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Tuesday, September 30, 2008

CMJ Music Marathon & Film Festival


Director Kevin Smith Hosts
The New York City Premiere Of

Inaugural CMJ Cinemini’s Contest Kicks Off With Judges
David Picker & Lydia Dean Pilcher

September 30, 2008 - New York, NY – The CMJ Music Marathon & Film Festival, New York’s largest music event and one of the world’s most eclectic showcases of new films, announced its initial slate of films for this year’s festival this morning with the New York City premiere of Kevin Smith’s new film Zack And Miri Make A Porno. Directed by Smith (Clerks, Chasing Amy), Zack and Miri Make a Porno stars Seth Rogen (Knocked Up, Pineapple Express) and Elizabeth Banks (40 Year Old Virgin, W.).

“We are thrilled to announce our initial line up for this year’s CMJ Film Festival,” commented CMJ Film Festival Director Rachel Klein. “As we continue to grow the festival, this year brings us a diverse roster of cutting edge films. The talented actor/director Kevin Smith and his NYC premiere of Zack And Miri Make A Porno, our first ever Cinemini Short Film Contest, and our first theater partnership with Spring Awakening promise to make 2008’s festival one to remember.”

This year, CMJ Film Festival is also proud to announce its inaugural Cinemini Short Film Contest in search of the freshest new voices in short narrative and documentary films. Winners from each category will be selected to receive a prize package with essentials for their next shoot from partners JVC, Avid, Entertainment Partners and more. Legendary film producer David Picker (The Jerk, The Crucible, A Hard Day’s Night) will chair the narrative jury alongside Emmy winning documentarian Mark Marabella (FBI Files, Grounded on 9/11) who will chair the documentary jury.

They will be joined by Producer Lydia Dean Pilcher (Darjeeling Limited); feature film producer Brian Peter Falk (The Loomis Gang, Embassy Row Pictures); Vice President, Non Fiction and Alternative Programming for A&E Elaine Frontain Bryant; documentary and feature film Executive Producer John Schwally (Frontline, Dateline NBC, Nature); Executive in Charge of Production for BBC Shirley Escott; and international documentary producer Tanja Medding (Sally Gross: the pleasure of stillness, The Gates).

The CMJ Film Festival has grown to become a leading event among tastemaker movie fans, having hosted over the last decade a slew of premieres and advance screenings. This year the film festival will also feature the NYC Premiere of Johnny Cash: Live at Folsum Prison – featuring an appearance by John Carter Cash, NY Premieres of American Swing, What About Me?, Pressure Cooker, US Premiere of AC/DC: No Bull, and Israeli film For My Father. The comedy act The Raspberry Brothers will make their debut appearance at CMJ with a show that mixes comedy with movies. Badge holders can attend the Broadway rock musical Spring Awakening as they join forces with the CMJFF for the first ever theater partnership.

This year’s CMJ 2008 screenings will be held at Tribeca Cinemas, Regal Cinemas Union Square, and the Cantor Film Center. Further details on all of the upcoming films, events and artists visit

Monday, September 29, 2008

Top 10 Parker Posey Movies

Who embodies New York indie cinema more than actress Parker Posey?? She's considered to be the Queen of independent cinema, however she's crossed-over a few times to mainstream to get a bigger paycheck. Hey it doesn't hurt. It seems like almost every indie film that has come out in the last 10 years has Parker in it. I remember 8 years ago when I used to work at a video store there was this one guy who rented all of these films that starred Parker Posey. I didn't quite know who she was back then and he insisted I rent some of her movies. I gotta say, I can see why the guy hada thing for her. She's one of the best and yet most underrated actresses in Hollywood. But we love her and want to pay homage to our IndieSeen Favorite!!

Here is our list (both mainstream and independent) of our favorite Parker Posey films!!

10. Superman Returns - This movie sucked major monster's balls. However, thanks to the scene stealing performances of Parker Posey and Kevin Spacey, I acutally kept my eyes open while watching this craptacular flick!

9. Scream 3 - The last installment on this horror trilogy was a hilarious train wreck. We can't say much about the quality of the film's plot or ragged performances, but Posey posing as Gale Weathers was definitely a treat! Posey played it so well we would have been better off having her play the original Gale Weathers

Fast forward to 2:40 see Parker in all her glory

8. SubUrbia - Linklater's signature classic about losers and burnouts features five teens who have nothing else better to do with their lives. However a mutual friend becomes a successful rock star and his manager is Erica played by Posey. Erica is obnoxious, stuck up, and pretentious...just like we like our Parker!

7. The Oh in Ohio - Posey plays a woman who is orgasmically-challenged. Uh..I just made that term up. But basically she can't climax and need some serious help! Uuuuuhhhhaaahhhh!

6. A Mighty Wind - What better way to enjoy a movie night than to watch a folk song mockumentary? Posey is by far the best when it comes to the Christopher Guest improvisational flicks!

Parker Posey is not featured in this clip

5. Best In Show - Here's another one for ya. This anal-retentive A personality dog owner will do everything it takes to make sure her puppy is the winner! A sure fire winner!

4. Clockwatchers - Working as a temp at a shitty job never seemed so adventerous as it does in this Posey classic.

3. The House Of Yes - In the film she plays a woman who is obsessed and thinks she is Jackie Kennedy and has a creepy “incestuous-like” relationship with her brother Marty who brings his fiancée with him to visit the family. It’s a fun dysfunctional family type flick.

2. Waiting For Guffman - A hilarious comedy about a small town who puts on a pageant, despite the residents lack of theatrical or stage performance experience. Again...Posey kills it in another mockumentary classic

1. Party Girl - After getting in trouble with the law, Posey ends up having to work as a librarian for her godmother to pay her back for bailing her out. Posey is a New York night life scenester at heart and has to wrestle with her burning desires to drug, drink, and be fabulous and her godmother's constant finger waving dissaproval.

The Short & Precise Movie Review!


