Month: July 2017

Interview with Festival Director Jonny Mancini (FROSTBITE International Film Festival)

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FROSTBITE is an international online festival devoted to recognizing those who push the boundaries of what cinema can do, regardless of their budget or production quality.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Jonny Mancini: Every single one of our judges and festival coordinators is a filmmaker, and know the difficulty of entering your film into bigger festivals to hopefully win awards. Submission prices are generally unaffordable, and even if they are not, indie films tend to not be selected more than bigger budget short films. Our goal as student filmmakers and future teachers of film is to create an environment where professionals, low-budget, and student filmmakers can receive recognition on an equal plane. We offer many different categories and awards, in support of uncommonly recognized genres such as dance film, action sports, and demo reels. We offer a wide range of other categories, and they grow every month as we open themed or genre categories offering unique awards. There are an endless amount of vital aspects which go into the creation of any film, and we offer as many awards as we can for each of these aspects which require a lot of effort on the filmmaker or animators part. We give out awards every month to films for everything from editing and cinematography to concept strength and dialogue design. These small essential details are what can set low-budget or student film far above films with a professional budget, and our jury aims to see they all get the recognition they deserve.

What would you expect to experience if you attend the festival this year (2017)?

Our festival is primarily online in order for us to keep up the pace with giving out awards and getting our winners screened as much and as soon as possible. We have only had local submitters in attendance to our monthly studio screenings, but we offer direct feedback to any of our selections who request it to get the most directly personal experience we can with them as a high pace online festival.

What are the qualifications for the selected films?

Our selections are determined by very specific criteria based on the effort put in by the filmmakers, and the innovative aspects of these underground films which inspire and push the boundaries of what cinema is. We look for things we have never seen before, and regardless of quality of equipment or budget, we look for films which show excellence in storytelling, dialogue, editing, and technique.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

As student filmmakers we work hard at our passions, and we have experienced first hand what festivals are looking for, as well as what kind of a message they look for in films. What it comes down to is most elite festivals do not consider films fairly based on the merit of their unique or innovative aspects; even some festivals who claim to do this often do not! Most of them look for emotional appeal, inspiring story, or professional camera technique. These methods for storytelling are wonderful, however, they are copies, and do not push the adaptation of cinema for the future.

What motivates you and your team to do this festival?

It is simple. We want to see unique films which deserve recognition, receive the recognition they deserve. Every filmmaker from every nation has a unique means to telling their stories, and we want to make sure the world looks at their awards, and gives them the consideration they deserve despite not having the quality of equipment of high budget films.

How has your FilmFreeway submission process been?

Incredible, FilmFreeway has been our primary platform for receiving submitters and we have managed to receive a very even mix of professional, low-budget, and student films. This has made it easy for us to consider them for awards based on their unique merits.

Where do you see the festival by 2020?

We aim to see our festival giving out twice the awards, and bringing in professional filmmakers as judges every month. We want to have large theatre screenings for our winners, and promote them to an even more vast online film audience than we already do.

What film have you seen the most times in your life?

The Fifth Element (1997) by Luc Besson

In one sentence, what makes a great film?

A great film is simply one which makes a contribution to the development of cinema, and manifests a visceral experience for the viewer, as opposed to just images on a screen.

How is the film scene in your city?

Colorado Springs has often in the past been dubbed “Little Hollywood,” as it is gleaming with young indie filmmakers and innovators creating incredible projects. The city in right on the foothills of the rockies, and offers an immensely diverse filming environment from alien landscapes which feel far from earth, to jungles, and to deserts high with dunes.

 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Mariah Mathew (Little Wing Film Festival)

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Little Wing grew out of passion, persistence, and frustration at the difficulty of finding paid work for young professionals in creative industries. We’re about providing first-time film makers with the tools and opportunities they need to foster career growth, from entertainment and education, to networking and support.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Mariah Mathew: I created Little Wing as a platform for first-time filmmakers to have their work seen, and to be rewarded for it in more ways than ‘exposure’. We’re doing everything within our means to reward them with prizes that facilitate their next project and foster career growth. Working unpaid is such a difficult and unsustainable expectation of young creatives trying to break into their industry, and as Little Wing continues to grow alongside its filmmakers, I hope to make it something of a pebble in the pond towards changing attitudes around unpaid work.

What would you expect to experience if you attend the festival this year (2017)?

