Tribeca 2011 Review: RABIES

There is a fundamental flaw with RABIES that will unfortunately hold it back from the major success it could have been. I am of course talking about the fact the film is in Hebrew. Because people hate to read at the movies, it will not get a wide theatrical release (unless it gets the HIGH TENSION treatment) and some people will skip it when it hits video & VOD. It’s a real shame because RABIES is one of the best and most inventive horror films I have seen in a while.

A quick summary makes the film seem like an overly clichéd backwoods slasher but its brilliant execution reveals that it is so much more. The film opens with a girl caught in a trap while her brother attempts to rescue her, a group of young tennis players lost in the woods and a kindhearted park ranger doing a routine inspection with his trusty dog. A little later we meet two cops; one is quite crooked while the other is dealing with personal issues. We are even introduced to a psychotic killer that doesn’t wear a mask or have any supernatural abilities; he’s just a man with a large knife. This all sounds pretty standard, right?

What if I told you the psycho killer doesn’t actually kill anyone yet the body count at the end of the film still meets the typical slasher quota? Shortly after we are introduced to the killer, he gets knocked out. Confusion, jealousy, mistrust, poor judgment, and several accidents put the potential victims at odds with each other. Their secluded surroundings full of bear traps, land mines, and other dangerous obstacles only add to the mayhem.

RABIES plays with genre conventions and does it well. The acting is surprisingly strong across the board and really brings you into the story. Unfortunately, there were a few times where I was unable to read the subtitles because this is by far one of the brightest horror movie you will ever see. The entire film takes place over the course of a sunny afternoon and many of the characters are dressed entirely in white. The fact they were able to make such a suspenseful horror film in broad daylight shows you how talented the writer/director duo of Aharon Keshales and Navot Papushado really are. Unfortunately it made the pale yellow subtitles hard to read at times but I never lost my place in the film nor lost any interest in the characters. In fact, I believe you can watch the entire film sans subtitles and still enjoy it but then you’d miss out on some of the brutally clever dialogue. There are some hilarious jokes and lines that elevate the film to a very darkly humorous level. The pacing and cinematography are equally great.

I really loved how the film plays out in seemingly real time and that the filmmakers are not afraid to have key moments occur off screen. The scenes not shown are largely unnecessary and keeping them out keeps the film fast-paced. It even adds to the suspense at times. This approach to the story really works well throughout but I was surprised to see that it ends in the same style. While each storyline is interconnected, there was no grand finale where everything comes together. Instead each story has it’s own ending. This is where my one real big problem with the film lies. I actually liked each individual ending and wouldn’t change anything about them. However, I feel they made a huge mistake in the order of the endings. There is one very short scene that I believe should have come a little later in the film.  (To keep this review spoiler free, I will not describe the scene but will gladly tell you if you message me after you see it.) It would have worked far better as the final resolution. They could keep everything else exactly the same, including the tag within the credits, but just change the order of the finale. I know it is a very minor complaint but it is really the only thing that bothered me about the film.

I highly recommend you check out RABIES for yourself. And from now until May 1st, you can watch it online for free. Just go to the Tribeca Film Festival online streaming room at http://www.tribecafilm.com/tribecaonline/streaming-room/ and reserve a seat for the next free online screening. If you don’t get a chance to watch it now, be sure to keep an eye out for it. The film has the distinction of being Israel’s first ever horror film and it has set the bar absurdly high.

Jerry Cavallaro  – www.StuckLikeChuck.com

Tribeca 2011: Two Day Recap

I want to start off by apologizing for the delay in my coverage. I originally planned to do daily recaps from each day at the festival but my 90-minute commute to and from the festival quickly killed that idea. Below is a recap of my experience at the 2011 Tribeca Film Festival so far…

THURSDAY APRIL 21

My first day at the festival didn’t start off with a bang. I planned on attending the press screening of THE BANG BANG CLUB but just couldn’t get to the festival in time. Instead I picked up my press badge and decided to check out the complimentary snack area. I opted for a breakfast ice cream bar courtesy of MAGNUM Ice Cream. Free Ice Cream for breakfast? Yes, I am living the dream.