A chronicle that explores human emotion and the circumstantial fate that it represents in life. Love, joy, sorrow, pain, and torment, foresight the lives of a banker (Forest Whitaker) betting on a better life, a premonitory gangster (Brendan Fraser) dueling with the right and wrongs of morality, a discontent pop star (Sarah Michelle Gellar), seeking validated geniality, and a doctors(Kevin Bacon) heartfelt love and obligation to oath, whose destinies are bound together by an tyrannical insidious crime boss (Andy Garcia). Familiar formula that tries to draw an unconformity view of reality. Its heavy-laden dialogue shortcuts its premise. A forcible dramatic rationale that results in an absence of assignable cause. Great ensemble cast, disappointing context.
1 star

Indie Pick O' The Day: A Man and a Woman

A few years back, The Onion ran an article about a man who was arrested for stalking. As the story progresses, it becomes increasingly clear that the gentleman's crimes were, essentially, plot devices taken from various romantic comedies. While the article was hilarious, it was also painfully true: anyone choosing to take his or her cues about male/female interactions from the big screen would be convinced that all relationships either involve zany schemes or are snoozefests featuring Richard Gere and Diane Lane.

The key elements of Claude Lelouche's
A Man and a Woman are clearly expressed in the title. The movie basically involves a man and a woman, both widowed and both single parents, who are attempting to fall in love. In the process, they must both navigate their own (and each other's) emotional baggage and escape the memories of their respective spouses. The basic story is simple, yet never simplistic, the romantic quest reduced to its most essential elements.

Contrasting the uncomplicated story, the soundtrack and cinematography are both beautiful, lush, and groundbreaking. The music, by Francis Lai, is a mix of lounge, Samba, and a more traditional orchestral soundtrack, and is beautifully integrated into the movie. Any fan of Bebel Gilberto will probably get a thrill out of watching the characters listening to Samba together, and the discovery of the then-novel musical form parallels the discovery of new love.

The cinematography, whose beauty belies Lelouche's origins as a fashion photographer, moves back and forth between black and white, full color, and sepia tones. At times, it takes on a documentary style, only to return to an exquisite intimacy. A careful observer will notice shots that clearly inspired many subsequent directors, including Robert Altman, whose long-distance close ups arguably owe a debt to Lelouche.

Largely forgotten today, A Man and A Woman was incredibly significant in its time. It won the Grande Prix at the 1966 Cannes Film Festival, as well as the Best Foreign Film award at both the Oscars and the Golden Globes. More significantly, Lelouche and the female star, Anouk Aimee, were both nominated for Oscars in their respective categories, a distinction that is very rare for a foreign language film.

Admittedly, some of the elements seem dated and Americans might have a hard time with the film's shrugging acceptance of the male lead's mistress. On the other hand, for anyone who realizes that male/female interaction runs a little deeper than defiled apple pie, A Man and A Woman makes a sterling case for thoughtful, transformative romance.

Sunday, September 28, 2008

MYNXX Designs

We just wanna give a quick shoutout to MYNXX Designs for giving NYIndieSeen a quick makeover!

If you need a cool ass header for your blog or need assistance with web design for your site go to MYNXX's Space for some needed accessories to your webpage!

1st Latino American Poetic Short Film Festival

There are 2 days left to catch The 1st Latino American Poetic Short Film Festival 2008 NYC at NUYORICAN POETS CAFÉ located at 236 E. 3rd St. NYC

Tuesday 7:30PM September 30th & Tuesday 7:30PM October 7th
Admission is $10 at the door. For more information visit this link Click links for review and article on the 1st Latino American Poetic Short Film Festival.

Saturday, September 27, 2008

Little Miss Sunshine: Where Did She Go??

Here is trailer trash recut of our favorite "little" indie movie flipped out into a mystery suspense thriller!

Check it out yall

Wednesday, September 24, 2008

What's Filming In Brooklyn?

Looking for a cool blog with great resources on where your favorite TV shows are filming? Curious about the latest films in production within the Brooklyn borough? Well pack your resume and surf on over to the Filming In Brooklyn blog.

The blog currently has the latest information on shows such as Gossip Girl, Life On Mars, and Lipstick Jungle. There photos stills on the site as well from different productions taking place from Park Slope to Williamsburg.

Check it out here and don't forget to tell em NYIndieSeen sent ya!

Tuesday, September 23, 2008

The Short & Precise Movie Review

Idiocracy 2006

An army shulb (Luke Wilson) and a sassy prostitute, played to perfection by (Maya Rudolph)… Ordered by the government to become apart their Human Hibernation experiment, when the project gets lost in shuffle, the mis-match pair are forgotten and awake to the year 3001. Where a Pro-Wrestler resides in the White House, law degrees can be purchased at Costco’s and Starbucks has a merger with the “Oldest Profession in the World”. A clever spoof with a satirical wit based on corporate sponsorship, consumerism and a spot on ability to exaggerate the current culture trends. Smart imagery filled in with clever little details. A generic comedy with a spunky attitude and a trivial thought provoking premise.

Clerks 1994
True cult indie, directed by Kevin Smith. Slackers Dante (Brian O’halloran) and sidekick Randall (Jeff Anderson) are clerks. Somewhere between dealing with irate customers they find time for roof hockey, an off-beat love triangle and a romp to the funeral parlor. This film has a crude sense of realism and a raunchy comedic edge, with a voyeuristic type presence. Vintage style black and white, raw budget, real wit, great dialogue.

Drowning Mona 2000

The most despised women in town, Mona Dearly (Bette Midler), careens her car off a cliff. Ironically, the town mourns in a celebratory manner. This is a perfect character driven cast; featuring Danny Devito, Neve Campbell, Jamie Lee Curtis and Casey Affleck. Innovating and daring, very much a farce abstraction that’s made memorable. Every character has unique personas, which give the film a non-predictable story line. The film location is rustic backwoods’ forest, an eclectic realism. The Yugos are a faultless touch. A dark comedy that is well written, with welcomed newness from the cast.

