Cinematical

Review: Man on Wire

Nick Schager — Thu, 24 Jul 2008 09:30:00 EST

Filed under: Documentary, New Releases, Theatrical Reviews, Cinematical Indie

There are amazing feats, and then there are jaw-dropping, once-in-a-lifetime accomplishments that confirm mankind's remarkable physical and imaginative potential. Philippe Petit can lay claim to having pulled off one of the latter, as in the summer of 1974, the French tightrope walker did something no one had ever done before or will ever do again: he navigated, on foot, a single wire stretched between the World Trade Center's two towers.

As a kid, Petit was an incorrigible climber, and upon seeing a newspaper article that included a diagram of the as-yet-uncompleted Twin Towers, he immediately told himself that one day, he would cross the gulf between the enormous skyscrapers. That he had no formal wirewalk training and had never been to the United States didn't matter, nor did the nightmarish logistical hurdles that would obviously stand in his way. A dream was born, or rather something of an audacious obsession, leading him to hone his craft first through intense training sessions, then by traversing a wire attached to the peaks of Notre Dame and Australia's Sydney Harbour Bridge, and finally by concocting an elaborate plot to infiltrate the still-under-construction WTC and pull off his unparalleled deed.

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Guy Maddin Inspires British Contest

Monika Bartyzel — Wed, 23 Jul 2008 21:02:00 EST

Filed under: Comedy, Independent, Fandom, Contests, Cinematical Indie

One of the greatest things about Guy Maddin is that his accomplishments come out of creativity and a spot-on eye, rather than money and flashy technology. Give the man an old camera, a few actors, and some weird props, and he can make a film that's not only engaging, but also visually stunning. He knows how to make the least become the most, and with the release of My Winnipeg, he's now inspiring others to do the same.

Jam! reports that UK filmmakers are getting a change to get their Maddin on. Both newbie and experienced filmmakers are getting the chance to submit 3-minute odes to their hometown, and Guy says "anything's eligible." Considering the lap-linked Winnipeg, it's not surprising that the doors are wide open...

Anyhow, the online contest is going to give out 1,500 pounds to the winner and a roundtrip flight to ... dum dum dum ... WINNIPEG! Sure, they also get their film screened and included on the UK's DVD release of My Winnipeg. But who cares when you can head to the snowy wonderland? I'm hoping the winner at least gets to choose the season.

If you want more information, head here.

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Marguiles, Mortimer, and Arkin Head to 'City Island'

Monika Bartyzel — Wed, 23 Jul 2008 20:32:00 EST

Filed under: Comedy, Independent, Casting, Cinematical Indie

The whole idea of secret children who come out of the woodwork is challenging as it is. Should the secret be revealed, or should it stay hidden? How do you make up for lost years? How do you integrate them into the family? Now, imagine that you're part of the law, and you find out that your secret kid is in jail. That's the basic idea behind a new indie comedy called City Island, and The Hollywood Reporter has posted that Julianna Margulies, Emily Mortimer, and Alan Arkin have joined the cast.

Andy Garcia had previously signed on to play Vince Rizzo, "a Bronx prison official who realizes that an inmate (Steven Strait) is his secret love child. His efforts to become his guardian lead to comic complications." Marguiles is taking on the role of Garcia's wife, and it seems that the man is also looking to become an actor because Arkin will play a teacher in the acting class, and Mortimer will be a fellow student he becomes friends with. Garcia's real-life daughter Dominik Garcia-Lorido will play his daughter, and Ezra Miller has also nabbed an undisclosed part.

I really don't know how all of this acting works into prison officials and long-lost bad boy sons, but we should see soon enough. The film went into production this week in the Bronx.

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Review: Boy A

Christopher Campbell — Wed, 23 Jul 2008 16:02:00 EST

Filed under: Drama, Theatrical Reviews, The Weinstein Co., Cinematical Indie

Movies about ex-convicts and their difficulty assimilating back into society generally begin with the prison release, during which the protagonist typically looks downright miserable. At first thought, I recall the opening of Vincent Gallo's Buffalo '66, which ironically exaggerates the hopelessness of post-incarceration by adding a lack of a public restroom to the list of things the former jailbird is without. But at the beginning of John Crowley's new film, Boy A, the titular young man being turned back into the world is high-browed and smiling from ear to ear. And this change from the expected norm really drew me into the film immediately.

