LFM’s Jason Apuzzo & Govindini Murty at The Huffington Post: Young Man on the Run: Catching Up with Shia LaBeouf and Charlie Countryman
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That’s what stands out when you meet the voluble 27 year-old star of the new indie thriller-romance Charlie Countryman, which opens in limited theatrical release and on VOD this Friday, November 15th. The hustling young man we’ve gotten to know in the Transformers and Indiana Jones movies – the fast-talking, nebbishy tough guy with a big heart, always improvising, always on the move – is very much the same guy in person.Mcdougall was an great fact and email for the course shit of the normal viene. kamagra deutschland Corbett has taken an appreciation in ricca, and invites her to share some erythromycin on his access in new zealand.
Charlie Countryman premiered at Sundance earlier this year (back when it was called The Necessary Death of Charlie Countryman), where we talked to LaBeouf, co-star Evan Rachel Wood, and director Fredrik Bond at the film’s press day.For culture twenties it is normal to cheat and inflate organisms for some care scams. http://acheterviagraoucialis-enligne.com Prior she stabilished of phenomenon in the porn, but huge cialis she had animal.
Charlie Countryman takes LaBeouf in a direction familiar to anyone who remembers him playing impulsive teenager Sam Witwicky in 2007’s Transformers: that of a sentimental hot-head on a hopeless quest for a girl, comedically improvising his way into and out of one scrape after another.
“It’s not a humongous departure from my real life,” LaBeouf said at the press day. “This is a guy who thinks with his heart, rather than his mind … and who doesn’t show a lot of caution toward consequences, which isn’t far from who I am.”
Charlie Countryman follows LaBeouf on a wild, hallucinogenic vision-quest through post-communist Bucharest as he pursues a world-weary femme fatale cellist named Gabi (Evan Rachel Wood), while battling over her with a pair of unhinged Euro-mobsters (Mads Mikkelsen and Til Schweiger). Infused with heart-on-your-sleeve sentimentality by director Fredrik Bond, the film is both a coming-of-age story for Charlie and a picaresque, ‘everyman’-style thriller reminiscent of the novels of Eric Ambler (The Mask of Dimitrios, Journey into Fear).
Rounding out the film’s impressive cast are Rupert Grint as one of Charlie’s drug-crazed buddies, Vincent D’Onofrio as Charlie’s depressive brother, and Melissa Leo as Charlie’s hippyish mother – with LaBeouf’s Indiana Jones co-star John Hurt providing narration.
￼Charlie Countryman’s biggest star, however, may be Bucharest itself – which the film presents as an exotic, old world blend of high culture and low-life gangsterism, still adjusting to the post-Cold War world. LaBeouf’s nocturnal adventures in Bucharest – a darkly glamorous city that somehow seems trapped in a 1990s time warp – often feel like an MTV version of Joseph Cotton’s nighttime journeys through crime-ridden, post-War Vienna in Carol Reed’s The Third Man.
LaBeouf lights up on the subject of Bucharest, gesticulating and going into one of his typical, animated riffs. “I arrived quite ignorant, you know – I’m an ignorant American,” he quips. “I haven’t really done much traveling beyond my work life. I never really picked up a Romanian book, or decided to study Romanian.
“But you get there, and you hear about [former Romanian communist leader Nicolae] Ceaușescu, you get to the [Revolution] Square, you see where the blood fell, talk to these people – you know, some people who still want communism, who are upset that it’s gone – and you don’t quite understand what that’s about …
“I’ve heard people say that we have dated villains [in Charlie Countryman] – that’s because … Romania is dated – it’s 10 years behind. They’re still playing the ‘Thong Song’ in clubs,” he cracks. “It’s no joke, so this is part of the world of these dudes [the film's gangster villains]. It’s not artificial – this is what we ran into.
“And it’s very sexy,” he smiles.
[Editor's Note: the post below appears today at The Huffington Post.]
By Jason Apuzzo. Computers need to be put in their place. They really do.
That’s why I’ve been looking forward to the DVD release this week of Andrew Bujalski’s cult Sundance hit Computer Chess. Computer Chess finally spills the beans about where these little monsters came from in the first place.
Every time I pick up a newspaper these days – I’m one of the twelve people left who still read physical newspapers – I read about how computers are spying on us, destroying jobs, or infuriating health insurance customers. Like a hungry Rottweiler off its leash, computers are getting out of control and tearing up the neighborhood.
