Chad Liffmann – Page 30 – Spinning Platters

Frameline Spotlights: C.O.G. / In the Name Of

From June 20-30, Frameline: The San Francisco International LGBT Film Festival is showing an eclectic lineup of films steeped in social, political, and sexual themes, pushing the boundaries and bringing audiences closer to the incredible stories of numerous individuals and communities, both fictional and real. Tickets for screenings are available at http://ticketing.frameline.org/festival/. Here is a glance at two of this year’s festival entries:

C.O.G. (USA, 2013)

Jonathan Groff is a sour apple in C.O.G.

Based on the unassuming essay by David Sedaris and under the steady direction of Kyle Patrick Alvarez, C.O.G. is the piercingly honest tale of a young man’s escape from his privileged Ivy-league world into the apple orchards and Christian community of a small town outside Portland, OR. The sold out audience at the Castro Theatre laughed, cheered, sat silent, and gasped, and left with a welcome sense of renewal, as if the film’s flawed characters had challenged each of us to examine ourselves in a way we hadn’t considered for some time.

C.O.G. screened on Saturday, June 22nd. For more info on the film, visit the film’s festival page or C.O.G.’s official website at http://www.cog-movie.com/

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Film Review: Monsters University

Monsters in Monsters University — Scary monsters are scared in Monsters University

It has been nearly twelve years since Monsters Inc. made its theatrical debut, introducing audiences to one of film history’s most imaginative storylines and a memorable duo of lovable Monster protagonists, Mike Wazowski (Billy Crystal) and James P. “Sulley” Sullivan (John Goodman). It was Pixar’s fourth feature film and became an instant classic, one that still ranks high up on most people’s “what’s your favorite Pixar film?” list. Because of the place Monsters, Inc. held in our hearts, we all became cautiously optimistic yet filled with trepidation with the announcement of the prequel, Monsters University. We wondered why Pixar would even bother returning to a world that was so perfectly captured in a tightly bound film that had no cause for story extensions. The answer may be shrouded in dollar signs, or, perhaps like Toy Story 2 & 3, the Pixar team just could not abandon these lovable monsters forever. When all was said and done, Monsters University was greenlit and it has now finally arrived. The finished product is a playful “origin” story, filled with substantially more satirical humor rather than original humor, but also showcases a larger cast of lovable characters and genuinely touching moments.

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Film Review: World War Z

Brad Pitt (and his fictional family) in World War Z — Brad Pitt keeps his cool (with his fictional family) in World War Z

Fans of the book World War Z: An Oral History of the Zombie War by Max Brooks can either rejoice or fume at the fact that the new film adaptation is almost entirely its own unique entity. An opening credit claims it is “based” on the book. Sure, it does share the same title, and I can confirm that there are some borrowed story elements. However, the action-packed narrative of the World War Z movie is extremely different from the book, in which a collection of post-pandemic interviews conducted by an agent of the U.N. Postwar Commission (Max Brooks, as a fictionalized version of himself) reads like a non-fiction history book. In my opinion, a faithful adaptation of the book would work best in the form of a ten part HBO mini-series. But, since the Brad Pitt action spectacle is what we must see to satisfy our WWZ cravings, then we will just have to make do. Luckily, it really is not that bad. In fact, it is quite entertaining. WWZ lacks the heart and layered character portrayals we hoped for due to its connection to the phenomenal source material, but it remains a worthwhile blockbuster that contains a lot of thrills, impressive visuals, and a fun frenetic pace courtesy of numerous rewrites, reshoots, and a healthy dose of unpredictable plot turns.

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Album Review: Coma Cinema – Posthumous Release

“Closer than before / on the edge of being / the same fuck up as before / dying in a secret”, Mat Cothran (aka Coma Cinema) mumbles out on the opening track of his fourth full-length album, Posthumous Release. The South Carolina native spills out seemingly half-conscious lyrics throughout the twelve short tracks, as if he is reading scribbled notes directly out of a diary. The music does not stray far from Cothran’s melancholic roots, though this time recorded with a higher production value. The question is — how does the higher quality change the feel of Coma Cinema’s output, formerly lo-fi, that fans are accustomed to?

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Film Review: The Internship

Owen Wilson and Vince Vaughn in The Internship

(NOTE: I worked at Google for a number of years. Let us just say that I may be slightly biased…but I can also shed some light on accuracies and inaccuracies depicted in The Internship about life at Google.)

In a performance review, The Internship would meet expectations. It is a silly film with a few laugh-out-loud moments and many more moments that miss the mark. We have seen this story before — a group of underdogs learn to work together and discover real value in themselves that helps them fight against the odds. It crosses every stereotype and dots every cliché. The Internship borrows elements from fish out of water stories, bromance plots, and sappy inspirational tales. Such a concoction of non-surprises fit into a one-note joke of a movie would be forgivable if it were actually hilarious. Unfortunately, it is not. However, if you are a fan of Vince Vaughn’s motor mouth, you will have a good time. If you work in the tech industry, you will find the film highly amusing. But most importantly, if you don’t expect much, you will be decently rewarded.

