MicroCinema Reviews
A Hundred Dollars and a T-shirt
Tuesday, July 10, 2007
Coming to microcinema at the end of a long trail that included involvement in comix and minicomics and ‘zines, it has always struck me as odd that there has not been more crossover between these two aspects of DIY culture. Microcosm Publishing’s Joe Biel takes a stab at correcting that oversight with A Hundred Dollars and a T-shirt, his engaging documentary of the ‘zine movement.
Mondo Collecto
Friday, March 23, 2007
Whether it be your walls of KISS memorabilia, that mantle lined with Pez dispensers or a basement filled with Franklin Mint collectors plates featuring the cast of Eight is Enough, everyone has a penchant for collection. In his new documentary, “filmed in glorious VHS-C”, director R.P. Whalen explores the mind of the collector, done in a swingin’, 60s Mondo-style that ‘s got psycho-go-go dancing interstitials between your choice cast of collectors.
Horror Business
Friday, March 16, 2007
Horror Business should be required viewing for anyone into indie horror filmmaking. It’s not going to help you make a movie or give you tips on how to get one done, but instead, it focuses on what drives low-budget horror filmmakers to spend countless thankless hours, slogging about in fake blood and testy actors just to get a piece of themselves on video for posterity and entertainment.
Life List
Sunday, February 12, 2006
Director Tom Dunlap turns an eye on birdwatching culture in this amiable short documentary.
We find that the birdwatching world is split between two camps; those that do it for enjoyment, and those that are trying to form a “life list,” tallying as many different kinds of birds as possible in competition with other birdwatchers.
What I like about Dunlap’s storytelling is that he doesn’t judge the people he is showcasing, but presents the material with an open mind. The birdwatching culture seems to represent pretty much any other fandom, with people who are just in it for the hobbyist interest to people who seem to be, to put it kindly, more deeply rooted in the world.
Dunlap presents a nice mix of tales, and is sure-footed with his editing of what was probably a lot of material. The shooting is solid overall, though a bit uneven in spots, which I might attribute to taking place across several states and a over a period of time.
Dunlap does a nice job with production design and subject matter, and I would look for more work from this filmmaker.
Three stars.
Learning How to Fail
Saturday, March 12, 2005
“I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter how hard it’s run you down, and rolled over you, no matter what color, what size you are, how you are built; I am out to sing the songs that will make you take pride in yourself and in your work.” - Woody Guthrie
Webster defines success as a favorable termination of a venture, specifically, the attainment of wealth, favor, or eminence. Musician-turned-filmmaker Lisa Marr may not have struck it rich in the music biz, but she definitely garnered her share of accolades and fans during the height of the 1990s indie rock era (during which time yours truly was fortunate enough to catch her band ‘Cub’ at a local venue) and was even featured in Rolling Stone magazine. The rise of theinternet and increasing affordability of home recording in the new millenium made it much easier for independents to get their music heard, but quickly created an over-saturated scene with millions of bands vying for attention, gigs and CD sales, making things much harder on artists like Marr who were among the pioneers of the D.I.Y. movement just a few years earlier. And to top it all off, after years of hard work and struggle, The Lisa Marr Experiment’s 2003 American tour got cancelled. To most, this would be a death blow, a sign that it was time to hang it up and quit. But for Marr, it was time to get out and sing the songs. It was time to take her world back.
With her personal schedule clear, Lisa Marr packed her ‘88 Corolla hatchback and set out on the open road armed with a guitar, a miniDV camera, and truckloads of humility and talent. “Learning How To Fail” documents her solo journey across the country, stopping at random public places to sing, play, and engage strangers in coversation about the meaning of success. But rather than make a movie about misfortune or broken dreams, Marr instead used the film as a means to re-connect with her fellow human beings on a different level. She’d toured the nation several times in different bands, but was never able to really see the places and meet the people, so the film is really more about them than it is about her. There are no on-camera interviews, but rather silent footage of Marr playing in laundromats, bowling alleys, street corners, bars, parks, and even (briefly) in front of a Wal Mart, as audio from her conversations with complete strangers is heard. In fact, we don’t even hear Marr’s voice for the duration of the film, instead listening to random people talk about the meaning of success. The answers are varied, interesting, sad, funny, and thought-provoking. It is no wonder that, in her director commentary track, Marr notes that her faith in people was restored as a result of her having gone on this journey. Out of the dozens of places she decided to set up and play, she was only asked to leave twice. Take a wild guess what one of them was.
Everyone has a different way of defining success. And everyone has a different view of whether or not they ARE a success. But one thing is clear: if we go by Webster’s definition of the word, Lisa Marr is a success many times over. Through her career in music, she has touched the lives of many people, myself included (I was inspired after seeing her in concert to learn to play bass guitar, and went on to play in several bands over the past 10 years). Through her work as a filmmaker, I feel she will continue to do the same. And as for the “wealth” part of Webster’s definition of success? That’s a matter of opinion too. Hers may or may not be different, but by my definition of wealth, Lisa Marr is a rich woman indeed.
