Movies Scheduled 8/31-9/6

Well it is the unofficial end of summer, yes I know we have a few more weeks until fall. But it is getting closer I hope you are able to spend this holiday on a beach or by a pool or having some kind of fun!

Not a lot of movies out this week but keep a eye out something may pop up during the week.

Oh and if you get a chance send a shout out to Raymond since today is his birthday!

As always you can ask me any questions at damitdaina@hotmail.com

Sunday August 31st

Monday September 1st

Tuesday September 2nd

Wednesday September 3rd

Thursday September 4th

The Maze Runner, 7:00 pm, Angelika Dallas

Friday September 5th

Saturday September 6th

Dolphin Tale 2 10:30 a.m. AMC Mesquite 30

The Trip to Italy

This movie, written by Michael Winterbottom is about two men, Steven Coogan & Rob Brydon, who takes a road trip around Italy, Liguria, Tuscany, Rome, Amalfi, and Capri to taste test a meal in each of those cities at one of their finest restaurant.

Steve was to take the tour with his girlfriend but she back out at the last minute, so instead, he takes his friend, Rob. Steve and Rob take the road trip around Italy where they enjoyed the finest meal at the finest restaurant within six days. During the day, the men would travel to one of the city where they would go to the selected restaurant where the chefs would prepare one or more meal for them. Afterwards, they would also go site seeing around the area. Their tour consists of a lot of dry conversation and even more attempt at humor. The sceneries were breathtaking and spectacular. Most evening when the men spent time in their room is when you get a real sense of Steve’s and Rob’s personal life. Steve has a son who he seems to have a very close relationship with and even invites him on the last part of the tour. Rob’s life seems a bit different. Although, he is away on the tour, his wife seemed to lack the interest; as if she always a bit busy and distracted when he calls her.

The scenery and the food were the highlight of the movie. The director chose areas throughout Italy that was breathtaking and attractive for a great tour. The food looked attractive and delicious. However, the men’s attempt at humor was not even close to funny. Their imitating of other people was more close to dry humor. The men’s conversations with each other always seem a bit off. This movie suits well for a mature audience.
(Review by Dr. Dwanna Swan-Ary)

As Above, So Below

I was very surprised by this movie. I will be honest and I wasn't expecting much, as I am exposed to crappy horror films year in and year out. This isn't a perfect movie but this has many redeemable qualities that make it enjoyable, creepy and sometimes thought provoking. Director John Erick Dowdle creates a claustrophobic, damp atmosphere that will make anyone's heart beat fast with anticipation and slow when you, as the audience, are grasping for air just like the characters. The story is also interesting and really messes with your mind, to where it seems completely different than most average horror films. I think this is why the found footage style worked because it felt fresh because it was a different story. The director really nails the terror of claustrophobia and I won't be going inside a cave anytime soon. The acting is weak and that is one of my complaints. I didn't really care for them and their dialogue delivery, at points, was horrendous. So the terrible acting carries over from other horror films, but I will let it slide because of the premise. The cinematography was suspenseful and irritating to where I didn't want to see what was going on, but I couldn't take my eyes off of it. The found footage style worked for this film but most of it was shot in first person, which elevated the horror and anticipation through the darkness. The film is only an hour and half and the first twenty minutes are slow, but once they enter the catacombs I was hooked. I also have to point out that the sound design and special effects were top-notch and just added another layer to this messed up terror cake. Overall, I enjoyed it, a lot and I think it will gain a cult following. I will need to watch it again because it raised some interesting theories my roommate and I came up with. The acting and dialogue were the only things holding this nice little horror movie back. 7.5/10
(Review by Chase Lee)

Kundo: Age of the Rampant

The twangy electric guitar strains on the soundtrack of the Korean period drama gives this new film by director Yoon Jong-bin a spaghetti western vibe. Kundo: Age of the Rampart in Korea breaking box office records (which was shortly toppled by The Admiral:Roaring Currents, another period action film). Written by Jeon Cheol-hong from a stry by Yoon Jong-bin, is set in the late Joseon dynasty. The bandit clans were called “kundo”. Beautifully photographed, and lushly costumed, there is a Robin Hood element where the poor steal from the corrupt nobility. And there's a little bit of the Magnificent Seven thrown in as the clan gets the poor to fight against the oppression. There are many stock type characters in this film that offer a humorous tone to the story, but it also highlights the corruption of the nobility and the hunger and poverty of the common people. Which is pretty much like real life.

The Chusal clan of Mt. Jiri hide their village in the mountain valley They are an old clan filled with people who have been shunned from all walks of society. Their slogan is “united we are people, divided wear thieves”. The leaders of the clan look for three things when a new member wants to join their family. Their eyes must be clear, their will must be strong, and distinction is mandatory. Occasionally they will recruit someone like Dolmuchi (Ha Jung-woo), an 18 year old butcher who was offered money to kill a young woman. Except he didn't do it and tried to give the money back. Unfortunately they could afford to have Dolmuchi squeal on them so they burn his home with his family and leave him for dead. He manages to survive and his will to exact revenge is what leads the clan to ask him to join.

Their main target is Jo Yoon (Kang Dong-won), the illegitimate son of a wealthy and corrupt lord who's wife only bore him daughter's. Jo Yoon is brought into the household to train to be the heir. But he's usurped by the birth of his half brother. Needless to say Jo Yoon grows up with a huge chip on his shoulder. He becomes an unbeatable martial artist and swordsman. The death of his brother brings him back home, but his position is threaten by his pregnant sister in law whose child may knock him off the waiting list. Jo Yoon is the ultimate bad guy, but you are made to understand why his is acting out. To try and get his father's approval he steals the land from the illiterate peasants by giving them bad loans, then turning them into slaves when they can't pay it back. The clan make plans to right the wrong.

Dolmuchi who has been renamed Dolchi, with his head shaved and carrying two huge butcher knives has made a name for himself as by taking the top knots of the nobility, which apparently is a shameful loss. He's tough, endures physical pain, and loyal to his new family. The fight scenes, which is why most people will see this film are well executed and imaginative. Dolchi and Jo Yoon have several showdowns with the best being in the bamboo forest. Catch the screenings at AMC Grapevine starting Friday, August 29.
(Review by reesa)

Alamo Drafthouse Cinema DFW Announces Location #3

Alamo Drafthouse Cinema DFW
Announces Location #3:
Alamo Las Colinas


Alamo Drafthouse Cinema’s third DFW location confirmed at Las Colinas entertainment complex with groundbreaking event, Aug 30, free, open to the public


Dallas – August 27, 2014—Hot on the heels of announcing the second location in North Texas on South Lamar and Cadiz south of downtown Dallas, Alamo Drafthouse Cinema DFW, voted 2014’s Best Movie Theater by the readers of D Magazine, announces today that Las Colinas is the location for the third Alamo Drafthouse in North Texas. Alamo Drafthouse Cinema will open in the new Music Factory at Las Colinas located at Hwy 114 and Fuller Drive immediately south of the Irving Convention Center at Las Colinas.

The development breaks ground at a special outdoor event on Saturday night, August 30 at 7 pm featuring a free Alamo Rolling Roadshow of RAIDERS OF THE LOST ARK (1981), food trucks, temple-themed bounce houses, local craft beers from Community Beer Company, whip demonstrations, and, of course, an original 35MM print and games that have made Alamo famous. This event is BYOC (Bring Your Own Chair). The film starts at sunset.

http://drafthouse.com/movies/rolling_roadshow_raiders_of_the_lost_ark/dfw


Details:

This event is FREE!
Gates open at 7:00p. Movie rolls at sunset
Family and four-legged friendly. Just no rats!
Bar is cash only. ATM on site. Most food trucks do accept credit cards
No outside food or beverage except for water
Absolutely no outside alcoholic beverages per TABC regulations

Address: 500 W Las Colinas Blvd, Irving, TX 75039 (adjacent to the south side of the Irving Convention Center at Las Colinas in the field)



Music Factory Community

“We couldn’t be more excited to be a part of the Music Factory at Las Colinas,” said Bill C. DiGaetano, COO of Alamo Drafthouse Cinema DFW. “We pride ourselves in taking first-run movies and events to the next level. Being a part of an entertainment specific development is a perfect fit. Each Alamo is unique to the community it serves; co-tenants like the 8,000-seat amphitheater, extraordinary restaurants, the bowling center, and other entertainment venues give us opportunities to create incredible events for our guests at the theater or with an neighboring venue. Whether it’s an outdoor movie paired with live music in the amphitheater, or a screening of THE BIG LEBOWSKI before a round of bowling, it’s safe to say Alamo’s movies and events will be over the top in Las Colinas.”


