Recently, I had the exciting opportunity to speak with screen and television writer, Roberto Patino, about his new film Cut Bank, which will hit screens in 2013. Patino, who has previously worked as a writer for the television series Prime Suspect and currently writes for the critically acclaimed television series Sons of Anarchy, discussed with me a wide array of information regarding his first feature film, including: the source of his inspiration, the search for studio funding, his reaction to the star-studded cast, and his opinion of first time feature film director, Matt Shakman. Patino also shared about his favorite films and television shows growing up and dished out some priceless advice on what it takes to make it in the wild world of entertainment.

Cut Bank, is set to be released in 2013 and will star Ben Kingsley, Armie Hammer, and John Malkovich. Directing the film is Matt Shakman, who has received distinguished praise for his work in television. His resume is massive and includes such well known titles as Psych, Weeds, Mad Men, It’s Always Sunny in Philadelphia, and House M.D. Shakman describes Cut Bank, his first feature film, as “a director’s dream: a great visual world and a brilliant collection of characters to populate it.”

My interview with Roberto Patino:

 SW: When did you first get the “film bug”?

RP: Middle School.

SW: Who are a few of your favorite screenwriters? Directors?

RP: Screenwriters — Paddy Chayefski, Robert Towne, Coen Brothers, Steve Zailian, John Logan, Aaron Sorkin, Eric Roth, and Quentin Tarantino

Directors — Paul Thomas Anderson, Scorcese, Old school Michael Mann, Fincher, Clint Eastwood, early Peter Bogdonavich and Sydney Lumet.

SW: Growing up, what were your favorite films or TV shows? Do these influence your work today?

RP: Lots of favorite movies: Braveheart, Chinatown, Network, Casablanca, 12 Monkeys, Heat, Godfather, Scarface, Treasure of Sierra Madre, Blood Simple, The Last Picture Show, Training Day. American Beauty. The Rock. And TV: Arrested Development. The Wire. The early seasons of NYPD Blue. Hill Street Blues. And absolutely, they influenced my tastes and notions of what I consider to be cool.  Tension. Paranoia. Power struggles. Loss of control. Taut, sparse stories. Flawed characters that we love to hate and hate to love. I think this all shaped the kinds of stories I love and love to tell.

SW: So where did you attend college? Did you work on film related projects at the university level? If so, what types?

RP: Harvard University. Film-wise, I took one 16mm film documentary film course. But mostly just literature courses and creative writing courses (play writing, screenwriting, etc.) I took a stab a few short films on my own time, but they weren’t very good. I was in a really melodramatic point in my life I think, and so my stories were wicked sappy. Lots of tearful embraces and doors slamming.

SW: What was the first entertainment-related job you landed after graduating from university?

RP: After I graduated I went to grad school at USC for a year. And that summer I got a job through a friend working for writer/director David Ayer. He wrote one of my favorite movies, Training Day. And he was directing his first studio movie, a cop thriller called Street Kings. I worked for him for free as his assistant – anything from “hold my view finder” to “get my breakfast burrito and make sure it has chorizo.” It was incredible, though, because I had free reign on set and was privy first hand to this guy’s process. He was the one who kind of kicked my butt and told me that if I wanted to write, I should write. I dropped out of USC and wrote a tiny war movie that I got a manager from. I tutored like 15-20 hours a week to pay the bills.

SW: Regarding Cut Bank, how did the story come to you?

My girlfriend, now wife, was moving from Boston to LA and shipping all her stuff in boxes. They all came one by one, so I was making daily trips to the post office, and it was in this time that I saw a sign for rewards that the United States Postal Service offered. They’re for things like if you know of someone mailing drugs or money laundering through the mail, or stealing mail — if you report these kinds of things with evidence that can hold up in a courtroom, you’re entitled to cash rewards. The largest reward is for someone who can provide evidence as to the murder of a mail man on duty. I thought to myself that there’s got to be a way to scam this system. And from there hatched the plot of the story about a guy who wants to get the hell out of his one-horse town, so he fakes the murder of the town mailman to collect this reward money and leave.

