Author: Travis Keune

Hopeless film enthusiast; reborn comic book geek; artist; collector; cookie connoisseur; curious to no end

Casey Affleck Speaks Out About Joaquin Phoenix

What happened to Joaquin Phoenix? That’s a question lots of people have asked, and whether you feel he’s has a real change in his life or if this is merely a gigantic publicity stunt, one thing is for sure… Phoenix has been a little weird lately.

Now, Casey Affleck has spoken out about the last year of Joaquin Phoenix’s life and the “documentary” that he has made of that year of the former actor, now turned rapper. The film is called I’M STILL HERE: THE LOST YEAR OF JOAQUIN PHOENIX and is currently looking for distribution.

Anyone who watches TV is surely aware of Phoenix’s most recognizable moment of weirdness lately, when he appeared bearded and shaded on the LATE SHOW with David Letterman. It was one of those “What the… this can’t be for real” moments.

Well, according to early reports from west coast sources who’ve seen the film and the interview with Casey Affleck on ABC News Now’s Popcorn with Peter Travers, the film contains some things that may just make you believe, without a shadow of a doubt, that I’M STILL HERE is either a BORAT-style mockumentary, or else Joaquin Phoenix truly has blown a fuse.

Bobby Miller’s Short Film TUB available on DVD!

Bobby Miller is an artist versed in multiple media, from writing and drawing to music and photography, but today we’re announcing news of his filmmaking side as Bobby Miller’s TUB becomes available on a Special Edition DVD release. TUB has screened at several festivals, including Sundance, SXSW and Cannes. I had the pleasure of seeing the film at SXSW in Austin and you can read my review of the film here. Whether you’ve seen the film already or not, I highly recommend taking advantage of this opportunity to own TUB on DVD! To learn more about TUB and to pre-order the DVD, go to tubmovie.com

Filmmaker Bobby Miller speaks about TUB and it’s DVD release…

Here’s the DVD trailer for Bobby Miller’s TUB (with new footage!)

New INCEPTION Trailer Online

For all of you faithful followers of Chirstopher Nolan, here’s the new trailer for his self-written new sci-fi thriller feature film INCEPTION, due out in theaters this summer on July 16. The movie features a huge first-rate cast including Leonardo Dicaprio, Joseph Gordon-Levitt, Marion Cotillard, Ken Watanabe, Ellen Page, Cillian Murphy, Tom Berenger, Michael Caine and Lukas Haas. If the cast itself isn’t enough to get you into the theater, I fear there’s little hope! As much as I want to call INCEPTION the stylistic meeting of MEMENTO and THE MATRIX, I know that it simply won’t do this film justice.

UPDATE: Now that you’ve enjoyed the NOT new trailer for INCEPTION due to my not paying attention, here’s the real new trailer for INCEPTION. Enjoy…

Review: THE SECRET OF KELLS

With the popularity of CG-animated films from Pixar and DreamWorks and the namesake monopoly on traditional animation that is Disney, it’s rare that smaller indie or even foreign animated films of a traditional nature get much attention. Each year a number of these gems arrive at smaller theaters scattered throughout the country, but rarely do they enjoy the benefit of mass audiences due to a lack in exposure and publicity.

THE SECRET OF KELLS, which originally debuted elsewhere in 2009, is one example of a brilliant, under exposed jewels of traditional animation. Co-directed by Tomm Moore and Nora Twomey, this little Irish film earned more recognition than most with an Academy Award nomination in 2009 for Best Animated Feature, a nomination that many feel should have led to an actual Oscar win.

Brendan (Evan McGuire) is a young orphaned boy, living in a secluded medieval village under the care of his uncle, Abbot Cellach, voiced by Brendan Gleeson. The remote northern village is hard at work constructing a massive wall that will encircle their homes and protect them from the violent onslaught of invading barbaric Northmen. Abbot Cellach is obsessed with the building of the wall, confident it will protect the people from the invaders.

Meanwhile, little Brendan finds himself intensely bored being confined within the walls and increasingly curious about the world outside. Forbidden to venture beyond the walls, everything begins to change when a legendary illuminator arrives as a refugee of a recent Northmen attack. Brendan is awestruck by the man and his unfinished book, drawn to the stories and lore of its past, present and future. Naturally, this leads Brendan to develop a bond with the illuminator, one which opens new possibilities and challenges in Brendan’s young life.

Brendan Gleeson does a wonderful job voicing the stern and determined Abbot Cellach, however this not the “Brendan” that the audience will connect most with. That honor goes to the young and adventurous “Brendan” in the story, a boy who encounters a fairy named Aisling (Christen Monney) while in the woods and stumbles upon the dangers of the Dark one’s lair, courageously staying true to his mission despite the perils set before him.

THE SECRET OF KELLS uses the traditional animation techniques, but has an organically-geometric style, influenced by the traditional Irish folk art and decorative lettering. The film is based on the legendary Book of Kells, and the boy behind its creation. This is a story of accomplishment and talent put to astonishing good, realized through a mentor despite the many obstacles that stood in his way. The film is filled with wonderful colors, earthy and vibrant, with a kinetic pace that is as organic its visual style.

