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'More Human Than Human': Film Review | SXSW 2018

'More Human Than Human': Film Review | SXSW 2018
How long do we have until our robot overlords arrive, and how will they treat us once they're here? Tommy Pallotta and Femke Wolting muse on different scenarios in More Human than Human, a look at assorted developments in robotics and artificial intelligence. A mixed bag that feels like sitting down to skim a year's worth of magazine think-pieces on this sprawling subject, the doc couches journalism in pop-culture awareness and will play best to casual viewers on cable.

Co-directing but serving as our sole host onscreen and in voiceover, Pallotta (a castmember in Richard Linklater's Slacker who went on...
See full article at The Hollywood Reporter - Movie News »

Milk Vomit and ‘Pac Man’: Joel Potrykus’ ‘Relaxer’ Is a Masterpiece of Depraved ’90s Nostalgia — SXSW 2018 Review

Milk Vomit and ‘Pac Man’: Joel Potrykus’ ‘Relaxer’ Is a Masterpiece of Depraved ’90s Nostalgia — SXSW 2018 Review
Great cinema is sometimes grand themes, dramatic camerawork, and sophisticated montage; or, it’s a guy playing “Pac Man” for 90 minutes. Joel Potrykus’ “Relaxer,” the latest wacky gambit from the Michigan-based provocateur, finds the “Buzzard” director reteaming with his perennial star Joshua Burge, again taking a cartoonish lowbrow approach to acerbic social critique. Set on the eve of Y2K, “Relaxer” exclusively takes place in the confines of a living room, where Burge’s character endures prolonged attempts to reach an impossible high score on the the aforementioned video game, while enduring hardships that include milk vomit, fecal matter, overheated cartridges, and rat poison. It’s a grotesque downward spiral, both hilarious and mesmerizing, but above all elevated by its insights into the depraved final gasp of the analog age.

Media scholar Neil Postman diagnosed the ills of entertainment media in his aptly titled 1985 tome “Amusing Ourselves to Death;” that
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Richard Linklater to Attend Karlovy Vary as Festival Fetes Austin Film Society (Exclusive)

The 53rd Karlovy Vary Intl. Film Festival, which runs June 29-July 7, will dedicate a special section to the Austin Film Society, the nonprofit film organization founded in 1985 that has grown into one of the U.S.’s key film institutions. Afs founder and artistic director Richard Linklater will be among the guests of the program, which also focuses on filmmakers from Texas.

Karlovy Vary’s artistic director, Karel Och, said: “Richard Linklater and his colleagues have been a huge inspiration to film communities around the world, and we’re delighted to embrace the incredible achievement of the organization with a selection of outstanding films from Texas filmmakers that have been supported by Afs.”

The Afs began as a film club that attracted students, artists and cinema die-hards. “Afs quickly grew into an institution supporting film culture and film production in a vibrant and growing Texas film community,” according to a statement. Since its inception,
See full article at Variety - Film News »

Richard Linklater Movie About the 1969 Moon Landing in Development

Richard Linklater is a film-maker of some note, as shown by the fact that he has won Golden Globes, British Academy Film Awards, as well as other awards and accolades. To some people, he should be best-known for his making of Before Sunrise and its two follow-ups. However, it should be mentioned that Linklater has made a number of other well-known movies as well, with examples such as Slacker and School of Rock. Summed up, it should come as no surprise to learn that there is a fair amount of interest in what Linklater is involved with, which in turn,

Richard Linklater Movie About the 1969 Moon Landing in Development
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Ethan Hawke on How He Survived 11 Sundance Fests: ‘You Have to Be Strong and Humble’

Ethan Hawke on How He Survived 11 Sundance Fests: ‘You Have to Be Strong and Humble’
In 1991, 21-year-old Ethan Hawke was shivering in the woods of Park City, Utah, playing a sergeant in the small World War II drama “A Midnight Clear,” when thousands of people suddenly invaded town.

“That was the first time I’d ever heard of the Sundance Film Festival,” says Hawke today. “I thought, ‘Aw, this will never work.’”

The indie film revolution hadn’t happened, but it was about to. That week, while Hawke strapped on a helmet and tromped through the slush, Richard Linklater premiered an experiment called “Slacker.” “Some wacky kid made a punk rock movie that beat the system,” says Hawke. “It was an event. You had to see it.”