Harold and Maude- Why this is a Classic Indie Film

About 8 years ago, I was introduced to a dark, funny, and touching movie. At first glance, I didn’t think I was going to enjoy this story, due to the opening scenes and references to death. However, the more I watched this movie, I got more into the story and really began to feel like the character Harold, played by actor Bud Cort, was really a normal guy despite his eccentricities. I saw this displayed through Harold’s friendship with Maude, an older woman who could have been mistaken for Harold’s aunt or grandmother. What grabbed me about Harold and Maude and what might grab you, the movie viewer, is that this film shows the warm side to a somber person, teaches you how to laugh, and also teaches you how to appreciate and live life,

At first, when you see the character Harold, you may think, ok this guy needs to see a therapist and quick! In an attempt to get attention, Harold acts out fake suicide attempts. He also goes to funerals as a hobby. While Harold, at first seems a dark and sad person, you see when he buys his car and is drinking his soda that this is a young man who indeed is normal. Also, when Harold meets the crazy, fun loving Maude, played brilliantly by the late Ruth Gordon, you see other aspects of his personality come out. Harold smiles more, is inquisitive, and also has a sharp sense of humor (an example. the scene where Maude tries to guess why Harold can’t stay for tea she says “you have an appointment at the dentist”? Harold, not telling Maude why He can’t stay (he has a dinner date that he does not want to go to), says amusingly in response “kind of”. This is one of the funniest lines in the movie; it really made you feel the connection between being in pain at the dentist in relation to going to a dreaded date!

Usually, when you think of movies that make you laugh, you may think of films such as Ace Ventura or Knocked Up. When you watch Harold and Maude, scenes which feature the most normal or abnormal events will have you in hysterics. Harold’s overbearing mother, Mrs. Chasen, tries to set Harold up on blind dates. The humor with these dates comes from the women Harold is set up with. One date, talks so much and is so bubbly, Harold’s mother can hardly get a word edgewise in when she attempts to have a conversation . Another date, Sunshine Dore, is an over the top aspiring actress, who tries to fit in with Harold. She lies about her expertise on knives, and ends up really stabbing herself in the chest when she tries to impress him. Another area of funny scenes in “Harold and Maude”, revolve around the growing friendship between the two. Maude, being outgoing and wild, is not afraid to do anything. Harold, being more reserved and quiet, has hesitations about breaking the rules.

In the movie, when Maude decides to steal a tree from a public place so it can be planted, she asks Harold for assistance. Harold at first is against the idea. However, that all changes in a small amount of time. Harold gives in and the two very calmly get the tree, and Maude drives off in a police officer’s car! (Maude will steal any car and drive off with it, as if she just bought it!) The calm approach and teamwork that Harold and Maude use when they need to do something, even if it’s a scheme, will bring when you watch even more laughs: you actually can’t believe that the two have gotten away smoothly with their plan, even if it is a felony.

One aspect of Harold and Maude that you will come away with, (and I know that I did) is how to appreciate and love life more. Maude, being the free spirit she is, finds joy in art, nature, and life. Harold, being a sheltered young man, has yet to experience the joy of these things. A great scene (and one that almost made me cry) was when Maude invited Harold to smell different aromas through her oxygen device. Harold experienced the smells of cigarette smoke, a subway station and even snow. The look on Harold’s face after he experiences these smells really makes you believe that he has been touched by this new experience. Actor Bud Cort, who is excellent in this movie with conveying expression through his eyes, carries out emotion well. An additional great scene that also helps you appreciate life is one that involves flowers. Maude asks Harold what his favorite flower is. She afterward then, relates flowers to people, describing how people are flowers in full bloom, yet they allow themselves to be treated as weeds.

Harold and Maude is just a truly great film. Actors Bud Cort, Vivian Pickles (Harold’s mother) and Ruth Gordon really carry this movie through their unique acting, comedic timing, and emotion. Also, Cat Stevens did a phenomenal musical score for this movie. Every song he composed for this film went directly and related to each scene. I wish Harold and Maude could have gotten more recognition from the film academy, but I am glad to have been exposed to it and I hope others will one day as well.

Burn after Reading- Talented cast but dragging story line

Last Friday afternoon, I went to see the highly talked about new film Burn After Reading. What motivated me to see this film were two things: the talented cast, featuring John Malkovich, Frances McDormand, and Brad Pitt, and the story line. The plot of the movie revolves around recently fired CIA agent Osborne Cox who loses a disk of his memoirs. His memoirs end up found at a gym by two ditzy gym employees, “Chad”, played by Brad Pitt, and “Linda Litzke”, played by Frances McDormand. While the actors in this film try their hardest to bring life into their characters, unfortunately the sequence of events in the film go on too long.

John Malkovich, who stars as Osborne Cox, is powerful and funny in his role as a man who has just lost his job, yet is trying to move forward with his life, by deciding to write a memoir. Osborne is also dealing with a possessive wife, played well by actress Tilda Swinton. Malkovich brings a fiery intensity to the film. As the events of the film lead up to Osborne’s memoir disk being lost then found, you see the character start to unravel. A great scene showing this was when Osborne confronts Chad, the gym employee, who along with Linda Litzke, is working a blackmail scheme on him. If Osborne pays Chad and Linda a certain amount of money, they will give up the disk. Sensing that Chad is a phony professional when they meet, Osborne loses his cool and punches Chad in the face.

This scene will bring laughs, because it’s not clear to Chad how much nonsense he is in, until Osborne plainly calls him a moron. A scene showcasing the power of Osborne’s character comes when he has to break into his old home, which he ends up getting put out of ( his wife serves him divorce papers). When Osborne calls his ex-wife, demanding to be let in so he can further investigate finding his lost disk, he says, “I have my own key”. His “key”, in reality is a sledgehammer, which he uses to break the lock. When you see Malkovich in this scene you clearly see a man who has lost control, and doesn’t know who to trust or believe anymore.

