Tag: movies

February 6, 2012 / / celebrities

Writing a good romantic comedy is tough.

Writing a good divorce comedy is tougher.

So the fact that Rashida Jones nailed both her performance and her part of the screenplay entire movie is something very special.

Celeste and Jesse Forever follows a long-term couple in the midst of a breakup. Having been best friends for the past twenty years, Celeste (Rashida Jones) and Jesse (Andy Samberg) find themselves divorcing–in spite of their continued chemistry. Celeste, a trends analyst and pop-culture commentator, is the epitome of a responsible business woman. Jesse is an unemployed artist, who spends more time scheming on surfing than actively planning out his life. They bond through some strange shared loves (like masturbating lip glosses, baby corn, and other things that look like tiny penises) but Celeste initiates the divorce since Jesse has failed to grow up. Read the Post Sundance Pick: Celeste and Jesse Forever

January 27, 2012 / / arab

Trailer “5 Broken Cameras” from Guy Davidi on Vimeo.

 

“By healing, you resist oppression. – Emad Burnat”

5 Broken Cameras is a story of living in the shadow of oppression, a moving portrait of vibrant resistance through the unapologetic embrace of life itself. Set in the small Palestinian village of Bil’in, the story and narrative belongs to Emad Burnat, who became the eye of the village and ultimately chronicled over five years of activism. The people of Bil’in found their lands being encroached on by the building of a new settlement, and the wall to protect that settlement. They protest peacefully, marching up to the wall each Friday and thinking of new actions and demonstrations to stop the advancement of the settlement.

During this time, Emad also had a son, Gibreel, which brought his total brood to four. Emad mentions that each of the boys knows a slightly different world. The eldest was born during the Olso Accords which meant that he grew up with more freedom and mobility. Gibreel, on the other hand, mixes his first words of “mommy” and “daddy” with “army,” “cartridge” and “run! run!” If it weren’t for the ever present undercurrent of violence, Emad’s life would almost be seen as idyllic: a loving family; a large, involved village; numerous dances and celebrations are cornerstones of the life they create. Their marches are also full of hope and some humor. At one point, tired of the late night raids on the village, a group of children march up to the wall, chanting “We want to sleep! We want to sleep!” The situation in Bil’in gained international attention, and groups of Israeli, German, and other activists come at various points to show their support and solidarity. However, violence is never far enough away, and the promise of more hangs over Bil’in like a cloud. Read the Post Sundance Pick: 5 Broken Cameras

January 26, 2012 / / class

“Though we tremble before uncertain futures/ may we meet illness, death and adversity with strength/ may we dance in the face of our fears.”
― Gloria E. Anzaldúa

Mosquita y Mari is a slow paced exploration of being a teenager peering over the brink of adulthood. Set in a Mexican-American neighborhood in Los Angeles, Mosquita y Mari follows the lives of two very different Chicana teenagers. Yolanda (Fenessa Pineda) is a studious high-achiever, a dutiful daughter from a loving home. Mari (Venecia Troncoso) is rebellious and volatile, with a chip on her shoulder that crowds out most of the world. Circumstances toss them together again and again, and they embark on a deep and intense friendship.

In her press kit, writer/director Aurora Guerrero writes:

The inspiration behind my debut feature-film, Mosquita y Mari, was my own adolescence. Initially, when I decided I wanted to write a feature-length script I kept coming back to a series of complex, same-sex friendships I had while growing up. When looking back, long before I identified as queer, I realized my first love was one of my best friends. It was the type of friendship that was really tender and sweet but also sexually charged. Despite the fact that we had the makings of a beautiful teen romance we never crossed that line. The beginnings of Mosquita y Mari was reflecting back on that time and asking myself the questions, why didn’t we cross that line and what kept us in “our place”? I didn’t grow up in a household where my parents forewarned me that if I turned out to be gay they would disown me. They didn’t wave the Bible in my face saying it was wrong. Instead the message was subtle. It was hidden in the silences around sex and desire; it was implied in society’s expectations, you know, like you only experience those feelings of love and desire with the opposite sex. I think all of us are subject to society’s rules so I think many people can relate to this story of censored friendship. That was the initial inspiration. […] Read the Post Sundance Pick: Mosquita y Mari

October 25, 2011 / / class

Movie theaters used to hold a special kind of magic.