Expect a lovably small, grungy theatre above a pub with a long history of launching careers in theatre and comedy. Over the weekend we’re hosting a filmmaking workshop amidst screenings, and want to foster an atmosphere of support, collaboration and development. For the public, it’s a space to see some incredible films from the next generation of filmmakers, and for filmmakers, it’s a space to see what is being produced by their peers and meet like-minded creatives over a pint in the bar downstairs. Oh, and free popcorn.

What are the qualifications for the selected films?

The festival is open exclusively to first-time filmmakers within two years of their first film, recent graduates within 2 years of their graduation date, and current students.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Having access to the best equipment doesn’t guarantee a great film – but it doesn’t hurt. First-time filmmakers aren’t necessarily the most affluent or opportunity-rich of people, and despite being talented, lack of accessibility to equipment and costly software can be a disadvantage that makes it harder for new starters to have their work considered in many festivals. We want to provide a step-up in getting these films to a professional standard that you’d see in festivals, rather than accept only those that have the means to already at that level already.

What motivates you and your team to do this festival?

When I was trying to break into the creative industry, my unpaid internships, volunteering and ‘work experience’ made living in London unsustainable, when also working for minimum wage to pay rent. When the expectation is that young creatives have to work unpaid to begin their careers, it disadvantages those who don’t have financial support, and those who aren’t living at home. I got so fed up with working hard, and knowing I have the creativity and drive that could generate great things, but people weren’t willing to pay for it when the demand was such that they could fill the position for free. I decided to create a space where I could hire myself, and try and alleviate the struggles of young creatives that were in similar positions.

How has your FilmFreeway submission process been?

FilmFreeway has been the most user-friendly submissions platform I’ve used so far. I look forward to seeing their filmmaker network continue to grow, and having them branch out into different accepted currencies (come on, GBP!).

Where do you see the festival by 2020?

The path of Little Wing will be very much directed by the demand from young creatives and what changes they want to see in their industries. Starting in film and growing each year, we would soon like to integrate a design competition element into the festival, and over the next few years branch out into music. We have a Community Forum online where young creatives are encouraged to share their experiences in their industries and give suggestions for what changes they would like to see and where Little Wing might be able to assist.

What film have you seen the most times in your life?

Possibly Howl’s Moving Castle. Or Pan’s Labyrinth. I tried learning Spanish from watching it and realized I was probably developing an accent from the 1940s. Also Edward Scissorhands, American History X, and The Life of Brian.

In one sentence, what makes a great film?

Something that shakes me with empathy for the human experience.

How is the film scene in your city?

London’ is the film hub of the United Kingdom. One of my concerns when first imagining the possibility of a festival was that perhaps the festival scene was saturated with this kind of thing already, but there’s been a clear call out for support of new filmmakers and as we grow we’ll continue to set ourselves apart. It will be interesting to see how the city contributes to Little Wing’s growth and direction.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Alex P. Michaels (Prelude2Cinemas)

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The festival began as a monthly event created by Prelude2Cinema, a movie and marketing company. The goal was not just to screen movies from all over the world, but offer filmmakers a chance at distribution from the company. After four events, the festival decided a change of venue and a chance to regroup. In August 2017, the festival will relaunch with at least four events per year. The other thing that makes the event different is that there is live entertainment and food served at each event. We have had musicians, magicians and filmmakers interacting with the audience. By the end of the year, Prelude2Cinema presents… looks forward to offering funding for filmmakers.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Alex P. Michaels: Prelude2Cinema presents… has given filmmakers more exposure and with a future chance for funding and distribution, we hope to establish ourselves as a film market/ film festival. Being filmmakers ourselves, we are geared toward helping other filmmakers reach an audience.

What would you expect to experience if you attend the festival this year (2017)?

Filmmakers are treated like royalty. We make certain to invite the press and give their film attention and encourage them to talk to the audience about their work and future goals. We also have live entertainment and food at each event as part of the ticket price.

What are the qualifications for the selected films?

We like a certain level of quality, but realize your movie may not be “Hollywood” standards. We are drawn to movies that have distinct voices and are something you normally don’t see. Short films are better for programming, but we do screen features. We also keep the films from past festivals to screen at other screenings and keep in touch with the filmmakers.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

A few festivals have turned into Hollywood promotion events and certain movies are selected before they are even finished. A festival should be a chance to discover a movie that does not have movie stars but maybe offer a glimpse at future movie stars and directors. A lot of festivals can be narrow in their film selection as well and advertise they are looking for one type of movie but have a preference for another genre all together.

What motivates you and your team to do this festival?

As filmmakers, we wanted to give help to fellow filmmakers. Prelude2Cinema is also building a movie studio here in our hometown of Cleveland, Ohio and want to produce other filmmakers. We thought a festival would be a great way to build a relationship with filmmakers from all over the world.

