Friday One Sheet: How To Build A Time Machine

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Hot Docs is here once again for those of us living in Toronto! Making its world premiere at the documentary festival is Jay Cheel’s How To Build A Time Machine, the latest film from a good friend of Rowthree (and occasional guest on the Cinecast). To this end, the long-in-production film gets a shiny new poster for its debut. A sheet that makes excellent use of negative white-space to imply the classroom of physicist Ronald Mallett (who keeps a tiny photo of Einstein near his chalkboard) one of two principal subjects of the film. Looming above is the both the cosmos, and the original prop from George Pal’s The Time Machine, with the lever about to be pulled, I assume by Rob Noisi, the other main character who has been building a replica of the famous victorian contraption for many years. The tagline on the poster, located in the space in between, correctly asks, “Where you would go?” As in ‘what route?’ Would it be through unimaginably difficult science in tiny increments (note the box on the chalkboard), or would it be through imagination and craft and the memory of cinema?

If you are in Toronto next week, How To Build A Time Machine plays on these dates during the festival:
Monday, May 2, Isabel Bader Theatre
Tuesday, May 3, TIFF Bell Lightbox 2
Saturday, May 7, TIFF Bell Lightbox 2

Friday Puzzler: Purple Rain

Welcome to Friday! Your last day at the office. What can you do to avoid as much work as possible and still make the time go faster? How about put this puzzle together. Each Friday RowThree will have a themed puzzle to coincide with the weekend’s cinematic release.

Use your mouse to move the pieces (scroll wheel or arrow keys to rotate) and create the image you see below. Then discuss. Please note that the bottom third of the play space should be blank for placing loose pieces.

This week, it’s THE PRINCE!

[jigsaw-mp size=640 myimage=’http://www.rowthree.com/wp-content/uploads/2016/04/purple-rain-puzzle-sm.jpg’]

 

After the Hype #137 – HYPETIZER: Civil War

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GET HYPE! This week it’s just Bryan, Ryan, and Jon and perhaps the biggest event in Marvel History! They’re shaking up the podcast formula a bit to talk the original “Civil War” event, and then hype both the upcoming movie and the sequel comic series! And they ask perhaps the most important question in all of podcast history: whose side are you on?

 

Would you like to know more…?

10 to see at Hot Docs 2016

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It’s that time of year where Documania runs wild in Toronto for the city’s second highest profile festival, one I myself have come to prefer every year. The selections for Hot Docs 2016 are stacked and wonderfully curated. If you pick a bad one, it’s probably on you. While the selections below are reviewed based on screeners, I highly encourage who can to get out and see these in the cinema. It’s so rare to see a documentary with a packed crowd, and the Q&A’s that happen during Hot Docs are so much more special than the ones you see at TIFF by nature of centering around real stories and real characters rather than the cloud of celebrity. You never know what to expect.

MY SCIENTOLOGY MOVIE
(dir: John Dower, 100 minutes)
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After a decade of videos from Wise Beard Men, numerous expose books, countless articles, and most recently, the dense info dump of Alex Gibney’s Going Clear, you’d think we’d had enough Scientology documentaries. And maybe so. But along comes John Dowler and well known UK presenter Louis Theroux to pull an Act of Killing by hiring actors, who with the help of former Scientologist Marty Rathburn, recreate bizarre and violent events from David Miscavige and others that he had witnessed during his decades as a high ranking church official. MY SCIENTOLOGY MOVIE is far less concerned with the usual informative points of interest regarding Xenu and obsession with celebrities than it is fascinated with the justifications in behavior made by past and present members of their secretive organization. What results is a lot of cameras directed at other cameras, paranoia, intimidation, and cheeky provocation. This documentary is in no way a great starting point for anyone wishing to learn more about L. Ron Hubbard and Scientology, but for those of us who thought we’d seen and heard everything, this fresh angle is for you.



TONY ROBBINS: I AM NOT YOUR GURU
(dir: Joe Berlinger, 115 minutes)
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Speaking of cults, Tony Robbins and his self-help seminars have themselves often been thought of as such, and similarly have been behind closed doors as well as very expensive. From Joe Berlinger of PARADISE LOST / METALLICA: SOME KIND OF MONSTER fame comes this unprecedented look at Robbins’ Date With Destiny series, and if there’s a twist to be found, it’s that Tony Robbins comes out of this looking really really good, to the extent that some have accused I AM NOT YOUR GURU of being an informercial. While the film generally takes Robbins at his word and some subtle touches (fonts, establishing shots) might give off a brochure esthetic, these criticisms fall on deaf ears when Berlinger lets the confrontations take center stage, where attendees are pushed to their emotional breaking points by the charismatic, foul-mouthed, no-bullshit-taking Robbins. Robbins operates as a Gordon Ramsay for your life, and Berlinger’s concert film/cinema verite approach allows the viewer to walk away deciding for themselves if this is a good thing. Robbins is appearing at Hot Docs which makes this an especially hot ticket, but you can catch this when it comes to Netflix on July 15th.