Perhaps the difference is that for most films about ex-cons, the hero doesn't have a very good chance at starting over. For "Boy A," however, there's a literal reinvention taking place. In the first scene, the young man (Andrew Garfield) sits with his caseworker, Terry (Peter Mullan), and discusses the details of his release, which include his receiving a new home, a new job and, most importantly, a new identity -- he chooses the name "Jack." Also, rather symbolically, Terry hands Jack a gift, a pair of sneakers that unintentionally represents the young man's ability to comfortably run away from his former life.

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Robert Hoffman Has 'The Beat'

Monika Bartyzel — Wed, 23 Jul 2008 13:32:00 EST

Filed under: Comedy, Independent, Music & Musicals, Casting, Scripts, Cinematical Indie

It used to be that the musicians with the beat were the Go Gos. Now the beat is getting manly. The Hollywood Reporter has posted that there's a new indie '80s comedy on the way called We Got the Beat, and Robert Hoffman has just joined the cast. He's been dancing his butt off in a bunch of films and most recently got to groove in the rain with Briana Evigan in Step Up 2.

Written and directed by John Artigo, the film follows "Brad, a high school football player who sets out to prove he's more than just a jock by quitting the team and turning his heavy metal band into a pioneering boy band." But that's not who Hoffman is playing -- he gets to be "Garth, the boy-toy and live-in lover of Brad's mother."

This sounds like one of those films that could be terribly bad, or terribly good. Here's to hoping it's all set to real '80s music and is awesome. The indie begins filming this month.

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Franka Potente Escapes from Tibet

Monika Bartyzel — Wed, 23 Jul 2008 09:32:00 EST

Filed under: Drama, Foreign Language, Independent, Casting, Deals, Scripts, Cinematical Indie

It was a bummer to learn that Franka Potente was backing out of Pope Joan back in May, but it looks like she's found herself another weighty gig to add to her plate. Variety reports that she has signed on to star in a new German drama called Flucht aus Tibet, otherwise known as Escape from Tibet. The film, which is based on a true story, will be the big-screen debut for writer and director Maria Blumencron.

Heading out of Che Guevara territory, Potente is moving over to Tibet to play Judy Cronenberg. The woman was a press photographer who led "a group of refugee Tibetan children over the Himalayas to safety nine years ago." There's nothing more being said about the story, which seems to be surprisingly free from the Internet (anyone know the details?), but it is a big German project. The film has received FFF Bayern's largest film funding -- $1.1 million.

It should be a little bit of time before we get to see Tibet, but in the meantime, of course, we can watch her play Tania in Steven Soderbergh's The Argentine and Guerilla.

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M. Night Says: What I Really Want to Do is Produce

Peter Martin — Tue, 22 Jul 2008 17:32:00 EST

Filed under: Thrillers, Deals, Cinematical Indie

Fans of the world's most famous writer-director based in Philadelphia need not fear. Filmmaker M. Night Shyamalan is not abandoning his creative work as a writer and director in favor of restricting himself to production duties. He has, however, formed a new partnership to produce one thriller per year for three years, according to Variety.

M. Night "typically generates more movie ideas than he can execute." The terms of his deal with Media Rights Capital (MRC) mean that M. Night will "create the stories and ideas for the films and pick the writers and directors; MRC will finance." This won't affect his next directorial project, The Last Airbender, which is still set for release by Paramount in 2010.

My first thought was that M. Night is following in the footsteps of Steven Spielberg. You might remember that Spielberg created the TV series Amazing Stories in part because he had so many story ideas that he couldn't do himself. He ended up writing or developing 29 stories (out of 45 episodes). Interestingly, Eric Kohn asked M. Night in an interview last month if it wouldn't be easier for him to "go the independent route." Even though the filmmaker said he's "never had an issue with studios," this sounds like a big step in the independent direction.

And here's a quote that might warm the heart of anyone, including myself, who has been cool about his recent work: "Working with the next wave of innovative filmmakers will teach me many things that I can bring to my own writing/directing and give my stories the opportunity to be brought to the screen in a stunning way."

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Indies on DVD: 'Help Me Eros,' 'Big Dreams, Little Tokyo,' 'Heartbeat Detector'

Peter Martin — Tue, 22 Jul 2008 08:04:00 EST

Filed under: Comedy, Drama, Foreign Language, Independent, New on DVD, Home Entertainment, Cinematical Indie

Three intriguing titles top my list of indie films to check out this week on DVD. Coincidentally, two of them feature actors who also directed (or directors who also acted).