Hawke was inspired to direct. “I was suspicious of my ability to sustain an acting career,” he admits. So he spent his “Dead Poets Society” salary shooting his first short, a 21-minute romance named “Straight to One,” and submitted it to the 1994 Sundance, now that he
See full article at Variety - Film News »

Cinepocalypse 2017 Review: Psychopaths is Mickey Keating’s Most Ambitious Film Yet

  • DailyDead
At the age of just 26 or 27, writer/director Mickey Keating already has five feature films under his belt. These aren’t just homemade backyard projects shot with his buddies for $200, either; these are movies with major stars of the indie horror scene (Graham Skipper, Lauren Ashley Carter, Pat Healy, Larry Fu**ing Fessenden) and getting actual distribution through companies like Glass Eye Pix and IFC Midnight. While his previous films have shown major chops behind the camera, they’ve also all had an air of familiarity about them; Keating is a director who wears his influences proudly, and some of his past work has played more like him riffing on an existing piece than like something borne of his own interests and obsessions.

With his fifth feature, Psychopaths, Keating has really come into his own as a director. It is his most original, most ambitious, most audacious work to date
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The Cinematic Kinship of Richard Linklater and Hal Ashby

The latest stage of Richard Linklater’s freewheeling career takes him back to the 1970s with Last Flag Flying, a 44-years-belated sequel to Hal Ashby’s masterpiece The Last Detail. It’s difficult to call much of anything from Linklater a surprise at this point: he seems as comfortable at the helm of a studio comedy powered by Jack Black’s manic energy as he does a decade-plus-spanning epic about the journey from childhood to adolescence. Last Flag Flying may not stand as one of Linklater’s defining works, but it does signal a kinship with the New Hollywood director, whose run from 1970-1979 was as inspired as any other from that era — before he got burned (and burned-out) and died too young at the age of 59. Ashby and Linklater have a shared ability to make a film built on discursive moments flow narratively, an affinity for counterculture movements or
See full article at The Film Stage »

Richard Linklater on ‘Last Flag Flying,’ Confidence, and the Film That Launched His Career

Richard Linklater on ‘Last Flag Flying,’ Confidence, and the Film That Launched His Career
Richard Linklater has returned to his roots — specifically, his hometown of Houston, just a week or so before that World Series thing — to conduct a series of interviews for his latest film, “Last Flag Flying.” But he’s easily distracted by twinges of nostalgia as he settles in at the Hotel ZaZa for a late-afternoon chat.

Back when he was in his early 20s and working on offshore oil rigs in the Gulf of Mexico, Linklater would spend much of his downtime in H-Town educating himself in movie history by attending screenings just across the street, at the Museum of Fine Arts, Houston. Or at the nearby Rice University Media Center. Or at art houses like the River Oaks Theatre — back when it screened repertory double bills — and the long-shuttered Greenway 3. He has spent most of his life and career in and around Austin, where he shot his breakthrough indie feature, “Slacker,” in 1989. But
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Harvey Weinstein Accusations: How Film Festival Environments Provided a Backdrop For Sexual Assault

Harvey Weinstein Accusations: How Film Festival Environments Provided a Backdrop For Sexual Assault
In 1995, Harvey Weinstein tried to give Mira Sorvino a massage, chasing her around the room when she rebuffed him. In 1996, he sexually assaulted rising French actress Judith Godrèche in a hotel room; a year later, he had another incident with Rose McGowan. In 2008, actress Louisette Geiss fled a hotel room where Weinstein tried to get her to watch him masturbate. In 2010, he tricked another French actress, Emma de Caunes, into visiting a hotel room where he exposed himself and tried to get her lie down.

In all of these accounts, Weinstein seemed to think that the relative privacy of the hotel room provided him with a sanctuary in which he could perform deplorable acts on whomever he pleased, but the context was more specific than that: In every instance, he was at a film festival.

Read More:Harvey Weinstein Is Done: After 30 Years of Abusive Behavior, the Mogul Lies in
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Nyff Review: ‘Last Flag Flying’ is a Road Trip Movie That Charts a Familiar Path

Few filmmakers capture people hanging out quite like Richard Linklater, who has so many features revolving around convivial moments that it would be easier to list the films without them. As early as the rambling chance encounters of his breakthrough, Slacker to the recent drug-and-booze-fueled amateur philosophizing in Everybody Wants Some!!, Linklater has remarkable eyes and ears for elevating digressions that many other artists would treat as trivial into invaluable character- and world-building moments without sacrificing their inherently relaxed mood. It is appropriate, then, that the best parts of Last Flag Flying, a loose sequel to Hal Ashby’s The Last Detail, are those centering on casual conversation organically unfolding between the leads, chatter that often intensifies into poignant drama or devolves into genuine hilarity, photographed in simple-yet-striking shot-reverse-shot and two-shot configurations. What’s troublesome is that Linklater relies too heavily on these setups as his primary source of connection to the main trio,
See full article at The Film Stage »

