movie Guide

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BYT Spring/Summer 2013 Movie Guide

The East (May 31) – Brit Marling’s latest movie, The East, sounds like an incendiary amalgamation of The Edukators and If A Tree Falls, with a dash of Fight Club-esque nihilism for good measure. In Sound of My Voice, she played a cult leader and the protagonists were the infiltrators; here, she is the infiltrator, attempting to gain access into an “eco-terrorist” group that launches attacks against major corporations (I use quotation marks as I am not quite sure the rather-easily-slapped-on terrorist label should be bandied about quite so freely in cases involving environmental issues). The East finds Brit teaming up with long-time collaborator and fellow Georgetown alum Zal Batmanglij to once again explore the more subversive side of life (they also co-wrote and produced Sound Of My Voice). Alexander Skarsgård plays the group’s firebrand (ha!) leader and Ellen Page one of its members. The East promises to be a thrilling take on some very cogent, all too terrifyingly real issues and if Brit’s past work is any indication, expect this to be thoroughly and I do mean thoroughly engrossing. The trailer alone will give you chills.

Passion (September 7) – Brian De Palma knows a thing or two about the lurid, with a resume featuring Scarface, Carlito’s Way, and Carrie. Rachel McAdams (yes, the ebullient girl next door Rachel McAdams) and Noomi Rapace (yes, the girl with the dragon tattoo) star in De Palma’s remake of the 2010 French thriller Love Crime, which follows two women playing games with each other in a business setting. Think The Devil Wears Prada with a lot more violence and sex, maybe? While things start out with a little good ol’ taking credit for someone else’s idea – Rachel McAdams’ character takes credit for her underling’s work – they quickly escalate. I mean, didn’t Desperate Housewives teach you the jump from casserole bickering to murder isn’t all that great!? McAdams and Rapace could be the new Natalie Portman and Mila Kunis from Black Swan: things are looking pretty steamy, lack of leotards and anorexia notwithstanding.

Reviews

2013 Oscar-Nominated Documentary Shorts Article

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 2013 Oscar Documentary Shorts Article

This year’s crop of documentary shorts is heart-wrenching and tear-inducing in the way that only reality can be. You can see them all for yourself at West End Cinema.

Kings Point, Directed by Sari Gilman

In the 1970s and 1980s, retiring New Yorkers moved to Kings Point, Florida, excited by the balmy climate, palm trees, and $1500 down payment on a home. Sari Gilman, whose Grandmother Ida also lived at Kings Point, lets this community tell their own stories. The result is a film neither maudlin nor contrived but incredibly poignant in its portrayal of the reality of aging. The residents find themselves grappling with love, loss, illness, death, and the scariest specter of all–loneliness. “You try to fill your days as best as you can,” is the greatest of seemingly prosaic yet totally not tragedies and a stark commentary on modern life. The people who moved there to find companionship in their old age face some of the same difficulties that people of younger age do too–forming bonds. Nothing is more heart-wrenching than being sick or dying alone, however. Ironically enough the very self-reliant spirit that drove these folks to move down to Florida now has them so incredibly far away from family and life-long friends. As one of the residents explains, “You don’t make friends here. You have good acquaintances…it is all about self-preservation.” Kings Point is incredibly engrossing in that it presents a look at a population often reduced to the hollow description of “the seniors in Florida.” It’s a trenchant commentary on a future that we all have to contend with, i.e. growing old. It’s a bittersweet rumination on how we treat “old people”–the ones who have so much knowledge and who have contributed so much and are now relegated to facing some literally life-and-death situations all alone

Redemption, Directed by Jon Alpert

Redemption takes a look at “canners”–people who collect bottles and cans on New York’s streets and then redeem them for 5 cents an item and the appropriately titled “Redemption Center.” It’s a crushing, no-holds-barred look into the face of poverty and the creation of a new underclass that only modern conditions and “development” can bring about. The canners come from all walks of life–some are homeless, some are retirees who do not have enough money to live on, some are immigrant families…They walk the streets all day and night, rummaging through trash, in the hope of making twenty dollars a day. When one of them passes by a sidewalk cafe, she wistfully ruminates, “I wonder what it would feel like to sit down and eat in a restaurant. It must be really nice.” Therein is the genius behind Redemption–in showing the nauseatingly wasteful consumerist culture that creates the crumbs [cans] that feed a subclass that will never have access to that sort of opulence and is relegated to scavenging on its discarded leftovers. One man’s trash is another man’s barely subsistence.

