Mimi Steinbauer, President / CEO of Radiant Films International announced today that Tom Shadyac’s life affirming documentary feature film ‘I AM’ has been acquired for all worldwide distribution rights (excluding US and Canada) by Universal Pictures International Entertainment.

‘I AM’ is a film that resonates beautifully with audiences looking for a smart and entertaining look at life themes that affect all of us. We are delighted that Universal Pictures International Entertainment has recognized the potential of this film,” said Steinbauer.

“Universal Pictures International Entertainment is pleased to be working with Radiant Films to release ‘I AM’ internationally. This inspirational feature is a welcome addition to our documentary collection,” said Eddie Cunningham, President of Universal International Entertainment.

“I AM” is the result of a life-changing biking accident in 2007 suffered by acclaimed director Shadyac which compelled him to re-evaluate his Hollywood lifestyle and seek the answers to the following questions: what’s wrong with our world and what can we do to make it better?

A critical and box office hit in the US released through Paladin, Shadyac interviews several legendary philosophical thinkers and academics from our time including David Suzuki, Noam Chomsky, Howard Zinn and Archbishop Desmond Tutu to reach answers to these vital questions. The result is a powerful, uplifting, enlightening documentary which challenges our preconceptions about human behavior while celebrating the indomitable human spirit.

Shadyac is one of Hollywood’s most well-known comedic directors having directed such classics as ACE VENTURA: PET DETECTIVE, THE NUTTY PROFESSOR, LIAR LIAR, BRUCE ALMIGHTY and others. His films have grossed nearly 2 billion dollars at the box office.

With a title like DON’T STOP BELIEVIN: EVERYMAN’S JOURNEY, one might expect a fairly cheesy music documentary that would only appeal to fans of the band. Instead we are treated to a fairly fascinating real life fairy tale where a struggling musician from the Philippines is chosen to be the new lead singer of world famous rock group he has been a fan of since he was a kid. Arnel Pineda had dozens of videos on Youtube of himself performing cover songs, including many of Journey’s biggest hits. Guitarist Neil Schon came across these videos while in the midst of searching for a replacement for their lead singer who was forced to leave the band for medical reasons. This documentary covers everything from Arnel’s initial auditions to the conclusion of their very first tour together as the new & improved musical juggernaut that is Journey.

DON’T STOP BELIEVIN is an inspirational film detailing Arnel’s struggles both before and after joining the band, as well as the subtle changes within the band after his inclusion. One of my favorite moments in the film came when he performed his first full concert in a crowded arena in Chile. Prior to going on stage, he is a wreck asking to go home but once the lights kick on, he owns the stage. Then afterward he is told not to go so crazy on stage because Journey’s music is not meant to be performed that way. He apologizes then tells the cameras that they will get used to it. Arnel really is just a captivating and entertaining presence who is a joy to watch.

My biggest and only real criticism is that the doc does feel its running time of close to 2 hours. There are plenty of little things that could be trimmed to tighten up the pacing although I’m sure Journey fans will want to see it as is. There will probably be some sort of editing depending on the type of release this gets even if just to remove the surprising amount of f-bombs dropped throughout. It also would have been nice to get the opinions of some former band members on the new lineup although I understand how that may not have been possible in some cases. Their absence is not really noticed while watching the film and is more of a curiosity I had after the credits rolled.

You don’t need to be a Journey fan to enjoy this film although you need to at least be able to tolerate them because their music is on constant rotation throughout the film. I would consider myself only a casual listener but I will admit that since watching the film, I thought about buying their greatest hits CD. Then I found out my dad already had one so I just borrowed it from him. Now that’s a scary thought, isn’t it?

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Confirming widely circulated rumors, Dave Grohl of Foo Fighters and Nirvana announced today that he will direct and produce a feature Documentary film, SOUND CITY about the infamous recording studio in Van Nuys, California. The film was conceived by Grohl after purchasing the legendary Neve 8028 recording console from Sound City Studios last year. The console, built in 1972, is considered by many to be the crown jewel of analog recording equipment, having recorded such artists as Neil Young, Fleetwood Mac, Tom Petty, Cheap Trick, Guns and Roses, Fear, Nirvana, Rage Against the Machine, Slipknot, Nine Inch Nails, Metallica, and countless other musical legends over the past 40 years.

Through interviews with the artists and producers that created decades of musical history at Sound City, the film will showcase the amazing history of the studio, focus on the albums recorded there that went on to change the world, discuss the human element of music in an age of technology, and feature performances from many of the artists that called it “home”.

Grohl’s personal connection to Sound City began with the 1991 recording of Nirvana’s breakthrough album, “Nevermind”. Selling over 30 million copies worldwide, “Nevermind” changed the entire musical landscape and forever altered the course of Dave Grohl’s life.

Roswell Films, a division of the Roswell Records label that releases Foo Fighters music, will distribute the film. Key personnel involved with the film include Producer/Director Dave Grohl; Editor Paul Crowder (Dogtown & Z Boys, Once In a Lifetime, Riding Giants); and Writer Mark Monroe (The Cove, Once In a Lifetime, The Tillman Story). The film is also being produced in conjunction with Jim Rota, John Ramsay, and Therapy studios.

Speaking to both the art of music and the art of filmmaking, Grohl crafted the letter below to share his vision for the film. Information and future announcements related to the film can be found at www.soundcitymovie.com

www.facebook.com/soundcitymovie, @soundcitymovie, www.youtube.com/soundcitymovie.com

SIDE BY SIDE is a highly informative and thoroughly entertaining documentary covering the very timely topic of digital vs. film. And it is hosted by Keanu Reeves. No, seriously. Even more shocking is that he does a pretty damn good job interviewing the likes of Martin Scorsese, David Lynch, Robert Rodriguez, David Fincher, Chris Nolan, James Cameron, Lars von Trier, Stephen Soderbergh, George Lucas and many more. There are a few moments where he gives single word responses to his interview subjects in a way that seems like he is parodying an early 90s version of himself, but those few times just add a bit of humor to an already funny documentary. And yes it is quite funny. Many of the interviewees give humorous answers but the funniest moments stem from whenever David Lynch appears on screen. There is just something absolutely hysterical about the way he keeps dropping “Keanu” in his answers.