Following my deliciously inappropriate breakfast, I decided to canvas the press lounge and theater to see what kind of promo materials I could find. I love collecting that kind of stuff to see what other filmmakers are doing to promote their films. Sadly, there was not much out but since it was only the first full day I didn’t think much of it.

At noon I caught the press screening of THE TRIP, which stars Steve Coogan and Rob Brydon as themselves on a food tour through the English countryside. The film was hilarious and definitely a good way to kick off the movie watching portion of my festival experience.

After the screening, I grabbed a quick lunch (plus another free ice cream bar) and headed back to the Clearview Cinemas for the press screening of JANIE JONES. The film stars Abigail Breslin as a talented 13-year-old musician who is abandoned by her mother (Elizabeth Shue) and is forced to stay with a struggling rocker (Alessandro Nivola) who doesn’t believe she is really his kid. While fairly conventional, it was still an enjoyable film.

Following the screening I headed over to the Filmmaker Lounge where they were hosting a filmmaker / press reception. While waiting for the doors to open, I started talking with Alan J. LaFave, Festival Director for the HELL’S HALF MILE FILM + MUSIC FESTIVAL. Although we never actually met before, he recognized me from STUCK LIKE CHUCK, which screened at his festival in 2009. We ended up chatting for over 2 hours about movies and festivals.

As the party ended, I grabbed one more ice cream bar for the road and made my way to the bus home. I got home about 10:30 and called into FILMSNOBBERY LIVE! which is a weekly live show about indie film that I cohost. After speaking with actor Jay Ferraro, I talked about my first day impressions of the festival before signing off and passing out on my bed.

FRIDAY APRIL 22

I woke up late but somehow managed to make it to the Clearview Cinemas in time for SAINT. The Dutch horror comedy reimagines Saint Nicholas as a bloodthirsty bishop who emerges whenever there is a full moon on December 5 to kidnap children and murder anyone else who gets in his way. There are many moments of crazy batshit insanity that I absolutely loved but others that I felt took down the movie as a whole. It is still a very enjoyable flick that is destined to become a holiday cult classic.

After SAINT, I headed across the lobby to theater 7 for the press screening of PUNCTURE. The film stars Chris Evans as a drug addict / lawyer who takes on a major health care case that could save millions of lives but may also be too much for him and his partner to handle. Just like its main character, the film is flawed but still enjoyable.

After the screening, I spoke briefly with Alan J. LaFave again before bumping into the legendary Bob Hawk. For those unfamiliar, he is a film consultant known for discovering Kevin Smith, Edward Burns and many others. Several months ago I went to lunch with him to discuss my current film project so it was great getting to catch up. Since talking with Hawk used up much of my break, I grabbed another Magnum Ice Cream bar from the press lounge before heading back to the theater to catch my final screening for the day.

I got back just in time for the press & industry screening of Israel’s first ever horror film, RABIES. This is my favorite film from the festival so far and set the bar pretty high for the rest. This flick brilliantly plays with genre conventions and makes for one hell of a good time. I was completely caught by surprise and ended up raving about it to several people right after.

Besides being an amazing film, this screening was especially awesome because one of the Tribeca jury groups was in attendance. I watched the film sitting behind Paul Dano, Anna Kendrick, Rainn Wilson and several other really cool people. I was able to remain professional but really wish I had a chance to talk with some of them after the screening. I also hope Paul Dano got his hat back. He left it at his seat and the woman next to me brought it to one of the volunteers. Fingers crossed for a safe recovery.

I made my way to the Cadillac Press Lounge for the Documentary Filmmaker & Press Reception. While I didn’t meet any filmmakers, I did quickly become friends with Peter Gutierrez and Ben Umstead from Twitch. We talked about the festival, horror films and general movie geekdom. We also all seemed to agree that we have not seen any filmmakers actively promoting their films and that there should be an easier way to distinguish who is a filmmaker based on our badges. Apparently I was the first filmmaker they had even spoken to at the festival. Despite it not being part of Tribeca, I gave them both copies of STUCK LIKE CHUCK because I am a total press whore.

Eventually we made our way to the Filmmaker Lounge where the DOHA Film Institute was hosting its own reception. I again bumped into Alan LaFave. I find it funny that I keep missing tons of celebrities that are popping up in pictures all around the festival but I keep running into Alan. I wonder if there are secret backrooms that us lower level press people don’t know about? When they were getting ready to close, I grabbed yet another ice cream for the bus ride and left. That night I sat on my computer determined to begin my coverage. About 20 minutes later I was out cold, which brought an end to my second day at the festival.