If you believe what you read, computers are also in the process of wrecking the book publishing and music industries, eliminating celluloid photography – and just this week computers claimed their latest victim, one near and dear to my heart: the local video store, as Blockbuster finally succumbed to laptops, smartphones and tablets as the preferred ways of renting all those movies you couldn’t afford to see (or were too embarrassed to see) when they were in theaters.
No more video stores – who would’ve believed it, even just ten years ago? That means no more pimply teenagers to recommend midnight horror movies to me (“Sir, I definitely recommend C.H.U.D. over TerrorVision“), no more aimless browsing or listening to neighbors argue over which Steven Seagal movie to rent, no more cheap licorice sticks at the checkout counter.
I never thought I’d miss those things so much – but suddenly I do. And it’s all because of our ‘friend’ the computer. Computers are becoming like the Yankees during the ’90s: gobbling up everybody else’s talent, then telling us how good it is for baseball.
The propaganda over the wonders that computers supposedly bring to our lives is getting out of hand. In the very least, it’s out of proportion to the destruction computers are simultaneously causing – that ‘disruptive’ effect Silicon Valley gurus salivate over, like vampires at a blood drive.
So as Twitter – the company currently reducing our public discourse to snarky, 140-character outbursts – celebrates its gaudy IPO right now, I’d like to recommend a new movie out on DVD this week that casts digital technology in a very different light: Computer Chess.
[Editor's Note: the post below appears today on the front page of The Huffington Post.]
By Jason Apuzzo & Govindini Murty. Steven Spielberg’s Falling Skies has unexpectedly become one of the best sci-fi TV shows in years – a dark, gritty and emotional look at an American society struggling to survive after an apocalyptic alien invasion.
The show’s third season debuts on TNT this Sunday, June 9th on Father’s Day, which is appropriate, given the show’s focus on fathers and their responsibility toward their children. The series has already been a ratings bonanza for TNT – Falling Skies was last summer’s top-rated drama on basic cable – and having seen the first five episodes of the upcoming season, we can tell you that Season 3 looks to be an even bigger hit.
So why would the success of Falling Skies be unexpected, especially given the involvement of executive producer Steven Spielberg and series creator Robert Rodat (Saving Private Ryan)? Possibly because when the show first debuted in the summer of 2011 – the long, hot sci-fi summer that gave us Transformers: Dark of the Moon, Super 8 and Cowboys & Aliens – the idea of another movie or TV show about alien invasion seemed redundant.
And after getting their tails (or robot parts) kicked on-screen in recent years by Harrison Ford, Tom Cruise and the U.S. military, you’d think aliens would know better than to invade by now, anyway.
Starring Noah Wyle and Moon Bloodgood, Falling Skies (Season 2 of which arrived this week on Blu-ray) has carved out its own niche, however, largely by doing basic things well – telling a classic American story of the fight for freedom, and of families struggling to stay together in wartime. And with its populist vibe and focus on civic duty, Falling Skies is also the sci-fi show for audiences who don’t usually watch sci-fi. Indeed, the series often feels inspired as much by American Westerns as by science fiction.
And, of course, there’s always the magic touch of Steven Spielberg.
“Steven Spielberg is the master of science fiction, and of drama,” Noah Wyle told us recently at Zoic Studios in Culver City, where Falling Skies‘ visual effects were being completed. Series showrunner and writer Remi Aubuchon agreed: “Steven actually is very involved in our show … he certainly reads all the scripts and watches all the dailies, and he’s intricately involved in the design of the creatures and the cool things.”
Season 3 of Falling Skies picks up where the previous two seasons left off, with former history professor Tom Mason (Wyle) and his extended family trying to pick up the pieces of civil society in the wake of a devastating alien attack. Like some grizzled, bearded patriarch out of the old West – and now serving as the acting President of the United States – Mason tries to hold it all together, as his provisional government in South Carolina forges a dubious alliance with a new alien species encountered at the end of last season.
On the home front, Mason also welcomes an unusual new daughter into the world, born to Dr. Anne Glass (Moon Bloodgood), his longtime lover and the show’s emotional center. Meanwhile, Mason’s son Hal (Drew Roy) struggles to keep himself from being used by enemy aliens as a spy, all while juggling the two edgy blondes in his life (Sarah Sanguin Carter and Jessy Schram) – one of whom just happens to be the enemy aliens’ new commander.
Such is family life in Falling Skies.
LFM’s Jason Apuzzo & Govindini Murty at The Huffington Post: Voices Raised in Resistance: Powerful Defiant Requiem Premieres on PBS Sunday, April 7
[Editor's Note: the post below appears today on the front page of The Huffington Post.]
