Feature
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Once the diploma is placed in a college graduate's hand, a new life begins; one full of fulfilled dreams and great successes. Well, actually that's the picture that has been painted for the past four years for housemates Jack, Mickey, Dennis, Rob and Josh. Reality, however, now sets in, and each must face the fact that the real world is not what it's cracked up to be. What do they do? They decide to take a break from reality for a little longer, hang out together in Santa Cruz for another year of fun and throw a final party bash at their infamous house "El Rancho Grande".
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When you tell somebody, "It's a prison movie," a certain connotation seeps into their head. Joe Brewster's feature film debut shatters the mythology of the prison genre film and takes it's audience to a new level of perception, creating not a film about prison, but taking us on an excursion into an area many people are reluctant to accept. A high percentage of the time, brutal acts of violence or abuse upon African-Americans is solely a case of black on black. That's where much of the film's underlying themes rest.
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According to biblical lore, the Hebrew prophet Jonah was cast overboard and swallowed by a big fish. Director Juan Carlos Valdivia's character Jonah, in his film JONAH AND THE PINK WHALE, finds himself in a similar predicament. Jonah's "predator," however, is not a big fish, but his wife's family and his beautiful, sensuous sister-in-law Julia, who desire him to be everything that he is not. To escape his pressures, Jonah retreats into his own world as a photographer, and builds a darkroom in the basement of his in-laws' big, rambling house.
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Takaya and Betsy moved to New York to make movies; he from Japan; she from Oklahoma. It has been three years since they met at the Department of Motor Vehicles when they decide to make a film about themselves. Ken and Meg, two actors, are hired to portray the couple and their relationship's ups and downs. All goes as relationships go until a stranger with a gun invades their house and holds them hostage. What follows is an insightful, witty and poignant drama about life, love and cultural differences.
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We've come a long way from the end of innocence, when the refrain from Bye-Bye Birdie playfully asked, "What's the matter with kids today?" Sadly, it's been a dismal descent in the wrong direction. And no film depicts that depressing state of affairs better than the confrontational Hell Bent. A trio of bored, but otherwise normal appearing fourteen-year-olds wander aimlessly around suburban Winnipeg, looking for trouble. Marty is a sweet-looking little terror with a sewer for a mouth and an insatiable appetite for senseless vandalism.
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In a world brimming with cinematic pabulum, Half Spirit: Voice of the Spider acts as a stunningly effective purgative. After seeing this film, all memories of: hackneyed stories, unnecessary sequels, film-as-marketing-tool and direct-to-video dreck will have been sandblasted away. But - be forewarned - there is a price to pay. Half Spirit is not for the faint of heart. But if you're fascinated by the blind leap into the void, then you've come to the right place. The film opens and closes with the same image: the camera gliding lovingly down the length of an examiner's table in a morgue.
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A young nomadic stranger named Duncan, thumbing his way across America, finds himself in the midst of college-town Ann Arbor, Michigan, searching for the truth--about himself and his generation. But during his stay among the many dreamy, frustrated, and cynical souls he encounters, he comes to understand that his search is doomed to fail. Truth, he discovers, is like everything else--elusive, ever-changing, and always subject to interpretation.
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A glorious tribute for movie buffs, fans, and makers. Using entertaining and provocative clips and terrific interviews with many movie masters, A Celebration of American Movies does just that, celebrates the wonders of (arguably) our century's most influential art-form. 'They amazed us from the start, and they amaze us still,' the film pronounces. From the beginnings with D.W.
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Pop quiz America: the significance of the year 1976? The Bicentennial? Oh, that too. No, no - it's the year Josh Glassman became a man...or, at least, tried. Well, let me explain...or, at least, try. Josh has reached his 13th year and his bar mitzvah approaches. "He must be excited," you say. Excited? Terrified is more like it. You see, Josh - as would be the case with more than a few boys of thirteen - is questioning much of what he sees around him. He's even questioning the existence of God.