SATURDAY APRIL 23 & SUNDAY APRIL 24

I did not attend the festival these days because I had to spend time with my family. However, I was able to make some time to write this article as well as a few of my reviews. I will not be attending the festival on Monday but I will check out some of the online films throughout the day. I will be back at the festival starting Tuesday morning to cover Will Ferrell’s new film, EVERYTHING MUST GO.

Jerry Cavallaro  – www.StuckLikeChuck.com

Terence Stamp To Receive Peter J. Owens Award At 54th San Francisco International Film Festival

Actor Will Receive Honor at Film Society Awards Night at Bimbo’s 365 Club
and Onstage Tribute at Castro Theatre

San Francisco, CA — The San Francisco Film Society has announced that Terence Stamp will be the recipient of the Peter J. Owens Award at the 54th San Francisco International Film Festival (April 21 – May 5). The Owens Award, named for the longtime San Francisco benefactor of arts and charitable organizations and Film Society board member, honors an actor whose work exemplifies brilliance, independence and integrity. The award will be presented to Stamp at Film Society Awards Night, Thursday, April 28 at Bimbo’s 365 Club.

The Film Society’s highly regarded Youth Education program will be the beneficiary of the glamorous fundraiser honoring Stamp. Oliver Stone, recipient of the Founder’s Directing Award and Frank Pierson, recipient of the Kanbar Award for excellence in screenwriting will also be honored at the star-studded event. Melanie and Lawrence Blum are chairs of this year’s Film Society Awards Night, and Carla Emil and Rich Silverstein are the honorary chairs.

“I am exceptionally happy that we are able to honor Terence Stamp at this year’s Festival,” said Graham Leggat, the San Francisco Film Society’s executive director. “From his Oscar-nominated debut in Billy Budd (1962) through countless wonderful roles since, he has created truly memorable onscreen characters with a remarkable blend of élan, intensity and charisma.” 

Stamp will also be honored at An Evening with Terence Stamp at the Castro Theatre at 7:30 pm, Friday, April 29. A screening of a film featuring one of his iconic performances will follow an onstage interview and a selection of clips from his impressive career.

Terence Stamp’s motion picture debut in the title role in Peter Ustinov’s 1962 film adaptation of Herman Melville’s Billy Budd, brought him not only an Academy Award nomination but also international attention. He went on to collaborate with some of cinema’s most revered filmmakers including William Wyler (The Collector 1965), Joseph Losey (Modesty Blaise 1966), John Schlesinger (Far from the Madding Crowd 1967), Ken Loach (Poor Cow 1967), Federico Fellini (Toby Dammit segment of Spirits of the Dead 1968), Pier Palo Pasolini (Teorema 1968), Peter Brook (Meetings with Remarkable Men 1979), Richard Lester (Superman II 1980), Stephen Frears (The Hit 1984) and Oliver Stone (Wall Street 1987).

Stamp began his fourth decade as an actor in Stefan Elliot’s comedy The Adventures of Priscilla, Queen of the Desert (1994) and attended the picture’s world premiere at the San Francisco International Film Festival. For his lead role in Steven Soderbergh’s The Limey (1999), which debuted to widespread critical acclaim at the Cannes Film Festival, he received nominations for Best Male Lead at the 2000 Independent Spirit Awards and for Best British Actor at the London Film Critic Circle Awards.

Currently he can be seen opposite Matt Damon and Emily Blunt in The Adjustment Bureau.

Previous recipients of the Film Society’s Peter J. Owens Award are Robert Duvall, Robert Redford, Maria Bello, Robin Williams, Ed Harris, Joan Allen, Chris Cooper, Dustin Hoffman, Kevin Spacey, Stockard Channing, Winona Ryder, Sean Penn, Nicolas Cage, Annette Bening and Harvey Keitel. The Peter J. Owens Award is made possible through a grant from the Peter J. Owens Trust at the San Francisco Foundation.

For tickets and information for Film Society Awards Night only call 415-561-5049. Admission to the tribute to Terence Stamp at the Castro Theatre on Friday, April 29 is $20 for San Francisco Film Society members and $25 for the general public. For tickets and information visit sffs.org/tickets.