From a technical standpoint, this is a very well put together documentary. It covers almost every topic that can be brought up when discussing digital technology vs. film. I was a bit disappointed that they skipped over 20 years of video cameras prior to mini-dv but it is clear the doc had a more mainstream focus. It still would have been interesting to see some discussion on video nasties from the 80s such as REDNECK ZOMBIES that were among the first to be shot digitally way before the Dogma 95 films that this doc uses as a reference point. Despite the omission, nearly everything else is covered including arguments that I have not even heard before even though I have read quite a bit on this subject. The doc even spends a lot of time with editors, colorists and cinematographers to get their opinions on digital technology and these interviews often bring up the most interesting points

One other nitpicky criticism I have is that there really is very little side-by-side comparison footage. There are dozens of clips from movies shot both digitally and on film, which made viewing the doc on the big screen such a joy. But there isn’t much shown side-by-side which I found odd because of the film’s title. As I said, a very nitpicky criticism. Seeing those classic clips from some of my favorite films, even if just for a few seconds, really made viewing this in a theater a fantastic experience. It also makes me hope this doc gets a proper Blu-Ray release when it comes out.

It may not be so engrossing for everyone but if you have any interest at all in filmmaking or technology, I definitely recommend seeking this film out.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

BULLY is a new documentary that’s been getting a lot of buzz lately, not because of its topical subject, but because of a battle with the Motion Picture Association of America (MPAA) over the rating the film was assigned. Due to an arbitrary ruling over language content (too many F-bombs) the doc was rated R, restricted. The film’s supporters led by distributor Harvey Weinstein believed that this would prevent many teenagers from seeing the film (and, hopefully, learning from it). But the MPAA would not budge, so Weinstein explored the possibility of releasing BULLY unrated. Unfortunately many theatre owners will not book an unrated film and many outlets will not carry advertising for such a film. Finally, after a few cuts and lots of celebrity pressure, the rating has dropped to PG-13. Now that it’s finally in theatres we can get pass the big dust-up and see the film on its own merits.

BULLY focuses in on five different families and the impact that school bullying has had on them. We meet two couples whose sons took their lives to escape the misery of the constant torments at their school. The pain of their loss echoes through every word they speak to the camera. A high school girl from Oklahoma tells of being ostracized when she came out as a lesbian. She relates stories of taunts not only from class mates, but from faculty members. Her religious parents talk about changing their attitudes and being astonished at the level of intolerance in the community. Another mother tells of her sweet, athletic, honor student daughter who was pushed to the brink by constant bullying until she made an ill-fated plan to strike back and was soon plunged into the nightmare of an unsympathetic legal system. Perhaps the most heart-wrenching story may be the portrait of middle school student Alex (he might have the most screen time). We first see him doing his chores and happily playing with his siblings. His home is his haven, a sanctuary from the unending harassment at school. Born prematurely (at 24 weeks), he has unique features and is a bit more awkward than his class mates, who refer to him as “fish-face.” Waiting for the bus, he’s threatened and pushed. On board he’s poked, prodded, strangled, and smacked. Back home he refuses to talk to his folks about his hellish school day. He literally shuts down. What can his parents do to stop the bullying and save this kind-hearted boy’s life?

This is no frills, fly on the wall documentary film making at its most involving. Director Lee Hirsch makes no use of a narrator. There’s no artsy confessional backdrops, no re-enactments, no snazzy graphics or animations. We don’t hear the interviewer. The principals speak to the camera with an occasional setting or personal identification. Some of the footage is astounding in its intimacy particularly the shots in Alex’s hellish bus ride. Also amazing is the scenes of the ineffectual authorities and school administration. The footage of one member of the school principal’s staff roaming the halls and meeting with Alex’s parents may have you gritting your teeth in anger while rolling your eyes in disbelief (my screening audience was almost heckling her). She can’t accept that some of her “little cherubs” are capable of cruelty. We can understand the frustration of the featured parents in trying to work with these naive’ staffers. This is powerful stuff.

Unfortunately Hirsch doesn’t delve into why some kids choose to victimize others. Is it part of their home life? Is it their way to feel superior? Also, the new technologies are only mentioned in passing. Cyber-bullying with texts and social media have been much in the news recently. Now the bullies can destroy someone while remaining anonymous. Maybe these topics can be discussed in a follow-up film. I’d be interested to see what happens to the kids in four or five years. The movie’s well done, but may be very difficult for parents to view. I hope they and their kids get a chance to see this (bravo to the MPAA for their change of heart and rating). But BULLY’s not all gloom and heartache. Like AN INCONVENIENT TRUTH, there is a glimmer of hope on the horizon. Things can change. The grieving parents channel their pain into a movement to convince those in charge of the school not to dismiss these incidents with “Oh well, kids will be kids,” and try to inspire other to speak up and get involved. I’m sure this well intentioned work will help spread their message.  Till we see you again, hang in there Alex!

Overall Rating: 4.5 out of 5 stars

In the wealthiest nation in the world, one in five children live in the shadow of hunger. In a new Food Network produced documentary, HUNGER HITS HOME, audiences will get a first-hand look at the crisis of childhood hunger in America through the eyes of the people on the frontlines of the battle—parents and children, anti-hunger activists, educators and politicians committed to eradicating the problem. HUNGER HITS HOME examines the causes, complications and misconceptions about childhood hunger in the United States and offersa glimpse at some of the innovative solutions being put into practice today.

Narrated by Oscar®-winning actor and longtime anti-hunger activist Jeff Bridges, HUNGER HITS HOME is a heart-wrenching, yet empowering hour-long look at one of our nation’s little-known emergencies. An urgent call to action against this burgeoning crisis, the film is part of an ongoing partnership between Food Network and Share Our Strength, whose No Kid Hungry initiative aims to eradicate child hunger in America by 2015 by surrounding children with nutritious food where they live, learn and play.

“Producing this documentary with our partner, Share Our Strength, has been a highlight in our five-year relationship,” says Brooke Johnson, President, Food Network & Cooking Channel. “Food Network strives to entertain, inform and empower our audience with the programming we create; I can think of no better way to harness the power of Food Network’s reach than by offering our fans the chance to connectand if they so choose, take action to join us in this important fight.”

Every day, more than 16 million children in the U.S. struggle to get enough to eat, and the ongoing economic downturn forces more and more Americans to slip beneath the poverty line. A steady job no longer guarantees a full cupboard and the stigma attached to asking for help persists, leaving already over-stressed parents facing choices they never imagined. And, in the halls of the nation’s capitol, funding cuts threaten existing assistance programs even as the need for them increases.

“This is the moment to act,” said Billy Shore, founder and CEO of Share Our Strength. “Right now, a fifth of our youngestgeneration is struggling with hunger. When these kids get the food they need, they feel better, they learn more and they grow up stronger. The good news is that, together, we can make that happen.”

