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Review | SUMMER OF 84

From the team that brought us the very inspired, gruesome and romantic Turbo Kid, comes a more direct romp into 80s era horror, Summer of 84. When considering their previous sci-fi-ish post-apocalyptic adventure of arrested development into superheroism, you shouldn't forget the love present - and not just the kind between the female robot and laser-armed boy. This is a filmmaking group that absolutely digs nostalgia for the age of John Hughes and Return of the Jedi, but not so much in easy to catch references, but rather mood and feel. And that's where Summer of 84 excels. In mood and feel.


In America's not too distant future, former economically depressed cities and neighborhoods will be lined with (white) Airbnb's, (white) liberal cafe's and (white) people crowdfunding startups. In this future-scape, gentrification won't be a thing but a chicken wing; locals moving down the block - or several blocks - will be standard migration practices, as "opportunities" turn into serving the needs of those who took it all from a culture/community they'll never truly appropriate. This is a sci-non-fi tragi-comedy of grand complexity. This is Bliindspotting.

And Now, Without MoviePass ...

As I travel back to birth, past Jupiter and around the end of (my) time, I tend to think about previous assertions and lofty dreams - sometimes my own, sometimes of others. MoviePass falls under both categories but, unfortunately, is no longer a dream I wish to be part of. It's not a nightmare for me, a moviegoer, just a pointy stick poking the back of my head. A frustration, really.

Review | 24 FRAMES

It's a personal shame of mine that I've taken so long to watch an Abbas Kiarostami film. Some of his movies are in my Fandor queue and I've read nothing but glowing recommendations from others. Blame the over-saturation of available media or blame my own procrastination and/or one-dimensional notions of what I should be excited to see - whatever the case, I was finally initiated into the Kiarostami-Verse by way of his final project, 24 Frames. In a strange way, the film, released after the death of the director, works as a sort of self-eulogy of sorts for both his career goals and visions of life. There's a strong sense of sadness that overwhelmed me most of the time, but never did I cry or wince. Always, I was transfixed an glued to the screen. Pure, without pity and with great purpose, the film lays bare complex thoughts and questions on cinema/art, existence/environment and the heavy indifference felt between.

24 Frames has been described as "experimental"…

The 2018 GNO Film Fete - Recommendation Roundup

While nothing can quite replace Timecode: NOLA, The GNO Film Fete (classic French for "festival") looks to fill the void by showcasing a diverse selection of locally conceived and produced short films. This year, the fete will take place at Chalmette Movies on Sunday, April 15th, and will run about 90 or so minutes of pure cinema. 


Truly "Lovecraftian" cinema - movies which express the tone and atmosphere of H.P. Lovecraft's cosmic horror work - can be difficult to find at their most effective and evocative. Unkown unknowns (things we don't know that we don't know) don't always fit well into a narrative story structure and telling a non-linear/abstract story isn't so simple.

A More Inclusive Cinema: Q&A w/ Michael Domangue of The Broad Theater & THE LANGUAGE OF SILENCE filmmakers Caterina Picone and Mary Kim Hoang

The American's with Disabilities Act (ADA) is supposed to guarantee that anyone can have reasonable access to most if not all places around town (among other important things). Unfortunately, movie theaters - home to the universal language that is cinema - haven't caught on completely. Sure, there are ramps and handicapped seating, but even those can be abused and paid lip service to. And what of enjoying the film itself? Are on-screen captions or descriptive audio devices easily requested?