SW: Why Cut Bank? What drew you to the area as a potential story telling opportunity?

RP: I’m from Miami, and growing up my family took these epic cross country road trips to Yosemite or Yellowstone. In one of these we stopped in Bozeman, MT and I remember being unsettled and fascinated by how different life was there in relation to Miami. I liked it a lot. So that’s why I chose Montana. As to why Cut Bank in particular, well, my parents would make me be the copilot so I wouldn’t drive my sisters insane (I could get pretty annoying). So I often just stared at the road maps. And I remember really liking the name Cut Bank, which wasn’t far from Bozeman. (I also really liked Liberal, Kansas — there’s definitely some kind of movie in that town). Anyway, I actually flew up to visit and researched the town pretty closely. I guess I have a thing for small towns. Maybe because I’ve lived in big cities my whole life.

SW: How has the project progressed? How did it flow from script progression/completion, studio interest, and then finally to funding and assembling a cast?

RP: Well, I wrote it. I knew it was a small indie-ish film but it felt really good. I finished it like August of 2009. My manager at the time sent it to a few agencies and I hooked up with these two fantastic agents who liked my sensibilities and believed in the script. They blasted it all over town and it got pretty good responses. The script made this list called the Blacklist, which is basically a compilation of the year’s most-liked unproduced screenplays as voted on by execs around town that comes out every December. That drew a lot of good attention, and it made the studio rounds. But we got the same answer over and over: “Love the script, but it’s too small of a movie.” These days it’s either big sweeping films or horror films that cost lest than a mil to make. Everyone is really into those “found footage” movies like Paranormal Activity that are super cheap to make. Not too much room in the market place for a low budget small town thriller. It’s been a long slow road. Coming up on three years pretty soon. So instead, we decided to put this project together independently and we set out to attach talent. First came the director, Matt Shakman, who is represented at the same agency I that I am. He put together this incredible visual presentation and starting to meet with actors that our agency connected him with. That’s how we first landed Malkovich in like November of 2010. Then came Armie Hammer in late winter 2011, who was getting some great buzz from The Social Network. Then there was a while there where momentum cooled and the project came close to busting. We reached out to Ed Zwick, who’s done epic movies like Glory, and Shakespeare in Love and asked him if he would “mentor” the project as an Executive Producer. He liked the script and helped get the other actors. So fast forward to February 2012 suddenly we have the rest of the cast to date – Ben Kingsley, Michael Sheen and Teresa Palmer – and suddenly there was a ton of momentum again. We had what they call a “package” – script, director, producers, and cast — and now just needed the money. We hooked up with a foreign sales agent. These people pre-sell the distribution rights of movies before they are made to foreign countries, like the equivalent of Paramount Distribution in Germany or Japan. Based on the package, a foreign distributor will pay a certain amount to distribute the movie once it’s completed. And scrapping together all the pre-sell values for the countries across the world who will buy our package (assuming they do), that’s how we wrangle our production budget to make the film. It’s all very complicated; I’m learning as I go. This pre-selling happens primarily at big film festivals, like Cannes, which is where the Cut Bank team will be next week trying to sell this movie so we can produce it. If it all goes to plan, we are slated to start shooting late in the fall. So there are still some hoops to jump through. It’s a very tenuous process, especially since up till now, we don’t have money — all the actors are attached because they want to be. Not because there is a paycheck promised. So hopefully things go well next week and beyond and we gather some firm financing to help cement the project. Thus far, though, it’s proved to be the little train that could.

SW: Matt Shakman is set to direct. Any opinions about him or on his past work? 