HUNGER HITS HOME goes on a cross-country odyssey from urban New York City and Washington, D.C., to suburban Virginia and Texas’ prosperous Dallas-Fort Worth metroplex, giving viewers a bird’s-eye view of the hunger crisis through the lives of three hardworking families struggling to make ends meet. In Norfolk, Virginia, an ex-military man with four children must take a civilian job for a fraction of his service pay; a single father in Allen, Texas, is on the verge of losing his home and unable to feed his 10-year-old son; a young couple in New York City lack the access to the fresh fruits and vegetables their children desperately need. All of them have discovered that no community is immune to childhood hunger.

But HUNGER HITS HOME also offers hope for children in need. The film profiles some of America’s heroes in the continuing fight against childhood hunger, including a determined food pantry founder who makes the battle personal and an elementary school principal who refuses to let his students go hungry. It documents the work of government officials and not-for-profit leaders who will move mountains to mobilize necessary resources. With efforts large and small, these people are helping to fulfill Share Our Strength’s commitment to ending childhood hunger in America by 2015.

Each family profiled in HUNGER HITS HOME finds unique solutions to their unique problems, utilizing traditional methods like SNAP (Supplemental Nutrition Assistance Program, better known as food stamps), innovative ideas such as subsidized Community Supported Agriculture baskets for families without access to fresh foods and in-classroom meals that ensure students get a balanced breakfast. But with problems this diverse, anti-hunger activists agree that there is no quick fix to the devastating effects of hunger on American children. They also agree that finding a solution is one of the most critical issues facing Americans today.

Food Network and Share Our Strength will host screenings in Chicago, Cincinnati, Dallas, Los Angeles, New York and Washington, D.C. in the coming weeks, offering both an advance look at and discussion on how to take action locally.

Food Network presents a Magical Elves production, HUNGER HITS HOME. Directed by Alexandra Lipsitz. Executive Producers: Dan Cutforth, Jane Lipsitz, Alexandra Lipsitz, Kris Lindquist. Producers: Ben Mack, P.J. Davenport and Juan Carlos Saizar. Editors are Austin Flack and Jenn Viola.

Premieres April 14th 8pm|7c on Food Network

http://www.foodnetwork.com/hungry

This past February, UNDEFEATED took home the Best Documentary Feature Oscar. The film tells the story of a feisty, focused coach determined to end the losing streak of a football team from a school that’s seen better days. The prime example of this plot would go all the way back to 1940 with KNUTE ROCKNE, ALL AMERICAN and continue through to the more recent REMEMBER THE TITANS and WE ARE MARSHALL. So it might be more than a bit familiar. And the documentary techniques are not ground-breaking. We’re basically a fly on the wall observing the start of the new season.  But what observations! There’s just as much drama and suspense here as in any big Hollywood ” based on true events” flick. You don’t have to be a pigskin fanatic to be enthralled with these people. Perhaps you may identify with one or two of the principals even if you never took to the field.

UNDEFEATED chronicles the Fall 2009 football season at Manassas High School of West Memphis Tennessee. The area around the school has been hit hard by the economic down-turn. The neighborhoods are filled with boarded-up, abandoned houses, piles of garbage, and drug dealers on nearly every corner. The school’s football team ( as Colbert would call them, ” the fightin’ Tigers” ) is almost in the same sad shape as those mean streets. In some recent seasons the team went without a single win. Hoping to reverse the trend is Head Varsity Football Coach Joe Courtney. He’s the owner of a big lumber company who’s had a love of the game since childhood. We see him spending the early morning hours supervising his business then zipping over to the school to roam the halls and do some on the run recruiting ( ” Got a nice jersey just for you! “). He’s a big, jovial guy ( kind of a cross between Kevin James and the much missed John Candy ) who’s often the only white face roaming the hallways. With racial issues filling the news today, the film presents a great portrait of respect and co-operation. Courtney loves his team, but feels guilt pangs over the time away from his own kids. He blows his top sometimes, but he’s always there when his players have a problem.

Speaking of players, the film focuses on three members of the Tigers. The most promising, gifted player may be the gentle giant O.C. Brown. He’s got the size to take out the competition, but unlike most husky guys, O.C. has the speed. We see him clearing a path for the running back to score and running alongside. College scouts have started to sniff around. The only thing that O.C. can’t seem to break through is his studies, particularly the all-important SAT tests. Because he and his grandmother live in such a rough part of town, no tutors will venture there, so the coach came up with a plan. O.C. will live with the family of one of the coaching staff during the school week. After class and practice, the tutors will work with him there. The opulent suburbs are a completely foreign world to the big, sweet-natured young man ( reminiscent of THE BLIND SIDE, except he’s back with Grandma’ on the weekends ).

While O.C.’s a man of few words, his team-mate Motrail ’Money” Brown, has the gift of gab. Money’s got big plans, but unfortunately he’s one of the shortest guys on the squad ( ala’ RUDY ). He spends most of the game begging to be sent in. His story might be the most affecting. He’s an easy-going, ambitious guy, who’s pals with the team’s loose cannon Chavis Daniels. We first meet Chavis as he returns to school after 15 months in a youth detention facility. He’s got an explosive temper and lashes out unexpectedly. Courtney’s got his hands full dealing with this angry young man’s blow-ups. The coach wrestles with Chavis’s behavior. How many chances does he get? Can football channel all his pent-up emotions. Or will he be swallowed up by the streets? It’s a wrenching dilemma.

What comes across in the film is a need by most of the team, including the coach, for a male authority figure. In an emotional confession Courtney talks about his father walking out of his life as a toddler. After finding some joy in football, he’d be filled with sadness watching his team mates leaving the field with their dads ( one hand on his son’s shoulders, the other carrying his boy’s helmet and pads ). We see the profiled players with mothers, aunts, and grandmothers, but rarely with male relatives. This not to say the film is full of gloom. Included are many small victories ( I won’t reveal how the season ended ), a major setback for one player, and an act of incredible kindness that may have you reaching for your hankie ( unless your veins are filled with ice water! ). As I said earlier, no ground-breaking documentary techniques here. No re-creations, no graphs, no animations. It’s similar to the format now adopted for TV sitcoms like ” The Office ” and ” Modern Family “. Except there’s very few seated confessionals or interviews here. Everyone’s always on the move, particularly Coach Courtney. I never threw on the pads and helmet at school, but I was delighted to spend some time with this team. Any teenager mentored by Coach Courtney is a winner, no matter what the scoreboard reads.