How has your FilmFreeway submission process been?

Great. The process and payments are easy and we appreciate the template so people can discover our festival. We have had movies from Canada, Russia, France and the US. FilmFreeway is a great tool for any festival organizer.

Where do you see the festival by 2020?

Prelude2Cinema presents… wants to be able to screen trailers of movies and have screenplays submitted that we can later award production deals to. Imagine a film festival where your trailer screens, and you are awarded a budget to produce that movie? Even if we bring in movies with known stars, we always want to make certain there is equal room for new directors and actors. We want the festival to be about discovering the new filmmakers.

What film have you seen the most times in your life?

“Raiders of the Lost Ark.” I’ve seen it about 20 times.

In one sentence, what makes a great film?

Big Money. Big Stars. No. Just kidding. Actually what makes a great movie is one that lingers with you. One that changes how you look at the world. One that you find yourself thinking about years later. I truly believe movies can be art. And art should always touch your soul.

How is the film scene in your city?

The Cleveland film scene is kind of paradoxically. The movie business is Show Business. Yet, here, it is all about SHOW and very little about business. There are talented filmmakers here and the usual jealousy and egos that go along with being an artist. Sadly a lot of artist here wear “Starving Artist” as a badge of honor. They work regular jobs and do some crowdfunding and get patrons but shy away from the business aspects of our industry. I am a director myself and have acted in my movies and for other filmmakers. While I personally would like to create more movies, I do devote a large amount of time to building a pool of funding. Prelude2Cinema has just partnered with a nonprofit Give to Cleveland that is focused on the economic growth of the region. We are able to accept tax deductible donations for our movies and the studio we are working on building. While we definitely have a strong community of filmmakers with great talent, I truly believe unless we get consistent funding, we will never be able to rise above the “Starving Artist” syndrome.
 

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Emmy winning writer and award winning director, Alex has produced a number of indie movies and a TV series in his hometown of Cleveland, Ohio. He founded the Movie and Marketing Company Prelude2Cinema. Although Prelude2Cinema shoots in Northeast, Ohio, its movies have played all over the world. Alex also acts in other movies from other directors. Alex is the Cinema Czar and dedicated to creating a Cinema Industry in Northeast Ohio that is based on the old Hollywood Studio System and promotes movies and includes Hollywood and Indie filmmakers.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Danny Caprio (The Mediterranean Film Festival (MedFF))

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The Mediterranean Film Festival (MedFF) is an film festival that rewards every month the best for each category. Its objective is to promote independent films and emerging artists by making them competing with more established ones.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Danny Caprio: The MEDFF was born to promote directors all over the world, the goal being to get in touch with productions, actors and artists in general, interested in realizing projects together. Until now we have always been able to enhance our members.

What would you expect to experience if you attend the festival this year (2017)?

The experience of this long year of festival has been very important. We had major artists from all over the world: Radha Mitchell, Jessica Cameron, Brooke Lewis and Alexandre Di Martini. The job was very difficult because we had more than 2500 members, of whom only 10/15% came to the final selections. The live event was held in Syracuse and rewarded the best choices from the public. 2018 will provide more surprises

What are the qualifications for the selected films?

I want to point out that it’s never easy to select a movie. Every filmmaker has its own style and we know from the MEDFF that in every movie there is also a piece of soul of the producer. The jury chooses on the basis of the different types of enrollment and evaluates the different aspects of cinematography.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

The cinema market is like a moon park. Each attraction has a certain number of viewers and most of the time these people follow the mass.

Many films fail to exit the festivals because they do not have adequate marketing support behind them. For this reason, MEDFF has partnered with iPitchTv to help filmmakers have a faster and cheaper marketing channel.

What motivates you and your team to do this festival?

It does not take much to find the right reasons. You become part of MEDFF only if you have great love for cinema.

How has your FilmFreeway submission process been?

I love Filmfreeway, it has a nice method to submission

Where do you see the festival by 2020?

I hope in live TV

What film have you seen the most times in your life?

Shining! it is a MUST – it is a CULT

In one sentence, what makes a great film?

The actors

How is the film scene in your city?

Not so bad….we have unconventional movies, where i am the CEO, and we produce low budget movies.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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Interview with Festival Director Chris Velazquez (THE VIOLETTE FILM FESTIVAL)

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The Violette Film Festival is an Independent film festival that will be going on side by side with the CALIFORNIA REPUBLIC COMIC CON in MERCED,CA.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Chris Velaquez: Our festival’s number one goal is to get exposure for film makers who might not have had the chance to show their work before, or first time film makers that do not have enough experience. Both professional and first timers alike have the opportunity to show their work and in the process get a festival under their belt to help them in the first step to building their craft and audience in the festival circuit.