RP: Matt’s incredible. I’ve gotten to know him really well in this process. He’s scary smart. Incredibly prepared. He’s going nowhere but up. He’s been directing off-Broadway plays since he was 23 and TV shows since he was like 27. His credit list is incredibly long and impressive. And he’s worked his way up to direct pretty fantastic fare, like Mad Men, Six Feet Under, and House, M.D. He’s widely regarded as a terrific guy to work with. Cut Bank will be his first feature, and I’m confident he’ll execute a fantastic film. He gets the tone and characters perfectly.

SW:  There are some big names attached to this film. What was your reaction on hearing about the cast?

RP: Shock mixed with anxiety mixed with giddiness.

SW: Working full time in the industry, do you still have time to enjoy TV and movies? If so, which ones do you enjoy the most?

RP: Absolutely. I loved 21 Jump Street recently. Last year I loved Midnight in Paris and I thought Drive was incredible. Really looking forward to this summer’s Oliver Stone movie, Savages. It could be awesome, or just a shlocky flop, but I’m in. And of course, I’m dying to see The Dark Knight Rises. On the TV end, I love Breaking Bad. If you haven’t watched that, go get all four seasons and lock yourself in a room for four days and watch. It’s some of the best story telling in the modern era, I think. Love New Girl and Modern Family. Boss on Starz is fantastic. I’m currently writing on Sons of Anarchy, which I think (unbiased opinion here) is also fantastic. Girls and Game of Thrones on HBO are guilty pleasures, though they can get silly at times. Really looking forward to The Newsroom and House of Cards.

SW: Any advice to industry hopefuls?

RP: Invest in yourself fully. It never makes sense to do this and there is general a more immediate offer available. But take time and give yourself a chance to prove yourself. Take risks. Show up for work everyday. Be prepared. Do your homework. Be patient. Be brutally honest with yourself, but also be kind. I’ve learned that most of the time you can be your own worst enemy or your own best ally. You want the latter. Constantly asses your progress and where you want your next steps to be. Stay focused. Do what feels right to you. And practice your craft daily.

George Clooney stars in The Descendants

The Descendants is an extremely pleasant movie going experience that will be received well by all audiences. Part of this wide spread appeal stems from the fact that this is a movie that that understands and warmly embraces the fact that when it comes to family, not normal is normal.

George Clooney stars as Matt King, an attorney from Hawaii who, despite the appearance of a man who seemingly lives carefree in paradise, isn’t immune to the messiness of life. He is in the process of selling 26,000 acres of pristine, untouched Hawaiian land which the family has owned for over a hundred years. All of Matt’s cousins are involved in negotiations with various buyers but Matt is the official trustee. Only his signature has the power to solidify any deal.

However, just before a deal is finalized, Matt’s wife, Elizabeth, suffers a traumatic brain injury in a boating accident and she becomes comatose. For the first time, Matt is forced to become the primary parental figure for his children, something he is certainly not used to or prepared for. Matt shares with his oldest daughter Alex that the doctors have told him Elizabeth is not going to wake up and that her death is very near. Upon hearing the news, Alex is devastated and confides to Matt that Elizabeth was cheating on him. Matt suddenly understands Alex and Elizabeth’s troubled relationship.

Matt is furious at first, and badgers two close friends into telling him that the man Elizabeth was spending time with is named Brian Speer. Matt shares this news with Alex and they mutually decide to search for him, bringing Matt’s younger daughter Scottie and Alex’s guy-friend Sid along. As an eccentric little group, they travel about the islands of Hawaii as Matt breaks the news about Elizabeth’s imminent death to loved ones and attempts to learn more about Brian.

George Clooney’s performance here is masterful. He realistically portrays his character with vivid life through the vast array of human emotions he expertly exhibits, which include fury, happiness, sadness, confusion and much more.

Through this whole experience, Matt comes to discover things that are hurtful in ways he couldn’t have imagined. However, he also learns to see himself as a father who matters to his children and as an important member of his family who can make decisions for the greater good. The movie is a beautiful display of how the goal of a family can’t be reduced to an ultimate aspiration determined by formula. Rather, family means something different to everybody. What a great movie.