Mondays At Racine, Directed by Cynthia Wade

Once a month on Mondays, owners Cynthia and Rachel open their Long Island beauty salon to cancer patients undergoing chemotherapy. Lest you think this sounds like a sadder riff on Extreme Makeover, this is not a movie about shaving one’s head. Yes, there is the self-caring aspect to it, but ultimately, the women who come to Racine are there for the camaraderie, for a chance to support each other in the battle with a common enemy. The film is a heart-breaking look at the havoc that cancer wreaks on those who have it and on the families and loved ones left standing in its ravaging wake. In one sense, it explores how losing something as superficial as hair is intensely depersonalizing. “I didn’t want to shave my head as I would look in the mirror and just see cancer.” “Having no hair made me feel like an alien.” Cynthia and Rachel explain that they started this event so they can give women back a sense of themselves. That sense comes not just through getting one’s make-up done but through meeting others living through the same thing. One of the women in the film has had cancer for 18 years–through her story, we see the damage it does to a person and to a family.

Inocente, Directed by Sean Fine and Andrea Nix

MTV Films backs a film very different from its usually sensationalistic fare but one that would nevertheless resonate well with its teen-leaning audience. Inocente is the story of a 15-year-old homeless artist. Told through extended interviews with her, the movie feels like an intimate look inside the diary of an ebullient and resilient young girl who refuses to live in her circumstances and dares to dream her “silly dreams.” Inocente gives a new face to homelessness in America–as she puts it, “being homeless does not mean waking up on the street every day. It means having no home.” In the past 9 years, she has never lived in one place longer than three months. The film also explores what it means to be an undocumented immigrant and the truly alienating feeling of having no home in too many ways to name. Inocente’s Mom is constantly toiling at her job as a maid, yet is unable to provide enough for her family to have a roof over their heads so they sleep in shelters, under bridges, in friend’s homes. Inocente is about the impossibly vibrant, colorful art that belies her grim surroundings. Working with a non-profit organization, she is selected to put on her own art show, where she sells all of her paintings. The film is a celebration of the redemptive and transformative powers of art that allow one to break outside of personal and social boundaries.

Open Heart, Directed by Kief Davidson

Open Heart is the story of eight Rwandan children who travel to Sudan to receive life-saving heart operations. They all suffer from severe rheumatic heart disease, resulting from complications caused by strep throat left untreated by antibiotics. The film is a pointed commentary on how the lack of some of the most basic health care, such as antibiotics, has such incredibly consequences for people in Africa. Open Heart also offers a glimpse into the dedicated work of people like Dr. Emmanuel, Rwanda’s lone government cardiologist, and Dr. Gino, the Salam Center’s head surgeon, and the huge impact their fervent advocacy has on the lives of so many. Dr. Gino, in trying to keep his center cost-free, has to wrestle with governments and private donors to continue being able to save lives. Open Heart is a look at the incredible feats that a few dedicated people and organizations can bring about.

And the winner is:

Although all of the films are incredibly strong contenders and I would have a hard time picking between it and Redemption, Kings Point stands out in the quiet way it presents a reality that should be so ubiquitous yet is often pushed out of our minds even though it’s one we may well have to contend with. Its honest portrayal of loneliness and how we relate to each other in today’s self-focused world is incredibly thought-provoking. The protagonists are dealt lots that are not inordinately tragic or abnormal…we all grow old after all, but there are so few films out there that focus on a group that, like children, also deserves our care, attention, and protection.

Reviews

Film Review: Mama

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My review of Mama

Like one of the child protagonists in Mama, the movie cannot find its legs, wildly scampering about and moving from a promising premise to a kitchen sink approach in a desperate play to make this a full-length movie. Based on a brilliant, intensely creative 3-minute short by Andres Muschietti, the full-length Guillermo Del Toro-produced film careens from presenting one red herring after another and loses grasp of the crux of Muschietti’s idea, the fairly innovative “Mom is mad at us. But wait… Mom is actually a ghost.”
The movie opens in a straight-out-of-Let The Right One In wintery scene, with a financial-crisis-aggrieved father, having just murdered his estranged wife and business partner, driving on a snowy road with his scared two little girls in the back seat. There is a grim finality to his intentions, undoubtedly, since he’s a broken man on a tortuous road with a dead end. Muschietti’s cinematography is absolutely phenomenal, with a crispness and an enthralling clarity not commonly seen in ghost story flicks. Dad’s plan is thwarted by Mama, who as the little girl points out, “does not walk on the ground.”
Five years pass. The girls, Victoria (Megan Carpenter) and Lilly (Isabelle Nelisse), are discovered, having somehow survived alone in the wilderness, turning feral in the process, crawling and scampering about on all fours, scared at any sound and barely human. They are taken in to live with their Uncle Luke (Nikolaj Coster-Waldau) and his rock-band-playing girlfriend Annabel (Jessica Chastain), to whom this all seems like one big nuisance putting a damper on her bon vivant lifestyle. Obvious nod to a familiar trope: when was the last time in a horror film that adopting children was a good idea? This is the first major issue with the film. The very Flowers In The Attic set-up is ripe with psychological material for exploration. At the same time, there is a fine line to tread between queasy voyeurism of the results of child neglect and a compassionate inquiry into it. Most of what we are presented with is through the lens of the girls’ sessions with a therapist, who we later come to realize has some questionable fame-seeking tendencies, and this is the part of the movie where things start to hit the hokey spectrum fast. Speaking of the therapist, Dr. Dreyfuss (Daniel Kash), displays some typical horror movie inanity. He runs out of the house as soon as he gets a whiff of Mama, but then right away goes in search of her in the abandoned creepy cottage in the middle of the woods, of course. Because we wouldn’t have it any other way.