What would you expect to experience if you attend the festival this year (2017)?

We plan on having screenings of all of the film entries selected as well as a few film premiers. The festival will be happening along side a Comic Con so not only will there be an audience attending the festival but attendees of the Comic Con have access to the festival as well. This way for the film makers their films have the potential of reaching more people. We also plan to have a guest speaker as well as guest celebrity award presenters including Julie Dolan of Star Wars Rebels and Steven Skyler of Power Rangers and more!

What are the qualifications for the selected films?

They need to be well thought out, put together as best as possible nu the film maker and most importantly they need to tell a story. For us it does not matter the type of camera or experience you have, it is how you tell your story and entertain an audience. If you are a good story teller and film maker it will show. We are looking for films as well as Fan Films for our fan film contest that have clean audio, a well put together story and something entertaining of the audience to enjoy.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

yes and no…Yes in a way because of the reason why we started this festival. As a film maker myself it was very hard to get in to my first festival. It seemed to me a lot of film festivals where, in my opinion, only selecting films from people that either A) had a backing such as money or a company putting up the film and or B) Had work that was known or had prerequisites for the film makers or films( Previous screenings at festivals, Film Students only, Film vs Digital, Budgets, Etc.) for first timers like me at the time, it was very hard to get in to a festival. That is why we created our festival…no Experience needed, if you are a great film maker it will show and we will accept your film.

With that said the part I think they do get a fair shake in is that once you get a film in to a film festival the opportunities are amazing. The networking, exposure and talent that is in the festivals is a great atmosphere for creative minds to get together and make the connections that will lead to amazing things.

What motivates you and your team to do this festival?

To give people a chance to live their dreams and show their work. For me film making is a passion in I love and I am thankful for being able to do what I love for a living and through this festival we can give other film makers a chance to show their work, get exposure and help them in the step to making their dreams come true and further their careers.

How has your FilmFreeway submission process been?

It has been so easy and great. The selection process is so simple and when the submissions close the judging process is already set up and simple to use. I love this site and will be using film freeway for future festivals

Where do you see the festival by 2020?

Currently we are contracted and sponsored by the awesome people at the California Republic Comic Con ( the event that is going on side by side with the festival) and we hope that by 2020 We will have an even bigger foot print and possibly just our own event. We are currently the largest film festival to come to our town and our goal is to some day reach the level of Sundance…of course that is a long ways away but its a dream.

What film have you seen the most times in your life?

That is a tough one, let me think…I think the answer to that would be…I don’t know for sure. I am a huge movie buff and I own a huge collection of films. I think it is safe to say for me the top four films I’ve seen the most would be Psycho, Edward Scissorhands, The Fifth Element and Star Wars a new hope.

In one sentence, what makes a great film?

A great film to me has the ability to transport an audience by visually telling a great story and giving them something they can enjoy over and over again with the feeling of you have never seen anything like it before.

How is the film scene in your city?

As of early 2017 it is starting to grow rapidly. Myself and other film makers in the city banded together to create films, we started to show them at local screenings and within some time we have been able to get new film makers to join us not only in our town but from out of the city as well.

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Chris Velazquez:

Born and raised in the central valley, Chris Velazquez has had a love for everything film from a very young age. He received his first camera when he was 5 years old and never looked back. He is an award winning film maker with close to 60 projects completed to date from music videos to short films. He is the co owner of Violette Films along side his wife Margarita. Chris is also currently working as the Violette Film Festival Director as well as Creating a Web series based on a short film that received high praise in 2016 called Chrono•Film that is set to start production in fall 2017. He lives in the central Valley with his wife Margarita and their Daughter Violette, whom their film company and festival are named after.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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THE 2017 TORONTO INTERNATIONAL FILM FESTIVAL SEPT 7 -17, 2017

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

by Gilbert Seah
 
The 2017 version of TIFF will be held from the 7th to the 17th of September from Thursday to Sunday that will mark another 11 days of marathon film watching. The first press conference was held this morning (July 25th) with announcements of the first batch of films to be screened.

This site will provide you updates to the festival (so keep checking) as well as capsuled reviews of selected from the festival starting as early as three weeks before the festival actually begins. Capsule reviews will be provided as this reviewer watches the films up to the very last Sunday. This reviewer usually reviews around 80 films each year at TIFF.