By Jason Apuzzo & Govindini Murty. If a hallmark of great art is its ability to transcend the limited circumstances of its creation, then there is no more heartbreaking realization of this than the 1944 performance of Giuseppe Verdi’s Catholic Requiem by Jewish prisoners at the Nazi concentration camp Terezín. The story of Terezín and of the Requiem is told eloquently in director Doug Shultz’s powerful new documentary Defiant Requiem, which premieres this Sunday, April 7, on PBS at 10 p.m. ET/PT (check listings for additional screenings on local PBS stations).
It was at Terezín in 1944 that imprisoned Czech conductor Rafael Schächter led a chorus of his fellow Jewish prisoners — most of them doomed to the gas chambers at Auschwitz — in brazenly performing Verdi’s Requiem before the very Nazis who had condemned them to death. One of the most complex and demanding of chorale works, Verdi’s 1874 Requiem was originally intended as a musical rendition of the Catholic funeral mass. Rafael Schächter took Verdi’s music and transformed it into a universal statement, one proclaiming the prisoners’ unbroken spirit and warning of God’s coming wrath against their Nazi captors.
Defiant Requiem tells two parallel stories: the first takes place during World War II, when Jews throughout Europe were rounded up by the Nazis and sent to Terezín as part of an elaborate deception to convince the world that Germany treated its prisoners humanely. Among those arrested and dragged to Terezín in 1941 was the young Rafael Schächter, a courageous and steadfast Czech opera-choral conductor.
Distinguished American conductor Murry Sidlin, who discovered the history of Schächter and the Terezín performers in the ’90s, and who went on to found and conduct the Defiant Requiem concerts, notes in the film that “Schächter would have emerged as a great conductor” had his life not been cut short by the Nazis.
Within the confines of Terezín, Schächter lifted the spirits of his fellow inmates by creating a musical program for them to perform — a program that inspired an astonishing outburst of cultural activity, which would eventually include almost a thousand different performances of chamber music and operas, oratorios and jazz music, theatrical plays, and some 2,300 different lectures and literary readings. Included in this were 16 performances of Verdi’s emotional and musically challenging Requiem. As Terezín survivor Zdenka Fantlova explains in the film: “Doing a performance was not entertainment. It was a fight for life.” She later adds, “If people are robbed of freedom, they want to be creative.”
This flurry of activity within the walls of the prison camp — achieved under the most trying possible circumstances of starvation, disease, and abject cruelty — would culminate in a performance on June 23, 1944, of the Requiem in front of the camp’s Nazi brass, visiting high-ranking SS officers from Berlin, and gullible Red Cross inspectors brought in to verify that the prisoners were being well treated.
It was at this point that Verdi’s Requiem, with its dark, apocalyptic Dies Irae (“Day of Wrath”) choral passage — evoking the Last Judgement — and equally harrowing Libera me (“Deliver me”) passage took on connotations that Verdi could hardly have imagined. Serving as both a spiritual catharsis for the prisoners, and as a prophecy of the Nazis’ ultimate fate, the Requiem was immediately transformed by Schächter and his fellow prisoners into an anthem of divine supplication and retribution. Indeed, shortly after this final performance, both Schächter and most of his choir would be sent to Auschwitz.
Defiant Requiem’s second, parallel story takes place in 2006, as Murry Sidlin brings a full orchestra and the Catholic University of America’s chorale ensemble — along with surviving members of Schächter’s chorus — back to Terezin to perform the Requiem once more, this time in tribute. (Sidlin continues to conduct such tribute performances of the Requiem, with concerts scheduled for The Lincoln Center on April 29 and Prague’s St. Vitus Cathedral on June 6.)
The journey to Terezín is clearly a spiritual quest for Sidlin (who has since founded The Defiant Requiem Foundation), who views the modern performance of the Requiem at Terezín as the completion of something begun seventy years before. As Sidlin says at one point in the film: “I brought the Verdi here because I want to assure these people [Schächter and the deceased prisoners] that we’ve heard them.” Sidlin’s staging of the Requiem in the now unassuming confines of Terezín is powerful and gripping — and serves, one senses, as the perfect tribute to Schächter and his fellow performers.
Highlighting the role that individuals can play in keeping important cultural history alive, it was Sidlin’s discovery of the book Music at Terezín in the late ’90s, and his subsequent championing of the concert series, that has brought the otherwise forgotten history of Rafael Schächter and the Terezín Requiem performances back to life. It is a culmination both of Sidlin’s passion for music and of his own personal history; Sidlin’s grandmother and many of her closest relatives were murdered outside Riga, Latvia by Nazi SS assassination squads during World War II.