Richard Linklater: Dream is Destiny | Review

Having the look and feel in some ways of a Linklater film, the doc traces Linklater's life and career from Slacker up through Everybody Wants Some!!, featuring a brilliant selection of film clips from Linklater's filmography as well as interview footage with Ethan Hawke, Jack Black, Patricia Arquette, Matthew McConaughey and others. Additionally, there is stellar footage of Louis Black sitting and interviewing Linklater while they rummage through boxes of his early career memorabilia, including journals, scripts, handbills and more.
See full article at SmellsLikeScreenSpirit »

Jack Black Didn’t Want Richard Linklater to Direct ‘School of Rock’ at First (Video)

  • The Wrap
Jack Black Didn’t Want Richard Linklater to Direct ‘School of Rock’ at First (Video)
School of Rock” was a critical and commercial success when it was released in 2003, but star Jack Black was not initially convinced that Richard Linklater was the right person to helm the comedy. In a clip from PBS’ upcoming film “American Masters: Richard Linklater — dream is destiny,” Black explains that he and screenwriter Mike White didn’t initially see Linklater — known at the time for 1990’s “Slacker,” 1993’s “Dazed and Confused” and 1995’s “Before Sunrise” — as their top pick. Luckily, producer Scott Rudin was able to change their minds. “We didn’t have Richard in mind,” Black says. “It.
See full article at The Wrap »

‘Last Flag Flying’ Trailer: Richard Linklater’s Sequel To ‘The Last Detail’

Richard Linklater is too rarely in the conversation about great American directors. He’s been respected since he debuted with “Slacker,” but many of his independent films were too experimental to find audiences, while some of his Hollywood efforts were too broad for critics. Yet who can point to a stronger last three films than Linklater?

Before Midnight” seamlessly caught up with the saga of Jesse and Céline in their middle age, losing none of the wit and spontaneity that marked the previous incarnations of the romance between Hawke and Delpy.

Continue reading ‘Last Flag Flying’ Trailer: Richard Linklater’s Sequel To ‘The Last Detail’ at The Playlist.
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After Soderbergh: See the Top 10 Box Office Track Records of Classic Indie Filmmakers

  • Indiewire
After Soderbergh: See the Top 10 Box Office Track Records of Classic Indie Filmmakers
In a career that began with “sex lies and videotape” in 1989, “Logan Lucky” is Steven Soderbergh’s 26th theatrical release. It will extend his record as the top-grossing American director to come out of the independent scene in its formative years — a period we’ll define as 1975 (Joan Micklin Silver’s “Hester Street”) through 1992 (Quentin Tarantino’s debut, “Reservoir Dogs”).

To be clear, Soderbergh’s an outlier; his billion-dollar box office dwarfs every other indie filmmaker. However, looking at the performance of his contemporaries who got their start in that indie film movement, you may be surprised at who’s on the list. (Note: “Outside wide release” means less than 1,000 screens. Also, the list doesn’t include directors like Sam Raimi and Abel Ferrara, who have independent roots but were not discovered via the film festival/arthouse pathway, or Alan Rudolph, another significant ’80s figure; he started in horror films in the early ’70s.
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A Brief History of the ‘Hangout’ Film

More than a sub-genre; a way of life.

Filmmakers have worked within recognizable genres for nearly as long as they’ve told stories. Initially film appropriated genres from literature and theatre, but as the new medium found its footing in Hollywood’s Classical Era of the 40s and 50s, a distinctly cinematic set of generic conventions were codified. Since that time, genres have come in and out favor, but most new films have still defined themselves either in accordance with or opposition to the Classical Hollywood models. Even innovative filmmakers like Jean-Luc Godard and David Lynch have self-consciously manipulated the language of genre, treating it like another tool in the director’s toolkit. But films are living things, and there are as many ways to draw the lines of categorization as there are films. Reevaluating movies of the past according to new and different models is one of the best ways to keep the medium from ossifying
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The Before Trilogy

Who would have thought that a ’90s ‘slacker’ independent filmmaker would make such a strong romantic statement? Well, it’s not all romance in the old sense. In what must be a project of love, Richard Linklater examines the ongoing love life of Jesse & Céline, in three movies spread across eighteen years. The conversations are as free- flowing as are the cameras roaming through European back streets. Thanks to the commitment of Julie Delpy and Ethan Hawke, the in-depth relationship seems real.

