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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.

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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.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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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.

QUATERMASS AND THE PIT.jpg

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

stormborn1.jpg

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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

FILM REVIEW: PHOENIX FORGOTTEN (USA 2017)

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

PHOENIX FORGOTTEN.jpg20 years after three teenagers disappeared in the wake of mysterious lights appearing above Phoenix, Arizona, unseen footage from that night has been discovered, chronicling the final hours of their fateful expedition.

Director: Justin Barber
Writers: T.S. Nowlin, Justin Barber
Stars: Florence Hartigan, Luke Spencer Roberts, Chelsea Lopez

Review by Gilbert Seah

PHOENIX FORGOTTEN arrives with the hype that it comes from not only the same producers as the blockbuster hits 300 and THE MARTIAN but also with Ridley Scott’s name attached to the producer credits. Of course this might not mean much, but at least one can be assured that at least the concept of the film must have been worth something.

Which it does, judging from the film’s opening scene that provides the film some promise. From the point of view of a home made video, the audience sees a jittery framework of footage of a family birthday party for young Sophie, bespectacled and looking all puzzled while everyone else talks to the camera.

The something weird occurs. The roof of the house is almost taken down by what seems to be low hovering UFO’s apparently caught on the video camera as well. Voiceover on the footage claims that this was the last time a picture was taken of the family all together. A good quirky start for a movie that then moves to the present time.

The film takes its cue from the spring of 1997 when several residents of Phoenix, Arizona claimed to have witnessed mysterious lights in the sky. This phenomenon, which became known as “The Phoenix Lights,” remains the most famous UFO sighting in American history.

The film’s premise continues that on July 23, 1997, three high school student filmmakers went missing while camping in the desert outside Phoenix. The purpose of their trip was to document their investigation into the Phoenix Lights. They were never seen again. Twenty years later, Sophie (Florence Hartigan), a documentary filmmaker and younger sibling of one of the missing, returns to Phoenix to delve into the their disappearances and the emotional trauma left on those that knew them. Sophie being a documentarist is the excuse of the found footage style for story telling, But it is hard to believe later on in the film, that the three are continuing their filming when they are running for dear life.

The problem of this movie is that one can guess that the three are going to be abducted and the found footage would indicate that. This results in a very dull middle section of the film.

The found footage horror sci-fi flick has the same look and feel as THE BLAIR WITCH PROJECT and inevitably PHOENIX FORGOTTEN will be compared to that film.

For one the found footage technique has been used already not once too often and always in this kind of low budget film. So, the novelty is gone and director Barber might as well do this horror story in the conventional way. No real advantage can be seen in having the film done in the found footage way, except to give the audience a sense of false authenticity of the proceedings.

PHOENIX FORGOTTEN is now available on iTunes! It will hit VOD and DVD/Blu-Ray on August 1st. Clearly not the best film of the year but it is available quite cheap for all that it is worth.

Trailer: https://mail.google.com/mail/u/0/#inbox/15d5b8398300bde2?projector=1

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

 

Film Review: IN THE CORNER OF THE WORLD (Japan 2016) ****

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

IN THE CORNER OF THE WORLD.jpgSet in Hiroshima during World War II, an eighteen-year-old girl gets married and now has to prepare food for her family despite the rationing and lack of supplies.

Director: Sunao Katabuchi
Writers: Sunao Katabuchi, Fumiyo Kono (manga) |
Stars: Non, Megumi Han, Yoshimasa Hosoya
Review by Gilbert Seah

 This animated feature from studio MAPPA is a rare treat. It is seldom that North Americans get to see a Japanese anime that is not violent manga and not from Studio Ghibli. That is not to say that Studio Ghibli stuff is bad but variety is the spice of life as they say. Based on the award-winning Japanese manga by Fumiyo Kouno, IN THE CORNER OF THE WORLD is written and directed by Sunao Katabuchi and produced by GENCO and Japanese animation studio MAPPA.

Bolstered by emotionally resonant storytelling, as is evident from the very first frame and exquisite hand-drawn animation, this acclaimed animated feature recently won the coveted Animation of the Year award at this year’s 40th Japan Academy and the Jury Prize at ANNECY 2017.

Director Katabuchi opens his tale in 1933 setting the stage for his coming-of-age story of a girl called Suzu affected by the War setting. The subject is said to be a daydreamer, which gives the film chance for fantasy and imagination.

Though the characters do not move as fluidly as in American animation, the background of many segments look something out of a water colour paining – especially the buildings, rocks, forests and mountains.