Four stars
87 Topaz
Sunday, October 31, 2004
In 87 Topaz, writer and director Bill Kersey finds his late grandfather’s diary and dramatizes his nostalgia through the use of photographs, home movies, narration, and music. The editing is solid, the music adequate, and the visuals are often quite interesting. However, I think it might be too abstract in order to be appreciated by a wider audience, since we never get to find out much about the characters aside from the grandfather’s love of cars and scarce glimpses of the relationship with his grandson. But in the end this movie is an excuse to create a mood of nostalgia for a lost relative, which is well accomplished. The short is sincere, well paced, and overall very professionally made.
Three stars.
416
Saturday, October 30, 2004
416 takes an in-depth look at the polarizing national issue of gay rights and gay marriage by drilling down on a particular aspect of this issue; in this case, Initiative 416 of the Nebraska state constitution, which states that only the union of a man and a woman is valid.
The amendment was passed into law in Nebraska in 2000, but was soon challenged by a variety of activist organizations. 416 examines this battleground from all sides, giving voice to everyone from conservative church groups to the ACLU. Although one might think that what happens in Omaha would not be of interest to other parts of the country, Initiative 416 could stand as a microcosm for the nationwide debate, as elements from Nebraska’s law, and reactions to it, have played out across the country.
One has to credit director Jim Fields for examining the issue at length—sometimes at great length—and trying to show all facets of the story. Fields takes a very no-frills approach, making the documentary largely interview-driven, with rather modest graphics and workmanlike b-roll (though a gay rodeo, and the protest outside the arena, is rather interesting). Those who are interested in the subject matter, however, will be less concerned with the solid but pedestrian production values.
I enjoyed 416 and commend Fields for creating a worthy documentary on a complex topic--one that plays an increasingly larger role on the national stage—and trying to reach an understanding that incorporates a number of viewpoints.
Three stars.
Back Home Years Ago: The Real Casino
Thursday, August 26, 2004
Writer/Director Joseph Alexandre hits the streets of the Windy City to uncover the true story behind Martin Scorsese’s film Casino (and to some degree, Nicholas Pileggi’s book also) in his documentary Back Home Years Ago: The Real Casino.
Alexandre finds a number of individuals who have stories about the real-life mobsters, played by Robert DeNiro and Joe Pesci in Scorsese’s film, and lets them tell their tales. The stories range from the mundane to the terrifying, from those with intimate knowledge to those who have heard stories through friends and family. But regardless of subject, all the monologues are shared in a somewhat offhand and conversational manner, which makes the events described all the more chilling.
It’s lucky for Alexandre that his narrative is so compelling, as his production values are pretty rough throughout. The audio quality is never good and the video is a mixed bag. A few of the lighting effects done to conceal some of the interviewees are not well executed, and other shots are just passable.
Undoubtedly those with an interest in the subject matter will overlook these faults, and enjoy the insights of the people Alexandre presents.
Two and a half stars.
Farmingville
Wednesday, June 30, 2004
Farmingville, New York seems to be an average American town; but one day, loads of illegal immigrants arrive from Mexico looking for jobs. How the town reacts to these new faces is at the galvanizing heart of the documentary Farmingville.
The Mexicans arrive in Farmingville looking to pursue the American dream, and are willing to do any kind of work, often for substandard pay. Some of the locals voice concerns about property values and local jobs. Soon parties from both sides, and some in the middle, clash in the suburban streets. And, seemingly inevitably, those clashes erupt into violence and death.
Shot over the course of a year, Farmingville asks hard questions about the American dream, multiculturalism, the allegory of the melting pot, and ideas of neighborhood and family. With flashes of sardonic humor, the documentary remains compelling throughout; but abruptly turns chilling when the locals, desperate for answers, turn to ultra-conservative hate groups and fringe groups for support. Farmingville ends on an uneasy note, reminding one that there are no easy answers to complex 21st Century questions about what makes a community.
Farmingville is a worthy, challenging documentary examining extremely topical issues.
Four stars.
Idea
Thursday, January 29, 2004
Children in an isolated village outside of Havana find their creativity sparked by the arrival of documentary filmmakers in Cuban director Miguel Coyula’s nonfiction piece Idea.
Coyula coaches the youngsters philosophically in storytelling and technically in filmmaking, and suddenly a font of inspiration wells up, centering around a dark cave near the edge of town. The youngster’s exploration of the cave, and their running commentaries of what they extrapolate might have or could possibly happen there, are the core of the work.
Shot in a straightforward fashion, but edited in a more dramatic style, what is engaging about this short is how it shows the transformative power of ideas on those with very limited resources to share them. Idea also offers a rare glimpse into the lives of rural Cubans; most interestingly, an enterprising woman who runs a quasi-cable system/movie theater with one VCR and a lot of coaxial cable, strung throughout an entire apartment building.
Those who doubt the importance of the arts, and their impact on people from all walks of life, should take a look at Idea. Viewers are sure to feel inspired by the simple, yet lyrical narrative and the slice of life afforded by Coyula’s work.
Four stars.