Another major flaw with the film is that less than even half way through, the audience already knows what Mama is searching for when a well-meaning librarian ominously declares that a ghost is an “emotion bent out of shape, bound to repeat itself until the wrong is made right.” Therein is the crux of the problem with Mama. For the first good three quarters of the movie, it is eerie and atmospheric and scary and then all of a sudden, it bafflingly turns into a sloppy hodgepodge of clues meant to somehow make the story more believable but are really *gaping* plot holes that serve to unravel it and make less believable instead. Oh, Mama is a ghost, but she needs a hole in the wall to pass through!? No, seriously. Oh, Mama is searching for something but when she is handed it, she quickly tosses it aside. Oh, the Doctor tells Mama he has something that she is looking for, but oopsie daisie, he forgot it in the office. And the ending will literally having you howling with laughter as it looks plucked straight out of where-CGI-goes-to-die-archives, soft light glow bathing things, things breaking up into dust particles and butterflies, and the family clinging to each other at the edge of the cliff, literally.
The ingeniousness of the original short lies in the interaction between Mama and the girls. It had the absorbing and equally disturbing absurdity that the very banal “Mama is mad at me,” situation takes on when Mama is not human. There is enough horror even in the opening of the closet door. It would be intriguing to explore how Lilly and Victoria respond to her differently. All of this rich material seems left to languish, untouched, in favor of vapid scare tactics. Mama has so much potential that ends up ghostly vanishing into thin air, but it does offer some good old-fashioned, mercifully-gore-free frights.

Reporting, Reviews

Feature Story: DC Tattoo Expo 2013

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My feature story for BYT on The DC Tattoo Expo 2013

The third annual DC Tattoo Expo certainly rivaled last year’s Baltimore Tattoo Convention in scope and substance.
Tattoos have long emerged from their subcultural roots and shed their “freak factor” cloak to boldly display their palettes, telling a story both about their owners and the artists who created them. Intensely public, yet simultaneous deeply personal, tattoos are pushing artistic boundaries in all sorts of strINK ways.
For many, conventions are the best place to get work done by artists they might not normally have access to. For others, it’s an opportunity to show support to their favorite artists by getting tattooed at the convention and showcasing the artists’ work. For others, it’s simply a chance to find some community and colorful camaraderie and enjoy the experience as an art show.

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So what’s “in” in ink this year? “Portraits, divinity symbols of all kinds,” explains Paul Loh of Occoquan’s True Love Always Tattoo Studio. “Ribs are really big this year…probably due to workplace appropriateness concerns. The skin is really soft there, but it is super painful and people always move when I am tattooing them there. I am hoping the ribs become ‘the new tramp stamp’ because it is so hard to do them,” he says jokingly. When I spoke to him, he was tattooing an intricate African mask piece on Erick Atkinson, who had other similar designs in homage to his heritage. The time requirement–three hours…lest you had any illusions about how quickly even outline-only pieces take.
Fernando Prudencio, of the very popular H Street tattoo shop British Ink, chimes with his most popular tattoo requests: “Since we only do appointments and no walk-ins, we get a bit of a different client subset. A LOT of DC flags! And believe it or not, whatever celebrities are getting is really big. I did a TON of infinity symbols with the words ‘family’ or ‘love’ underneath this year. A lot feathers breaking into birds. When Rihanna got those Roman numerals…that too.”
Ink Master winner, Shane O’Neill,specializes in portraits, the hot item du jour for a good while now. As he explains, however, the portraits are not always in memoriam–they are often just a way to wear one’s heart and loved ones on one’s sleeve, literally. Annaliese Yoder got a portrait at Infamous Tattoos[Shane’s shop] of her grandfather, who is from Hamelin, the Pied Piper town in Germany. At the base of his feet are five mice, representing her aunts and nieces, a play on words. Ruben Cotreras got the face of Maria Felix, “Mexico’s Marilyn Monroe,” by Tommy Montoya in New York. Ink Master has been great in getting the word out about artists. Shane explains that before the show it might have taken 6-8 months to get an appointment; he is booked a year in a half in advance now, with frequent trips to Europe. Fellow Ink Master finalist, James Vaughn, was also staying busy, tattooing a sleeve on Tamara Ellis, working on his signature large Japanese-themed pieces.