For tickets and information visit fest11.sffs.org.

Cinema St. Louis now accepting entries for 11th Annual St. Louis Filmmakers Showcase

The 11th Annual St. Louis Filmmakers Showcase (SLFS), an annual presentation of the nonprofit Cinema St. Louis, is accepting entries now through May 31.

SLFS serves as the area’s primary venue for films made by local artists. SLFS screens works that were written, directed, edited or produced by St. Louis natives or those with strong local ties. With advances in affordable digital filmmaking, more and more movies are being made in St. Louis and environs, but opportunities for moviegoers to see that work are scarce, because few of the films ever screen commercially. SLFS frequently provides the only chance area filmmakers have to display their talents on the big screen.

The film programs that will screen at the Hi-Pointe Theatre in late July will serve as SLFS’s centerpiece. SLFS annually features 15-20 programs over four days, ranging from full-length fiction features and documentaries to multi-film compilations of fiction and documentary shorts. Most programs include post-screening Q&As with filmmakers. SLFS also hosts a series of free seminars on the filmmaking process and a lively awards party on closing night that features announcements of SLFS films chosen for inclusion in the St. Louis International Film Festival and awards given by the St. Louis Film Critics.

Cinema St. Louis has presented the St. Louis Filmmakers Showcase since 2002, taking over from the St. Louis Film Office, which inaugurated the event in 2001. During its 11-year existence, SLFS has shown more than 550 films with St. Louis ties. SLFS is held at the Tivoli Theatre in the vibrant Delmar Loop entertainment district.

48 Hour Film Project Returns!

Registration is now open for the St. Louis 48 Hour Film Project (48HFP.) The 48HFP is a thrilling challenge where filmmakers must rely on pure adrenaline and little sleep to complete a short film in just 48 hours. From June 3 through June 5 teams from around St. Louis will write, shoot and edit a short film incorporating a required genre, prop, character and line of dialogue. Completed films will screen at the Tivoli Theatre with the winner going on to screen at Filmapalooza, a national gathering of 48 Hour filmmakers.

Registration is now open.

Early Bird Deadline: May 9, 2011
Regular Registration Deadline: May 23
Competition Dates: June 3-5
Screenings: June 7-9
Best of St. Louis Screening: June 16

It’s fast, filmmaking fun at its finest.

Sign up your team today at 48hourfilm.com/stlouis

IFC Midnight Picks Up Dick Maas’ SAINT at Tribeca

New York, NY (April 21, 2011) – IFC Midnight announced today that the company has acquired U.S. distribution rights from sales and production outfit XYZ Films for director Dick Maas’ evil Santa film SAINT. The deal includes a theatrical component and was made prior to the movie’s North American premiere in the Cinemania section at the 2011 Tribeca Film Festival. Maas wrote the screenplay for the picture and produced with Tom de Mol. Starring Huub Stapel, Egbert-Jan Weeber, Caro Lenssen, Bert Luppes and Escha Tanihatu, the Dutch film premiered tonight at 9:00pm at the AMC Loews Village 7.

An original and delightfully gruesome slasher film, SAINT re-imagines jolly old Saint Nick as a murderous bishop fulfilling a grisly prophecy under the December full moon. Packed with creative yuletide horror, SAINT is a fun chiller that follows local teen Frank (Weeber) as he sets out on a bloody, high-energy battle to save Amsterdam from the wrathful “Sinterklaas” and his minions.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “Dick Maas has created a high-octane, extraordinarily chilling film that is truly unlike anything we’ve seen before. It’s sure to make a huge splash with audiences at the Tribeca Film Festival.”

The deal for SAINT was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Nate Bolotin of XYZ Films on behalf of the filmmakers.

Additional Tribeca Film Festival screenings:

  • Saturday, April 23, 11:59 p.m. – Clearview Chelsea Cinemas
  • Sunday, April 24, 12:00 p.m. – AMC Loews Village 7
  • Wednesday, April 27, 11:30 p.m. – AMC Loews Village 7

At Tribeca, XYZ Films is also representing North America rights on the narrative competition film THE LAST RITES OF JOE MAY starring Dennis Farina and written and directed by Joseph Maggio; BEYOND THE BLACK RAINBOW, the feature film debut of writer and director Panos Cosmatos and featuring a hypnotic analog synthesizer score by Jeremy Schmidt of Sinoia Caves and Black Mountain; RABIES from Israeli filmmakers Aharon Keshales and Navot Papushado; and U.S. rights on the feature documentary THE SWELL SEASON.

IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by Rainbow Media.

About IFC MIDNIGHT
Established in 2010 and based in New York City, IFC Midnight is a leading U.S. distributor of genre entertainment including horror, science-fiction, thrillers, erotic art house, action and more.  Its unique distribution model makes independent genre films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes have included Tom Six’s controversial horror film The Human Centipede (First Sequence) and Johnnie To’s Hong Kong revenge thriller Vengeance. Upcoming IFC Midnight releases include Miguel Angel Vivas’ powerful and shocking home invasion flick Kidnapped and Tom Six’s highly anticipated frightfest The Human Centipede 2 (Full Sequence). IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by Rainbow Media.

About XYZ FILMS
XYZ is an LA-based production and sales company founded by Nate Bolotin, Nick Spicer, and Aram Tertzakian. In addition to handling North American sales at top-tier film festivals, XYZ is also partnered with French international sales outfit, Celluloid Dreams, for international sales. The partnership, launched in May of 2010 as “Celluloid Nightmares,” brings together the pedigree of Celluloid Dreams with the genre savvy of XYZ.  XYZ has been a leader in the independent film space since it acquired an ownership stake in leading international film site Twitch (www.twitchfilm.com) and partnered with Twitch founder, Todd Brown, to expand XYZ’s sales initiative.

QFEST 2011 Review: FISHNET

Written and directed by first-time feature filmmaker Brian Pelletier, FISHNET tells the story of Sulie and Trixie, a lesbian couple from Los Angeles working as dancers in a burlesque club. A tough, full-figured woman named Lady Jeanette, played by Emma Messenger, runs the club. Everything is going just fine, until a mobster shows up trying to muscle Lady Jeanette. In an impulsive effort to save the day, Trixie shoots the mobster and the two young women flee for safety to Sulie’s parents’ house in Texas.

Jillian Easton (VIRUS X, MEGA PIRANHA) plays Sulie, a woman from a conservative rural Texas upbrining, drawn to L.A. where she first met her creative passion and her romantic love. Rebekah Kochan (HOMEWRECKER, EATING OUT Series) plays Trixie, a wild, fun-loving L.A. woman and Sulie’s romantic partner. These two actresses offer the better moments in FISHNET, comfortable delivering the lines in a way that lifts the words just enough out of absurdity to be fun.

Many of the characters are ridiculous to a fault, possibly by design. Olga, played by Zabeth Russell, is a plump Russian burlesque dancer with an entirely different and undesirable interpretation of what her audience considers sexy. Annie the bartender, the two mobsters, Officer Dick, and even Sulie’s little brother Junior are all exaggerations by design. The filmmaker is poking fun at the various ways we see each other in real life, especially the ultra-conservative Christian right, but comedic license is also taken with just about every other perspective as well.

A great deal of attention is placed on Sulie’s relationship with her family, and how the secrets she and Trixie are keeping from them affect her decisions. Sulie is torn between the life she had and the life she hopes to have, blurred by the dangerous pickle that Trixie has put them in with both the law and the mafia. The story itself is one that’s been told many times, a story of a character waking up to their own truth, which occurs not just with Sulie but with other supporting characters as well. This awakening of self is an underlying theme in FISHNET, clouded by comedy.

FISHNET is a film billed as a comedy/musical. Upon seeing the film, I clearly got that the attempt was to be funny. At times, the humor poked through, but the overall result proved otherwise. The film gets bogged down in clichés, bad jokes and poorly executed comedic acting. Stereotypes run rampant in FISHNET, and whether are intentional or not, they simply don’t work. The silly nature of the firth two acts contrast directly with the third, which attempts to salvage a meaningful, heart-felt ending. After spending the first two-thirds of the film wading through cheesy dialogue, its difficult to take the outcome seriously.