Announced are 14 Galas and 33 Special Presentations, of which are 25 World Premieres, eight International Premieres, six North American Premieres and eight Canadian Premieres.
Festival-goers from around the world can anticipate a remarkable lineup of extraordinary stories, voices and cinematic visions from emerging talent and some of our favourite masters.

The announcements were made by TIFF CEO Piers Handling and TIFF Artistic Director Cameron Bailey. One of the key questions asked by the press concerned the travel ban from the U.S. They responded with the information that TIFF has special staff to deal with filmmakers and their travel arrangements with embassies and government bodies.

THE MOVIES:

GALAS 2017
Breathe Andy Serkis, United Kingdom
World Premiere

The Catcher Was A Spy Ben Lewin, USA
World Premiere

*Closing Night Film*
C’est la vie! Olivier Nakache, Eric Toledano, France
World Premiere

Darkest Hour Joe Wright, United Kingdom
Canadian Premiere
Film Stars Don’t Die in Liverpool Paul McGuigan, United Kingdom
Canadian Premiere

Kings Deniz Gamze Ergüven, France/Belgium
World Premiere

Long Time Running Jennifer Baichwal, Nicholas de Pencier, Canada
World Premiere

Mary Shelley Haifaa Al Mansour, Ireland/United Kingdom/Luxembourg/USA
World Premiere

The Mountain Between Us Hany Abu-Assad, USA
World Premiere

Mudbound Dee Rees, USA
International Premiere

Stronger David Gordon Green, USA
World Premiere

Untitled Bryan Cranston/Kevin Hart Film Neil Burger, USA
World Premiere

The Wife Björn Runge, United Kingdom/Sweden
World Premiere

Woman Walks Ahead Susanna White, USA
World Premiere

SPECIAL PRESENTATIONS 2017

Battle of the Sexes Valerie Faris, Jonathan Dayton, USA
International Premiere

BPM (Beats Per Minute) Robin Campillo, France
North American Premiere

The Brawler Anurag Kashyap, India
World Premiere

The Breadwinner Nora Twomey, Canada/Ireland/Luxembourg
World Premiere

Call Me By Your Name Luca Guadagnino, Italy/France
Canadian Premiere

Catch the Wind Gaël Morel, France
International Premiere

The Children Act Richard Eyre, United Kingdom
World Premiere

The Current War Alfonso Gomez-Rejon, USA
World Premiere

Disobedience Sebastián Lelio, United Kingdom
World Premiere

Downsizing Alexander Payne, USA
Canadian Premiere

A Fantastic Woman Sebastián Lelio, Chile
Canadian Premiere

First They Killed My Father Angelina Jolie, Cambodia
Canadian Premiere

The Guardians Xavier Beauvois, France
World Premiere

Hostiles Scott Cooper, USA
International Premiere

The Hungry Bornila Chatterjee, India
World Premiere

I, Tonya Craig Gillespie, USA
World Premiere

*Special Presentations Opening Film*
Lady Bird Greta Gerwig, USA
International Premiere

mother! Darren Aronofsky, USA
North American Premiere

Novitiate Maggie Betts, USA
International Premiere

Omerta Hansal Mehta, India
World Premiere

Plonger Mélanie Laurent, France
World Premiere

The Price of Success Teddy Lussi-Modeste, France
International Premiere

Professor Marston & the Wonder Women Angela Robinson, USA
World Premiere

The Rider Chloé Zhao, USA
Canadian Premiere

A Season in France Mahamat-Saleh Haroun, France
World Premiere

The Shape of Water Guillermo del Toro, USA
Canadian Premiere

*Special Presentations Closing Film*
Sheikh Jackson Amr Salama, Egypt
World Premiere

The Square Ruben Östlund, Sweden
North American Premiere

Submergence Wim Wenders, France/Germany/Spain
World Premiere

Suburbicon George Clooney, USA
North American Premiere

Thelma Joachim Trier, Norway/Sweden/France/Denmark
International Premiere

Three Billboards Outside Ebbing, Missouri Martin McDonagh, USA
North American Premiere

Victoria and Abdul Stephen Frears, United Kingdom
North American Premiere

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

1967 Movie Review: THOROUGHLY MODERN MILLIE, 1967

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THOROUGHLY MODERN MILLIE, MOVIE POSTERTHOROUGHLY MODERN MILLIE, 1967
Movie Reviews

Directed by George Roy Hill
Starring: Julie Andrews, James Fox, Mary Tyler Moore, Carol Channing, John Gavin, Jack Soo, Pat Morita
Review by Jayvibha Vaidya

SYNOPSIS:

Small-town girl Millie Dillmount arrives in New York City intent on finding a husband. But first she must become a modern city girl, befriend naïve Miss Dorothy, seduce her boss, stop a white slavery ring and decide between love and money when she meets smitten paper-clip salesman, Jimmy Smith.