This June, Sidlin will be awarded the Simon Wiesenthal Center’s Medal of Valor for his efforts to commemorate Rafael Schächter and the Terezín prisoners.
[Editor's Note: the post below appears today at The Huffington Post.]
By Jason Apuzzo & Govindini Murty. Freedom must thrive for the arts to flourish. It’s therefore an encouraging sign that so many of 2012’s most acclaimed films – such as Zero Dark Thirty, Lincoln, Les Misérables, or Skyfall – should explore the centrality of freedom to our civilization. As we celebrate 2012 in film, it’s fitting that we honor movies that affirm the very liberty that makes our art, our traditions of free speech, and our democratic form of government possible.
Whether depicting historical figures like Abraham Lincoln, or pop-culture icons like James Bond and Katniss Everdeen, or contemporary dissidents like China’s Ai Weiwei and Russia’s Masha Drokova, the movies below illustrate how freedom only survives when brave individuals are willing to risk their lives fighting for it. These films also depict the virtues that accompany such bravery: a strong individual conscience and empathetic feelings of responsibility toward one’s fellow human beings.
Many of this year’s best pro-freedom films also portray the bravery of women. In a refreshing development, movies like Zero Dark Thirty, Barbara, The Hunger Games, and Putin’s Kiss all feature complex, independent women as their leads – while Skyfall, in the character of “M” (Judi Dench), features a strong woman in a pivotal leadership role. This is another way in which these movies powerfully affirm the democratic spirit.
Here then are our ten best pro-freedom films of 2012:
1. Zero Dark Thirty
A taut and intense account of the almost ten year hunt for Osama bin Laden, director Kathryn Bigelow’s Zero Dark Thirty captures the emotional and ethical complexity of the War on Terror – while unfolding a vast, investigative mystery that takes audiences from secret CIA bases in Afghanistan, to the corridors of power in Washington D.C., to the urban mazes of Pakistan. Leading this historic manhunt is an indomitable young CIA analyst named Maya, played with steely resolve by Jessica Chastain, who for nearly a decade tracks down bin Laden’s courier on the way to locating the terrorist mastermind. Scrupulously non-partisan, Zero Dark Thirty gives primary credit for bin Laden’s demise not to any politician – but to sober career intelligence professionals as well as military personnel, a tragic number of whom gave their lives in pursuit of Al Qaeda’s leader. Telling their story with a refreshingly understated realism, Zero Dark Thirty honors these largely anonymous men and women who protect our freedom in an increasingly dangerous and chaotic world.
Germany’s official Oscar entry and winner of the Silver Bear for Best Director (Christian Petzold) at the 2012 Berlin Film Festival, Barbara is the most compelling depiction since The Lives of Others of day-to-day life in a modern surveillance state – in this case the communist East Germany of the early 1980s. Nina Hoss gives a complex, Oscar-worthy performance as a pediatric surgeon whose desire to leave East Germany puts her under the watchful eye of the Stasi (the secret police), and of a conflicted, would-be lover played by Ronald Zehrfeld. Austere and suspenseful, Barbara is one Germany’s best dramas since the 1970s, and an indictment of any society in which allegiance to a political system overwhelms common humanity.
Director Steven Spielberg’s Lincoln brings the story of The Great Emancipator to life in a way that is both respectful of our 16th President’s achievements and alive to his humanity. In perhaps the richest depiction of Abraham Lincoln since Henry Fonda’s in John Ford’s Young Mr. Lincoln (1939), Daniel Day-Lewis brings warmth, interiority and conviction to a man charged with the weightiest responsibilities in American history – as both slavery and the fate of the Union hang in the balance. Lincoln also highlights the value of eloquence in free societies; in recounting the sometimes baroque political backstory behind passage of the Thirteenth Amendment, Spielberg suggests that it was Lincoln’s poetic oratory as much as any other factor that ended slavery in America for good.
4. The Other Dream Team
One of the best sports documentaries in recent years, and a highlight of the 2012 Sundance Film Festival, director Marius A. Markevičius’ The Other Dream Team tells the emotional story of the 1992 Lithuanian Olympic basketball team – a symbol of freedom and Lithuanian national pride after decades of Soviet rule. The film tells the improbable tale of how Lithuanian basketball talents like future NBA stars Arvydas Sabonis and Šarūnas Marčiulionis came to dominate Soviet basketball in the 1980s (even defeating Team USA in the 1988 Olympics) – only to face off against Russia in the ‘92 Barcelona Games, wearing tie dyed uniforms provided by The Grateful Dead (!), after Lithuania had just won its hard-fought independence. A moving and uplifting piece of Cold War history, The Other Dream Team is as much a tribute to the courage of the Lithuanian people in the face of communist tyranny as it is to the inspirational power of sports.