Brad Pitt, playing half of the ditzy gym duo, made me forget that in real life he is a 40 something year old man with six children: he appears so youthful and energetic as Chad. It was nice to see Pitt playing this comedic role and letting us see a human side to the whole blackmail scheme. The human side came in the form of curiosity. Pitt’s character Chad, when he first finds out about the lost disk, opens it and is filled with wonder about all this secret information on it. I saw a bit of myself in this character trait of Chad’s: wanting to find out more about something, but also being a bit scared of what actually it all entails. Pitt brings an excitement to this character and also makes you feel that you are his friend by his team spirit “lets go get it”!! attitude, enthusiasm. Speaking of this kinship, I really enjoyed seeing the friendship between Chad and Linda Litske. You felt warmness there and camaraderie despite the fact they were committing a major crime and doing blackmail.

Frances McDormand, playing Linda Litske, was a bit over the top for me. Linda’s character had nervous, jittery traits. It seemed to be more of a focus on these traits. Linda Litske is a woman who desperately wants plastic surgery and also wants love. As a woman, I can relate to wanting to improve myself. However if I came to my boss, as Linda did in the movie and cried everyday about it, he might just send me to a therapist. I think McDormand tried to put energy into her character, but im not sure if it was all balanced. Still, I can’t knock her for putting life into the character of Linda, and also letting us see how much trouble one can get into when you don’t do
things the right way.

Overall, Burn After Reading, was not a bad film. I felt George Clooney was misused in his role as Harry; too much frantic energy displayed (plus, Clooney is a man who adds charm to his roles, with Harry he had to be a little rough, which is not Clooney’s forte). In summary, this movie will give you some laughs; make you appreciate life, and also true friendship. I wish that the chain of events could have been more concise. After a while the plot seemed to drag on, and you just want Osborne to get his disk so characters can stop getting killed. The good thing about the ending though, is that it made you think that a part two of the story was on the way. This would be fine by me!

Monday, September 22, 2008

I'm Not There and The Dark Knight: When Blockbusters Become Art and Art Becomes a Waste of Time

I have moderately schizophrenic tastes in film, a fact that is borne out by my viewing choices this weekend: I'm Not There and The Dark Knight. On the surface, these films have nothing in common, but it struck me that The Dark Knight's two leads, Heath Ledger and Christian Bale, were also two of the stars in Todd Haynes' rambling rumination on celebrity, genius, and the fluidity of identity. Of course, this is the kind of random detail that is fun in a game of Trivial Pursuit or a late-night drunken conversation ("And Kennedy had a secretary named LINCOLN!"), but ultimately seems meaningless. That having been said, the two films cover surprisingly similar ground and the two actors offer performances that raise interesting questions.

As everyone knows by now, I'm Not There's gimmick lies in a combination of identity play and stunt casting: rather than hire one actor to play Bob Dylan, Haynes hired six, each of whom took over responsibility for a separate aspect of Dylan's public persona. The most famous of these was Cate Blanchett, whose androgynous "Jude Quinn" caught the singer after his transformation from folk star to hipster hero.

While Ledger and Bale's performances were less lauded, they were more transformative. Bale's "Jack Rollins" begins as the shy and retiring public persona that Dylan presented during his early folk performances, evolves into an unwilling cultural hero, and ultimately becomes a self-proclaimed born-again 1970's prophet. Similarly, Ledger's "Actor" is all about portrayal of self: he is tasked with showing Dylan as a man who plays a part for the screen, for a wife, for children, and for friends, yet whose forays into the development of an actual identity are always too small, too pathetic, and too delayed. While Bale's Rollins is heavily reborn into a variety of personas, Ledger's Actor seems to constantly shift depending on his audience and the exigencies of the moment.

The thing, though, is that for all of Haynes' thoughtful writing and impressive casting, his film ends up being a somewhat shallow and disconnected view into the life of a man whose willingness to transform often made his audiences wonder if he had any real identity at all. Haynes wanted to make a movie about the development of self; instead, he produced a vision of the identity dreams that a self-obsessed Dylan might have had at different points in his life. Rather than produce a universal vision, the director created a trifling curiosity, of interest to Dylan obsessives, Dylan himself, and almost nobody else.

By comparison, Christopher Nolan's The Dark Knight pairs Ledger and Bale as two men for whom the battle between the individual and the iconic has reached operatic proportions. Bale's Batman is a man who, in his search for decency and light, has surrendered himself to darkness. He has become a vision of evil and, by the end of the film, has given into his most reactionary and evil impulses. Ledger's Joker, by comparison, is a character whose quest for identity has dissolved into a mass of shifting genesis tales and instinctual actions. If the Batman is man absorbed by role, the Joker is role defined by whim. Both ultimately find their respective ambitions simultaneously aided and thwarted by Aaron Eckhart's Harvey Dent, a true white knight who ultimately becomes comprimised by the savage politics of his city. In his emergence as a representation of the division between good and evil, order and chaos, Dent physically embodies the struggle at the heart of the narrative.

This is heady stuff, especially for a blockbuster comic book movie, and Nolan doesn't pull any punches. His Batman uses "enhanced interrogation" techniques, makes decisions that get people killed, and employs sophisticated technology to tap into every cell phone in Gotham. In short, his quest for order and decency, like contemporary America's attempts to deal with terrorism, often carry a price in terms of his own stated goals. More to the point, can anyone--even a caped crusader--trample freedoms in the quest to defend freedom?

On one side of the Dark Knight/I'm Not There equation, lies a blockbuster movie that prods its viewers to ask fundamental questions about the nature of human identity, the requirements of freedom, and the cost of celebrity. On the other side, there's a self-indulgent, rambling, borderline-incomprehensible foray into the imagined navel-gazing of one of America's foremost poets. If the role of blockbusters is to entertain and the role of indie films is to make us think, then it's worth asking why Christopher Nolan is stuck carrying the entire load.