Overall Rating : 5 Out of 5 Stars

The new motion picture ADDICTION INCORPORATED is part of a unique group of documentaries in that it’s essentially a small budget prequel to a big studio prestige docudrama of several years ago : Michael Mann’s THE INSIDER. The multi-Oscar nominated flick told the true tale of whistle-blower Jeffrey Wigand ( he’s involved in this new film, too ) who revealed to network news producers ( CBS’s ” 60 Minutes ” to be exact ) that tobacco companies were using special additives to cigarettes to make them more addictive ( the film referred to ‘ spiking ‘ ). After viewing the Al Pacino/ Russell Crowe work, you may have wondered how ‘ big tobacco ‘ happened upon this formula. Well wonder no more! Film maker Charles Evans, Jr. has given us all the facts, figures, numbers, and testimonies anchored by one man’s desire to deliver the facts.

That man is scientist Victor DeNoble and most of this film chronicles his 30 year journey from classrooms through private company research labs to the halls of congress and courtrooms returning finally to the halls of academia. DeNoble was plucked out of college to work a high paying job in the research division of tobacco giant Phillip Morris. PM wanted to find a way to replace or severely reduce nicotine since it seems to promote heart attacks and other fatal maladies in their customers ( gotta’ keep em’ alive to keep on buying the product! ). A red flag should have popped up when Victor and his fellow scientists were allowed to use rats for this study ( the companies had mutually agreed that there would be no animal testing ). In trying to approximate cigarette usage in the rats, they found that nicotine combined with another chemical, acetaldehyde, to make the tobacco more addictive ( in the mornings the rats would go right to the nicotine delivery pedal forgoing food and water ). After their findings were presented to the company’s board of directors, the research was halted and the scientists were out of PM headquarters and worked on a freelance basis ( as opposed to being part of the in-house staff ). . Several years later someone gets this info to ABC ( specifically the producers of the late prime-time news magazine ” Day One ” ) which leads to congressional hearings and multi-state lawsuits. This draws in DeNoble and his ex-colleagues who must make many life-changing decisions concerning their past employers and their future.

Evans keeps the film moving at a brisk pace and does his best to avoid miring us in too much scientific jargon. Some of the story telling techniques trip up the film somewhat. Animation of the lab rats is useful in illustrating the study’s research methods, but later on things get a bit too whimsical when the rats are further anthropomorphized into humans with tails, large, wide noses, and pointed ears drifting down a tranquil lake, floating on a raft like Huck Finn. I suppose it’s to illustrate a blissful nicotine high, but it takes us out of the story’s flow ( especially when several ‘ rat people ‘ have an old-fashioned moonlight dance ). Things get back on track quickly after some crude ” Mad Men”- type seventies era recreated sequences. The use of real TV footage ( great timing to have a 90′s clip of a blustery Rush Limbaugh ), newspaper headlines, and current interviews of the principals involved ( you basic doc talking heads ) proves quite enlightening. Like most fiction films, this benefits from the a strong hero ( DeNoble, appropriate moniker! ) and an even stronger villain: big tobacco. Like Ed Harris’s evil businessman in MAN ON A LEDGE, these guys come off as arrogant, sneaky, and very hiss-able. We get that classic news shot of the major company representatives swearing-in before Congress, then almost in unison claiming ignorance of their product’s additive qualities. Just amazing. Finally they were vulnerable to lawsuits that their powerhouse legal team had crushed for so many years. So vulnerable that they all almost went under! ADDITION INCORPORATED is a surprisingly entertaining tribute to investigative journalism. And be sure to stick around for the pre-end credits coda for an update on Mr. D. It’s a twist that would make O Henry smile

Overall Rating : 4 Out of 5 Stars

ADDICTION INCORPORATED plays exclusively in the St. Louis area at the Tivoli theatre

Check out the trailer for the documentary ALL IN – THE POKER MOVIE set to be released nationally on April 24th.

The movie features Matt Damon, Star of “Rounders”, Frank Deford: Peabody Award-Winning Sports, Journalist, Ira Glass: Host of National Public Radio’s “This American Life,” Doris Kearns Goodwin: Pulitzer Prize-Winning Writer and Historian, Kenny Rogers: Grammy Award-Winning Entertainer, Bert Sugar: Sports Writer and Historian.

4th Row Films will release “All In – The Poker Movie” nationally on April 24, 2012 via digital retailers including Amazon and iTunes, with a DVD release to follow in July 2012. The opportunity to pre-order the film is available at www.allinthepokermovie.com, along with a limited edition poster and “All In – The Poker Movie” playing cards. This release will follow a 40 market theatrical release in late March, including the Cinema Village in New York City and Laemmle 4 in Los Angeles. A look at the story of poker from the underground clubs of New York City to the global boom and the recent online scandal, “All In – The Poker Movie” is garnering unprecedented support across the country, with poker players participating in post-screening discussions during many of the theatrical runs either in person or via satellite.

Written and directed by Douglas Tirola, and produced by Susan Bedusa, Robert Greene and Tirola, ALL IN- THE POKER MOVIE chronicles the worldwide poker boom that started in the underground clubs of New York City and went on to be played at homes and casinos all around the globe. The film explains how poker has become the target of politicians who have tried to cut off the ability for millions to play and for many to make a living.

This documentary weaves the quest for the American Dream, the ability to take risks, and the celebration of entrepreneurship with a game that began with conmen on riverboats nearly two centuries ago. Poker has become a metaphor for making it big quick, and though millions play it, poker seems unable to escape it’s cinematic image of something done by people on the outside of society. The film’s extensive research, archival footage, and interviews with today’s poker celebrities, as well as social commentators such as Ira Glass and Doris Kearns Goodwin make this the definitive exploration on this worldwide cultural phenomenon.

Visit the official site: http://www.allinthepokermovie.com/

http://twitter.com/AllinPokerMovie

http://facebook.com/pages/ALL-IN-THE-POKER-MOVIE/91275403678

Watch the trailer for the documentary DECODING DEEPAK which will be premiere at SXSW on March 11th! The film by writer-director-producer Gotham Chopra takes a year-long road trip with his father to understand the public spiritual figure the author is to the world vs. the man he is known to his family. What starts as an intimate biopic becomes a deeper plunge into the meaning of identity itself.