Signature Features of Alamo Drafthouse Las Colinas

Alamo Drafthouse Las Colinas will be a state-of-the-art theater. Each auditorium will be equipped with the latest in 4K digital projection with larger-than-average screen size to room ratios and 7.1 Dolby Surround Sound. Select auditoriums will also feature 35mm projectors for Cinephiles to experience classic and repertory content as they were meant to be viewed. Not only will they feature superior audio-visual equipment, additionally the format of each theater will eliminate the traditional front row, ensuring every seat in the theater allows for an optimal viewing experience. In addition to in-theater dining Alamo Las Colinas will feature a second floor lounge and patio offering an extensive menu of draft and bottled beers, wine, cocktails and freshly made food. The lounge will offer patrons an inviting place to socialize whether waiting for a movie or simply coming to sample scratch-made menu items, cocktails or local craft beers.

“The addition of Alamo Drafthouse to this project is a tremendous win,” said Irving Interim City Manager Steve McCullough. “We recently announced the financing on the city’s portion of the Entertainment Center and are pleased to be moving forward and bringing additional entertainment options to Irving.”


For developments on all things Alamo Drafthouse DFW, follow us on Facebook and Twitter:

Facebook: facebook.com/AlamoDrafthouseDFW

Twitter: twitter.com/AlamoDFW

Website: http://drafthouse.com/dfw/




Alamo Drafthouse social media:

Facebook: facebook.com/AlamoDrafthouse
Twitter: twitter.com/drafthouse
YouTube: youtube.com/alamodrafthouse
Tumblr: birthmoviesdeath.com/
Instagram: instagram.com/drafthouse
Vimeo: vimeo.com/alamodrafthouse
Website: drafthouse.com


About Alamo Drafthouse Cinemas
Tim and Karrie League founded Alamo Drafthouse Cinema in 1997 as a single-screen mom-and-pop repertory theater in Austin. Seventeen years later, the now 19-location chain has been named “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired.com. The Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and movie properties including Star Wars, Star Trek and the classic Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including Drafthouse Films, which has garnered two Academy Award nominations in its short three-year existence and Badass Digest, an entertainment news blog curated by veteran journalist Devin Farachi. http://drafthouse.com/dfw.



About Music Factory
Charlotte, NC-based ARK Group is behind the development of the forthcoming Music Factory in Las Colinas, which will be home to an 8,000-seat indoor/outdoor concert hall, more than 50,000 square feet of open-air plazas and over 20 restaurants and entertainment venues. The Music Factory will feature multiple outdoor stages for after-work concerts, fashion shows, international festivals, art exhibits, and much more. “We are excited to have Alamo Drafthouse join our diverse mix of tenants”, said Noah Lazes, president of the ARK Group. “Alamo has set the standard for the drafthouse/movie theater experience. This new location will become a fixture of entertainment and hospitality at the Music Factory.”

Movies scheduled 8/24-8/30

For the most part y'all are doing really good at responding to the sender and not the group. I still get a few here and there that will just hit the reply button and when you do that it goes to the group. Don't forget to look at the bottom and it will have who posted the want, need or trade. You can copy that email and hit forward and bam everyone will be happy.

I know there are some that will get passes to every movie. I am one that will get only passes to movies that interests me. So emailing me telling me you want passes isn't going to get you any passes. Sure I send out emails that will let you know who has contest and where to get the passes. If you want a pass and are not lucky enough to win it is best to ask the group. Make sure if you do ask the group then put in the header Want, Trade or Offer.

As always if you have any questions send me a email damitdaina@hotmail.com


Sunday August 24th


Monday August 25th

The Trip to Italy 7:30 p.m. Magnolia

Tuesday August 26th

November Man 7:30 p.m. AMC Northpark
November Man 7:30 p.m. SMG Royal


Wednesday August 27th

A Walk Among the Tombstones 4:00 p.m.
Cantinflas 7:30 p.m. AMC Valley View

Thursday August 28th

As Above, So Below 7:30 p.m. TBA

Friday August 29th

Saturday August 30th

The One I Love

This film is the one I love; you see what I did there, for my top ten list of the year. I love this film, but it is hard to talk about it because I don’t want to spoil anything. Director Charlie McDowell creates this fresh, unique film about relationships that didn’t see coming. All I will say about the plot is that a couple goes to a resort to fix their marital problems, that’s it. That’s how vague I can go with this film because it’s one of those films you need to experience. This is McDowell’s first feature film and I have to congratulate him because he did an excellent job. Mark Duplass and Elizabeth Moss fill up nearly every second and their chemistry is natural and realistic. Moss comes from “Mad Men” and Duplass comes from “The League”, two very different animals. “The League” is more of a free roam show and the comedy comes from the actors and actresses heavy improv; and “Mad Men” is more heavily scripted and by the
words, so it was nice to see both of these actors from different television shows act in a scene together. They were both able to appear like they have been a married couple for many years, so the chemistry came off natural. It also helps when most of this movie was mostly improv and when improve is pulled off smoothly, it makes the dialogue and chemistry between the actors feel organic The cinematography is well done and adds a euphoric, dream like tone to the film. It’s mainly these two actors at one location, yet its shot well and keeps the story moving along. That’s all I will say considering if I say anymore I will be going into spoiler territory. At its hour and a half runtime, roughly, the film does a good job at entrancing you into this story. I never felt like it dragged and always kept my interest. Fifteen minutes in, I was hooked even though my interest for this film was already high. This is an original, yet different story about
relationships and, truly, a gem of a film that I want to watch again soon. I can’t recommend this to you more than I already have. 9/10





Audio Interview with Mark Duplass and director Charlie McDowell

Are You Here?

Are you here? This was the question I was asking myself regarding if the film would ever show up in terms of quality. And guess what, it didn't. This was a mess of a movie that tried to be more meaningful then it actually was. I am going to try and dissect this thing. Matthew Weiner, creator of “Mad Men”, writes and directs this tone confusing film. I am all for a film to be a good mix of comedy and drama, but I have never seen a film try so hard. Some scenes would have comedy and, literally, the next scene it will be a weird “dramatic” tonal shift that doesn’t work. The story is basic, or is it? As I was watching this, I noticed Weiner put some scenes in here to convey a message; but I couldn’t quite grasp what he was trying to say, because I was thinking about the tonal shifting and how it didn’t blend well. The story is simple, and somewhat messy regarding plot points, but Weiner tried to make it more meaningful and it didn’t come across that way. The acting, overall, is dull and it felt like none of them wanted to be there. With a cast like: Owen Wilson, Zach Galifianakis (I still had to Google his name to make sure I spelled it right) and Amy Poehler, you figure this could be great, unfortunately, it came off like they weren’t trying; which is a shame because I love all three of them. The cinematography is good and I have no complaints, it is just the story and how average it came across. The film is almost two hours and I can tell you that it doesn’t need to be that long. It could have easily been trimmed. The more I thought about this film, the more I hated it. It’s one of those things where you don’t really know what you saw and don’t know how you feel. This is one of those times where I side with dislike, but I preface in saying, I want to re-visit it to understand what Matthew Weiner was thinking. This was a very average that tried to be something it wasn’t. I have never seen “Mad Men” but I am really cautious in checking it out after seeing this mess that almost bored me to tears. 2/10. If you would like to see more rage, check out my video review.
(Review by Chase Lee)

Sin City A Dame to Kill For

If you haven't seen the first Sin City, then you should at least rent it before viewing the continuing adventure in Old Town. The comic styling of the first film is back and in 3D Imax form with remarkably is worth the price of the format. The black and white characters with the shock of color singled out in certain characters and clothing make the images pop in the screen. Director Robert Rodriguez working with Frank Miller's graphic novel brings the characters to life with their campy dialogue and uber violence.

Nancy (Jessica Alba) is still dancing at Kitty's joint and still grieving for her deceased lover Hartigan (Bruce Willis, seen as a spirit). She is watched over by justice dispensing Marv (Mickey Rourke) who is itching for some action like taking out some frat boys who are burning drunks. We are introduced to Johnny (Joseph Gordon-Levitt), a gambler who always wins. He gets into a poker hand with Senator Roark (Powers Boothe) who doesn't like to lose. Despite the Senator's payback for the humiliation, Johnny is determined to win again. The Senator is also the target of Nancy's revenge, but even with a gun in her hand she can't seem to be able to pull the trigger.