WON an OSCAR – Best Music – Original Score.

 

REVIEW:

“I’m a modern!”

Opening with a suspenseful kidnapping which cuts to the wide-eyed Millie arriving in the big city, Thoroughly Modern Millie weaves together an evil plot to exploit young women with an amusing tale of a woman’s search for love and friendship. Spoofing the Roaring Twenties, Millie (Julie Andrews) transforms into a flapper or ‘modern’ in order to blend in and find herself a suitable husband. At the women’s hotel where she stays, Millie befriends Miss Dorothy (Mary Tyler Moore) as owner Mrs. Meers (Beatrice Lillie) sets her eye on Miss Dorothy for her next kidnapping victim.

See, Mrs. Meers is making some extra cash by selling young women with no family ties to the underground Chinese slavery business. In dark shadows lurk her two ‘oriental’ henchmen with their laundry basket of drugged bodies to smuggle into their lair. It’s a silly plot which turns Mrs. Meers into a caricature villainess, complete with poisonous apple and tranquilizer darts. But this plot is played for comedy and is thankfully balanced out with young Millie’s search for the perfect husband.

At a dance Millie meets Jimmy Smith (James Fox), a paper-clip salesman. After an energetic and well choreographed dance, she informs him that her intention is to find a handsome, single boss and become his stenographer. And eventually, his wife. Even after Jimmy proclaims his affections for her, she turns him down, intent on marrying her boss Mr. Graydon (John Gavin) who has no romantic feelings for her at all. Graydon only has eyes for Miss Dorothy who returns his affections but gets kidnapped before they can even have a first date. And to complicate it further, Millie sees Miss Dorothy running into Jimmy’s bedroom, causing her to believe they are having a torrid affair. Millie’s complications are eased when she meets eccentric Muzzy Van Hossmere (Carol Channing) who advises Millie to “Follow your heart, no raspberries!”

As all the players gather to save Miss Dorothy, a chase through Chinatown ends in an acrobatic showdown. The bad guys are defeated and Mrs. Meers sits drenched in a pool, her evil plan completely foiled. A twist at the end of the film reveal the secret identities of Millie’s friends as Muzzy clears away all confusion leaving two happy couples at the end of the film. Millie, despite becoming a modern finally finds love, exclaiming, “I don’t want to be your equal any more – I want to be a woman!” Well then! It appears that thoroughly modern Millie isn’t so modern after all.

Hilariously cutting to ‘20s-style title cards to represent Millie’s reactions to the city and people, the film contains many moments of humour expertly executed by Julie Andrews. Her looks at the camera display perfect comedic timing and a natural sweetness in her performance. She’s utterly adorable and her voice is exquisite, especially in “Trinkt le Chaim,” the Jewish wedding song. Mary Tyler Moore is sweet and naïve; especially charming in the scene when she calls snobby socialite Judith Tremaine a “bitch!” Andrews and Moore’s sensational tap number in a moving elevator is a real highlight, showcasing their chemistry and dancing skills.

The choreography and dance numbers are thoroughly entertaining, from the Tapioca Dance to the Jewish wedding. Carol Channing is wonderful in a bizarre and exhilarating acrobatic number. She’s fearless and steals scenes with her humour and personality. John Gavin as Mr. Graydon is in on the joke playing part playboy, part airhead, hilariously checking out of scenes due to a tranquilizer dart.

Winning an Oscar for original score, the film successfully maintains its comedic energy because of the music that runs through each of the scenes. The jaunty ‘Thoroughly Modern Millie’ tune plays repeatedly during the film, reminding Millie and the audience of her goals in the big city.

Although the last half of the film becomes cheesy and wraps up in a most bizarre fashion, Thoroughly Modern Millie is laugh-out-loud funny and entirely entertaining. The cast is delightful and the songs are fun, raised to a higher level by the talent of Julie Andrews. Finding love and friendship in New York City isn’t easy, but Millie gets a taste for what life is like for the ‘modern’ girl, taking the audience along on an exciting adventure.