Lined up with my friends, clutching the occasional purchase of popcorn and a soft drink, or sneaking smuggled in snacks, we would watch in awe and horror as teenagers paraded around on screen, seemingly oblivious to the threat of violence lurking around the corner. When I was about thirteen years old, I sat through the original Scream. The rules of horror movies, as articulated by the character Randy, were clear and concise:

Randy: There are certain RULES that one must abide by in order to successfully survive a horror movie. For instance, number one: you can never have sex.
[crowd boos]
Randy: BIG NO NO! BIG NO NO! Sex equals death, okay? Number two: you can never drink or do drugs.
[crowd cheers and raises their bottles]
Randy: The sin factor! It’s a sin. It’s an extension of number one. And number three: never, ever, ever under any circumstances say, “I’ll be right back.” Because you won’t be back.

But there were some rules that we knew that never were articulated.

    1. The black character always dies, normally first. This is normally related to not being lead characters, but easily dispensable side characters. Sure, we had Tales from the Hood, but we knew the score. I think that’s why all of us at the local participatory theater screamed the whole way through I Still Know What You Did Last Summer. “Run, Brandy, Run! You gotta make it because they already killed Mekhi!”

    2. Upper middle class white kids are the stars of these things. In general, no matter how big and bad the villain is, they are still hanging out in pastoral campgrounds or tony neighborhoods, waiting for their victims to sun themselves on their cabanas. The only exception I can think of was Candyman who was black and haunted the Cabrini-Green housing projects. And later, came a few other things we need not name. But in general, horror film villains and heroes alike were in the providence of “not us.”

So when Moses and his crew took to the screen, defending their tower block from alien invasion, my inner fourteen year old wanted to jump up and start yelling.

Unfortunately, my 28 year old self knows we don’t do those things at the Museum of Modern Art, even if we really, really, want to.

[Some light spoilers ahead.]
Read the Post Attack the Block Proves You Don’t Have to be Epic to Be a Hero

December 8, 2010 / / hollywood
October 22, 2010 / / advertising
September 10, 2010 / / feminism

By Arturo R. García and Thea Lim

Arturo: I’ll be the first to admit it: it’s easier to talk about Machete than it is to review it. On one level, this is a “critic-proof” movie, because it was ostensibly made by Robert Rodríguez as a no-brainer successor to Planet Terror, with Danny Trejo taking his archetypal (and stereotypical?) Tough Guy character into leading-man status. And, as a guy who whooped it up along with everybody else when the original faux trailer screened after Planet Terror in theatres, I really wanted to like this flick.

But I didn’t, and was having a hard time talking about it. Enter my illustrious colleague Thea.

Thea: I was all ready to waltz around the digital Racialicious office singing the praises of Machete, when it was brought to my attention that Arturo gave the film two really big thumbs down. So I suggested we have a pop culture critics’ FACEOFF!!! Or rather, ahem, a friendly chat.

SPOILERS AHEAD

Thea: So, I thought Machete was a lot of fun.

Arturo: I thought it was a dull rehash of Planet Terror and Once Upon A Time In Mexico.

Thea: I have seen a bunch of Robert Rodriguez’s movies, but I don’t think I’m as learned in his oeuvre as you.

Arturo: R. Rodriguez seemingly couldn’t decide whether he wanted to go full-on over-the-top or craft an “epic.”

Thea: How do you think that your disappointment with the overall quality of the film connects to the race/gender stuff in the film? I was interested in the question that you posed — let me just directly quote you: “If you put a progressive message in an “intentionally bad” film, do you reduce it to a punchline?” Read the Post Table For Two: The Racialicious Review of Machete

by Guest Contributor Debbie Reese, originally published at American Indians in Children’s Literature

There’s been a lot of buzz amongst friends and colleagues about the film Reel Injun. The title itself says a lot. “Reel” —a reel of film—and “Injun”—a derogatory word for Indian—but the title also points to what is missing from film and from children’s and young adult literature: real Indians.

Saying the phrase, “real Indians”, makes me cringe. First, it is the year 2010, and we—people who are American Indian—encounter people who think we were all wiped out by enemy tribes, disease, or war.  Or, people who think that in order to be “real Indians” we have to live our lives the same ways our ancestors did. Course, they don’t expect their own identities and lives to look like those of their own ancestors… In principle, we are a lot like anyone else. We have ways of thinking about the world and ways of being in that world (spiritually and materially) that were–and are—handed down from one generation to the next. Though we wear jeans and athletic shoes (or business suits and dress shoes), we also maintain clothing we sometimes wear for spiritual and religious purposes. Just like any cultural group, anywhere. Read the Post REEL INJUN: Film about portrayals of American Indians in movies