PI Dwight (Josh Brolin) thought he was getting away from Old Town, but his ex girlfriend Ava (Eva Green) comes calling again telling him a tale of woe at the hands of her rich husband Damien (Marton Csokas). Dwight feels compelled to protect her, but that means getting around the body guard Manute (Dennis Haysbert) who beats Dwight and throws him out of a car. Dwight asks Marv to help him save Ava and they attack the mansion, but Ava is like femme fatal who sucks men in and spits them out when she's done like the poor cop Mort (Christopher Meloni). She shoots Dwight after he's done her bidding. Gail (Rosario Dawson) and the Old Town women's posse take him in, because Gaile is still in love with him. She tells sword girl Miho (Jamie Chung), that Dwight had saved her at one point, so she helps protect him too. They decide to take down Ava after Dwight is fixed up. Meanwhile Johnny comes back to face the Senator, but it doesn't end well. Nancy asks Marv for help in taking down the Senator, and he introduces her to her first kill.

Despite the convoluted stories that don't seem to connect, it all comes together by the end. Even if you are not familiar with the relationships that were established in the first movie, you can still enjoy the visuals, the mayhem and the crazy violence that splatter white blood and body parts. There's also plenty of titillation with Ms. Green spending most of the movie showing off her remarkable body of work. And of course there is Ms. Alba's stripper dancing which would be considered conservative compared to Ms. Green's various state of undress. The first Sin City was fun because it was something never seen before. This one is more of the same with a lot of famous people attached.
(Review by reesa)

If I Stay

Young adult novels adapted for movies seems to be the trend. Teen angst when dealing with things like vampires, cancer, Battle Royale games, dystopian futures, and now deciding whether to stay in this world or not. The big uniting factor of course is the stars in their eyes love of their lives, all gooey, mopey and confused teenagers who of course are more than attractive and cinematically precious. Director R.J. Cutler (The Ordained and The September Issue) and screenwriter Shauna Cross have adapted the 2009 novel by Gayle Forman in one of the better of the batch of YA movies.

Mia Hall (Chloë Grace Moretz) has a blessed family. Her dad (Joshua Leonard) was in a rock band and her mom (Mireille Enos) used to be a riot girl. Dad gave up his music to teach English and mom became a travel agent so they can raise their family which includes her little brother Teddy (Jakob Davies). Mia early on has an affinity for the cello and the parents realized early on that she was indeed gifted. Dad even sold his drum kit to buy her a cello. Her devotion to her music makes her a bit of loner nerd, but Adam (Jamie Blackley), the cool cute rock guy in school is attracted to her dedication and the way she gets lost in her music. She doesn't quite understand it, but they decide to date. But as time goes by, his band and talent are being sought after and record labels come calling. Mia doesn't tell him that she is applying to Julliard which means a long distant relationship while their careers are pulling them in different directions threatening to rip them apart. Adam already suffers from issues of abandonment and reacts to trigger Mia's guilt. The rocker and classical girl...can it work?

All of this is told in flashbacks as Mia begins the movie in a coma after a horrible accident that takes the lives of her family. Her spirit wanders the hospital as family and friends grief and beg her to stay. Her life plays back to her as she weighs whether waking up an orphan will be worth the pain. Watching the grandparents, her aunt, and friends grieve, then there's that welcoming light that seems to beckon her is hard to handle. As with all big romantic tragedy stories, it's the boyfriend that is destined to be the deciding factor if she will stay.

This film could have gone either way but fortunately the cast performances are endearing and believable. Moretz proves she's more than just the Kick-ass girl. The parents are maybe too cool to be true, but their family life is enough for us to want to move in with them. Mia's best friend is what besties are all about. And Adam is dreamy and devoted, what's what not to love? It's so cliché and sentimental. Bring lots of tissues, definitely a three hankie movie.
(Review by reesa)

Island of Lemurs: Madagascar

The early lemurs managed to survive the destruction of the asteroid that killed off the dinosaurs. Somehow some managed perhaps via a tree raft to sail across the ocean that separates the Island of Madagascar from Southern Africa. Those survivors arrived where there were no predators to prey upon them and thrived evolving into a wide variety of sizes and types. They eventually went extinct on the major continent, and now only on Madagascar.

This nature documentary by David Douglas and written by Drew Fellman features some amazing footage of the beautiful landscape of Madagascar and close ups of the visually pleasing lemurs. Morgan Freeman's melodious voice narrates and gives life to the colorful critters. Their bodies have long tails that gives them leverage for jumping from tree to tree, even hopping on two legs on the ground. Dr. Patricia Wright has been studying lemurs for many years. Her work has been essential in the establishing part of the forest as a national park to preserve the lemur habitat. Humans on the island have been encroaching on their spaces by their need for farming and cattle land. To clear the fields they burn parts of the forest. Unfortunately the burns get our of control and destroy more than they should. The lemurs are forced to adapt to different locations. Dr. Wright spent many months tracking down Bamboo Lemurs who thought to be extinct.

Lemurs which were once the size of big apes are considered sacred on Madagascar. Lemurs also do not survive captivity. They live in extended family units ruled by the alpha females of their groups who decide where they live and what they eat. The mouse lemur is the smallest primate in the world. The Bamboo Lemurs eat the young shoots of bamboo trees. One type of lemurs don't drink water getting their liquid from plants. Dr. Wright who was once a social worker before becoming a scientist uses her skill to work with the island inhabitants in bringing awareness of the lemurs and established a study center. Volunteers are able to rescue lemurs displaced by the burning of their lands and integrate them with other family units.

This is a short but informative and interesting doc for all ages that seems to be aimed for television, school rooms or zoo presentations. The photography is spectacular and travelogue worthy. And the lemurs are too cute for school.
(Review by reesa)

27th Dallas VideoFest Announces First Films

The Video Association of Dallas Announces
First Films Selected for 27th Dallas VideoFest

DALLAS, August 20, 2014 —The Video Association of Dallas announced today the first films chosen to screen during the 27th edition of the Dallas VideoFest from October 8-19, 2014. Overall, approximately 175 videos including narrative and documentary features, shorts, animation, and experimental videos will be screened during the expanded 12-day Festival.

This year’s films will run the gamut from documentaries about the simplicity of expressive dance to the absurd history of theme songs for professional wrestlers. VideoFest will also showcase student Academy Awards winners: Helen Hood Scheer (APOTHECARY) and J. Christian Jensen (WHITE EARTH).




First Selected Dallas VideoFest Films

1971 (USA)
Director: Johanna Hamilton

The FBI was unaccountable and untouchable until 1971, when a group of ordinary citizens uncovered its illegal domestic spying programs. Forty-three years later, these everyday Americans publicly reveal themselves for the first time and share their story in the documentary: 1971.


50 YEARS (USA)
Director: Christian Vasquez

This short documentary explores The Civil Rights movement of the 1960s and its place in the narrative of America. Made on behalf of The Department of Education, the documentary features footage and interviews with original members of The Freedom Rides during a celebratory day of events, held in commemoration of the 50th anniversary of the enactment of The Civil Rights Act of 1964. Filmmaker in attendance


A FILM IS A FILM IS A FILM (USA)
Director: Eva von Schweinitz

As celluloid film slowly disappears from her workplace, the director, a movie projectionist herself, begins to investigate what makes the material special.