Perhaps the best part of the film –and THE SECRET OF KELLS is a very difficult film to dissect in terms of “best parts” as its all amazing—is the original music by Bruno Coulais, whose extensive body of work has recently included CORALINE and Disney’s OCEANS, enriches this story so greatly that defines much of the film. Often ethereal, the score is heavily inspired by traditional Irish folk music of various forms. I would venture to guess, after seeing this film the first time, one could sit back and close their eyes and merely listen to the score and follow the story with a fascinating accuracy.

Overall, THE SECRET OF KELLS is a tremendously engaging, moving and uncommonly significant animated film that deserves an audience and a place in film history. While the real linear running time of 75 minutes is relatively short, the experience feels much more epic and exhilarating. THE SECRET OF KELLS has an appeal and a message that can, and should, resonate with anyone, young or old, regardless of their backgrounds.

Overall Rating: 4 out of 5 stars

Review: MID-AUGUST LUNCH

Pranzo di ferragosto, or MID-AUGUST LUNCH in English, is a delightful Italian slice-of-life comedy about a middle-aged man with the best intentions. Gianni Di Greggorio co-wrote, directed and stars in this story of Gianni and his mother versus three elderly women. Gianni does not have a job, at least, not in the traditional sense. Gianni lives with his mother nearing the age of 100, spending his days caring for her. Gianni cooks, cleans and does anything and everything else that is necessary around their apartment. However, this also means he hasn’t the means to pay his share of the condominium costs.

As a result, Alfonso the administrator breaks the bad news to Gianni that the condominium members are threatening to hire a lawyer and sue. Gianni has no substantial means, but haggles for leniency, leading Alfonso to offer a deal… Gianni must keep the Alfonso’s mother with him for two days while he takes a trip on vacation. Reluctant at first, the good-natured Gianni agrees. What Gianni soon realizes is that this would begin the chain reaction of circumstances over the next two days, taking him to the brink of exhaustion. When Alfonso returns, he brings his Aunt Maria as well, and one more elderly woman will join Gianni’s senior slumber party before the day is through.

Gianni now is faced with spending two whole days, not just with his mother, or even merely with Alfonso’s mother, but Alfonso’s Aunt Maria and his doctor’s mother Grazia as well. It doesn’t take long before things begin to unravel as Alfonso’s mother becomes angry over access to the television, Grazia is upset over Gianni upholding her son’s rules governing her strict diet and Gianni’s own mother’s concerns about the lot of them staying in their home.

Gianni is a kind man with seemingly endless patience. Alfonso’s mother Marina, on the other hand, is less than civil at first. For anyone whose seen EVERYBODY LOVE RAYMOND, Marina is like a PG-rated version of Ray’s mother on the show. Aunt Maria is a sweet lady, but forgetful, eluding to the possibility of early stages of Alzheimer’s. Grazia is almost equally as nice, but has a number of medical conditions requiring medication and strict diet, such as acid reflux and lactose intolerance. In other words, Grazia is one in a small home of five Italians who love their food, but also the one who cannot have any cheese or tomatoes.

As the granny-sitting progresses, Gianni finds himself being worn down and even believing he’s experienced a scare of heart trouble. Gianni does his best to keep the women happy, or at least sedated, waiting out the mandatory contractual time of his deals with Alfonso and the doctor. However, the women begin to grow on each other and find themselves in a situation they actually prefer to their own lives at home with their own sons.

In the end, MID-AUGUST LUNCH has painted a quaint and enjoyably subtle comedy about Italian life in the golden years. The performances are as real and unpretentious as the characters’ names, all of which are the actors’ real names. Gianni has a familiarity to his appearance and an inviting personality. MID-AUGUST LUNCH is an intimate, comfortably short film –-75 minutes— foray into Rome on a less extravagant level, but is still filled with charm and beauty.

Overall Rating: 3.5 out of 5 stars

Hugo Weaving Cast as Red Skull in CAPTAIN AMERICA

In a highly anticipated decision on the casting of a classic villain, Marvel Studios announced today that Hugo Weaving would dawn the persona of Johann Schmidt, also better known as the Red Skull, in CAPTAIN AMERICA: THE FIRST AVENGER.

In the early comics, Johann Schmidt was drafted into loyal service of The Third Reich and renamed “The Red Skull.”  The character will be updated for the feature adaptation.

Long has Red Skull been Captain America’s arch-nemesis and Weaving, best known for his roles as Agent Smith in THE MATRIX trilogy and as the ancient elven Elrond in THE LORD OF THE RINGS trilogy, is a fabulous choice! The role of Captain America was recently announced as given to Chris Evans and the film will be directed by Joe Johnston. CAPTAIN AMERICA: THE FIRST AVENGER is set for release on July 22, 2011.