LO AND BEHOLD: REVERIES OF THE CONNECTED WORLD
(dir: Werner Herzog, 98 minutes)
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I have to wonder if I could have accepted a film like this from anyone other than Werner Herzog. LO AND BEHOLD is a meandering series of anecdotes about the wired age that almost feels like a proof of concept for a Cosmos-type TV series. Which is to say, it’s entertaining and Herzog’s trademark calm, collected nature makes it feel like a stream of consciousness. From the unbreakable box that represents the invention of the Internet to the solar flares that will destroy us all to all of the harassment in between, Herzog’s fascinations and questions make this a very personal look at the increasingly impersonal. A favorite segment finds Werner visiting with those suffering from the very real EHS that fans of Better Call Saul will recognize, literally having gone off the grid, paying a personal price for our need to Google the name of that one guy who was in that thing. Admittedly, LO AND BEHOLD does feel like it could end at any moment, and there is an opportunity for a stronger final thought that isn’t there, but 98 minutes with Herzog is always worth your time.



CREDIT FOR MURDER
(dir: Vladi Antonevicz, 87 minutes)
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If there is one documentary I have been pushing people to see, it is this film from Israeli director Vladi Antonevicz, a jaw-dropping, cinematic undercover procedural adventure which finds him posing as a white supremacist in Russia to solve the horrific murder of two immigrant men which had been posted to Youtube and ultimately became an infamous viral video. CREDIT FOR MURDER draws you in with the sordid allure of your first convincing conspiracy video and never lets up. The intricate detective work, superb presentation of event timelines, and mind-boggling admissions from far right nationalists are astounding. These Neo-Nazi antagonists fear nothing and if anything are trying to impress the viewer with how hateful they are. They are too trusting of the man with the camera, and too secure that there will be no reckoning for their actions, which makes for great viewing. This is provocative, detailed, vital documentary filmmaking and will almost certainly be in my year end top 10.



TICKLED
(dir: David Farrier, Dylan Reeve, 92 minutes)
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The less said about TICKLED is to your benefit, and the filmmakers would prefer it stay that way. All you need to know is that co-director and journalist David Farrier found a video online for something called “competitive endurance tickling”. Huh. Considering that we have pillow fight and ax throwing leagues, it was not absurd to want to make a short quirky news story about this oddball sport. But it became clear very quickly that the people behind this “sport” did not appreciate the publicity, opening the door to an investigation that keeps paying off sinister revelations and mysterious puppeteers. TICKLED easily surpasses Catfish in the WTF is With People department, and will keep you guessing.



THE SLIPPERS
(dir: Morgan White, 90 minutes)
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Just a bit over a year ago I finally laid eyes on THE REP, Morgan White’s excellent documentary about the rise and fall of the beloved and sadly out-of-business Toronto Underground Cinema. I went into this follow-up unsure if a focus tracing the cultural impact of a single piece of film memorabilia could sustain a feature length, and was more than pleasantly surprised to see that not only will THE SLIPPERS satisfy film lovers let alone Ozheads, but that White has significantly leveled up in his craftmanship in a short period. This is a slick, professional piece of work that indicates a passion for the subject matter that rivals that of his wealthy subjects. The story of the titular ruby slippers keeps going into unexpected places – conspiracy theories, capers, failed dreams, and deep envy. The lively talking heads, including a healthy dose of Debbie Reynolds, collectively reveal the rise of memorabilia collecting and how these props take on iconic and symbolic significance that transcend their original context into objects of inspiration, achievement, and how sad it can be to watch what happens when they fall into the hands of someone who doesn’t appreciate them.



HOW TO BUILD A TIME MACHINE
(dir: Jay Cheel, 82 minutes)
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Like THE SLIPPERS, Jay Cheel’s first documentary feature since 2011’s terrific, hilarious BEAUTY DAY dials back the lunacy into a more contemplative but equally compelling place through two obsessed men and an iconic piece of film memorabilia – the HG Wells time machine. Animator Rob Niosi has been replicating the prop for years in extreme nitpicking detail. Rob Mallett became a theoretical physicist for tragic reasons. Cheel’s Errol Morris influences shine through even more so than his previous effort as he ties both stories together via the power of cinema as it’s own time machine, and milking emotion out of hobbies and fields of studies often thought of as cold and impersonal practices. If any film has convincingly proven that the journey is as important as the destination, it’s this one.



SOUTHWEST OF SALEM: THE STORY OF THE SAN ANTONIO FOUR
(dir: Deborah S. Esquenazi, 89 minutes)
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The wave of interest in true crime stories laced with a dose of injustice is still in full swing, and another to add to your list is this film, which like PARADISE LOST before it, comes out of the last gasp of the Satanic Panic, and led to four Texan women subject to a homophobia-driven, literal witch hunt. This film, faced with the problem of not much footage from the time of the trial, forgoes suspense for an emotionally charged story about the exoneration process 15 years later, the difficult reintegration process, solidarity in clearing their name as one, and the regret and trauma of someone who had been manipulated into a false confession as an act of revenge.