It’s almost Oscar time again! … For those who care anyway. Last week, the nominees were released and as usual, gossip and drama is circulating about believed snubs and underserved nominations. But nevertheless, listed below are the nominees in a few major categories along with which film I expect to win vs. which film I’d like to see win.

Best Picture:

• The Artist
• The Descendants
• Extremely Loud & Incredibly Close
• Moneyball
• The Help
• Hugo
• The Tree of Life
• War Horse
• Midnight in Paris

My Expectation: The Artist

There is so much hype surrounding this movie, which in case you didn’t know, is a black and white, silent picture. Now I can’t quite judge it fairly because unfortunately, my viewing experience has been limited to the trailer and online sneak peaks. Yet, despite my limited exposure to the movie, I can definitely see the potential for something great.

My Choice: Anything 

Can you really choose a “best” here? I certainly can’t. Now of the nine movies nominated for best picture, I have only seen six: The Descendants, Moneyball, The Help, The Tree of Life, War Horse, and Midnight in Paris. I saw something unique and special in everyone of these movies. Of course, I liked some more than others, but I just can’t seem to choose one winner worthy of such a huge title as “Best Picture”. What about the movies that weren’t even nominated?

• Brad Pitt – Moneyball
• Gary Oldman – Tinker Tailor Soldier Spy
• George Clooney – The Descendants
• Jean Dujardin – The Artist
• Demián Bichir – A Better Life

My Expectation: Jean Dujardin

Playing the lead role in a silent picture in 2012 is quite a task. How far should you annunciate physical mannerisms? How do you not over-act the scenes and still convey emotion? Once again, I’ve only seen the trailer for The Artist, but I still managed to be emotionally affected by the little amounts of footage I’ve seen of his performance.

My Choice: George Clooney

In The Descendants, George Clooney stars as Matt King, a man in a very peculiar situation. His wife has recently died, he is contemplating a difficult financial decision that will affect his entire family, and for the first time, he is the primary parental figure for his children. Clooney masters the emotional spectrum of this movie, convincingly displaying fury, happiness, despair, confusion, and much more.

• Glenn Close – Albert Nobbs
• Rooney Mara – The Girl with the Dragon Tattoo
• Viola Davis – The Help
• Meryl Streep – The Iron Lady
• Michelle Williams – My Week With Marilyn

My Expectation & Choice: Viola Davis

Although The Help puts a slight hollywood “feel-good” spin on difficult subject matter, I was very moved by Viola Davis’ performance as the caring and passionate house maid, Aibileen Clark. I imagine playing such a role required much courage.

Actor In a Supporting Roll:

• Jonah Hill – Moneyball
• Nick Nolte – Warrior
• Christopher Plummer – Beginners
• Max von Sydow – Extremely Loud & Incredibly Close
• Kenneth Branagh – My Week With Marilyn

My Expectation & Choice: Nick Nolte

Nick Nolte’s performance as Paddy Conlon turns Warrior, an otherwise good film, into a great one. Paddy, a recovering alcoholic, is asked by his youngest son Tommy to train him in preparation for a mixed martial arts tournament. Paddy agrees to train him, mainly because he has suppressed hopes of earning a second chance at fatherhood. Nolte delivers a Grade-A performance here.

Actress In a Supporting Roll:

• Bérénice Bejo – The Artist
• Melissa McCarthy – Bridesmaids
• Janet McTeer – Albert Nobbs
• Octavia Spencer – The Help
• Jessica Chastain – The Help

My Expectation & Choice: Octavia Spencer

In The Help, Octavia Spencer stars as a house made with a strong, spunky personality.  We sense this is who she is, and yet even someone as seemingly strong as her is not immune to the degrading, inhumane conditions of Mississippi in the 1960′s. Spencer makes this character something quite special.