ABOVE AND BEYOND: THE BIRTH OF THE ISRAELI AIR FORCE (USA/Israel)
Director: Roberta Grossman (correction on the director; the subtitle has been removed from the final film title, too)

In 1948, a group of World War II pilots, mostly from America, volunteered to fight for Israel in the War of Independence. As members of "Machal"—volunteers from abroad—this ragtag band of brothers not only turned the tide of the war, preventing the possible annihilation of Israel at the very moment of its birth; they also laid the groundwork for the Israeli Air Force. Filmmaker in attendance; producer Nancy Spielberg via Skype. Co-presented by 3 Stars Jewish Cinema.
Website: http://www.playmountproductions.com/
Trailer: https://vimeo.com/54400569


ACTRESS (USA)
Director: Robert Greene

Brandy Burre had a recurring role on HBO’s "The Wire" when she gave up her career to start a family. When she decides to reclaim her life as an actor, the domestic world, she’s carefully created, crumbles around her. Using elements of melodrama and cinema verité, ACTRESS is both a present tense portrait of a dying relationship and an exploration of a complicated woman, performing the role of herself, in a complex-yet-familiar story. It’s a film about starring in the movie that IS your life. This is what happens when we break the rules. Filmmaker in attendance.
Website: http://www.actressfilm.com/
Trailer: http://www.actressfilm.com/trailer/


BACK TO BADSTREET (USA)
Director: Keith Alcorn

BACK ON BADSTREET is all about the creation of the first theme song that has become the norm in the Professional Wrestling world. Told through the eyes of the people who witnessed it and with never-before-seen footage, BACK ON BADSTREET is a documentary celebrating the 30th anniversary of the song, "Badstreet USA," and the people that made it happen. Filmmaker in attendance.
Website: http://www.badstreetusafilm.com/
Trailer: http://youtu.be/4r-BmYwm8gE


BEYOND CLUELESS (UK)
Director: Charlie Lyne

A dizzying journey into the mind, body and soul of the teen movie, as seen through the eyes of more than 200 modern teen classics. Metta Media Award Winner3
Website: http://www.beyondclueless.co.uk
Trailer: https://www.youtube.com/watch?v=2Jvy7IX-JiE


BEYOND THE WALL (USA/Argentina)
Director: Gayle Embrey

People around the world go to the walls, painting their stories to give voice to life experiences. BEYOND THE WALL brings their stories to life. Filmmaker in attendance.
Website: www.Beyondthewallsthefilm.com
Trailer: www.Beyondthewallsthefilm.com


COTTON ROAD (USA/China)
Director: Laura Kissel

COTTON ROAD follows the commodity of cotton from farm to factory, across industrial landscapes, to illuminate the human experiences within a global supply chain.
Website: http://www.cottonroadmovie.com/
Trailer: https://vimeo.com/channels/cottonroad


MIMI AND DONA (USA)
Director: Sophie Sartain

A 92-year-old mother, Mimi, must part ways with her 64-year-old daughter, Dona, who has an intellectual disability and has lived at home her entire life. Filmmaker in attendance.
Website: http://www.mimianddonamovie.com/about.html
Trailer: https://vimeo.com/103771182


REGARDING SUSAN SONTAG (USA)
Director: Nancy D. Kates

An intimate and nuanced investigation into the life of one of the most influential and provocative thinkers of the 20th Century.
Website: http://sontagfilm.org/
Trailer: https://vimeo.com/90910212



THE STARFISH THROWERS (USA/India)
Director: Jesse Roesler

Worlds apart, a five-star chef, a twelve year-old girl, and a retired schoolteacher discover how their individual efforts to feed the poor ignite a movement in the fight against hunger.


THE WILD YEARS (Spain/Ethiopia)
Director: Ventura Durall

Three kids in the streets of a city in Africa. A mafia-like gang. Fights. The smallest kid kills his stepmother. The kids flee; the journey begins. Maybe the wild years will not come back.
Website: http://www.documentaryedge.org.nz/2014/ak/film/wild-years
Trailer: https://www.youtube.com/watch?v=wcz_nmb-tcE



THIS MAY BE THE LAST TIME (USA)
Director: Sterlin Harjo

A heartfelt journey of award-winning filmmaker Sterlin Harjo as he interweaves the tale of a mysterious death in 1962 with the rich history of the powerful hymns that have united Native American communities in times of worship, joy, tragedy, and hope.
Website: http://www.thismaybethelasttimefilm.com
Trailer: http://youtu.be/8uQKOYDH8Qw


WAGING PEACE: THE PEACE CORPS EXPERIENCE (USA)
Director: Allen Mondell

The Peace Corps Experience, a documentary film by Allen Mondell, weaves the letters written by Volunteers with the profiles of former Volunteers whose work today shows the enduring impact of their experiences. Filmmaker in attendance.
Website: http://www.mediaprojects.org/films/american-history/waging-peace-peace-corps-experience/
Trailer: https://vimeo.com/44961049

DALLAS VIDEOFEST 27
Updated Fact Sheet

WHAT:
VideoFest 27 presented by the Video Association of Dallas

WHEN and WHERE:
Oct. 8 — Hitchcock’s THE LODGER opening night with Dallas Chamber Symphony
Dallas City Performance Hall
2520 Flora St, Dallas, TX 75201

Oct. 9 – 12 — 2 screens
Alamo Drafthouse Cinemas Richardson
100 S. Central Expressway #14
Richardson, Texas 75080

Oct. 13 — Native American community screening with Native American Student Association
University of Texas at Arlington
Fine Art Building
701 S. Nedderman Drive
Arlington, TX 76019

Oct. 14 and 15 — African American community screening
South Dallas Cultural Center
3400 S. Fitzhugh Ave.
Dallas, TX 75201

Oct. 16 – 19 — 2 screens
Angelika Film Center
5321 E. Mockingbird Ln.
Dallas, TX 75206

For information on parking, please visit: http://videofest.org/dallas-videofest-parking-information/




PASSES and TICKETS: Available online at http://videofest.org/passes/#.U-j-fYBdW_M

Opening Night tickets: $19-$59
$19 - Regular Admission
$34 - Preferred Seating
$59 - VIP Tickets with After Party Access to meet the composer and members of the orchestra

Opening Night tickets available online at http://www.showclix.com/event/chambersymphony2

All-Festival Pass: $250
Student Passes: $150 (with Student ID)

Weekend Passes: $50

Day Passes:
Saturday or Sunday: $25

Individual tickets:
$8/regular programs
Spotlight showcases will vary
Seniors and students tickets: $6/regular programs

Connect with VideoFest: (#DVF27 and #HitchcockOpeningNight):

Sign up for the Video Association Newsletter: http://tinyurl.com/DVFNewsletter

Facebook:
https://www.facebook.com/Videofest

Twitter:
https://twitter.com/videofest

Instagram:
http://instagram.com/videofest


About Dallas VideoFest 27:
VideoFest officially opens at Dallas City Performance Hall on Wednesday, Oct. 8. For the first time ever, the festival will be in three locations throughout the 10-day long run from Alamo Drafthouse Cinema in Richardson, Friday Oct.9-12th, Oct. 13th, University of Texas at Arlington, Oct 15th, South Dallas Cultural Center and wrapping up at the Angelika Theater, Friday, Oct. 16th-19th.

VideoFest (VideoFest.org) is now the oldest and largest video festival in the United States and continues to garner critical and popular acclaim. VideoFest prides itself on bringing films to the theater that are rarely available to be seen anywhere else. Films like Experimental/Art Films, Animation, Narrative and Documentary Shorts as well as Documentary and Narrative Features and some hard-to-find Classic TV episodes and Classic Films are often in the mix.

History of VideoFest: Cutting-Edge Art
Merging art and technology since 1987, VideoFest has specialized in independent, alternative, and non-commercial media, presenting hard-to-find works rarely seen on television, in movie theaters, or elsewhere, despite their artistic excellence and cultural and social relevance. Even in a Web 4.0 environment where everything is seemingly available on the Internet, the VideoFest provides curatorial guidance, a critical voice in the wilderness navigating the vast and diverse landscape of media, helping to interpret its cultural and artistic significance. The event provides a communal environment for real-time, face-to-face dialogue between makers and audiences.

Dallas VideoFest 27 Sponsors
Alamo Drafthouse Cinema–Richardson; Alford Media Services, Inc.; AMS Pictures; Angelika Film Center Dallas; B Marie Designs; City of Richardson through the Richardson Arts Commission; Common Desk; Dallas Convention & Visitors Bureau; Dallas Film Commission; Dallas Office of Cultural Affairs; FilmFreeway; KellyKitchensPR.com; KERA/KXT; Selig Polyscope Company; Sell.com; SullivanPerkins; Texas Commission on the Arts; Texas Film Commission TheaterJones.

ABOUT VIDEO ASSOCIATION OF DALLAS
The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts. The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989. It began in 1986 as a weekend event, “Video As A Creative Medium”, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas Video Festival (DVF) in 1987. Video Association of Dallas also presents the 24 Hour Video Race, the Texas Show Tour, North Texas College Film Festival, Texas Fllmmakers Production Fund workshops, Three Star Cinema, and other programs throughout the year.

VIDEO ASSOCIATION OF DALLAS 1405 Woodlawn Dallas, TX 75208

Movies scheduled 8/17-8/23

I don't know about y'all but I am loving this rainy Sunday! A great way to spend the day is going to the movies!

I am so ready for fall, it is getting closer since the kiddos go back to school next week. I hope all they are ready for school to start.