HOLY HELL
(dir: Will Allen, 105 minutes)
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*ANOTHER* cult documentary? Actually, HOLY HELL might be *THE* cult documentary. Director Will Allen spent 20 years within the Buddhafield, a hippie-ish cult, where he served as the official documentarian and too-close friend of Michel, a guru clad mostly in speedos, obsessed with his own appearance to levels that would make Liberace blush, and of course – dangerously drunk on power, spiritually and emotionally abusive. Michel is as creeptastic as they come, always staring through you, looking like a melted Martin Short even as he holds himself up as a paragon of beauty through the bizarre films and awful 80s-tastic music videos Will Allen created to glorify his master. This is an escape film, a revenge film, an ode to lost friends, and it has the most satisfying ending sequence(s) of anything I’ve seen from this year’s festival. And it may be coming to a theater near you sooner than later.



MAGICIANS: LIFE IN THE IMPOSSIBLE
(dir: Marcie Hume, Christoph Baaden, 85 minutes)
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Of all things, MAGICIANS reminds of the Jerry Seinfeld COMEDIAN documentary, as well as the pro wrestling documentary BEYOND THE MAT. In all cases these are entertainers who face a stigma around their chosen profession, a struggle to attain a certain level of skill, and an even greater struggle to stand out among the field. And then there’s the unique hits to relationships, jealousy and finances that almost all performers face. Hume and Baaden’s film follows four extremely talented magicians in different stages of their careers, from a Tonight Show regular to a master of cards to the flashy Vegas showman who has to worry about bigger names stealing his act right when he’s finally on the edge of his big break. There’s something wonderful about watching people who are so very good at one specific thing weave their (wait for it) magic. Not being told how they do it just adds that extra level of intrigue, and finding out why these wonderful weirdos do it more than makes up for it.

Trailer: Weiner

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He was supposed to be the hero the Democratic Party needed. Charming. Funny. Brash. A progressive white knight in a sea of political darkness. He was the party’s future. You could see his path to the White House.

Then, he had to go and tweet that dick pic.

The joke wrote themselves. A resignation from Congress and two years later, he then decided to run for Mayor of New York… and people have forgiven him. He was even topping the polls. People trusted Weiner again.

Enter Carlos Danger.

Look, if this is all a little confusing to you… that’s fine. It’d probably be better to see his fall, his subsequent rise, and then his mind-boggling second fall with fresh eyes.

If you’re only even mildly interested in politics, this looks to be an instant classic. The trailer looks dynamite.

Weiner will be in theaters May 20, 2016 and Video on Demand on May 26.

Trailer: Cash Only

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I fell pretty hard for Malik Bader’s Detroit set, ethnic Albanian crime drama Cash Only when I caught it at last years edition of Fantasia. It is gritty, high energy, and bleakly funny in a way that recalls Nicolas Winding Refn’s Pusher Trilogy (particularly the 1990s-shot first film).

Elvis Martini is in deep shit. His dilapidated Detroit apartment building is about to be foreclosed on by the bank, most of his tenants are behind on rent, and he’s in big debt to bookies in the dangerous Albanian underworld. The only light in his dark world is his nine-year-old daughter, Lena; he’s in debt to her school, too. Elvis finds some ill-gotten cash in an evicted tenant’s apartment and is able to briefly keeps the wolves at bay, but he soon learns that the money belonged to an even bigger wolf – one that wants his stolen money back. When Lena is kidnapped by the mysterious menace he’s accidentally messed with, Elvis has 24 hours to come up with $25,000 to save his daughter’s life: cash only.

Small distributor FilmBuff is giving the film a well deserved cinema and VOD release on May 13. The trailer is below.

Girls on Pop – Episode 3: The Last Hoorah

The hottest new show on TV

The hottest new show on TV

Just when you started to think you’d gotten over the hump of people talking about The Wonder Woman movie, we come in and pull you back into the fold!

On the latest episode of Girls on Pop, Sarah (@iBrockely) and I (@themarina) hash out some thoughts on Batman v. Superman: Dawn of Justice, delve into some TV talk and Sarah rants for a moment on the events that have led her to give up on TV’s “Sleepy Hollow” among a few other things including much gushing on my part for Starz’s new offering “The Girlfriend Experience.”

Would you like to know more…?

Friday One Sheet: The Girl On The Train

A simple, but quite lovely, design for the upcoming adaptation of the novel, The Girl On The Train. I have not read the book, but clearly the designers are aimed at ‘you will not see what is coming’ with the zipper/train motif on a woman’s back, as she faces away from us. They used the stylized type from the cover of the source novel, fine, but why use a different font (and colour) everywhere else? Not entirely sure. It’s a quibble in an otherwise pretty striking, yet delightfully minimal poster.