Sloppy Drunk Girl Reviews: Lakeview Terrace

Hayyyy!, ya'll
It's your girl Becky.
This weekend was crraazzyyy!
me and my road dog Samantha... what up Sammy? We got soo wasted it wasn't even funny. first we went to Hoolihans did a couple of "Jeiger Bombs", then we had breakfast.
Then I had to go home and change cause the Mimosa's I drank came right back up all over my new dark purple strapless from the Lauren Conrad collection.
So I got home, threw on my darker purple strapless L.C's and we were back on our grind.
so after like our 12th tequila guzzler.. Sammy is all like: "we should totally see that new Patrick Wilson movie, he's so Hot!"
and I'm all like "yeah, total panty creamer. "

then I blacked out.

When I came too we were sitting in the theater waiting for the movie to start.
let me just start off by saying the movie was like really good. Samuel Jackson.. whose in like everything these days was so scary as the angry cop.
The movie is about like this couple that moves in next door to Sam Jackson. and Sam Jackson is all like " I dont want you two living next to me." and at the beginning he pretends to be all nice and junk but then he starts acting like a complete A-hole for no reason,
and I'm all like "chill out sam Jackson it's not even that serious". Then me and my girl sammy laughed for like 10 minutes about how they have the same name so theyre like name twins even though her last name is Ryker not Jackson. Then this old couple in front of us, turned around and shooshe'd us.. and that made us laugh even harder.
Then the dude whispers "drunk bitches" or skanks or something under his breathe and I'm all like "fuck you slim dick" and then I stand up and get all up in his face and shit and the coke bottle filled with rum I'm holding starts spilling all over me.
then I blacked out again.

When I came too again Sam Jackson and Patrick Wilson were in a bar talking about something but i was totally confused cause I missed a whole chunk of it.
but "OMG" how hot is Patrick Wilson?.. I LOVE "Little Children" even though the fat bitch from Titanic is in it. there's a scene where they show his ass all chisled and junk and it totally makes me wanna throw on a strap-on and go to town.
that can't be normal.
but anyways he was totally good in this and Sam Jackson was totally good in it and even the girl who plays the wife was good in it.
although, I didn't really know who she was.. they totally should have gotten somebody more famous to play that part... like Jennifer aniston or Jessica biel or oooh Scarlett Johansen.
but whateves it's all good.
Time to catch Happy hour peace out!

Synopsis: Scary and kinda hot but a little confusing cuz why was Sam Jackson so mad???

3 boob flashes up.

African Film Festival New York

An Introduction to the African Film Festival, Inc.

In the 1950s and 1960s African film was born to combat decades of stereotypes depicting Africa as the "dark continent." With the camera as their tool, African filmmakers began to create new images of postcolonial Africa that promoted a nuanced understanding of African cultures and history. Slicing through stereotypes, African cinema became a unique blend of vibrant aesthetic experimentation and biting social critique. In the past fifty years, African filmmaking has become as diverse as the continent from which it springs. History and politics provide the impetus for themes such as previously suppressed critiques of colonialism, post-independence corruption, chronicles of tribal customs, and visions of contemporary society. At the same time, African filmmakers draw on the wellspring of myth, fantasy, humor, and magic in order to forge a unique visual and narrative sensibility where tradition and modernity encounter each other. This kind of cinema stands as a powerful intellectual and emotional force, making it one of the most effective educational tools and media for cross-cultural communication.

The African Film Festival, Inc. (AFF), a non-profit arts organization, explores ways to introduce African film to American and international audiences, not only to develop a much-needed market for this growing body of work, but also to open up a dialogue between artists and media professionals worldwide. Through panel discussions and post-screening events where audiences and filmmakers interact, AFF offers opportunities for increased awareness of and interest in African culture through film and the development of new channels of distribution for African cinema throughout the US.


Thanks to initial grants from the Ford and Rockefeller Foundations, AFF and the Film Society of Lincoln Center have hosted major biennial film festivals devoted to works on Africa and the Diaspora since 1993. These popular events screened at Lincoln Center, the Brooklyn Museum of Art, and Brooklyn Academy of Music, and also included panel discussions among media professionals and scholars at the Studio Museum in Harlem, the Museum for African Art, New York and Columbia Universities. Due to increasing demand by audiences and the number of quality African films now available, the festival has been presented annually since 1998. Although the African Film Festival is a non-competitive event and is not intended to be a film market, we invite many of the featured filmmakers to introduce their work and hold post-screening discussions. In addition, we sponsor a series of round-table discussions where invited African filmmakers from around the world can connect with film industry professionals in the U.S.

Our objective is to nurture grassroots appreciation of African cinema by making screenings in public and educational facilities affordable. AFF has extended its outreach programming in partnership with existing, community-based cultural institutions, such as Aaron Davis Hall, City College, Ocularis, and the Schomburg Center for Research in Black Culture in Harlem. In 2005, AFF continued its free outdoor summer screenings, presenting a selection of films at Fort Greene and Fulton Parks in Brooklyn, and at the four Historic Harlem Parks in Manhattan. AFF believes that the potential for popular support of African cinema is considerable, and we continue to explore various strategies to utilize public forums to reach diverse audiences.

In 2000, AFF completely redesigned its web site so that it provides year-round event information and allows users to search our extensive knowledge-base of African filmmaking. 2003 marked the 10th anniversary of AFF, which was celebrated with the publication of a 128-page illustrated book entitled “Through African Eyes: Dialogues with the Directors,” a collection of three essays and twenty interviews with African filmmakers conducted by such notables as Danny Glover, Jonathan Demme, and Kwame Anthony Appiah. This is a unique resource in the English language, and written to be accessible to students and the casual cinema enthusiast alike.

AFF has become a resource center for programmers all over the world due to our extensive Video Archive of African film titles. As our reputation for quality programming grows, we expect to continue making new and fruitful alliances.

The programs of the AFF are made possible by the generous support of the Ford Foundation, National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, JPMorgan Chase, Tides Foundation, American Express Company, New York State Council for the Arts, NYC Department of Cultural Affairs, Organisation International de la Francophonie, New York Foundation for the Arts, UNDP, UNESCO, New York Times Community Affairs Department, Time Warner Cable, French Cultural Services, Bloomberg, GoCard, WNYC, Continental Airlines, Estudio Inc., 57 Main St. Wine Co., and Omnipak Import, Enterprises, Inc.