Let's not be getting into fights at the movies. It is just a free movie and you wouldn't want to get kicked out after standing in line. Now I understand holding seats for someone going to get popcorn or the bathroom but if they are not there yet you have no idea if they even will be able to get in due to running out of seats.

As always if you have questions please email me at damitdaina@hotmail and I will answer them as quickly as possible.


Sunday August 17th

Monday August 18th

Damsel in Distress 7:30 p.m. Angelika Dallas
If I stay 7:30 p.m. Angelika Dallas

Tuesday August 19th

When the Game Stands Tall 7:30 p.m. AMC Northpark
Rigor Mortis 7:30 p.m. Alamo Drafthouse
If I Stay 7:30 p.m. SMG not sure which one

Wednesday August 20th

When the Game Stands Tall 7:30 p.m. SMG Northwest Highway
Life After Beth 7:30 p.m. Modern Museum of Art Ft. Worth

Thursday August 21st

The Possession of Michael King 7:30 p.m. TBA

Friday August 22nd

Saturday August 23rd

Expendables 3

Yes, they are back. The bigger than life, tougher than bullets, able to Parkour from buildings in a single bound. Directed by Patrick Hughes (Red Hill) and written by Sylvester Stallone, Crighton Rothenberger and Katrin Benedikt, the new Expendable 3 has all the necessary elements including a despicable villain, lots of explosions, and a huge cast of mercenaries who each get their own specialized moment on screen. Nothing really new, just more of the same, different sets.

Stallone is Barney the leader of the group who tells the old team that they are disbanding after one of their own (Caesar – Terry Crews) is seriously wounded. The film opens with a train hijacking to release Doctor Death (Wesley Snipes), an original Expendable who has been imprisoned for the past 8 years. It's during their next job they got from CIA operations officer Max Drummer (Harrison Ford) where things went south with the appearance of Barney's old nemesis Conrad Stonebanks (Mel Gibson) who is supposed to be dead. So Barney doesn't want anymore of the team injured and tells them to find a life. Barney gets the help of Bonaparte (Kelsey Grammer) to act as a mercenary Human Resource recruiter to help him track down Stonebanks. They fly around the world accumulating special skills like the hacker Thorn (Glen Powell), a sharpshoter Mars (Victor Ortiz), bar bouncer Luna (UFC fighter Ronda Rousey) who is the close combat expert, and John Smilee (Kellan Lutz), former SEAL with bad attitude and an inability to follow orders. They also looked at but not take Galgo (Antonio Banderas who seemed to be channeling his Puss and Boots characterization) as a former Spanish Armed Forces sharpshooter who lost his team and can't seem to adjust to a normal life.

Arnold Schwarzenegger shows up as Trench Mauser again who assists the new team to start the mission. It doesn't go well for Barney and the kids when Stonebanks captures the young ones. Barney thinks he's going to save them on his own but his old team shows up to lend a hand and Galgo offers his help. Lee Christmas (Jason Statham), Doctor Death, gunner Jensen (Dolph Lundgren), and Toll Road (Randy Couture). Even Hammer, Trench and Yin Yang (Jet Li) contribute as the evac team where Arnold gets to say “get in the chopper”. The last big battle of Stonebanks and his ruthless army allows for each of the Expendables to feature their particular skill set. Equal opportunity showdown. Loud, impossibly ridiculous fighting scenes where the only bullets making their hits are against the bad guys. No wonder Stonebanks is so upset with his paid army.

One has to wonder that with the introduction of some younger players joining the team and hints that Smiley would be a possible replacement for Barney, the Expendable franchise will continue on ad nausem. For now the movies are pure escapism, easily forgettable, and a good excuse to put ageing action stars to work.
(Review by reesa)

The Giver Review and Interview with Brenton Thwaites

Lois Lowry's 1993 young adult novel The Giver took two decades to make it to the big screen. At one point, producer/actor Jeff Bridges wanted his father Lloyd Bridges to play The Giver. Director Phillip Noyce and screenwriters Michael Mitnick and Robert B. Weide stay faithful to the source material with a few tweaks like the main character Jonas going from age 12 to 18 and not everyone having the same eye color. The film begins in black and white to emphasis the “Sameness”. The people in this dystopian world cannot see color because it's too disruptive to their society. If you are not familiar with the novel, the movie forces you to make a leap of faith that there is such a world where a populace have cut themselves off from feelings, independent thought, imagination in a climate controlled world where everyone follows the rules. You must follow precise language, never lie, wear assigned clothes, and take your medication.

Each community that exists on this plateau that is surrounded by a cliff that separates their world by a cloudy crevasse and the land beyond to the border of memory. Every year there is a celebration with a ceremony that sends their elders to “elsewhere” (death), honors the 9 year olds for being half way to graduating, and the teen graduates who are thanked for their childhood. The chief elder (Meryl Streep) appears as a hologram to the community assigning each teen to their new job for life. Everyone except for Jonas (Brenton Thwaites). The elder tells him that he is gifted with many attributes and has been selected to the new Receiver of Memories. This position requires him to work with the last receiver who now becomes The Giver (Jeff Bridges). The Giver's position is to share with Jonas all the memories of humanity's past so that he can use his knowledge help advise. It's a huge responsibility and burden, so The Giver lives on the edge of “elsewhere” in a house by the cliff filled with these things called “books”.

Jonas' child hood friends Fiona (Odeya Rush) and Asher (Cameron Monaghan) notice a change in him. Especially when he stops taking his medication. The world is becoming more colorful now and although the rules say he cannot share what he is being taught, he finds it hard not to want to help his friends and family open their minds. Family units in this tightly run community are assigned to each other. Mother (Katie Holmes) and father (Alexander Skarsgård) act as guides and monitors to their children. Babies are genetically produced in labs. Father brings home one of the babies from his job as a nurturer to help it thrive. Jonas notices Gabriel has the same “receiver” mark as he and The Giver possess. When he finds out that Gabriel is being sent to “elsewhere” because he's not measuring up to standards, Jonas makes a decision that may have been guided all along by The Giver.

The cast is wonderful as to be expected. Meryl Streep's long grey wig looks more like her new role in “Into the Woods” if you've seen the trailer. She is scary and condescending. Bridges looks like a rumpled professor in house slippers but you can feel his pain. Thwaites manages to convey Jonas with honesty in his discovery of real life. The last act tries to justify the need for “sameness”, but it sounds too much like some conservative Christian agenda. The themes are painted too broadly and makes one think there maybe more details in the book. In this world everyone is greeted with the phrase “I apologize” and “I accept your apology”. Maybe we are owed an apology. Should we accept?
(Review by reesa)



Interview with Brenton Thwaites when he came to Dallas on July 28, 2014. Watch the slideshow and listen to the interview.

Let's Be Cops

What would you do if you were a person pretending to be a cop? I can tell you I wouldn't make it far because it's illegal and I would get caught within a matter of minutes. Let's Be Cops is directed and co-written by Luke Greenfield who directed one of my favorite underrated comedies, "The Girl Next Door". With comedies I have always said it depends whether it's funny and, more importantly, entertaining. I have to admit that I was holding my gut in a few parts and sometimes I saw the joke just putter away and not really land; but I will give credit in saying Greenfield captures the realistic violence feel very well considering these are average guys in real police situations. Like I mentioned, when the comedy hits it hits, but sometimes they didn't have to try to hard as they did a few times. Overall the tone with the comedy is consistent, personally some jokes didn't hit with me, and the action scenes were handled well. I commend you Greenfield. Jake Johnson and Damon Wayans Jr. Are very good in the leads and their chemistry is like peanut butter and jelly. It's just that good. You can tell these guys have been friends for awhile, and it also helps when you are in a television show together, "New Girl". Their comedic timing is just as strong in the movie as the television show. The supporting cast is good but the one standout is Rob Riggle. He usually plays the comedic, sometimes over the top, characters but in this he played the everyday straight man. It was different but it worked and I wouldn't oppose to see him in more roles like this, even though I like his comedic, sometimes over the top characters as well. The film is shot well when it's just people talking but what I liked the most about the cinematography was the action scenes. They were shot in a gritty, dirty realistic approach and it really added to what the characters were going through since they were average guys. Shootouts are something they probably aren't used to so they are frantic, as the camera and the editing. The movie is about an hour and forty-five minutes and the pace was good. I was entertained, regardless if I laughed a lot, and that will make any movie go by faster. This is a fun, sometimes gritty and realistic, comedy that I will think you enjoy. It's nice fantasy for all of us who have actually wanted to be a cop for a day. Side note: I wouldn't recommend doing that...as you know...it's illegal. We can dream can't we? 6/10
(Review by Chase Lee)




Let's Be Cops press junket in Dallas Texas
Video shot and edited by 43Kix Dallas Division...I take no credit for this video
I am around the 4:45 mark

Dallas VideoFest 27 Takes Screenings to Community

Dallas VideoFest 27 takes screenings to community

DALLAS, TX – The Video Association of Dallas is pleased to announce the Dallas VideoFest 27 will be taking screenings directly to various communities around the Dallas area. This is a first for the long-running Festival. Dallas VideoFest opens Wednesday, October 8, 2014, at Dallas City Performance Hall, debuting Alfred Hitchcock’s first silent movie thriller, THE LODGER. Following opening night, Thursday, October 9 - Sunday, October 12, DVF27 will take over 2 screens at the Alamo Drafthouse Richardson. Monday, October 13, DVF27 will screen a special Native American film on Columbus Day on the UTA campus. Community screening on Tuesday, October 14 – 15 will be at the South Dallas Cultural Center. Then the Festival concludes October 16-19 at the Angelika Film Center in the Mockingbird Station with 2 screens.