The ‘Before’ Trilogy


The Criterion Collection 856

1995, 2004, 2013 / Color / 1:85 widescreen / 101, 80, 109 min. / available through The Criterion Collection / Street Date February 28, 2017 / 79.96

Starring: Ethan Hawke, Julie Delpy

Cinematography: Lee Daniel; Lee Daniel; Christos Voudouris

Film Editor: Sandra Adair (3)

Original Music: Fred Frith; none; Graham Reynolds

Written by Richard Linklater, Kim Krizan; Richard Linklater, Julie Delpy, Ethan Hawke, Kim Krizan; Richard Linklater, Julie Delpy, Ethan Hawke, Kim Krizan.

Produced by Anne Walker-McBay
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Kevin Smith interview: Yoga Hosers, Arrow, Mallrats

Rob Leane Feb 14, 2017

Kevin Smith tells us how he wound up making Yoga Hosers, a movie about miniature Nazis made of sausage...

Among geeky film fans, Kevin Smith needs no introduction. He’s brought us such treats as Clerks, Mallrats, Chasing Amy and Dogma, and recently he’s had a massive resurgence as a giant in the nerdy podcast world.

So far, two movies have come out of Smith’s podcasting: first was Tusk, branching out from a SModcast episode about a Gumtree advert seeking someone willing to dress up as a walrus in exchange for lodgings. Justin Long starred in that one, with Smith’s daughter Harley Quinn Smith featuring in the supporting cast alongside her best friend Lily Rose Depp and her famous father Johnny Depp.

And now we have Yoga Hosers, a spinoff from Tusk in which Smith Jnr and Depp Jnr’s Canadian convenience store clerks
See full article at Den of Geek »

The Best Movies Directed by Women in 2016

Our 22 Favorite Movies Directed by Women in 2016Looking to support great female-directed films? Start here.

Over the years, we’ve heard from our readers that one of the most important things we can do is to help you discover movies that may have slipped by mainstream audiences. And often just as important, our readers ask that we highlight voices that are in the minority in Hollywood. While we’re known for not taking ourselves very seriously, we take this part of our work seriously. Because as many studies have shown, there are some voices that aren’t as well-represented as others. Them’s the facts.

Beyond that, our team has a passion for seeking out and celebrating films directed by women. This is where we often find, as you’re about to see in this list, some of the most unique and interesting stories in the whole of cinema. Another thing we hear often from readers is
See full article at FilmSchoolRejects »

‘Split Screen’: 9 Reasons You Should Watch FilmStruck’s Revival of TV’s Best-Ever Series About Indie Film

‘Split Screen’: 9 Reasons You Should Watch FilmStruck’s Revival of TV’s Best-Ever Series About Indie Film
Anyone who knows independent film history also knows “Spike, Mike, Slackers and Dykes,” a memoir by seminal producer’s rep John Pierson of his role in launching the careers of filmmakers such as Kevin Smith, Spike Lee, and Richard Linklater. Between 1997 and 2001, Pierson had a new way to spotlight talented filmmakers with IFC’s “Split Screen.” Now FilmStruck has acquired “Split Screen” streaming rights and, starting this Saturday, the original episodes will become available, with six episodes added every six weeks. Pierson spoke to IndieWire by phone and shared his thoughts as to why the show still belongs on your radar.

The Late ’90s Were an Optimistic Moment

Whether it’s showing somebody you know, somebody you should know, or somebody you may never know because we featured some wacky people who never went anywhere — that sense of optimism permeates most everything we did. To me, this is a nice
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New to Streaming: ‘Pete’s Dragon,’ Pedro Almodóvar, ‘Train to Busan,’ ‘The Bfg,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Always Shine (Sophia Takal)

With the excess of low-budget, retreat-in-the-woods dramas often finding characters hashing out their insecurities through a meta-narrative, a certain initial resistance can occur when presented with such a derivative scenario at virtually every film festival. While Sophia Takal‘s psychological drama Always Shine ultimately stumbles, the chemistry of its leads and a sense of foreboding dread in its formal execution ensures its heightened view of
See full article at The Film Stage »
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