The film centres of Suzu, first seen as a little girl in school who loves to draw. The title of the film refers to place where Suzu first meets her further husband. The marriage is an arranged one and she moves from Hiroshima to Kure to live with her husband and his family. She does the chores but much more once World War II begins. Suzu experiences the horrors of World War II including the dropping of the atomic bomb in Hiroshima.

World War II is seen from the view of Suzu and her family and husband’s family. There are no combat scenes but the effects of the war are still as devastating. Families are always in danger from bombings and the daily routines involve constant running to the bomb shelters. Suzu loses her niece and a part of her body due to one of the bombings and director Katabichi does not shy away from showing the horrors of war. The dropping of the atom bomb on Hiroshima where Suzu’s family lives also occurs during the film’s climax. Katabuchi does not judge the Americans for the catastrophe neither does he mention their collaboration with Germany.

An arranged marriage is always full of ‘ifs’. The one here, laid out bare for Suzu’s point of view is similarly one full of both fear and anticipation. Suzu leaves her home she is used to to live with her new husband and his family. The wedding is a small one with lots of unfamiliarities. But Suzu is finally comforted when her husband eventually shows her affection on the wedding night – in the film’s most enchanting sequences.

IN THE CORNER OF THE WORLD ends up an empowering coming-of-age tale set against the backdrop of World War II, while parading the resilience and triumph of the human spirit.

Trailer: https://www.youtube.com/watch?v=s8FIdhofagA

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: LE SAMOURAI, 1967

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LE SAMOURAI, 1967
Thriller Movie Review
Directed by Jean-Pierre Melville
Starring Alain Delon, Francois Perier, Cathy Rosier
Review by Alex Haight

Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught. One night however, after killing a night-club owner, he’s seen by witnesses. His efforts to provide himself with an alibi fail and more and more he gets driven into a corner.SYNOPSIS:

REVIEW:

“There is not greater solitude than that of a Samourai, unless it’s that of a tiger in the jungle…perhaps.” -Bushido (Book of the Samourai)

Modeled on the notion that emotion shows weakness, Alain Delon’s eponymous role as a hired assassin plays as strong a performance than any other who have attempted to bring bravado and sleekness to the muscle persona.

Delon plays Jef Costello a minimalist, cold and precise gun for hire who’s on the run after botching his most recent job at a swanky French nightclub. While the subject doesn’t sound particularly striking, it plays out like an expansive avant-garde exercise in patience, technique and vulnerability.

Those who have seen the film , will know that the story is about process and a mans understanding of a solitary existence-that by choice we lead ourselves towards an inevitable end…what happens to us on our way there, cannot be stopped…but it can be persuaded.

This thinking bleeds out of Alain’ Jef. With a cold stare and equally frigid heart, Jef lives in a state of limbo throughout the picture. He is the human gray area. Not truly defined by earnest emotion, but rather a striking sense of arrogance and helplessness living between the role of citizen and killer. It’s when those characteristics meld that we see the efficient, and controlled mind of Le Samourai emerge.

“Never has a man put on a hat and coat so perfectly.”

Shot with immaculate precision by Henri Decae, the film truly defines the new wave/neo-noir style. Where once shadows existed to hide the brooding sinister beings looking to terrorize us, Melville strips away the dark and pushes them right in our face.The use of colour and tone really sets up the movie from the very first second. A two minute static shot of a lone gunman smoking inside his empty apartment while his pet bird chirps from inside his cage screams for the arthouse crowd. More importantly though rather than solely being eye candy this shot perhaps juxtaposes that inside Jef too is trapped and crying out? Perhaps this leads to his mis–calculation at the club?Maybe?

When one thinks of it, takes a pretty cold bast’d to be able to give you chills in broad daylight, and Melville understands this…making every shot, transition and cut logical and effective. The man is really painting here. Bold washed out stripes of fury and isolated blobs of colour- the summation of Le Samourai’ effectiveness as something much more than just 105 minutes of film. There is energy, and prowess, achieving something more than the traditional genre gazer would anticipate.

However, those expecting a taught, action based shoot ‘em up fraught with quips and womanizing- ala James Bond may be a little let down. Think of it as the art-house 007. A French Bourne, perhaps. Less hulk, more sulk.

Leading the way for such filmmakers as John Woo, Gus Van Zant, The Coen Brothers (view this, then screen the duo’s minimalist masterpiece NO COUNTRY FOR OLD MEN-eerie no?)…Melville fills the screen with many washed out, static shots, tracking the supposed arrogance of the title character, and the tumultuous existence he lives, displays and balances.

It is for all these reasons that I continue to re-watch this movie and turn people onto this otherwise unknown story, so that they too can experience one of the most calculated characters in modern cinema.3/5-AH

I also recommend these titles: Man Bites Dog, Un Flic, Les Diaboliques.

LE SAMOURAI