DALLAS VIDEOFEST 27
Fact Sheet

WHAT:
VideoFest 27 presented by the Video Association of Dallas


WHEN and WHERE:

Oct. 8 — Hitchcock’s THE LODGER opening night with Dallas Chamber Symphony
Dallas City Performance Hall
2520 Flora St, Dallas, TX 75201

Oct. 9 – 12 — 2 screens
Alamo Drafthouse Cinemas Richardson
100 S. Central Expressway #14
Richardson, Texas 75080

Oct. 13 — Native American community screening with Native American Student Association
University of Texas at Arlington
Fine Art Building
701 S. Nedderman Drive
Arlington, TX 76019

Oct. 14 and 15 — African American community screening
South Dallas Cultural Center
3400 S. Fitzhugh Ave.
Dallas, TX 75201

Oct. 16 – 19 — 2 screens
Angelika Film Center
5321 E. Mockingbird Ln.
Dallas, TX 75206


For information on parking, please visit: http://videofest.org/dallas-videofest-parking-information/



PASSES and TICKETS: Available online at http://videofest.org/passes/#.U-j-fYBdW_M

Opening Night tickets: $19-$59
$19 - Regular Admission
$34 - Preferred Seating
$59 - VIP Tickets with After Party Access to meet the composer and members of the orchestra

Opening Night tickets available online at http://www.showclix.com/event/chambersymphony2

All-Festival Pass: $250
Student Passes: $150 (with Student ID)

Weekend Passes: $50

Day Passes:
Saturday or Sunday: $25

Individual tickets:
$8/regular programs
Spotlight showcases will vary
Seniors and students tickets: $6/regular programs


Connect with VideoFest: (#DVF27 and #HitchcockOpeningNight):

Sign up for the Video Association Newsletter: http://tinyurl.com/DVFNewsletter

Facebook:
https://www.facebook.com/Videofest

Twitter:
https://twitter.com/videofest

Instagram:
http://instagram.com/videofest


About Dallas VideoFest 27:
VideoFest officially opens at Dallas City Performance Hall on Wednesday, Oct. 8. For the first time ever, the festival will be in three locations throughout the 10-day long run from Alamo Drafthouse Cinema in Richardson, Friday Oct.9-12th, Oct. 13th, University of Texas at Arlington, Oct 15th, South Dallas Cultural Center and wrapping up at the Angelika Theater, Friday, Oct. 16th-19th.

VideoFest (VideoFest.org) is now the oldest and largest video festival in the United States and continues to garner critical and popular acclaim. VideoFest prides itself on bringing films to the theater that are rarely available to be seen anywhere else. Films like Experimental/Art Films, Animation, Narrative and Documentary Shorts as well as Documentary and Narrative Features and some hard-to-find Classic TV episodes and Classic Films are often in the mix.

History of VideoFest: Cutting-Edge Art
Merging art and technology since 1987, VideoFest has specialized in independent, alternative, and non-commercial media, presenting hard-to-find works rarely seen on television, in movie theaters, or elsewhere, despite their artistic excellence and cultural and social relevance. Even in a Web 4.0 environment where everything is seemingly available on the Internet, the VideoFest provides curatorial guidance, a critical voice in the wilderness navigating the vast and diverse landscape of media, helping to interpret its cultural and artistic significance. The event provides a communal environment for real-time, face-to-face dialogue between makers and audiences.

Dallas VideoFest 27 Sponsors
Alamo Drafthouse Cinema–Richardson; Alford Media Services, Inc.; AMS Pictures; Angelika Film Center Dallas; B Marie Designs; City of Richardson through the Richardson Arts Commission; Common Desk; Dallas Convention & Visitors Bureau; Dallas Film Commission; Dallas Office of Cultural Affairs; FilmFreeway; KellyKitchensPR.com; KERA/KXT; Selig Polyscope Company; Sell.com; SullivanPerkins; Texas Commission on the Arts; Texas Film Commission; TheaterJones.

ABOUT VIDEO ASSOCIATION OF DALLAS
The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts. The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989. It began in 1986 as a weekend event, “Video As A Creative Medium”, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas Video Festival (DVF) in 1987. Video Association of Dallas also presents the 24 Hour Video Race, the Texas Show Tour, North Texas College Film Festival, Texas Filmmakers Production Fund workshops, Three Star Cinema, and other programs throughout the year.

VIDEO ASSOCIATION OF DALLAS 1405 Woodlawn Dallas, TX 75208

Movies Scheduled 8/10-8/16

It is getting out of hand again on putting your chair down at the start of the day, then going to work and coming back and bam you you are in the front of the line. No this isn't fair! Yes I know life isn't fair but come on people. Don't be surprised if your stuff gets picked up and held by management. Now it is different you leave your chair and go grab a bite to eat and come right back. Someone posted a photo to the group page and yes I recognized who's chairs was in line. No I don't call out names but this is so unreal!

I do like how Northpark has a manager that walks around and makes sure people are not cutting in line and after a certain time will walk people up to make sure their plus one is upstairs.


When I put TBA it just means I am not sure where the movie is located. Sure I know where most of them are but every once in a while I don't know where one or two are. Thanks for understanding.


As always you can email with questions at damitdaina@hotmail.com

Sunday August 10th


Monday August 11th

Let's Be Cops 7:00 p.m. AMC Northpark
The Giver 7:30 p.m. TBA Fort Worth
If I Stay 7:30 p.m TBA

Tuesday August 12th


Wednesday August 13th

As Above, So Below 4:00 p.m. Cinemark Legacy
Dolphin Tale 2 6:30 p.m. TBA
Expendables 3 TBA
When The Game Stands Tall 7:30 p.m. Cinemark West Plano

Thursday August 14th

Friday August 15th

Saturday August 16th

Island of Lemurs: Madagascar 10:00 a.m. AMC Northpark

Calvary

This movie would probably make the Pope very paranoid, but I found this very intriguing. Calvary is about a priest, when at confessional, is confronted by a man who enters the booth to tell the priest he will die in a week from today. I won't tell you why he says he will kill him, as I do not do spoilers. The movie goes day by day showing the layers being peeled back from this priest's character. Each day we know more and more about him, his past and the people who live in this small town it's portraying. I won't sugar coat it and I can tell this is a dark film and it touches on taboo topics that would make any priest feel uncomfortable; and I am glad the filmmakers went there to show a realistic, even though sometimes dark, look at a priest and how human, especially vulnerable, they can be. It was risky but I think it worked very well and that is credited to the directing. I liked the overall tone to the film and story, as it is something very different than what we typically see in a film about priest and religion. The acting from the supporting characters are fine but you see this movie for Brendan Gleeson as he is in nearly frame of this film as the broken priest. He does a fantastic job as his character arc goes from a calm, understanding priest to someone who is broken and shows we all have problems, even if you are a preacher of God. However, I have to point out Chris O'Dowd coming out of nowhere with a role that, as American audiences, have not seen before. He was dry, sometimes hilarious like we are used to, but also has a a lot of depth, emotionally, to his character. The film is shot very well for being about a small town with a really small church. There were a lot of shots of beautiful mountains through the breathtaking landscape Ireland, as well as the richness of the town that popped with great color. The movie runs at one-hundred minutes but it felt like two hours long. The middle dragged for me a bit but it wasn't unbearable by any means. I walked out asking myself if I liked it, and after thinking about it I did. I also said to myself I needed to see it again to make sure I liked it, and there was an appeal to it that makes want to go back and examine it. This was an interesting one to say the least. 7/10
(Review by Chase Lee)