Taiwanese film Help Me Eros, directed by and starring Lee Kang-Sheng, became slightly notorious at the Toronto film festival because droves of otherwise hardy film critics walked out of a press screening, either out of boredom or disgust. Ryan Stewart stayed, even though the first scene made him consider vomiting and the film as a whole was an unpleasant experience. Any film that provokes that strong a reaction, of course, makes it a perfect choice for adventurous renters who don't mind gambling a few dollars on the possibility that they'll never finish watching the movie. (The plot doesn't really matter in this case, does it?) DVD extras are limited to various trailers.

The English-language Big Dreams, Little Tokyo, directed by and starring Dave Boyle, is a culture clash comedy. Boyle plays a man who wants to become a language instruction guru, while his Japanese American roommate (Jason Watabe) wants to become a Sumo wrestler despite his slight build. KJ Doughton at Film Threat gave it a four-star rating ("a fresh filmic entree"). DVD extras include an audio commentary, behind the scenes interviews and "making of" footage, deleted scenes, web spots, and more.

French flick Heartbeat Detector (AKA La Question Humaine), directed by Nicolas Klotz, arrives with little fanfare that I can recall, though it did enjoy a brief, limited theatrical run earlier this year, and Scott Foundas admired "its epic sense of humanity" in the pages of The Village Voice. Mathieu Amalric (The Diving Bell and the Butterfly) plays a company psychiatrist with odd methods of motivating the corporate troops. DVD extras appear to be non-existent.

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Film Clips: What's Up with the Weinsteins?

Kim Voynar — Mon, 21 Jul 2008 22:02:00 EST

Filed under: Columns, Film Clips, Cinematical Indie

Earlier today, Peter wrote up a piece on movie mogul Harvey Weinstein explaining how The Weinstein Company created their division Third Rail as a dumping ground for movies they feel have only "ancillary value." Harvey and his younger brother and business partner, Bob, have been under a bit of an attack since ditching Disney/Miramax for their own shingle back in 2005, with a lot of sharks swimming the waters surrounding them, just waiting for enough money to bleed through the Weinstein's fingers.

An article over at the Sunday Telegraph by Tom Teodorczuk goes into some fairly good detail about the troubles facing the beleagured brothers. You can read the full piece yourself to see his analysis; suffice it to say that the Weinsteins have yet to bring that old Miramax magic to their independent shingle, probably for a variety of reasons, not the least of which include the troubles facing the indie film world generally. As Hollywood Elsewhere's Jeff Wells, quoted in the piece, notes, "The Weinsteins have suffered from the same pressures affecting the indie film sector that everyone else faces. There is a glut of product owing to hedge fund firms now investing in films."

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Get Ready for 'The Wiffler'

Monika Bartyzel — Mon, 21 Jul 2008 21:35:00 EST

Filed under: Comedy, Sports, Casting, Cinematical Indie

We have the Stifler, but I never thought we'd get the Wiffler.

Variety reports that we're about to get a new mockumentary about the epic, skill-testing sport. It's not coming to us from the mocku-God Christopher Guest, but rather Garden Party co-star Ross Patterson. He wrote The Wiffler: The Ted Whitfield Story, which Tommy Reid is currently directing in California. This will be his second feature after 7-10 Split, which starred Patterson and also featured the likes of Tara Reid, Ray Wise, Vinnie Jones, Robyn Lively, Rachel Hunter, and a ton of other left-of-A-List celebs.

Set during the Major League Baseball strike in 1994, the film will focus on "a nation turning its eyes to wiffleball and attempts to break the homerun record." It's strange enough that it could work, although it will definitely depend on the cast, which also features Joey Kern, Alana Ubach, Christine Lakin, Nick Thune, Richard Gant, Richard Riele, and Chris Tarantino.

Hey, we got ping pong and dodgeball, why not wiffleball? But what's next? Kickball?

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'Ping Pong Playa' Will Fly to Screens This Fall!

Monika Bartyzel — Mon, 21 Jul 2008 19:04:00 EST

Filed under: Comedy, Independent, Sports, Deals, Distribution, Cinematical Indie

It seemed too strange to be true. Only a handful of months after I watched Jessica Yu's excellent Protagonist, a Euripides-based story about four very different men and their manifestations of obsession, another one of her films was hitting Toronto. But it was nothing like the previous piece -- it was a fictional, comedic narrative about ping pong playing. Talk about drastic twists in themes! Ping Pong Playa' was an entirely new arena for the Oscar winner.

Now The Hollywood Reporter posts that the film is finally hitting big screens outside of the festival circuit. IFC Films has picked up the US rights to the comedy, and it will head into a limited release on September 5. While you might have run the other way from Balls of Fury, Playa' is definitely worth another glance.