THOROUGHLY MODERN MILLIE

1967 Movie Review: QUATERMASS AND THE PIT, 1967

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QUATERMASS AND THE PIT, 1967
Movie Reviews

Directed by Roy Ward Baker
Starring: James Donald, Andrew Keir
Review by Ace Masters 

SYNOPSIS:

While digging a new subway line in London, a construction crew discovers first: a skeleton, then what they think is an old World War II German missle. Upon closer examination the “missle” appears to be not of this earth! This movie examines the age old question of how we came to be on this planet.

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REVIEW:

Hammer Films made great movies. They didn’t rely on special effects, blood and gore, but on mood, setting, acting and writing. After all they were a British film company and for all their accolades British film and TV have never been know for special effects – until recently.

And, when watching it, keep in mind this is a British film, it will make it easier to swallow the plot of Martians actually being giant, intelligent Locust.

Five Million Years to Earth is the American release name (and the more original, eye-catching name of the two) of the Hammer film Quatermass and the Pit, starring Andrew Keir as Professor Bernard Quatermass. Itself a film adaption of the original 1950’s BBC television serial Quatermass and the Pit.

When skeletal remains of potential human ancestors are found during a re-development dig at Hobb’s Lane, London the re-development is postponed for an archeological dig. Professor Quatermass and military weapons expert Colonel Breen become involved when a large object is found that is initially believed to be an unexploded Nazi bomb from World War II.

Quatermass soon discovers the truth. The object is not a bomb, but a Martian spaceship. Five Million Years ago Mars was dying; its population – a race of advanced, intelligent Locust – was in the midst of extinction. They turned to Earth for their salvation.

With the object disturbed and the military and government refusing to believe Quatermass, the human race is put into jeopardy, as the plans the Locusts had for colonizing Earth than, threaten us now.

Andrew Keir plays Quatermass perfectly with the right amount of intelligence, awe and anti-authority. He is at once part of the government buts disdain the government as well. He is a brilliant man in his field and in general, but doesn’t know everything and doesn’t act like he does. Like any good scientist, he researches, theorizes and wants to learn the truth, even if the truth may destroy him.

Like almost all Hammer films this one is beautifully filmed, with excellent settings and a mood that fits perfectly into its sci-fi story. The only thing that lacks is the physical remains of the locusts, which are obviously fake – but done as well as they could with their budget and the limitations of the day.Beyond Andrew Keir’s performance and the look of the film, the writing is the shinning gem. Characters are handled deftly and for the most part are three-dimensional. Even Colonel Breene shows a multitude of dimensions until he becomes convinced he is right and Quatermass is wrong, then he becomes one-dimensional and single minded.

The plot is not original – Aliens wanting to take over the Earth – but the twist is. The takeover, or “colonization,” was attempted Five Million Years ago and the left over artifact is threatening us now.

The best part of the film is the act of discovery. The film never reveals too much information to the viewer, nor does it talk down to them. We discover things and learn what is going on as the characters do. This sense of discovery integrates us more into the story, unlike films where we know what is going on and are waiting for the characters to play catch-up.

If you like Hammer Films or old sci-fi films in general, than Five Million Years to Earth (aka Quatermass and the Pit) should be right up your alley. It is the second of three Quatermass films from Hammer Films, all three adaptations of early BBC serials. After viewing this one, you’ll surely want to see the others.It is a shame that a full fledge revival of Quatermass has never truly taken place.

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1967 Movie Review: POINT BLANK, 1967

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POINT BLANK, 1967
Movie Reviews

Directed by John Boorman
Starring: Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O’Connor
Review by John Corcoran 

SYNOPSIS:

Later remade as PAYBACK, POINT BLANK follows an angry Lee Marvin through Angie Dickinson and most of California to get to John Vernon, who is defenestrated nude. The ostensible plot is the old saw of betrayal and vengeance, given life here by new-wave editing and pretty good acting.

 

REVIEW:

Lee Marvin was one of the premier Hollywood “tough guys” of the Sixties and Seventies. As the studio system faded into memory and the American popular consciousness became more jaded at large. He embodied the perfect transition from the John Wayne archetype of masculine power to the more conflicted figures on the screen today. Unfortunately, as time has passed, Marvin is increasingly remembered only as an outdated “action star.” This is a disservice to an actor who could provide remarkably layered performances, none more so than in Point Blank.

In Point Blank, Lee Marvin plays a thief known only as Walker (no indication is given whether that’s a first or last name). After hijacking a money shipment from a mysterious crime ring called The Organization at Alcatraz, Walker is betrayed by his partner Reese (a loathsome John Vernon) and his wife Lynne (Sharon Acker). A man convinces Walker to get his share of the heist and avenge his betrayal by Reese who now works for The Organization. Along the way Walker has a romance with his wife’s sister (Angie Dickinson).