Teenage Mutant Ninja Turtles

The original TMNT comic book was created in 1984 by Kevin Eastman and Peter Laird as a parody of four of the most popular comics of the 1980's: Marvel Comics’ Daredevil and New Mutants, Dave Sim’s Cerebus, and Frank Miller’s Ronin. The merchandising and marketing came later as well as the animated TV series that ran from 1987-1996. There have been four feature films for TMNT in the early 1990's as well as concert tours and a Disney/MGM Studios theme park ride. The newest incarnation is produced by Michael Bay, directed by Jonathan Liebesman (Wrath of the Titans, Battle of Los Angeles) with a screenplay by Josh Appelbaum, André Nemec, and Evan Daugherty. It has live action motion capture turtles that stay pretty close to the source material which will be a relief and a frustration to TMNT fans

The reboot is obviously trying to connect to a new generation of kids who will be just as thrilled as the Millennials who grew up with the franchise. The plot is simple and pretty straight forward with the turtles who have been living in the NYC sewers most of their lives training to become the caretakers of the world by way of the intense ninja training they received by their adopted father Splinter the rat (Danny Woodburn/Tony Shalhoub,voice). The critters were mutated in a laboratory accident by a serum that made them larger and invincible. Years later the turtles now typical teenagers, except for the fact they are super large bipedal turtles, that are mutant and ninja's: Leonardo (Pete Ploszek/Johnn Knoxville voice), Michelangelo (Noel Fisher), Donatello (Jeremy Howard), and Raphael (Alan Ritchson). They are witnessed by April O'Neil (Megan Fox) who sees them fighting the Foot Clan who have been threatening the city. April wants to do some hard stories than the fluff she's usually assigned. Her boss Bernadette Thompson (Whoopi Goldberg) fires her when April tries to convince her of what she saw on the rooftop. She manages to enlist the help of her wisecracking cameraman Vern (Will Arnett) to investigate the story with her.

You just know that when you see William Fichtner as Eric Sachs, the rich guy who tells the city he's trying to get rid of the Foot Clan, is a bad guy the minute he speaks. He used to work with April's father at his laboratory. It was April who helped free the lab animals when it caught fire and killed her father. Sach's needs the blood of the mutant turtles to create an antidote to the poison mutagen he plans to release on the city in order to become rich, and allowing his mentor robotic Samauri Shredder the will take over the city. There are battles galore, quick verbal sparing from the turtles on the half shell, and the intrepid April and Vern all trying to save the day.

Kids will have a good time with this film. But running against Guardians of the Galaxy it will be a hard sell.
(Review by reesa)

The Hundred Foot Journey

Everyone with social media is familiar with food porn. Those luscious pictures of delectable plates of food that people shoot with their iphones of their meals to share with the world. The popularity of the food channels exploring recipes and eateries is indicative of the increase of movies about food and the people who create them. Before the advanced screenings producers Steven Spielberg and Oprah Winfrey waxed on about the novel of the same name by Ricard C. Morais. Plus having Chocolat director Lasse Hallström and screenwriter Steven Knight (Locke, Eastern Promises) at the helm of the adaptation creates a feel good, but somewhat predictable culinary delight for summer family movie night.

The Kadam family move from their native India after their restaurant fire killed their beloved mother. She had been the inspiration for son Hassan (Manish Dayal) who thinks of himself as a cook rather than a chef. Relocating in England then in France they open a restaurant right across the street from Madame Mallory (Helen Mirren) who runs a Michelin One Star establishment that offers classic French cuisine. Having an Indian restaurant one hundred feet from her place instantly causes a battle of wills between the Madame and Hassan's Papa (Bollywood's institution, Om Puri). They do everything they can to stymie the other. Like buying up all the ingredients at the local open market so the other can't finish their menu's or endlessly lodging complaints to the mayor.

Meanwhile Hassan finds a Le Cordon Bleu book and is inspired to become the best chef instead of just a cook. He starts a flirtatious relationship with Marguerite (Charlotte Le Bon) who works at a sous chef across the street. She gives him more books, and food advice, but then later feels competitive when he becomes more successful. Papa also has to deal with the fact that Hassan needs to expand from their restaurant to explore the world and his place in it.

The lush photography of the French countryside and the sinfully enticing plates of food makes the movie a visual treat. The young leads are attractive and the chemistry between Madame and Papa resolves from annoying enemies to now great buddies are handled well by the quality of the actors involved. It's a lovely film with some amusing episodes, scenery, food fetish, and Indian music. As beautiful as it is to watch, it's just as easy to forget, but will leave you craving some Indian food afterwards.
(Review by reesa)

Into the Storm

Not since Day After Tomorrow and 2012 have movie goers experienced the thrill of a deadly weather systems. Director Steven Quale (Final Destination 5) with screenwriter John Swetnam (Step Up All In) mix up a little Twister with Project X camera angles of storm chasers and a small town in the path of an impossible storm scenario. Like most disaster films, audiences are usually put in the position of thinking what they would do in similar circumstances. It's safe to say the characters seem to react fairly predictably and conveniently considering what they are facing. It's no wonder the heart of the story is loosely drawn and more attention is paid to the flying trucks, airplanes, and parts of buildings raised by the sudden tornadoes.

Pete (Matt Walsh) is contracted to provide footage of tornadoes for a documentary with his team of photographers and a meteorologist Allison (Sarah Wayne Callies) who seems to keep missing the storm touch downs. She insists that the storm is heading to the small town of Silverton with a weather system that seems to defy the usual patterns. Meanwhile in Silverton, the High School Vice Principal Gary (Richard Armitage) is having trouble with his two sons Donnie (Max Deacon) and Trey (Nathan Kress) who are filming their selfie video time capsules as part of their end of the year school project. Hence the reason for most of the POV camera work of the film as everyone seems to be filming everything as it happens. Gary is wondering if the school graduation should be called off due to the weather even though it's still sunny outside. The principal overrules his trepidation and the show must go on. Donnie who harbors a secret crush on Katilyn (Alycia Debnam Carey) and he leaves the filming of the graduation ceremonies to his brother in order to help Katilyn with her film project at the old abandoned mill. There's also a comedic element introduced in the form of YouTube Jackass fools filming each other doing ill advised stunts who join in the storm chasing.

Titus is the state of the art armored storm chasing vehicle with cameras, high tech equipment, bracers to hold the Titus to the ground in 175 MPH wind, and a top turret to give panoramic views while filming while experiencing the middle of the eye of the storm. Pete is die hard chaser lives for the moment to get money shot from the center of the vortex. The visual effects of the multiple tornado system is obviously the only reason for this movie. The CGI tornadoes and the wake of destruction it leaves behind is probably why anyone would see this movie as it is done handled fairly spectacular. Particularly the fire tornado and the survivors riding out the final EF5 in storm drain. Edge of the seat stuff with a made for TV movie performances. And a good reminder to watch the weather channel before leaving the house.
(Review by reesa)

What If

The quirky romantic comedy genre hasn't been the same since 500 Days of Summer. Many have come but few have captured the magic of that one. What If attempts to duplicate the sweet and dialogue heavy budding relationship tropes while trying to answer that age old question of whether men and women can truly be "just" friends. Director Michael Dowse (Take Me Home Tonight) and screenwriter Elan Mastai have adapted the play Toothpaste and Cigars by T.J. Dawe and Michael Rinaldi into a decent yet predictable journey as the two leads try to truly find each other. The Toronto skyline and locations are quaint and homey with just enough urban panache. Sort of looks like Seattle but with more style.

Daniel Radcliffe has done some many varied projects that his stint as Harry Potter has been pretty much erased as a stereo type. He plays Wallace who lives in his sister's attic, is a med school drop out and has a nowhere job writing technical manuals. He's introduced by his best friend Allen (Adam Driver) to his cousin Chantry (Zoe Kazan) at a party as they create refrigerator magnet poems. They fall into a quick witted conversation that makes Wallace believe there could be a chance for him until Chantry mentions she lives with her boy friend of 5 years, Ben (Rafe Spall). Chantry works as a graphic design animator while Ben is a lawyer. She enjoys the chemistry with Wallace and wants them to remain friends. Just friends. Of course since Wallace is a pathetic wuss, says yes just to be able to spend time with her as he tries to accept whatever she is willing to give him. They hang out together and talk about everything. She invites him over for dinner where her sister Dalia (Megan Park) hopes to hook up with Wallace as a rebound date. Ben scares Wallace in a good natured way about not trying to put his junk in Chantry's trunk. When Ben has to move to Dublin for his job, Chantry and Wallace end up spending for time with each other. Wallace tries to suppress his feeling for Chantry, while Chantry tries to ignore the spark between them.