Sony Pictures Classics has announced that they have acquired worldwide rights to Academy Award® nominated filmmaker Amy Berg’s (DELIVER US FROM EVIL) high profile documentary WEST OF MEMPHIS. The film debuted at the 2012 Sundance Film Festival in the Documentary Premiere Section to great critical acclaim. WEST OF MEMPHIS is produced by the Academy Award-winning team of Fran Walsh and Peter Jackson, and first time producers Damien Echols and Lorri Davis.

WEST OF MEMPHIS is a powerful documentary that chronicles the new investigation surrounding the “West Memphis Three,” which ultimately broke the case open and led to the freedom of three innocent men: Damien Echols, Jason Baldwin and Jessie Misskelley Jr. Beginning with a searing examination of the fatally flawed police investigation into the 1993 murders of three, eight year old boys in the small town of West Memphis, Arkansas, the film goes on to reveal personal insight into Echols’ fight to save his own life; how he survived eighteen years on death row and eventually freed himself from the hatred and ignorance of those who had tried to destroy him. The film asks the question that still haunts Echols, Baldwin and Misskelley to this day – what value do we, as a society place on the truth?

“In 2009 Peter Jackson, Fran Walsh and Lorri Davis approached me to make a film which documented the defense’s battle to overturn the guilty verdicts in the case of the West Memphis Three. After spending more than two years on the ground filming in Arkansas, the blatant injustice of the case was very apparent; my hope is that WEST OF MEMPHIS will lead to full exoneration for Damien, Jason and Jessie. In addition, I hope the film will serve as a platform for a broader discussion about the failures of our criminal justice system nationwide. I’m very excited for this powerful story to be making its way to theaters and know that having Sony Pictures Classics as our partner is the surest way to catapult our film to the widest possible audience,” says Director Amy Berg.

Producers Fran Walsh and Peter Jackson add, “We are very proud to be partnering with Sony Pictures Classics on the release of WEST OF MEMPHIS. We have been working with Lorri Davis, Damien Echols and his defense team for the past seven years, and during that time we came to understand that this was not just a story of a terrible injustice; it’s also a story about hope; about how two people found each other, saved each other, and loved each other through the hardest of times. This is Damien and Lorri’s film, and we are very excited to share it with the world.”

“We are honored that Sony Pictures Classics will be working with us to bring WEST OF MEMPHIS to the world. We are excited and quite frankly overwhelmed at the chance to tell our own story. Working with Fran, Peter and Amy has been the most powerful and fulfilling of experiences for us. We see this film as a source of inspiration, and it carries our heart and soul with it,” say producers Lorri Davis and Damien Echols.

“With DELIVER US FROM EVIL, Amy Berg became a major documentary filmmaker. Seeing WEST OF MEMPHIS at Sundance, we felt Amy had outdone herself with this extraordinary anatomy and investigation of injustice. We look forward to collaborating with her and producers Fran Walsh, Peter Jackson, Damien Echols and Lorri Davis in bringing this exciting and important drama to audiences everywhere,” states Sony Pictures Classics.

SPC negotiated the deal with Jackson and Walsh’s manager, Ken Kamins, who also serves as the film’s Executive Producer. Sony Pictures Classics has previously worked with Kamins on John Boorman’s THE GENERAL.

“For the chimpanzees, who are now threatened with extinction, a film like this can reach out into the hearts of people.” -Jane Goodall.

In this new CHIMPANZEE featurette, Disneynature’s newest True-Life Adventure introduces Oscar, a young chimp whose playful curiosity and zest for discovery light up the African forest until a twist of fate leaves Oscar to fend for himself with a little help from an unexpected ally. See CHIMPANZEE opening week and Disneynature will make a donation in your honor to the Jane Goodall Institute. This is a must-see documentary!

Disneynature takes moviegoers deep into the forests of Africa with CHIMPANZEE, a new True Life Adventure introducing an adorable young chimp named Oscar and his entertaining approach to life in a remarkable story of family bonds and individual triumph.  Oscar’s playful curiosity and zest for discovery showcase the intelligence and ingenuity of some of the most extraordinary personalities in the animal kingdom. Working together, Oscar’s chimpanzee family—including his mom and the group’s savvy leader — navigates the complex territory of the forest.

The world is a playground for little Oscar and his fellow young chimps, who’d rather make mayhem than join their parents for an afternoon nap. But when Oscar’s family is confronted by a rival band of chimps, he is left to fend for himself until a surprising ally steps in and changes his life forever.  Directed by Alastair Fothergill (“African Cats” and “Earth”) and Mark Linfield (“Earth”), CHIMPANZEE swings into theaters on April 20, 2012.

Fun Facts:

• “Chimpanzee” is the fourth release for Disneynature, the first new Disney-branded film label from The Walt Disney Studios in more than 60 years.  The label was launched in April 2008 to bring the world’s top nature filmmakers together to capture a variety of wildlife subjects and stories.
• The first three releases under the Disneynature label—“Earth,” “Oceans” and “African Cats”—are among the top four highest grossing feature-length nature films of all time. 
• Walt Disney was a pioneer in wildlife documentary filmmaking, producing 13 True-Life Adventure motion pictures between 1948 and 1960, including “Seal Island” (1948), “Beaver Valley” (1950), “The Living Desert” (1953) and “Jungle Cat” (1958). The films earned eight Academy Awards®.

Website and Mobile Site: Disney.com/Chimpanzee

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On Wednesday of Oscar Week, the third annual “Docs!” night spotlighted the work of the nominated filmmakers in the Documentary Short Subject and Documentary Feature categories. The program included film clips from all of the nominated documentaries in both categories, followed a panel discussion with each group of nominees. On hand was program host Michael Moore - Oscar-winning director and Documentary Branch governor.

In his intro to the various clips, Moore remarked that nothing compares to watching a film with other fellow Americans in a theater and something that should be experienced together collectively. According to the director, “the public has turned to the documentary genre recently to learn the truth.” I was pleased with his enthusiastic acknowlegement of the Documentary Women filmmakers. “There are more women in the documentary branch than any other branches.”

My personal favorite of the group is GOD IS BIGGER THAN ELVIS – in 1963 actress Delores Hart, best known for her roles opposite Elvis Presley, chose to leave Hollywood behind and become a Benedictine nun. Oscar nominated Documentary Short filmmakers Julie Anderson and Rebecca Camissa said Sister Dolores will be coming to the Academy Awards. Moore’s funny response was that he’d like to see Hart and Sacha Baron Cohen’s THE DICTATOR on the red carpet together. It’s been previously reported that Cohen may appear Sunday night in character for his upcoming film.