Director John Boorman provides more nuance than the usual crime movie trappings. The film begins with Walker’s lowest moment as he is left for dead in a cell at the abandoned Alcatraz prison, trying to piece together what has happened, an opening that has influenced countless revenge films. Boorman maintains the free movement between past and present throughout the film, providing both a glimpse into Walker’s motivations and an existentialist quality to his quest. Boorman also transitions sharply from calm to sudden moments of violence so that the action sequences do not become routine. In fact, the great achievement of Boorman’s direction is to use the action to inform our understanding of the characters rather than merely breaking from the plot for a “set piece.”

Boorman uses the natural light of Los Angeles with to accentuate the bleakness of the film. At first glance, so many scenes in the glaring sun seem out of place in a film noir, which, as its name implies, relies on darker setting. But Point Blank definitively signals that moral ambiguity is no longer limited to coming out at night. Just as the code that demanded that villains be punished in Hollywood movies died, now outfits like The Organization can hide in plain sight. In the world of Los Angeles, where everything seems so obvious but in reality is an illusion, the sunlight can be as mysterious as the cover of darkness.

Point Blank also draws a connection between The Organization and the modern corporation. In most films, heroes are thwarted in their goals by the maliciousness of the antagonist. While there is certainly some of that here, Walker is equally frustrated by sheer logistics. Indeed, some of The Organization leaders (including a scene-stealing supporting role by Carroll O’Connor) are more than willing to pay Walker his share of the heist but their hands are tied because they are too far removed from day to day operations. These scenes are darkly comic, and anyone who has had trouble getting a refund from a major corporation can sympathize with Walker’s plight.

The real gem though is Marvin’s performance. While all the requisite fight scenes are there (including one that will make any male in the audience wince), it is the moments of silence in which Marvin has the greatest impact. There is no joy in his quest for revenge. His isolation drives the film, and Marvin plays a weariness that permeates even the action sequences and the ambiguous relationship with his wife’s sister. Walker is a solitary man living under his own code, and he realizes that he is out of place in the world of The Organization, with its hierarchies and procedures. Ultimately, he can only exist in the shadows.

Hollywood, never able to leave a good thing alone, remade Point Blank as Payback, starring Mel Gibson in 1999. Of course, the melancholy and social criticism of the original was deemed too dark for audiences, and so it became a by the numbers action flick. But Point Blank still should be required viewing for aspiring action directors and actors. In every genre – perhaps even more so in those that are familiar – there is an opportunity to challenge the audience.

 

POINT BLANK

GAME OF THRONES Season 7 EP2 Review: STORMBORN

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stormborn.jpgDaenerys receives an unexpected visitor. Jon faces a revolt. Tyrion plans the conquest of Westeros.

Director: Mark Mylod
Writers: Bryan Cogman
Stars: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey

by Mary Cox

 
In tonight’s installment of Game of Thrones, Daenerys’ first real foray into the Great Game came crashing down on her head as Theon and Yara suffered a devastating blow when facing up against their cousin, Euron. Daenerys has made it this far on the backs of her dragons with her Khalasar and Unsullied armies at her side, but she’s never been up against the likes of Cersei Lannister. Her claim to the Seven Kingdoms seems to rest on forming an alliance with Jon Snow and the North. The question remains: after tonight’s spectacular military failure, will Daenerys continue to trust Tyrion’s counsel, or will she take Olenna Tyrell’s advice and finally “be a dragon”?

Despite Daenerys’ popularity with the small folk of Westeros, memories of the Mad King are still fresh in members of the gentry. However, Jaime Lannister’s unsuccessful appeal to Lord Tarly seems to forecast that the Lords and Ladies of the Seven Kingdoms are willing to take a risk on Aegon’s successor. Speaking of the Tarly’s, Samwell seems determined to gross us all out while getting kicked out of the Citadel as he embarks on his quest to save Jorah Mormont from the death sentence that is Greyscale.

On learning that Jon and Sansa are alive in the North, Arya makes an incredibly frustrating decision to cut her trip to King’s Landing short and to return to her ancestral home. However, after almost not being recognized by her own Direwolf, Arya’s return to Winterfell might not go as well as she hopes. Littlefinger is clearly counting on Jon to make a fatal misstep so he can seduce Sansa and become the Lord of Winterfell himself, but a second Stark daughter throws a wrench into his plans for succession. Will Arya, who both Jon and Sansa assume is dead, be welcomed back to the North? Or will she receive

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“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”t