Cinecast Episode 455 – The Reitman Side of the Line

Right from the outset we have to apologize for the sometimes dodgy sound problems. The actual quality of the sound is pretty good… when it’s there. Due to the unco___s of the north woods, some of our discussion ____ and go. Much like this week’s DePalma _____ film, you’ll _____ fill in some of the blanks on _____ own. Speaking of that, for our (nearly) final DePalma retrospective review, we hit up his most recent film from 2012 starring Noomi Rapace and Naomi Watts entitled simply, Passion. It encapsulates much of what DePalma does so well in a tight, 90-minute “not-so-erotic” thriller. Next up, we found that we have our very own film maker here in the third row. David Brook is editor on a UK based film that he’s been warning us for months would eventually come across our desks. And now that it’s finally here, we’re so happy that it did! Powerhouse performances alongside competent direction and story telling revitalize the faux-documentary sub genre. Have a listen. Lastly, as if there wasn’t enough talk of pedophilia in this show, Andrew tackles a couple films that deal with the issue in very different ways… and in extreme variances of success. Kurt has a couple of TIFF pre-screens that the embargo hammer keeps us from discussion too much, but it rounds out a pretty nice Watch List for this week. We’ll see you all again post-TIFF!

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

We’re now available on Google Play!

 

 
 

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vigilante-poster-cinecast


TIME TRACKS:

See comments for time track listings – thanks to Ultimolee for the extra elbow grease!

 

DE PALMA RETROSPECTIVE

Passion

 

Indie Review:

Vigilante

 

THE WATCH LIST:

KURT
American Honey
The Girl with all the Gifts

 

OTHER THINGS:

TIFF Lightbox De Palma retrospective (it’s all over folks!)
Vigilante official site

 

RSS AND CONTACT INFO:

show content

 

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UltimoLee
Guest

Opening / Greeting: 00:45
De Palma Retrospective – Passion: 5:48
Vigilante: 47:04
The Watch List: 1:09:33
Next Week / Closing: 1:27:58
Outro Music: 1:30:07

David Brook
Guest

Thanks a lot for reviewing Vigilante guys and I’m glad you both liked it. I’ll keep you updated on any festivals it gets to etc. We’re planning on some public indie cinema screenings around the UK, but have no details to plug yet.

A couple of little things I can’t help but comment on in your review though:

It’s set in a totally fictional Northern/Midlands village rather than a London borough, but the accents are quite mixed so it’s hard to pinpoint.

And Darren didn’t shoot the film, although he voices the cameraman/director. We had a DOP – Ernesto Herrmann. Sorry, I had to point that out so he didn’t think Darren was taking the credit 🙂

But anyway… It was great to hear you guys delve into it in a decent amount of detail. I’m glad the humour worked (particularly some of the darker paedophile stuff in the second half) as it’s hard to judge how humour will travel, particularly when the film isn’t an out and out comedy.

Thanks again.

devolutionary
Guest

Gotta love podcast mad-libs.
Not to spoil, but I wasn’t the biggest fan of Passion’s ending (compared to Love Crime) De Palmafied and all, but hey, at least it was different.
Interested to check out Vigilante now.

David Brook
Admin

Some minor news on the Vigilante front which I thought might be of interest to the Canadian-heavy traffic here on Row Three; I’ve just submitted the film to the Fantasia Festival. If any writers/readers happen to know anyone involved and could put in a good word, that would be great. Cheeky to ask maybe, but you’ve got to try something to get noticed! 🙂

Kurt Halfyard
Admin

I can do that, indeed. The film is great.

David Brook
Admin

Thanks! We need to pull our finger out and start pushing it everywhere now. The problem is we keep getting sidetracked by the usual day to day video work that pays the bills. I think it getting into a decent festival will rejuvenate us and should do wonders to its marketability. We’re not expecting to make loads of money or hit theatres (away from festivals), but it would be great to get some sort of release on VOD or Netflix or similar.

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