The Oscar nominated Documentary Short filmmakers (from left to right): Kira Carstensen, “The Tsunami and the Cherry Blossom”, Lucy Walker, “The Tsunami and the Cherry Blossom”, Shareen Obaid-Chinoy, “Saving Face”, Dan Junge, “Saving Face”, James Spione, “Incident in New Baghdad”, Julie Anderson, “God is the Bigger Elvis”, Rebecca Camissa, “God is the Bigger Elvis” and Robin Fryday, “The Barber of Birmingham: Foot Soldier of the Civil Rights Movement”; during the Academy of Motion Picture Arts and Sciences’ “DOCS!” event on Wednesday, February 22, 2012 at the Samuel Goldwyn Theater in Beverly Hills.

THE 2011 NOMINEES ARE:

Documentary (Feature)

• “Hell and Back Again” - Danfung Dennis and Mike Lerner
• “If a Tree Falls: A Story of the Earth Liberation Front” - Marshall Curry and Sam Cullman
• “Paradise Lost 3: Purgatory” - Joe Berlinger and Bruce Sinofsky
• “Pina” - Wim Wenders and Gian-Piero Ringel
• “Undefeated” - TJ Martin, Dan Lindsay and Rich Middlemas

Documentary (Short Subject)

• “The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” - Robin Fryday and Gail Dolgin
• “God Is the Bigger Elvis” - Rebecca Cammisa and Julie Anderson
• “Incident in New Baghdad” – James Spione
• “Saving Face” - Daniel Junge and Sharmeen Obaid-Chinoy
• “The Tsunami and the Cherry Blossom” - Lucy Walker and Kira Carstensen

Academy Awards for outstanding film achievements in 2011 will be presented on Sunday, February 26, at the Kodak Theatre at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

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Here’s the trailer for Universal Pictures’ forthcoming MARLEY movie, directed by Kevin Macdonald.

Bob Marley’s universal appeal, impact on music history and role as a social and political prophet is both unique and unparalleled. MARLEY is the definitive life story of the musician, revolutionary, and legend, from his early days to his rise to international superstardom. Made with the support of the Marley family, the film features rare footage, incredible performances and revelatory interviews …with the people that knew him best.

From Academy Award-winning director Kevin Macdonald (One Day In September, The Last King of Scotland) comes the story of a towering figure of musical history, whose music and message has transcended different cultures, languages and creeds to resonate around the world today as powerfully as when he was alive.

MARLEY will be shown in March at the South by Southwest Film Festival, opens in the US and UK on April 20.

Visit the new UK website here: http://www.marleyuk.com/

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Seems the proliferation of 3D feature films is the source of much discussion and arguments amongst cinema devotees. Many believe it to be a blatant cash grab by the studios to squeeze a bit more dough from movie goers. Films that are shot in 2D and are upconverted to 3D help support this view. One of the biggest offenders was the remake of CLASH OF THE TITANS ( I know it gave me a headache ) and now studios are going into the vault to re-release classics with the new tech ( Disney started last year, George Lucas is sending out his two trilogies, and James Cameron’s TITANIC sails back into multiplexes in April ). But something odd happened last year, the grown-up, serious directors are using this new format. The biggest hit may be Martin Scorsese’s HUGO, but art-house darling Werner Herzog created quite a stir with his documentary CAVE OF FORGOTTEN DREAMS. Now another film maker from across the pond, Germany’s Wim Wenders, has made his own documentary PINA in 3D. Will he brings some respectability to this much maligned movie gimmick? Well it is up for an Oscar!

PINA started out as a collaboration between Wender and acclaimed choreographer Pina Buasch several years ago. When she passed away in 2009 the project was to be abandoned until Buasch’s dance company, Tantztheatre Wuppertal, convinced Wenders to continue this film as a tribute and celebration of her talents. Luckily for us he agreed. Most of the movie consists of recreations of her dance works. It begins with number based on ” The Rite of Spring ” performed on a stage covered in dirt and soil. Later on in the film we see many of the same artists on that stage prancing through puddles on a rain-soaked surface. Later on, another famous work, ” Cafe Mueller “, begins with two of Buasch’s collaborators looking over a miniature model of the set when tiny dancers suddenly appear and begin the scene. Old black and white footage of the original production ( with Pina herself on stage ) is cut into the recreation. It’s amazing how the dancers integrate chairs into the number ( not just as props, but almost as another dancer ). This is driven home in a mesmerizing later number where dancers move through ten or so precariously stacked chairs. Several times the dancers leave the stage and head outside to perform on the streets and woodlands surrounding Wuppetal, Germany. Great use is made of their monorail-like commuter system. I was surprised at how the performers used their hands during the numbers, in complicated expressive gestures. Speaking of expression, the camera gives us a oppurtunity to see the great acting each of the dancers does with their silent facial expressions. Intercut between the numbers are stories about Buasch told by her dance troupe.  The camera lingers on the silent artists while their vocals play on the soundtrack ( some are without vocals as they gaze into the camera ). Bausch’s dancers are an international, multi-ethnic all-ages group. It’s heartening to see these mature veterans showing the newbies a step or two.

PINA is an unusal documentary as there is very little biographical information ( family history, etc. ) about the title subject. It’s all about the creative work she did with these talented people. And that may speak more about her than a mere laundry list of facts. The cinematography is gorgeous ( those dance frocks really pop against the backdrops ) and the camera moves in a way that doesn’t exploit but compliment the new technology. As with HUGO I can say that the 3D definitely enhances an already involving entertainment. Let’s hope more film makers utilize this format for works that are this enlightening and wondrous.

Overall Rating : Four Out of Five Stars

IMAX Corporation, MacGillivray Freeman Films, and Warner Bros. Pictures today announced that two-time Academy Award® winner Meryl Streep will narrate TO THE ARCTIC 3D. The film will be released exclusively to select IMAX® theatres starting April 20, 2012.

To The Arctic 3D, from two-time Academy Award®-nominated filmmaker Greg MacGillivray (The Living Sea, Dolphins), is the first co-production fromWarner Bros. Pictures,MacGillivray Freeman Films andIMAX Corporation, following the companies’ strategic alliance announced late last year.

An extraordinary journey to the top of the world, To The Arctic 3D is the ultimate tale of survival. The film takes audiences on a never-before-experienced journey into the lives of a mother polar bear and her two seven-month-old cubs as they navigate the changing Arctic wilderness they call home. Captivating, adventurous, and intimate footage brings moviegoers up close and personal with this family’s struggle to survive in a frigid environment of melting ice, immense glaciers, spectacular waterfalls, and majestic snow-bound peaks.