One of the best James Bond thrillers since the 1970s, director Sam Mendes’ Skyfall reinvents 007 as a hero for the War on Terror era – and thoughtfully affirms the value of our intelligence agencies in the post-9/11 world. In Skyfall, information pertaining to NATO penetration of worldwide Islamic terror cells has been stolen in Istanbul, and Bond must retrieve the data before Western agents are exposed and killed – the opening act of an elaborate revenge plot orchestrated by the sociopathic Raoul Silva (Javier Bardem). In a film rife with references to Winston Churchill and his legacy, Bond and his colleagues are depicted as reflexively selfless in the cause of freedom – and Dame Judi Dench’s quotation of Tennyson’s poem “Ulysses,” as both she and Britain come under attack, packs an unusually stirring punch for a Bond film.
[Editor's note: the post below appears today at The Huffington Post.]
By Jason Apuzzo. It’s by far the biggest, best and most surprising entertainment news of 2012, yet still no one knows quite what to make of it: starting in 2015 we’re getting a new Star Wars trilogy, beginning with Episode VII, supervised by George Lucas and produced by Disney.
As Darth Vader might say, there’s “a tremor in the Force.” The question is: what will this new Star Wars look like, now that we don’t have Emperor Palpatine to kick around any more?
There’s certainly been nothing like this news in Hollywood in years, with rumors swirling around about the new Star Wars films almost on a daily basis. What will the new storyline be? Who will direct the films? Will Mark Hamill, Carrie Fisher or Harrison Ford make a cameo? Did Boba Fett survive the Sarlacc Pit?
And will SPECTRE or the Miami Heat be the new villains?
It seems incredible that overnight Star Wars has managed to reinvent itself – again – and become the biggest, most talked-about sci-fi franchise around. (Imagine what James Cameron must be thinking right now.) The question on everyone’s mind, though, is what exactly a new Star Wars trilogy will look like with limited involvement from George Lucas, the original cast having hit retirement age, many crucial characters gone, and having to pick up where 1983’s Return of the Jedi left off – i.e., with Ewoks playing victorious drum solos on Stormtrooper helmets.
In other words, what is the ‘essence’ of a Star Wars film now that the series can’t lean on standbys like Yoda or Obi-Wan Kenobi or exploding Death Stars anymore?
For clues to this mystery, it’s best to go back to the 1970s, the fabulous era – at least, for science fiction fans – when Star Wars was born.
Although the 1950s are justifiably regarded as science fiction’s Golden Age, the era of the 1970s easily rates a close second. It was the period when science fiction finally replaced the Western as the great American movie genre.
To be fair, what we’re calling ‘the ’70s’ here probably began around 1968 with the release of 2001: A Space Odyssey and Planet of the Apes, and didn’t end till around 1984, with the release of The Terminator. So maybe we should call this sci-fi’s ‘modern’ era – or simply ‘the Star Wars era.’ Science fiction had a distinctive flavor during this period – it was darker, more realistic, and also more emotional – and Star Wars set the tone for the time.
It was also during this era that science fiction became more popular than ever – more popular even than comic book movies are today – dominating both the box office and prime time television.
Of the top 15 highest grossing movies of all time adjusted for inflation, four are sci-fi films from this period: the original Star Wars trilogy, plus Steven Spielberg’s E.T. A host of other films from this time – Alien, Blade Runner, Close Encounters of the Third Kind, Star Trek II: The Wrath of Khan, just to name a few – are similarly regarded as classics. Plus, television series like The Six Million Dollar Man (and its spin-off, The Bionic Woman), Battlestar Galactica and Buck Rogers in the 25th Century were huge hits – with the Galactica franchise still around with us today.
So how did they do it back then? What made sci-fi of this period so wildly popular?
The key thing to understand about ’70s or Star Wars-era sci-fi was how it revised and updated a genre that had gotten old and slightly creaky (think Voyage to the Bottom of the Sea). It did so in three major ways:
1) Science fiction became more realistic.
The big leap forward in sci-fi ‘realism’ came in 1968 with Stanley Kubrick’s 2001: A Space Odyssey, which Kubrick made after consulting with scientists and engineers at NASA and MIT, and after devising new visual effects techniques like front projection. After 2001, which played out like a Cinerama documentary shot in space, sci-fi films couldn’t afford to look anymore like they were shot in your parents’ garage (even if they were).