For more Information,
Please contact us at:

African Film Festival, Inc.
154 West 18th Street, Suite 2A
New York, NY 10011

tel: (212)352-1720
fax: (212)807-9752


Friday, September 19, 2008

Early Review: The Lucky Ones

This isn't your average road trip buddy movie. In the wake the of Iraq War, The Lucky Ones tell a story from a fictional perspective about three injured soliders that return home after their tour from Iraq. Cheever (Tim Robbins) finds himself in a compromising situation when there is an unexpected blackout at the airport. All of the flights are cancelled. He runs into TK (Michael Pena) who is looking to go to Las Vegas to meet with a medical pofessional for an embarrassing injury that he refuses to tell his girlfriend about.

Colee (Rachel McAdams), who is a bit of a drifter, recognizes both TK and Cheever from her infantry and is also going to Las Vegas to take a guitar back to the family of a fallen solider who saved her life. When the three realize they are stuck at the airport they make a final attempt to get a car rental and to their dissapointment, every car is rented out. Cheever asks for help and Colee who is very outspoken, mentions they just came back from Iraq. The car rental agent makes an exception for the war heroes and offer them the last car he had initially saved for his boss.

As luck would have it. The three get an opportunity to take an impromptu road trip together.

The film is funny, quirky, and inspiring. It's a movie about trying to find yourself and realizing how time truly can change things and everything is not always what it seems. The characters are easy to like and even grow to love within the 115 minutes of watching this flick. There are some very interesting adventures that happens to each of the 3 soliders on their way to sin city. Each character finds out something different about their past and something new about their future. I like the fact that this film doesn't deliver some obligatory political statement about the state of our national security affairs or about the Iraq war itself. Instead the film has alot to offer with regards to the effects of people as people. It explores the natural and sometimes unnatural course of the human condition. And the film is not as trite as the movie trailer presents it to be.

Lionsgate and Roadside Attractions will release THE LUCKY ONES on Friday, September 26

Thursday, September 18, 2008


Walk All Over Me 2007

Alberta (Leelee Sobieski) is a naive walking disaster, who somehow keeps repeating her mistakes. Again, finding herself in the middle of a life-threatening situation that moves the story into slapstick mode, that off sets a light and breezy tone. The colorful assortment of characters give the film a bit of life. All and all nothing too serious about this film.
1 star

Cassandra's Dream 2007

Tale of two brothers with extravagant dreams. Facing financial woes and addiction, one becomes obscenely smitten with a young actress; the other is consumed by a mounting gambling debt, which reiterates the fact, that money is the root to all-evil. This film explores themes of hope, love, doubt, crime, family and guilt. This is a real morality melodrama, with great cinematography. Collin Farrell stands out among the rest .Interesting dilemma, situations and characters. Woody Allen does this film at his own pace.
2 1/2 stars

Boarding Gate 2007

An Italian Moll (Asia Argento) has a manipulating, monetary, love-lacking affair with an underworld entrepreneur (Micheal Madison). An erotic thriller with a bizarre love triangle with a touch of what some would call intriguing espionage. Artsy retro B Foreign film, a real slow goer, too much excessive mindless banter. This film crawls to the end.
1 star

Margot at the Wedding 2007

Self-righteous Margot (Nicole Kidman) en route to the wedding of her estranged sister (Jennifer Jason Leigh). This is a wry comedy about psychologically damage people with injured relationships. This film gives off a dry unrealistic dialogue, with characters that seem whiny and flawed, with twisted views, and bizarre behavior. This makes it all the easier to dislike them. Main plot deviates to neurotic side stories, which give the story interpersonal drama.
1 star

Descent 2007

A Quiet college girl savagely raped tries to cope with the demons created from the horrific event, only to descend further from reality. Rosario Dawson (Maya) gives great screen! This film is dark, wicked, steamy and seedy an expected seductive twist that you only have to see for yourself. Examine what happens when the victim finally gets a chance to exact revenge upon her attacker. A pleaser to the end.
3 stars

Hamptons Film Festival

Wins Alfred P. Sloan Foundation Award
As part of the 2008 Hamptons International Film Festival

Special Sloan/HIFF New York Premiere Thursday October 2nd at MoMA

For the 9th consecutive year, the $25,000 Alfred P. Sloan Foundation Feature Film Prize is presented as part of the Hamptons International Film Festival. The cash prize is awarded to a feature-length film that explores science and technology themes in fresh, innovative ways and depicts scientists and engineers in a realistic and compelling fashion.

This years recipient of the Alfred P. Sloan award is Marc Abraham’s, Flash of Genius, a Universal Pictures release, Written by Philip Railsback, based on the New Yorker article by John Seabrook and starring Greg Kinnear, Alan Alda, Lauren Graham, Dermot Mulroney and Jake Abel (one of this year’s HIFF Rising Stars). Based on the true story of a college professor and part-time inventor Robert Kearns' (Greg Kinnear) long battle with the U.S. automobile industry, Flash of Genius tells the tale of one man whose fight to receive recognition for his ingenuity would come at a heavy price. But this determined engineer refused to be silenced, and took on the corporate titans in a battle that nobody thought he could win.

“Kearns' story of unwavering dedication to the sanctity and innovation of his invention is just the kind of tale that we're happy to share with our audiences”, states Program Director, David Nugent. “I'm thrilled that the Sloan Foundation will again support us in bringing inspiring and enlightening films such as Flash of Genius to the Festival, and to elevating them to the platform that they deserve.”
The Hamptons/Sloan Feature Film Prize comes from the Alfred P. Sloan Foundation’s program in public understanding of science and forms part of a broader effort to stimulate leading artists in film, television, and theater to create more credible works about science and technology. Past Hamptons/Sloan Prize winners include: Julian Schnabel’s Diving Bell and the Butterfly, Darren Aronofsky’s The Fountain, Su Rynard’s Kardia and Bill Condon’s Kinsey.