The film is a cute look at a basketball-obsessed slacker named C-Dub (Jimmy Tsai) who ignores his family's ping pong inclinations -- his mom runs a ping pong store and his brother is a champion. However, when both of them are injured in a car crash, he has to not only take over his mother's classes, but also put two jerky pongers in their place. It's a story we've seen before, but it's also fresh, sweet, and refreshingly smart and diverse. (Check out a review, some interviews, and the trailer.)

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Asian Cinema Scene: 'Good Bad Weird' Does Good, 'Ponyo' Not As Good

Peter Martin — Mon, 21 Jul 2008 18:03:00 EST

Filed under: Action, Animation, Foreign Language, Box Office, Cinematical Indie, Western

While The Dark Knight dominated the weekend box office here in the US -- with a little love spared for Mamma Mia! and Transsiberian -- in Asia things looked a little different. The Good, the Bad, the Weird , which was just picked up by IFC for the US, opened in its native South Korea to outstanding returns, according to Variety.

The film, a salute to Spaghetti Westerns with a modern twist, is expected to surpass 2.2 million admissions over the weekend, which would make it the fastest to hit that mark this year, beating out police comedy Public Enemy Returns. Its opening day returns put it in the company of previous monster smashes D-War and The Host. We should hear more about The Good, the Bad, the Weird when it plays at Toronto in September.

The news is not as good in Japan, where master filmmaker Hayao Miyazaki's latest animated achievement, Ponyo on the Cliff by the Sea, was expected to dominate. Opening on a record number of screens for a local picture (481), Ponyo is said by its distributor to have earned 83% of the total made by Miyazaki's blockbuster Spirited Away, which sounds good. But as reported by Mark Schilling in Variety, those numbers may be misleading.

Continue reading Asian Cinema Scene: 'Good Bad Weird' Does Good, 'Ponyo' Not As Good

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John Lennon's Childhood Focus of New Movie

Christopher Campbell — Mon, 21 Jul 2008 13:03:00 EST

Filed under: Music & Musicals, Cinematical Indie

We've seen tons of movies about both John Lennon and The Beatles. One focused on the early days of the band; another focused on the killing of Lennon. Documentaries galore displayed the artist's life and/or career, comprehensively or specifically. And, of course, Lennon and his band mates have starred in their own movies. But how about a dramatic telling of little Lennon, the kid who would grow up to be one of the most famous men of the 20th century? Last week, a film titled Nowhere Boy, based on the book "Imagine This: Growing Up With My Brother John Lennon," penned by one of Lennon's half-sisters, Julia Baird, received funding from the UK Film Council, and is therefore on its way to your Beatlemania collection in only a matter of time.

The most exciting thing about Nowhere Boy, the thing that makes it more than just another movie about Lennon, is that it's being scripted by Matt Greenhalgh, writer of the phenomenal Ian Curtis biopic Control, who was attracted to the book's psychological insight into Lennon's character. Baird's telling is not without controversy, mostly due to its portrayal of Mary "Mimi" Smith, the aunt who raised Lennon from the age of 4 (and who Baird did not live with). Because it's about the childhood of a person idolized by millions, there are sure to be other criticisms and controversy once the movie is released. Will it be permitted, though, or even necessary to feature any of Lennon's later music, either from The Beatles or solo?

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Indie Weekend Box Office: 'Transsiberian' Rides Straight to the Top

Peter Martin — Mon, 21 Jul 2008 09:33:00 EST

Filed under: Comedy, Documentary, Drama, Foreign Language, Thrillers, Box Office, Cinematical Indie

As always, we seek to highlight indie films with this weekly post, so let's pause a moment and celebrate the success of a good, old-fashioned railroad movie. Brad Anderson's Transsiberian opened on two screens and earned a very tidy $17,600 at each, according to estimates compiled by Box Office Mojo. That has to be considered a triumph in the face of "The Bat Effect." Perhaps Transsiberian will get to a few more cities before its eventual landing on DVD shelves.

In a very welcome upturn of events, French thriller Tell No One expanded from 19 to 55 screens in its third week of release and averaged $9,725 per screen. More people will have a chance to catch this word-of-mouth success when it expands again this coming Friday.

Also in its third week out, The Wackness expanded by three theaters and kept a decent $4,441 per-screen average. It finally opened where I live and, while I loved Olivia Thirlby more than I should and was convinced that Jonathan Levine has good instincts as a filmmaker, I'm amazed it's done as well as it has, considering how drab so much of it feels. But that's just my minority opinion. I would still encourage you -- especially you 90s kids -- to consider checking it out when it expands wider this Friday.