Reviews

Rust And Bone Movie Review

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My review of Rust And Bone

Rust and Bone could not have had a more apropos soundtrack to its trailer than M83′s “My Tears Are Becoming A Sea.” It’s a love story, yet Rust And Bone will sweep you off your feet in the most unromantic of ways, as though being swept away by an inexorable tide. Director Jacques Audiard follows up his last film, the highly-lauded and Oscar-nominated A Prophet, by delving deeper into some more emotional territory. Whereas A Prophet was about an Arab man who finds himself working for a Corsican gang while in prison and found an incendiary intensity to it, it lacked a bit in its character-developing angle. Rust And Bone (the title refers to the taste left in one’s bleeding mouth after being punched) is a raw and visceral powerhouse of a film.


Matthias Schoenaerts (who brings more of the brutish relentlessness he employed in his lead in the much-acclaimed and Oscar-nominated Bullhead of last year) plays Ali, a former boxer. We first meet walking doggedly towards an unknown destination, trailed by his 5-year-old son, whom he barely knows. The two end up in the south of France, in Antibes, where they stay with Ali’s sister, whom he has not seen in five years. Yes, relationships are not Ali’s forte. He starts working as a bouncer, where he meets the brash and beautiful Stephanie (Marion Cotillard), a whale trainer at Marineland, whom he literally rescues from a brawl she has incited. In his brutish, deadpan delivery, he remarks that she is “dressed like a whore,” and leaves his number with her matter-of-factly, expecting her to follow suit with all the other women who seem all to happy to fall in bed (not love) with him.
A freak accident at the marine park causes Stephanie to lose both of her legs. Despondent and literally broken, she reaches out to him, for lack of anyone else (pushing people away is definitely something Ali knows a thing or two about, also). Not one to let her guard down either, the two form a quiet bond: Ali never comments on her vulnerability or allows for any rumination on her new state, instead opting to build her up by simple gestures like bringing her to the beach and swimming with her on his back. Seemingly motivated out of nothing more than pure selfishness or lust, he nevertheless draws her out and away from a place of fissure.
Marion Cotillard’s performance absolutely steals the show. She portrays Stephanie’s fractured body and soul with a mesmerizing combination of vulnerability and steely strength. When Ali becomes involved in the brutal world of illegal street fighting, it is her singularity as “the woman with the steel legs” that allows her to enter it and give him the support his own broken self needs.
Rust and Bone does not mince any words; there are no sweeping, saccharine romantic gestures. The leads might as well be spitting “I love yous” through gritted teeth and blood-filled mouths. Both Stephanie and Ali are tough, barely reaching through to each other in the few chinks in their respective armors. Their characters, however, are very real, relentlessly and pitilessly so. Pulling no punches, this is a movie about fighting and surviving. While in some ways hearkening back to similar broken-body-and-spirit stories like The Wrestler, Rust and Bone is thoroughly unique in its ethos. The stunning cinematography of the sea and the fight scenes lend a cinema-veritas edge to the film that is equal parts beautiful and brutal. It is a haunting yet thoroughly engrossing film that stays true to Audiard’s oeuvre.

Reviews

Top 12 Movies Of 2012–A BYT List

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My contribution to BYT’s Top 12 Movies Of 2012

2. Best movie to see Bradley Cooper go from smarmy to charming in: Silver Linings PlaybookThe silver linings abound in the thoroughly disarming Silver Linings Playbook, a glorious mash-up of a mental health issues/rom-com film. Jennifer Lawrence’s character would pull a Daria on the manic pixie chick trope and her self-referential (and terribly not-hot) neuroticism–welcome the new (good kind of) crazy girl on the block. This kind of crazy girl can have a outcrazying-each-other conversation over family dinner with a bipolar guy and call him out on *his* poor social skills. She can talk anti-depressants with the best of them. Bradley Cooper channels his ADD-addledom from Limitless in playing a regular guy who is thrown knee-deep into the world of therapy sessions and “exit strategies,” all the while jogging with garbage bags on to lose weight. DeNiro plays a football-obsessed but loving father with sheer comedic gusto. If there ever is an underdog story from the shrink-wrapped world of “we all have issues,” this is easily the most charming one of all. And yes, what’s a little romantic comedy without some Dancing With The Stars type action!? Whatever cliches are to be found are easily forgiven in this utterly ebullient celebration of “staying positive.” Excelsior!