"We are delighted to recognize Flash of Genius, the powerful and moving story about the inventor Robert Kearns who made an important contribution to modern life--the intermittent windshield wiper, still used in cars around the world--and then had to battle the big automakers for decades to prove patent infringement," said Doron Weber, Sloan Program Director. "With its insight into the personal roots of invention and the cost of turning the individual "flash" of discovery into a widespread technological innovation--and receiving recognition for doing so--this finely observed and psychologically compelling film shows how science and technology continue to offer a treasure trove of great stories and wonderful characters for filmmakers and the general public."

The Sloan Film program also supports the Sundance Institute, the Tribeca Film Institute, Film Independent and six of the nation's leading film schools with annual awards in screenwriting and film production.

Flash of Genius will premiere on Thursday October 2nd, 2008 – 7pm at MoMA, 11 West 53 Street, New York.

Alfred P. Sloan Foundation Announces Screenplay Reading and Grant Expansion

Screenplay Reading: Book of Water

The Alfred P. Sloan Foundation is proud to announce the Screenplay Reading of Book of Water by Bradford Tatum (standing on fishes, Salt), a participant in the HIFF/Sloan 8th Annual Screenwriters' Lab this past May. Directed by Jay Anania (2006 Festival Attendee with Day On Fire - starring Olympia Dukakis and HIFF Rising Stars Carmen Chaplin and Noah Fleiss), Book Of Water combines historical fact with a vibrant magical realist style to tell the story of the life of Leonardo da Vinci.

Tatum has numerous television acting credits since 1990 including NYPD Blue, Melrose Place, Providence, and Without a Trace. A discussion and brief Q&A will follow the reading.

Grant Expansion

The Hamptons International Film Festival is pleased to announce that our Sloan grant has been renewed and expanded for 2009 - 2011. Additional programs include:

Retrospective Dinner

The Festival will be paying tribute to the extraordinary films and filmmakers who have been selected for the Alfred P. Sloan Foundation Feature Film Prize in Science & Technology by hosting a Retrospective Dinner to honor the filmmakers who have been chosen as recipients of this prize, during the 17th Annual Hamptons International Film Festival (2009).

Science and Technology Shorts

In 2010, The Hamptons International Film Festival will commission four established film directors to create a series of individual short films revolving around science and technology themes.

Discretionary Fund for Sloan Screenwriters

Every year, a number of extraordinary science and technology-themed scripts are submitted to the Hamptons International Film Festival for consideration for the Screenwriters’ Lab. In addition to organizing readings during the Festival and events where participating Sloan screenwriters are given the opportunity to network with industry professionals, the Hamptons International Film Festival and the Alfred P. Sloan Foundation have created an infrastructure specifically geared towards moving these inventive screenplays a step closer to production. As such, a one-time discretionary fund in the amount of $75,000 has been established, whereby a script that is mutually agreed upon by both the Foundation and the Festival is shepherded through specific stages that are deemed necessary to make its production a reality.
“The Alfred P. Sloan Foundation has become one of the cornerstones in fostering new and innovative work within the Hamptons International Film Festival”, says Executive Director, Karen Arikian. “Mr. Weber’s decision to expand the support of the Sloan Foundation’s involvement within the Festival is a fantastic opportunity, both for the Festival and its filmmakers.”

The Hamptons International Film Festival was founded to celebrate independent film - long, short, narrative and documentary - introducing a unique and varied spectrum of international films and filmmakers to our audiences. The festival is committed to exhibiting films that express fresh voices and differing global perspectives, with the hope that these programs will enlighten audiences, provide invaluable exposure for filmmakers and present inspired entertainment for all. The 15th Annual Hamptons International Film Festival will be held October 15 through October 19, 2008.

For more information please contact:

Gary Springer, D’Arcy Drollinger, Ethnee Lea or Jennifer Blum,,,
Springer Associates PR 212-354-4660

Wednesday, September 17, 2008

The Boy In The Striped Pyjamas

Hailed as the film “all parents should ensure their children see” The Boy in the Striped Pyjamas has had an impressive box office opening this weekend. Propelled by fantastic critical support and strong audience word of mouth, the public have followed the critics lead - heading to the cinema to see this powerful, affecting and important film.

Beating the box-office opening weekend for prestigious award-winning literary adaptations such as The Kite Runner and The Pianist, the film is set to continue performing successfully.

The Boy in the Striped Pyjamas has been praised by critics and journalists as a film of great significance and a must-see movie for adults and their children to provoke discussions on the historical horrors of the Holocaust.

James Christopher – The Times
“It’s one of the most moving and remarkable film about childhood I’ve ever seen….this is a hugely affecting film. Important, too. It engages with the complexity of the Holocaust in a language that can move children as profoundly as adults.”

Matthew Bond – The Mail on Sunday
“Your Children MUST see this…As a film for children between the ages of eight and 12, The Boy in the Striped Pyjamas is a well-intentioned and very well-made introduction to one of the greatest atrocities in recent history.”

Kevin Maher – The Saturday Times (The Knowledge)
“The genius of this seemingly modest tale from Herman is not that it manages to weld two seemingly disparate genres – a kids coming of age tale and a Holocaust drama. But that, in doing so, it somehow sees the ineffable horror of the latter with entirely new eyes.”

Cosmo Landesman - The Sunday Times (Culture)
“…this is a brave and moving tale of innocence lost…It’s an unusual and brave piece of family entertainment, and one worth seeing.”

Jason Solomons – The Observer
The heartbreaking tale of a Nazi’s son and a Jewish boy pulls no punches. Nor should it be…Mark Herman, director of Brassed Off and Little Voice, handles everything with great skill, sympathy and seriousness.”

Xan Brooks – The Guardian
“It knuckles down, crawls on its belly, and goes the way you least expect it.”

James King – BBC Radio 1
“Subtle, chilling, brilliant”

Mark Kermode – BBC Radio 5 Live
“Thumbs up, bravo and applaud.”