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Film Review: The Kings of Summer

Nick Robinson, Gabriel Basso, and Moises Arias in The Kings of Summer — Gabriel Basso, Moises Arias and Nick Robinson in The Kings of Summer

Two teens bang sticks against a giant rusted steel pipe running through the forest; atop the pipe, a third teen dances spastically to the rhythm. The three kids continue like this for a while, devoid of distractions or concerns. They’re completely carefree, and we immediately yearn to free ourselves with them. So begins The Kings of Summer, a film about three teenagers who run away from their frustrating domestic lives to build a house in the woods and fend for themselves in the wilderness for a summer. The story is a familiar type of coming-of-age tale in which each character discovers something about his or herself — not just the teens, but the adults, as well (or at least a few of them). The film features beautiful cinematography and a lively soundtrack. It is wistful and sincere, yet partial and contrived. There is something inherently attractive about this film genre — the independent coming-of-age film — in which not that much really happens.

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Film Review: Fast & Furious 6

Tyrese Gibson (or likely a stuntman) in Fast & Furious 6

Ludacris sums up Fast & Furious 6 rather perfectly when his character says, “we’re talking vehicular warfare.” Expecting anything less (or more) from a fifth sequel in an action franchise would be knuckle-headed. At this point, the Fast & Furious franchise has all but given up on the sense of wonder and emotional release the first movie captured so well in its focus on muscle cars and street racing. Carried on the muscular shoulders of Vin Diesel (now age 46, seriously!) and Dwayne Johnson aka The Rock, and to a much lesser extent Paul Walker, and guided by the action-trained eye of director Justin Lin, the sixth installment is a top notch action thrill ride but lacks heart. Of course, ‘heart’ isn’t even close to what the filmmakers set out to capture. Ready and rearing to continue making bank, Fast & Furious 6 puts the pedal to the metal and delivers a high-octane cinematic escape that is as entertaining as it is absolutely crazy! (see above image)

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Film Review: Epic

Naming a film Epic is asking for a lot, especially when it’s based on a children’s book of a different and less demanding title, “The Leaf Men and the Brave Good Bugs” by William Joyce. Mirriam-Webster defines ‘epic’ as “extending beyond the usual or ordinary especially in size or scope.” To focus Epic on inherently small things, like insects and miniature people in a world of forest trees and underground hives, is a problem in of itself. Sure, things may look “epic” from the characters’ point of view, but from the perspective of a human being in the audience, not so much. Luckily the visuals do look epic, they just don’t feel that way. This is due in part because of the relatively banal storyline and uninspired character design for the protagonists. It’s still a very playful film with just enough depth to satisfy adults, but as it tries to balance emotion and a tone oriented toward small children, it falls short.

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Round-Table Interview: Simon Pegg and John Cho of “Star Trek Into Darkness”

Simon Pegg and John Cho, reprising their roles as Montgomery “Scotty” Scott and Hikaru Sulu respectively in the newest chapter of the Star Trek film franchise, Star Trek Into Darkness, sat down with a few members of online press outlets to answer a few questions. Dressed in casual clothing and beaming with smiles, the two actors couldn’t be more welcoming and polite. We sat around a tiny circular table and jumped right into it…

J.J. Abrams is a huge fan of the Star Trek franchise, how does the fact that he’s such a big fan of both the Star Trek films and the original TV series translate into the fact that he’s making the new franchise…with this film especially?

Simon Pegg: I don’t think he was. I think he was more of a Star Wars fan growing up.

John Cho: Yeah.

Simon Pegg: And I think he came to Star Trek as somewhat of an outsider…

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Film Review: Star Trek Into Darkness

Zachary Quinto, Benedict Cumberbatch, and Chris Pine in Star Trek Into Darkness

In 2009, J.J. Abrams jumpstarted a dulling Star Trek franchise by instilling youthful energy and adrenaline into a familiar cast of characters. The universe was the “same” but the feel was different. It was shinier and faster paced, and took advantage of modern computer technology to produce visual effects in a way that the original Star Trek series may have dreamed of but never could harness. But the most powerful weapon 2009’s Star Trek wielded was a solid origin story that balanced the needs of the salivating Trekkies with the cinematic desires of general audiences. It was fresh and fun, familiar yet new. With Star Trek Into Darkness, the formula remains unchanged. At its heart lies a refurbished story that is uniquely enjoyable, complete with a sly tip of the hat to its franchise predecessors. But there are a few J.J. Abrams specialties and stellar performances that make this generally risk-averse Star Trek film the most entertaining one to date. (I suspect I may pay for that proclamation.)

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