In an effort to be fair and honest, I truly don’t believe FISHNET was meant to be taken seriously. The overwhelming impression I had was that this is a film meant to have fun with, even meant to be made fun of… I can see FISHNET developing a cult following, something along the “so bad its good” lines of Tommy Wiseau’s THE ROOM or TROLL 2, combined with an element of ROCKY HORROR PICTURE SHOW. For this expectation, an audience may just eat FISHNET up. Only time will tell. However, my reaction to seeing this film billed as a musical comedy is that this is not a musical. Aside from the opening credits sequence, the film is merely built around a style of musical theatre, that being burlesque, but lacks the trademark choreography and musical outbursts necessary for the genre billing.

FISHNET will screen at 4:30 PM on Saturday, April 16th, 2011 at the Hi-Pointe Theatre in Saint Louis.

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES Among Official Selection For 64th Festival de Cannes

The Official Selection and the Juries of the 64th Cannes Film festival were announced Thursday, April 14th during the press conference held by Gilles Jacob and Thierry Frémaux at the Grand Hôtel in Paris.

Opening Film

Woody ALLEN – MIDNIGHT IN PARIS (Out of Competition)

Competition

Pedro ALMODÓVAR – LA PIEL QUE HABITO
Bertrand BONELLO – L’APOLLONIDE – SOUVENIRS DE LA MAISON CLOSE
Alain CAVALIER – PATER
Joseph CEDAR – HEARAT SHULAYIM (Footnote)
Nuri Bilge CEYLAN – BIR ZAMANLAR ANADOLU’DA (Once upon a time in Anatolia)
Jean-Pierre et Luc DARDENNE – LE GAMIN AU VÉLO
Aki KAURISMÄKI – LE HAVRE
Naomi KAWASE – HANEZU NO TSUKI
Julia LEIGH – SLEEPING BEAUTY – 1st film
MAÏWENN – POLISSE
Terrence MALICK – THE TREE OF LIFE
Radu MIHAILEANU – LA SOURCE DES FEMMES
Takashi MIIKE – ICHIMEI (Hara-Kiri: Death of a Samuraï)
Nanni MORETTI – HABEMUS PAPAM
Lynne RAMSAY – WE NEED TO TALK ABOUT KEVIN
Markus SCHLEINZER – MICHAEL – 1st film
Paolo SORRENTINO  – THIS MUST BE THE PLACE
Lars VON TRIER – MELANCHOLIA
Nicolas WINDING – REFN DRIVE

Un Certain Regard

Gus VAN SANT RESTLESS – Opening Film 
Bakur BAKURADZE – THE HUNTER
Andreas DRESEN – HALT AUF FREIER STRECKE
Bruno DUMONT – HORS SATAN
Sean DURKIN – MARTHA MARCY MAY MARLENE – 1st film
Robert GUÉDIGUIAN – LES NEIGES DU KILIMANDJARO
Oliver HERMANUS – SKOONHEID
HONG Sangsoo – THE DAY HE ARRIVES
Cristián JIMÉNEZ – BONSÁI (Bonsaï)
Eric KHOO – TATSUMI
KIM Ki-duk – ARIRANG
Nadine LABAKI – ET MAINTENANT ON VA OÚ ?
Catalin MITULESCU – LOVERBOY
NA Hong-jin – YELLOW SEA
Gerardo NARANJO – MISS BALA
Juliana ROJAS, Marco DUTRA – TRABALHAR CANSA – 1st film
Pierre SCHOELLER – L’EXERCICE DE L’ETAT
Ivan SEN – TOOMELAH
Joachim TRIER – OSLO, AUGUST 31ST

Out of Competition

Xavier DURRINGER – LA CONQUÊTE
Jodie FOSTER – THE BEAVER
Michel HAZANAVICIUS – THE ARTIST
Rob MARSHALL – PIRATES OF THE CARIBBEAN: ON STRANGER TIDES

Midnight Screenings

CHAN Peter Ho-Sun – WU XIA
Everardo GOUT – DIAS DE GRACIA – 1st film

Special Screenings

Frederikke ASPÖCK – LABRADOR – 1st film
Rithy PANH – LE MAÎTRE DES FORGES DE L’ENFER
Michael RADFORD – MICHEL PETRUCCIANI
Christian ROUAUD – TOUS AU LARZAC

The 64th Festival de Cannes is to take place Wednesday May 11th to Sunday 22nd May 2011.