Edward Lawrenson – The Big Issue
“This is a brave, consummately crafted, admirably intentioned movie, with some nuanced performances by David Thewlis and Vera Farmiga as Bruno’s parents…I’d initially thought to warn off younger spectators from this 12A certificate film. But then the movie wouldn’t be doing its job if it didn’t upset us, and as an appalled history lesson the film is an absorbing, responsible work.”

Fiona Phillips – The Daily Mirror
“It will stay with you much longer than the 90mins it takes to watch it.”

Lorraine Kelly – The Sun
“Movie is must-see…Every school pupil in the country should read the book and see the movie to spark discussion of one of the most unspeakable horrors of modern times.”

The Boy in the Striped Pyjamas is adapted from John Boyne’s best-selling novel of the same name, The Boy in the Striped Pyjamas is directed by Mark Herman, (“Brassed Off” and “Little Voice”) and produced by David Heyman (“Harry Potter”). Featuring David Thewlis (“Harry Potter and the Order of the Phoenix” and “Naked”) Vera Farmiga (“The Departed” and “Breaking and Entering”) and Rupert Friend ("The Libertine" and "Pride and Prejudice"), The Boy in the Striped Pyjamas is a story seen through the eyes of an eight year old boy largely shielded from the reality of World War II. This unforgettable tale follows an unlikely friendship that forms between Bruno, the son of a Nazi commandant, and Shmuel, a Jewish boy held captive in a concentration camp. Though the two are separated physically by a barbed-wire fence, their friendship grows and their lives become inescapably intertwined.

The film opened in the UK on September 12th and is released in the US on November 7th. Images and production notes are available here!

Tuesday, September 16, 2008

Early Review: The Duchess

NYIndieSeen attended tonight's preview screening of The Duchess starring Keira Knightley and Ralph Fiennes. The film is based on the true events of Georgiana, Duchess of Devonshire. The story takes place in 18th century England where appearances mean everything. Georgiana finds herself being married hastily to the Duke of Devonshire--a man she barely knows. Unfortunately his only intentions for her is to bear his child. He has no love or compassion for his new wife. Feeling lonely, Georgiana befriends Bess Foster--who catches the Duke's eye. Behind closed doors lies buried secrets and Georgiana one night hears passionate noises behind one of them. Her best friend Bess and her husband! Oh the scandal!

However the scandalous story gets even better when Bess moves in as the Duke's mistress and a 3rd party marriage has now begun.

The performances are pretty good. Keira Knightley---who's weight sometimes scare me---gave a compelling performance. Ralph Fiennes, as always, had a stunning role. The movie is definitely an interesting brand of English tea from scandal, sex, lies, debauchery, and even a little girl on girl action. Overall its a must see and will probably get some Oscar nominations for best hair and makeup or something. Those period piece movies usually do. The Duchess will hit theaters nationwide Oct 3rdth.

Check out the movie trailer here if you haven't seen it already:

Oh No They Didn't!

On September 25th my favorite TV show of all time is coming back for its 5th season and I've already got my DVR and bottle of wine ready for my Thursday night indulgence. Looking online for sneak previews, I came across this clip and immediately I was thinking..."Oh no they didn't!"

Then I realized this is totally a dream sequence of some sort. Would they really get rid of McDreamy? Let's be honest, we'll see Izzie bite the dust before our favorite hot doc Derek.

Totally an off-course blog...but yall know I'm obessesed with the Grey's!!

Monday, September 15, 2008

Rooftop Films Is Seeking a Development Director

(New York, NY) September 15, 2008 –THE ORGANIZATION Rooftop Films is a non-profit film festival and production collective based in Brooklyn, New York. Founded in 1997, Rooftop Films is a grassroots group that has grown into one of New York's leading film organizations. Above all, we are a community—a collective collaboration between filmmakers and festivals, between audience members and artists, between venues and neighborhoods. Our goal is to create a vibrant independent filmmaking community that bridges cultural boundaries. At Rooftop Films, we bring the underground outdoors.

Our work includes:

+ Summer Series (festival of new, independent films in various outdoor locations)

+ Rooftop Filmmakers' Fund (grants for filmmakers)

+ Rooftop Films Production Collective (collaborations between filmmakers)

+ Tours / Curating (Rooftop at universities, museums, etc. in cities around the world)

+ Equipment Rentals (low-cost production and exhibition for artists and non-profits)

+ Classes (low-cost classes in editing, animation, film sound, screenwriting)

+ Education (collaborations with schools and youth media organizations to teach video)

+ Rooftop Films Discussions (seminars with filmmakers)

+ The Companion Guide to Rooftop Films magazine


Rooftop Films has grown tremendously over the last few years, and we are now looking for a Development Director to take a creative role in ambitiously expanding our budget in the coming years. The Development Director will work closely with the artistic staff and our dedicated Board of Directors to increase and maintain the budget, forge connections with individual donors, sponsors and grants organizations, and help shape the future of the organization. This is a flexible, creative position, employing a variety of skills. Applicants can come from the non-profit or for-profit worlds and will have the opportunity to work in a number of areas, including grants, donations, sponsors and business management. Applicants must have the ability to shape their own job. The atmosphere is exciting and creative, and there is tremendous room for growth, both for the Development Director and for the organization as a whole.

The person in this position must possess excellent organizational skills, writing skills, verbal communication skills, flexibility, and the ability to work collaboratively with internal staff and external constituencies at all levels. This is a full-time, paid position, though hours can be flexible. Salary commensurate with experience. HOW TO APPLYWe recommend you look over our website thoroughly and learn about our organization. And, if possible, please attend one of our events. Then send a resume, references, and a cover letter to: Mark Rosenberg at
Applications must be received by Wednesday, October 1. NO PHONE CALLS OR FOLLOW UP EMAILS PLEASE.Your cover letter should explain why you want this job, what you think you bring to the job, and what your vision for the job is. Receipt of applications will be acknowledged via email. Interviews will be conducted in October, and the position will begin in as soon as the candidate is chosen. Not all applicants will receive interviews. Rooftop Films is an equal opportunity employer, and strongly encourages women and people of color to apply.