It would be one thing if Ben was a bad boyfriend, but he seems to be decent guy with a good job who loves his long time girlfriend. He doesn't get super possessive as most guys who discover that their significant other is besties with a guy who is not gay. Chantry seems to want her cake and eat it too by keeping both men circling. It doesn't help that her cousin Allan and his new wife Nicole (Mackenzie Davis) try and force her together with Wallace because everyone can see their attraction except Chantry who refuses to admit it. This is a pleasantly awkward romantic romp that will you will want to make that Elvis sandwich, Fool's Gold, when you get home.
(Review by reesa)

THE LODGER accompanied by Dallas Chamber Symphony

Dallas VideoFest 27 opens Wednesday, Oct 8
with Hitchcock’s first suspense, silent film: THE LODGER
accompanied by Dallas Chamber Symphony

DALLAS, TX – The Video Association of Dallas is pleased to announce the Dallas VideoFest 27 (http://videofest.org) opening night event in partnership with the Dallas Chamber Symphony. Dallas VideoFest opens Wednesday, October 8, 2014, at Dallas City Performance Hall (2520 Flora Street, Dallas, Texas 75201) debuting Alfred Hitchcock’s first silent movie thriller, THE LODGER.

The Dallas Chamber Symphony, recently named “Best of Big D 2014” by D Magazine for “Best Way to Watch a Silent Film,” will accompany the film with a live performance of an original film score by renowned composer Douglas Pipes. DCS Artistic Director, Richard McKay, will conduct the premiere. THE LODGER was recently restored by the British Film Institute along with eight other films of Hitchcock’s earliest surviving work.

“We are so proud and happy to be working with the Dallas Chamber Symphony, for the screening and performance of THE LODGER. We hope this is the beginning of a long relationship with the Chamber Symphony. I know that both audiences will love the experience of the evening. We are also so happy to be having our opening night at the prestigious Dallas City Performance Hall,” said Bart Weiss, artistic director, Dallas VideoFest and founder of Video Association of Dallas.

“We could not be happier to be joining forces with the Video Association of Dallas to co-present THE LODGER on opening night of VideoFest 27. There is nothing quite like watching a classic silent film to live orchestral music, and our film composer, Douglas Pipes is an extraordinary talent who will bring new life to this incredible classic film. Our new partnership is an exciting ongoing collaboration — one that will continue to enrich the Dallas arts scene for years to come,” said Richard McKay, artistic director and founder of the Dallas Chamber Symphony.


Douglas Pipes, composer
Douglas Pipes (http://www.douglaspipes.com/) is a film composer in Los Angeles, whose feature films include the Academy Award nominated Sony animated feature MONSTER HOUSE and Warner Bros./Legendary Films cult hit TRICK ‘R TREAT.

His awards include “Compositor Revalacion” at the 3rd International Film Music Conference in Ubeda, Spain and “Best Animation” at the Royal Television Society in the United Kingdom. Nominations include “Discovery of the Year” at the 2006 World Soundtrack Awards in Ghent, Belgium, “Best Music” at the 2007 Saturn Awards, and “Best Horror Score” and “Best New Composer” from the International Film Music Critics Association (2006 and 2009).


Dallas Chamber Symphony's Sound to Silents
The Dallas Chamber Symphony has become renowned for its film concerts, which pair classic silent movies with newly commissioned musical scores. Within the past two years, the Dallas Chamber Symphony has commissioned and performed the premieres of six new musical compositions to screenings of classic silent movies. Composers for the films have worked on numerous big-screen features such as THE LONE RANGER, ENDER’S GAME and ELYSIUM. Brian Satterwhite’s score for the Harold Lloyd film, A SAILOR-MADE MAN, was a finalist for the prestigious Jerry Goldsmith Award and garnered praise from the Harold Lloyd estate.

The film concert series is a multi-faceted initiative that entails the selection of classic silent films, the commissioning of an original musical score from a professional film composer, and a live performance, in which the orchestra synchronize the music to the action on screen to the delight of audiences at Dallas City Performance Hall.

The chamber orchestra has focused on screening the silent film works of the masters of early cinema. Concert screenings have debuted new scores to Harold Lloyd’s, ASK FATHER and A SAILOR-MADE MAN, Buster Keaton’s THE SCARECROW and SHERLOCK JR., Charlie Chaplin’s BY THE SEA, and Robert Weine’s THE CABINET OF DR. CALIGARI—acknowledged as the first horror film ever made.




PASSES and TICKETS:

Opening Night tickets: $19-$59
$19 - Regular Admission
$34 - Preferred Seating
$59 - VIP Tickets with After Party Access to meet the composer and members of the orchestra

Opening Night tickets available online at
http://www.showclix.com/event/chambersymphony2


All-Festival Pass: $250
All-Festival Student Passes: $150 (with Student ID)
Festival Passes Available online at http://videofest.org



About Dallas Chamber Symphony:
Named Best of Big D 2014 by D Magazine, and Best Classical Music Addition 2013 by the Dallas Observer, the Dallas Chamber Symphony is one of the most exciting and innovative professional performance ensembles in North Texas. Led by Artistic Director and Conductor Richard McKay, it is comprised of 40 musicians, all dedicated to building a chamber orchestra whose mission is to perform a balance of programs that include underrepresented and standard repertory, contemporary music, staged works, and pieces with extra-musical elements, such as film, actors, dancers, and narrators.

The DCS performs at the gorgeous new City Performance Hall in the Dallas Arts District, and provides educational and community programming, including an annual International Piano Competition at SMU, field-trip concerts for area school districts, and Sight of Sound, an annual International Film Competition. For more information, visit www.DallasChamberSymphony.org.



About Dallas VideoFest 27:
VideoFest (VideoFest.org) is now the oldest and largest video festival in the United States and continues to garner critical and popular acclaim. VideoFest prides itself on bringing films to the theater that are rarely available to be seen anywhere else. Films like Experimental/Art Films, Animation, Narrative and Documentary Shorts as well as Documentary and Narrative Features and some hard-to-find Classic TV episodes and Classic Films are often in the mix.


History of VideoFest: Cutting-Edge Art
Merging art and technology since 1987, VideoFest has specialized in independent, alternative, and non-commercial media, presenting hard-to-find works rarely seen on television, in movie theaters, or elsewhere, despite their artistic excellence and cultural and social relevance. Even in a Web 4.0 environment where everything is seemingly available on the Internet, the VideoFest provides curatorial guidance, a critical voice in the wilderness navigating the vast and diverse landscape of media, helping to interpret its cultural and artistic significance. The event provides a communal environment for real-time, face-to-face dialogue between makers and audiences.

Dallas VideoFest 27 Sponsors
Alamo Drafthouse Cinema–Richardson; Alford Media Services, Inc.; AMS Pictures; Angelika Film Center Dallas; City of Richardson through the Richardson Arts Commission; Common Desk; Dallas Convention & Visitors Bureau; Dallas Film Commission; Dallas Office of Cultural Affairs; FilmFreeway; KERA/KXT; KellyKitchensPR.com; Selig Polyscope Company; Sell.com; SullivanPerkins; Texas Commission on the Arts; Texas Film Commission; and TheaterJones.com.


ABOUT VIDEO ASSOCIATION OF DALLAS
The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts. The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989. It began in 1986 as a weekend event, “Video As A Creative Medium”, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas VideoFest (DVF) in 1987. Video Association of Dallas also presents the 24-Hour Video Race, the Texas Show Tour, North Texas College Film Festival, Texas Fllmmakers Production Fund workshops, Three Star Cinema, and other programs throughout the year.


Connect with VideoFest: (#DVF27 and #HitchcockOpeningNight):

Sign up for the Video Association Newsletter:
http://tinyurl.com/DVFNewsletter

Facebook:
https://www.facebook.com/Videofest

Twitter:
https://twitter.com/videofest

Instagram:
http://instagram.com/videofest


VIDEO ASSOCIATION OF DALLAS 1405 Woodlawn Dallas, TX 75208