QFEST 2011 Review: LEADING LADIES

LEADING LADIES is a quirky but charming comedy with a classical sensibility. Co-directed by Daniel Beahm and Erika Randall Beahm, the film is about two sisters and their overbearing stage mother, once a champion dancer. The light, playful nature of the film is evident from the opening credits. Great care was taken in staging, choreographing and staging the entire film to work whimsically with the musical score.

Shannon Lea Smith plays Tasi Campari, the younger sister and something of a wild princess. Tasi is also the dancer of the two sisters, her mother’s protégé. Laurel Vail (THE ECHO GAME) plays Toni Campari, the introverted and calm sister who often serves as the voice of reason in their family. Melanie LaPatin, a choreographer and actress in real life, plays the Campari girls’ mother Sheri. She’s a colorful, energetic handful of a woman with passion for what she does, whether her daughters always appreciate it or not.

While Tasi’s relationship with their mother grows more strenuous, Toni’s gay best friend Cedric (Benji Schwimmer) takes her out to a gay club where she meets Mona, but her sudden, unexpected revelation is dampened by Tasi’s bombshell announcement that she’s pregnant.

There’s an authenticity to Toni that draws the attention to her very aura, a sort of glow to her presence and personality that says “I’m a real person.” Vail scales back her performance as Toni, resulting in a very relatable character with real emotions and real insecurities.

Tasi’s pregnancy comes about abruptly, but LEADING LADIES is primarily Toni’s story and the pregnancy serves as the elastic waistband that pulls the Campari sisters’ relationship back into shape as Toni’s newly found romance is revealed to those around her, but the sisters’ secrets prove harder for their mother to swallow.

The Beahm’s have incorporated a wonderful attention to detail into LEADING LADIES. The viewer’s focus is immediately engaged by the richness of color and detail in the set design, the lighting and the wardrobes. The varied styles of music pair nicely with the film’s visual mood shifts, while the stunning confidence with the camera and composition is impressive for these first-time filmmakers.

LEADING LADIES is a feel good movie with a message and a joy to watch, and quite possibly one of the most endearing and sincerely uplifting movies I’ve seen in 2010 so far.

LEADING LADIES will screen at 7:00 PM on Friday, April 15th, 2011 at the Hi-Pointe Theatre in Saint Louis.

New Photos From Dick Maas’ SAINT

Check out the new photos from Dick Maas’ SAINT. Full of creative yuletide horror, SAINT is a fun chiller that follows local teen Frank as he sets out on a bloody, high-energy battle to save Amsterdam from the wrathful “Sinterklaas” and his minions. The film will have it’s North American Premiere at the Tribeca Film Festival which runs April 20 – May 1, 2011. 

Synopsis:

St. Niklas, a bishop fallen out of grace, travels in the middle ages with his gang of robbers and thieves through the countryside, raping, plundering and killing. When villagers take the law into their own hands and murder the bloodthirsty bishop and his thugs by setting the ship on which they travel ablaze, Niklas vows revenge. Now every time there is a full moon on December 5th, the date that he died, something that on average takes place every 36 years, St. Niklas and his helpers will rise from the dead and take revenge in a horrible way.

TRIBECA SCREENING INFORMATION

Public Screenings:

  • Thursday, April 21st at 9:00PM at AMC Village VII (66 Third Avenue at 11th Street)
  • Saturday, April 23rd 11:59PM at Clearview Cinemas Chelsea (260 West 23rd Street -between 7th and 8th Avenues)
  • Sunday, April 24th at Noon at AMC Village VII (66 Third Avenue at 11th Street)
  • Wednesday, April 27th at 11:30PM at AMC Village VII (66 Third Avenue at 11th Street)

    OFFICIAL WEBSITE: http://www.saintthemovie.com/
    TRIBECA WEBSITE: http://www.tribecafilm.com/filmguide/saint-film35742.html
    OFFICIAL FACEBOOK PAGE: http://www.facebook.com/pages/Saint-the-Film/114458121941450
    OFFICIAL TWITTER PAGE: http://twitter.com/#!/wildgeraas

  • RUNNING TIME: 88 Minutes
    RATING: Not yet rated