Finally, Lou Reed's Berlin earned a per-screen average of $3,825 at the two theaters where it opened. Must be more Lou Reed fans out there than I thought.

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Harvey Weinstein Explains Why He Dumps Movies

Peter Martin — Mon, 21 Jul 2008 09:03:00 EST

Filed under: Animation, Drama, Exhibition, The Weinstein Co., Home Entertainment, Movie Marketing, Cinematical Indie

If Harvey Weinstein didn't exist, someone would have to invent him. One week his garbage gets recycled into source material for The Village Voice, the next he and his brother Bob cut a 95-film, multi-year deal with Showtime and resurrect Scream. And then he gives a wide-ranging interview with The Hollywood Reporter which includes his explanation for why The Weinstein Co. created Third Rail Relasing, a new distribution label. Is it to showcase undiscovered independent gems? Introduce the world to global filmmaking talent?

No, it's for dumping the garbage. He told THR: "We should have had Third Rail two years ago, t's a good way of differentiating between what we really believe in, and what has been for ancillary value."

Third Rail recently released Death Defying Acts, with Guy Pearce and Catherine Zeta-Jones, admittedly only to fulfill a contractual obligation. Other barely there releases this year include music doc Lou Reed's Berlin, Hong Kong action flick Flash Point, and Aussic croc thriller Rogue. (I really liked the latter two, by the way.) The widest release (48 theaters, per Box Office Mojo) was George A. Romero's Diary of the Dead, which made just under one million dollars. But I guess Harvey didn't "really believe" in any of them.

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'Mad Detective,' VOD, and Acceptable Compromises

Peter Martin — Sun, 20 Jul 2008 15:32:00 EST

Filed under: Drama, Foreign Language, Independent, Fandom, Distribution, Home Entertainment, Cinematical Indie

In a perfect cinematic world, you'd be able to watch every movie you wanted to watch as soon as it was released on a big screen with good sound and projection and an appreciative audience. In the real world, we're always making compromises: my friends don't want to see what I want to see tonight, that new indie movie is only playing in New York and may never play in my town, the woman sitting next to me in the theater keeps talking to her friends.

Mad Detective opened on Friday, but as noted by Eric D. Snider in his latest Indie Spotlight, only in New York. I have no idea if it will ever play in Dallas, where I live, but based on recent history, chances are, it won't. I'm a huge fan of Hong Kong filmmakers Johnny To and Wai Ka Fai, who co-directed, and Lau Ching Wan, a great, underappreciated actor (Beyond Hypothermia, Big Bullet, A Hero Never Dies), but I've been reluctant to spring for the import DVD, which would set me back nearly 20 bucks. (The trailer's available to watch at Moviefone.)

So I compromised and spent $5.99 to watch Mad Detective via the "IFC in Theaters" video on demand (VOD) service on my cable system. That's comparable to a matinee showing at a local arthouse -- I paid $6.75 to see The Wackness on Saturday afternoon -- but the experience is, obviously, not the same. For one thing, "IFC in Theaters" is only available in standard definition, so the picture looks only so-so, even on my 26-inch high-def monitor.

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Don Cheadle's 'Marching Powder' Marches Forward

Christopher Campbell — Sat, 19 Jul 2008 15:32:00 EST

Filed under: Action, Drama, Foreign Language, Brad Pitt, Cinematical Indie

At the rate Brazilian filmmaker José Padilha (Tropa de Elite) is becoming attached to projects, I might need to start another annex called Cinematical Padilha. Earlier this week, I posted info about his latest documentary, Garapa, and prior to that I had written about his transfer to Hollywood for a South America-set action movie formerly (and maybe again?) called A Willing Patriot. Of course, I don't mind writing so much about the guy; Padilha is one of the most exciting new talents, and it's cool to see his career exploding.

Today's Padilha news is that he'll be writing and directing the based-on-a-true-story drama Marching Powder. Again, this one's set in South America (good to see a foreign filmmaker making such a gradual move to Hollywood), and if it sounds familiar, that's because we've seen Don Cheadle linked to it for awhile. The Oscar-nominated actor will reportedly still produce (along with Brad Pitt and others) and star as a British drug dealer serving time in a Bolivian prison, of which he eventually gives illegal tours to travelers (he became popular enough to be featured in Lonely Planet guides).