Source: Marvel

Ryan Reynolds gets BURIED in this Teaser Trailer

Ryan Reynolds has made us laugh, shocked us and even made us cringe a time or two, but this go ’round he’s determined to freak us all out. The little indie flick that could, a favorite at Sundance, BURIED stars Ryan Reynolds in a film about the most primal yet frightening fears shared my many of us… fears of the dark and enclosed spaces, loss of control and the overwhelming worst of them all… the fear of the unknown. With that, BURIED is a film that appears to be scaring the heck out of people in an otherwise simplistic way, by sticking Ryan Reynolds in a coffin, buried alive. As the audience, we get the privilege of experiencing that terror with him, crammed into the same tiny coffin, struggling for air and a grasp on our sanity. BURIED hits theaters on October 8, 2010. Check out the teaser trailer below, if you dare…

PIRANHA 3D Trailer Nibbles at Your Funny Bone

You don’t even have to say it… I already know what you’re thinking. And, it’s something along the lines of “seriously?” Well, some of you more discerning fans of cheesy cinema may have already known about PIRANHA 3D, a project which has had some setbacks, but it looks like its resurfaced with a release date of August 27, 2010. So, before you go swimming and tubing out in the harmless waters this summer, you may want to check out this trailer first. All things being equal, I am thrilled to see Christopher Lloyd back on the big screen. I’m throwing caution aside and jumping into this dangerously shallow body of H2O horror head first! Hey, if you can’t enjoy a terribly cheesy horror flick, than you just don’t know how to live…

First Look at Marvel’s THOR

Perhaps one of the most anticipated First Looks to his the web recently, director Kenneth Branagh’s live-action motion picture of Marvel’s THOR is well on its way and now the first image of Chris Hemsworth as the mighty blond God of Thunder has surfaced on the Internet. The costume design appears to be based primarily on the more traditional designs from the Marvel comics and Hemsworth seems like he might have actually captures the look of the character quite well. No sign of Thor’s legendary hammer Mjolnir, but we’ll keep our eyes peeled. So, what do you think? Are Branagh and Hemsworth on the right track?

Source: MTV

Review: THE GIRL ON THE TRAIN

THE GIRL ON THE TRAIN is not an easy film to watch. The pacing is a strange combination of slow and disjointed, but the overall result is not all bad. In fact, the strangest thing about this film, directed co-written by André Téchiné, is that despite the awkwardness of the film it maintains a certain level of intrigue that asks the viewer to keep watching, even when they’re unclear as to exactly where the story is going or why.

André Téchiné (WILD REEDS) weaves a coming-of-age story with a story of young ignorant love, focusing on the experience of a young woman named Jeanne, played by Émilie Dequenne. Jeanne lives with her widowed mother Louise, played by the ever-magnificent Catherine Deneuve, who seems to serve more as a friend and roommate than a mother at times. The two women are very much alike in some ways, despite their difference in age, both are independent but otherwise relative loaners.

The story begins as Jeanne roller blades by herself, but finds she has attracted the interest of a young man who has taken it upon himself to follow her. Uneasy by the attention, Jeanne seeks shelter in a nearby shop, only to be discovered and cornered by the young man named Franck (Nicolas Duvauchelle). Franck turns out to be a relative gentleman, having taken an honest interest in Jeanne for which he interprets as love at first sight and the two begin to develop feelings.

Meanwhile, Téchiné constructs the story of the Bleistein’s, a dysfunctional Jewish family. Samuel, the patriarch of the family and successful lawyer, plans to pay for his grandson’s Bar Mitzvah, while the boy’s divorced parents muddle through an awkward reunion of anger and regret, torn between their differences and their lingering love for each other. Throughout the film, Téchiné works towards bringing these two stories together. The drawback is that it seems to take forever before the stories finally collide, resulting in a scene intended to be more shocking than it was effective.

After Jeanne experiences a tragic relationship obstacle far from her normal comfort zone, she seems to have something of a breakdown that leads to her own psychological ordeal, affecting both her mother and the Bleistein family. While this scene is less immediately shocking than it is bewildering in its onset suddenness and curious obscurity, its effectiveness lies more in the bizarre string of circumstances that arise from Jeanne’s creation.

THE GIRL ON THE TRAIN begins slowly, but the attention given to Jeanne and her seemingly uneventful life captures the audience’s interest in her potential story. Téchiné’s choice of lingering shots, warm lighting and upbeat, slightly techno-ambient music enhances these moments to a level of primal human wonder, stirring the sense of intrigue as its clear something is going to happen to this average but attractive “good” girl.

In this way, THE GIRL ON THE TRAIN presents itself as part mystery, instilling a touch of subtle suspense as the story unfolds. There’s an element of social commentary, buried shallow within the film, but the essence of this movie lies in the youthful, often confused perception of the world and how it works. The 105-minute running time feels much longer, which is due in part to the randomness of the film’s structure and lulls in the story that detract from it’s strengths.

THE GIRL ON THE TRAIN is an interesting character study, but requires a certain level of patience and willingness to endure working for the final outcome. Audiences may find themselves leaving the theater truly wanting to have appreciated and enjoyed the experience, but may have difficulty forgiving the exhausted sensation of fighting to stay awake one moment and struggling to stay on track with the intent of the story the next moment.

Overall Rating: 3 out of 5 stars