PHOTO: © 2012 WARNER BROS. ENTERTAINMENT INC., PHOTO: SHAUN MACGILLIVRAY

“To The Arctic was filmed entirely in 15/70mm with spectacular shots designed to take full advantage of the IMAX 3D format, and the story and setting will be made even more powerful by Meryl Streep’s unmatched artistry,” said Greg MacGillivray, President, MacGillivray Freeman Films and director of To The Arctic. ”This is MacGillivray Freeman’s third collaboration with Meryl, and we are delighted to pair her prodigious talents with this emotional story of family and hope.”

Dan Fellman, President of Domestic Distribution for Warner Bros. Pictures, stated, “Together withIMAX, we have transported audiences from the reaches of space to the depths of the ocean and, most recently, into the untamed jungle. We are thrilled to partner withIMAXand MacGillivray Freeman Films to tell an important story about a vanishing landscape and the animals that count on it for their survival.”

“The most enduring relationship is that between a mother and child, which is powerfully portrayed through the polar bear family in To The Arctic,” addedGreg Foster, Chairman and President,IMAX Filmed Entertainment. “Greg MacGillivray’s engaging storytelling combined with the strength of theWarner Bros. andIMAX partnership will deliver for audiences an inspiring glimpse into how the ties between family prevail above all else.”

Meryl Streep most recently earned a Golden Globe Award for her leading role asMargaret ThatcherinPhyllida Lloyd’s new film “The Iron Lady.” Her numerous honors include an astonishing 16 Academy Award® nominations, including her two Oscar® wins for her work in “Sophie’s Choice” and “Kramer vs. Kramer,” as well as 26 Golden Globe nominations, with additional wins for her performances in “Julie & Julia,” “The Devil Wears Prada,” “Angels in America,” “Adaptation,” “Sophie’s Choice,” “The French Lieutenant’s Woman,” and “Kramer vs. Kramer.” Streep’s many other additional credits include the recent award-winning films “Mamma Mia,” “Doubt,” and “The Hours.” She next stars in the comedy “Great Home Springs,” to be released by later this year.

About To The Arctic 3D
To The Arctic 3D is an IMAX, MacGillivray Freeman Films and Warner Bros. Pictures co-production and a presentation of One World One Ocean (www.oneworldoneocean.org). The film was produced in association with Campion Foundation, Reynders, McVeigh Capital Management, Canadian Museum of Civilization and MacGillivray Freeman Films Educational Foundation. To The Arctic was shot by Greg MacGillivray, Brad Ohlund, Bob Cranston, Howard Hall, Ron Goodman and Jack Tankard, produced by Shaun MacGillivray, written by Stephen Judson and executive produced by Tom Campion, Chat Reynders and Harrison Smith. The film’s companion book, To The Arctic, featuring photography by wildlife photographer Florian Schulz, is now available from Braided River, whose books combine photography and essays to raise awareness about some of the world’s last great wild places (www.welcometothearctic.org). More information about the film can be found at http://www.imax.com/tothearctic.

About MacGillivray Freeman Films
MacGillivray Freeman Films is the world’s foremost independent producer and distributor of giant-screen 70mm films with 35 IMAX films to its credit. Throughout the company’s 40-year history, its films have won numerous international awards including two Academy Award® nominations and three films inducted into the IMAX Hall of Fame. To The Arctic 3D follows in the company’s long tradition of producing films that call attention to the natural world. It is the first film presentation ofOne World One Ocean, a multi-year, multi-platform campaign established by company founderGreg MacGillivray to change how people see and value the world’s oceans.  MacGillivray Freeman’s films are known for their artistry and celebration of science and the natural world.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience® and The IMAX Experience® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

A coming-of-age documentary, UNDEFEATED provides audiences an intimate view of an underprivileged group of teens and their inspirational coach, as they attempt to make history in this new clip from the film. It’s one of the 15 in the Documentary Feature category that advanced in the voting process for the 84th Academy Awards®. One hundred twenty-four pictures had originally qualified in the category.

Synopsis

Set in the inner-city of Memphis, UNDEFEATED chronicles the Manassas Tigers’ 2009 football season, on and off-the-field, as they strive to win the first playoff game in the high school’s 110-year history.

A perennial whipping boy, in recent decades Manassas had gone so far as to sell their home games to the highest bidder, but that all changed in the spring of 2004 when Bill Courtney, a former high school football coach turned lumber salesman, volunteered to lend a hand. When he arrived, the team consisted of 17 players, some timeworn equipment and a patch of grass masquerading as a practice field.

Focusing more on winning young men than football games, the football program nevertheless began resurrecting itself and, in 2009, features the most talented team Manassas has ever fielded; a team that seems poised to end the playoff jinx that has plagued the school since time immemorial.

Look for UNDEFEATED in theaters February 10, 2012.

The Board of Governors of the Academy of Motion Picture Arts and Sciences approved documentary and short films rules for the 85th Academy Awards at its most recent meeting (December 6). The most significant changes expand members’ opportunities to view contending films, enabling more members to participate in the Academy’s voting processes in the Documentary Feature, Animated Short Film and Live Action Short Film categories.

In the Documentary Feature category, the entire Documentary Branch will now receive all eligible titles beginning in the first round of voting. To facilitate this change, filmmakers must submit 200 DVDs, an increase from the 30 that had been required in previous years. In the final round of voting in this category, members must still see all the nominated films, but the viewing of films on digital or DVD screeners will now be an option for satisfying this requirement.

A documentary feature film’s eligibility will continue to depend on completing seven-day qualifying runs in both New York and Los Angeles that are advertised in at least one major newspaper, as specified by Academy rules, in each city. For the 85th Academy Awards, however, a review by a movie critic in The New York Times and/or the Los Angeles Times will also be required.

In the Animated Short Film and Live Action Short Film categories, members will still have to see all the nominated films before casting their final ballots, but viewing the films on screeners will now be an option for satisfying this requirement. Films that are shown during their theatrical run in a non-standard format, such as IMAX, will have to be submitted to the Academy in a standard theatrical aspect ratio and in a format currently accepted for Academy exhibition to remain eligible. Producers may provide additional screenings of their films in non-standard formats, but members’ attendance at such screenings will not be required for voting purposes.

Other rules changes for the documentary and short films categories include normal date changes and minor “housekeeping” changes.