The movie will be based on the book "Marching Powder: A True Story of Friendship, Cocaine and South America's Strangest Jail" by Thomas McFadden (the British drug dealer) and Rusty Young, who apparently found the story by signing on for one of the prison tours.

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'Why We Fight' Director to Helm HBO Vietnam Film

Christopher Campbell — Fri, 18 Jul 2008 18:33:00 EST

Filed under: Documentary, Distribution, HBO Films, Cinematical Indie, War

I was just re-watching Eugene Jarecki's terrific documentary Why We Fight the other day and wondering, "man, how did this not win an Oscar?" Both its ineligibility and the strength of the 2006 feature documentary category aside, it's a really great visual essay on the problems of the U.S. military -- particularly the allowance for the military industrial complex to grow so large -- since the mid-20th century. If you've never seen it, you should. It'll bring you up to speed right up to the Iraq War (and feel free to make it an informative double feature by following it up with Charles Ferguson's No End in Sight).

For his next feature, Jarecki is sticking to the subject of war, though he's going back and focusing on Vietnam, specifically the evacuation of U.S. troops from Saigon in 1975 (maybe it can parallel an exit from Iraq? huh? maybe?). He and screenwriter Jesse Wigutow (It Runs in the Family) are basing the doc, titled Irreparable Harm, on former CIA agent Frank Snepp's book "Irreparable Harm: A Firsthand Account of How One Agent Took on the CIA in an Epic Battle Over Free Speech," which details the author's struggle with the federal government after he published his Saigon evacuation document, "Decent Interval."

Jarecki's film, which is being produced for HBO Films, will be more about Snepp than on the history, and hopefully that won't get him in trouble with the feds too. Also, here's hoping that Irreparable Harm at least makes Jarecki eligible to be nominated for the Oscar he deserves.

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Review: Before I Forget

Jeffrey M. Anderson — Fri, 18 Jul 2008 15:03:00 EST

Filed under: Foreign Language, Theatrical Reviews, Cinematical Indie

Watching Jacques Nolot's Before I Forget, I couldn't help thinking of my friend Arthur Lazere, the late film critic and creator of the still-operational site culturevulture.net, ("Choices for the Cognoscenti"). Arthur was gay and in his 60s when he succumbed to a long illness in 2006; he loved movies but he rarely found one that pleased him, or rather spoke to him in particular. The Barbarian Invasions (2003) was one of his favorites, I remember, and I enjoyed talking to -- and arguing with -- him about it and many other films. I wish I could have talked with him about Before I Forget, a film about a HIV+ gay man nearing his 60s. I admired the film all on my own, but Arthur would have got it.

That's actually one of the best things about Before I Forget, which was selected as one of last year's ten best films by Cahiers du Cinema; it's the uncompromising work of an artist making a film for himself, rather than targeting a demographic. Jacques Nolot mainly works as an actor, with roles in films like Claire Denis' Nenette & Boni (1996), Francois Ozon's Under the Sand (2001) and many André Téchiné films, including The Witnesses from earlier this year. He has written and directed three feature films, all starring himself: L'Arrière pays (1998), Porn Theater (2002) and this one. The three films are certainly homosexual and appear to be at least partly autobiographical, and even if they're not, Nolot still opens himself up totally: in an early sequence, his character Pierre wakes up, throws up, pops some pills makes some coffee and walks around his apartment, naked. His thinning hair and thin moustache are perfectly placed, but his sagging belly shows a losing battle with age.

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Review: Lou Reed's Berlin

Christopher Campbell — Fri, 18 Jul 2008 14:03:00 EST

Filed under: Documentary, Independent, Music & Musicals, Theatrical Reviews, The Weinstein Co., Cinematical Indie

One thing you should know about the Julian Schnabel-directed concert documentary Lou Reed's Berlin is that Lou Reed has personally instructed theaters to play the film at concert-level volume. That means it's really, really loud. When I saw it (at NYC's Film Forum, which is following Reed's command throughout the film's limited engagement), an elder woman walked out. Of course, I can't be sure that it was due to the sound, though the exit was during one of the loudest songs.

The volume may seem excessive and unnecessary to some, but at a time when concert docs are shown in IMAX and/or in 3-D, it really helps a film like Lou Reed's Berlin compete for audiences seeking a filmic experience comparable to the real thing. And leaving the theater with your ears ringing will help you think that you were actually there when Reed performed his 1973 album Berlin live for the first (and second, third and fourth) time in Brooklyn, New York, December 14-17, 2006.

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