Rules are reviewed annually by individual branch and category committees. The Awards Rules Committee then reviews all proposed changes before presenting its recommendations to the Board of Governors for approval.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar® presentation also will be televised live in more than 225 countries worldwide.

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Countless movies over the years have dealt with the exploits of fictional characters that have brought things to life-from Doctors Frankenstein to Herbert West ( the Re-Animator flicks ). With the new documentary BEING ELMO we learn about a real-life re-animator named Kevin Clashwho,instead of body parts or mechanical men, gives life to stitched together bits of foam and felt. More importantly, he’s the guy behind the pre-K superstar of Sesame Street, Elmo.

Clash’s journey to that TV street began on a real, urban street in Baltimore in the early 1970′s. He was fascinated by puppets and marionettes and was encouraged by his family ( his father was not upset that he used the lining of his trench coat for one of his first puppet creations ). Entertaining the children in his mother’s day-care service in the back yard ( a blanket tossed over the clothes line was his stage ) to cheering up kids at hospitals and schools, Clash soon made a name for himself in the area. Word reached the local TV stations and soon he was an integralpart of a local kids’ show. They helped put him in touch with Robert Keeshan, who brought Clash on board his long-running ” Captain Kangaroo “. Of course the big superstar of puppetry those days was Muppet mastermind Jim Henson. After catching a TV showabout the making of his characters, Clash set about meeting the designer and engineer of the Muppets, Kermit Love. Thanks to his mother making many phone calls, Clash met the puppet wizard during a highschool NYC field trip. This lead to the syndicated TV kids’ show ” The Great Space Coaster” , and finally, once the Captainand the Coaster left the airwaves, to Henson’s staff. After working on the feature film LABYRITH, Clash became one of the main Muppet performers on ” Sesame Street “. After toiling away with a number of Street residents, one of the other muppeteerstossed him a red, furry, orange-nosed monster character ( who he had voiced as a caveman-type ) and said, ” See what you can do with this!”. Clash brainstormed and soon came up with a mischievous, affectionate, five-year-old charmer that captured the hearts of tykes everywhere. Clash had finally found his foam and felt perfect alter-ego, Elmo.

BEING ELMO is an engaging story that, not only tells of the joy of performing and being encouraged by a supportive family, but also gives many examples of the benfits ofpaying-it-forward. Clash gets lots of advice from the local Baltimore TV crew, then Kermit Love, and finally Henson andhis Muppet team. Soon, Clash is passing his wisdom and skills to performersof the foreign versions of Sesame and, finally, a wide-eyed, pre-teen puppeteer. The film is sparsely narrated by Whoopi Goldberg. Clash mostly tells his own story in interviews with the film makers, and extensive footage from past TV news stories about him ( some great scenes from the old TV show ” The Big, Blue Marble” ) and behind the scenes featurettes. surprisinglywe see some clips from Henson’s memorial service in 1990. And, the film does address the whole ” Tickle Me Elmo” mania that swept the country a few years back. Clash seems a bit stunned by this, but he’s truly touched by the impact that he’s made on children. We see him welcoming an ailing little girl and her family to the Street set in a touching sequence. Seems that a visit to their little furry friend is a popular request at the Make-A-Wish Foundation. There’s many interviews with other performers and family members, but some of his adult personal life is glossedover a bit. After seeing home video of his wife headed to the hospital to give birth, we don’t hear about her until a few moments later when she’s referred to as an ex-wife. There’s many scenes of Clash regretting being an absentee father to his daughter and then many clips from her big sweet sixteen party. These are many quibbles. BEING ELMO is a charming film that celebrates a determined, gifted man who, thanks to hard work and encouraging mentors, found an outlet to hare his love and joy, and made all his young dreams come true. It’s a story that should touch ( and tickle ) even the most cynical filmgoers.

Overall Rating : Four Out of Five Stars

The application of the death penalty in the sentencing of criminal cases has been an issue that continues to divide this country. A few months ago, at one of the many GOP presidential debates, the moderator noted the number of executions performed while Rick Perry was governor of Texas. This elicited gales of wild applause from the debate audience, while many pundits were shocked at the reaction. For his latest feature film documentary, director Werner Herzog traveled to that state to take a closer look at this divisive topic by focusing in on a horrific crime and the two young men who were brought to justice and met very different fates.

In the small, sleepy town of Conroe, Texas Michael Perry and Jason Burkett were found guilty in the death of Sandra Stotler, her teenage son, and his school pal. It seemed that Perry and Burkett shot the three for a few dollars, charge cards, and their almost-new cars. The two were arrested following a desperate shoot out at a gas station. Herzog interviews ( the film maker is always just off camera ) Perry as he is just days away from the lethal injection that will end his life. He appears smiling. affable, and ready to meet his maker although he still confesses his innocence in the actual slayings ( both men accuse the other of being the trigger-man ). Burkitt has received a life sentence perhaps thanks to a heartfelt plea from his incarcerated father ( he’s also interviewed ). Friends and acquaintances of the two men are also interviewed along with the prison chaplain and the man who must prepare the condemned for that walk to the death chamber. Thankfully Herzog also speaks with those left behind -the devastated ex-con older brother of one of the slain young men and the emotionally scarred daughter and sister of the Stotlers. She’s so traumatized by the murders that she refuses to have a telephone number for fear of receiving  tragic news once again.

Herzog has constructed a somber investigative film that has elements we’ve encountered in fiction films in recent years. The chaplain shares some of the beliefs espoused in DEAD MEN WALKING, while the death row coordinator is similar to Billy Bob Thorton’s MONSTER’S BALL character. I couldn’t help but also be reminded of Errol Morris’s THE THIN BLUE LINE which helped free Randall Adams from death row. There’s no question of the guilt of these two men, however. Herzog shows the injustice of the justice system in the sentencing of the two. He uses news reports, police crime scene video, and title cards to take us through the murders. The interviews are basically talking head shots against familiar settings. It takes a little getting used to the questions asked in that soft German accent and the subjects answers in their thick Texas twangs. Herzog is able to put them at ease and get great candid replies. He also likes to cut the sound and lets the camera linger on the interviewees in silence with the mournful score accompanying. At the end it seems that something is lacking in this film. We are never really taken inside the heads of these two men and helped to understand why they turned to violence. Perry is particularly an enigma. We never get to hear from any close friends or relatives. The film seems to be a more artful and longer version of the true crime docudramas that fill the network’s weekend schedule. The subject ( and the victim’s families ) deserve much more.

Overall Rating: Three and a Half Out of Five Stars