Cinematography:

• The Artist
• The Girl with the Dragon Tattoo
• Hugo
• The Tree of Life
• War Horse

My Expectation: The Artist 

Once again, this prediction is based on word of mouth and my limited experience with the movie. However, the small amount of viewing experience I’ve had with The Artist is enough to suggest a wonderful film executed with pleasant style and attention to detail. 

My Choice: The Tree of Life

The Tree of Life’s experimental and unorthodox photography methods with whispering voice overs proved to be tedious at times even for me. However, many of the “cosmic-like” effects were created using rather ingenious methods. Dan Glass, special effects supervisor discussed the shooting process saying, “We worked with chemicals, paint, fluorescent dyes, smoke, liquids, CO₂, flares, spin dishes, fluid dynamics, lighting and high speed photography to see how effective they might be… We did things like pour milk through a funnel into a narrow trough and shoot it with a high-speed camera and folded lens, lighting it carefully and using a frame rate that would give the right kind of flow characteristics to look cosmic, galactic, huge and epic.” Pretty cool if you ask me.

Art Direction:

• The Artist
• Hugo
• Midnight in Paris
• War Horse
• Harry Potter and the Deathly Hallows Pt. 2

My Expectation: The Artist

The film has nine other nominations at the Oscars and judging by the title, one would think the picture has pretty strong chances at winning an award for art direction. But in all seriousness, art direction is about the overall aesthetics and feel of the movie. Considering The Artist is a movie without dialogue that heavily relies on feeling and visual style, it’s no stretch to say it has this category in the bag.

My Choice: Drive

Drive isn’t nominated in this category and this is more than unfortunate. In fact, I believe Drive was ripped off and majorly snubbed in this category as well as a few others, like best picture and best actor. Drive relies heavily on aesthetics and atmosphere and probably consists of the second least amount of dialogue in any movie last year, second only to The Artist. With that being said, the result is very pleasing. A huge disappointment to not see it nominated in more categories.

Directing:

• Martin Scorsese – Hugo
• Terrence Malick – The Tree of Life
• Woody Allen – Midnight in Paris
• Alexander Payne – The Descendants
• Michel Hazanavicius – The Artist

My Expectation: Michel Hazanavicius

It takes a lot of guts to write and direct a silent picture in 2012. Yeah, some will argue that Hazanavicius was inadvertently catering to the Academy’s innermost longings for the good-ol’ days of movies, using the silent picture as one big gimmick. But, I find that highly unlikely. I think his courage will be rewarded on Oscar night.

My Choice: Martin Scorsese

Not that Marty needs a golden statue to vouch for his success, but I still think he deserves it. An animated children’s movie doesn’t quite bring Martin Scorsese to mind, yet the success of Hugo proves Scorsese doesn’t have a comfort zone.

Film Editing:

• The Girl with the Dragon Tattoo
• The Artist
• The Descendants
• Hugo
• Moneyball

My Expectation & Choice: The Girl with the Dragon Tattoo:

Dragon Tattoo manages to condense Stieg Larson’s 600 page novel into an exceptional adaptation.  The story covers a period of a half a century and fluidly shifts through time using superimposed images and well executed montage scenes. The final product is masterful.

Music (Original Score):

• The Adventures of Tin Tin – John Williams
• The Artist – Ludovic Bource
• Hugo – Howard Shore
• Tinker Tailor Soldier Spy – Alberto Iglesias
• War Horse – John Williams

My Expectation & Choice: The Artist

I’m going to assume the Academy will reward The Artist’s score because not only is it reminiscent of old school Hollywood, but it literally carries the weight of the whole motion picture. There is no dialogue. The score to a silent film made in 2012 better be pretty good. This one definitely is. The soundtrack is available for streaming on YouTube.

Writing (Adapted Screenplay):

• The Descendants – Alexander Payne and Nat Saxon & Jim Rash
• The Ides of March – George Clooney and Grant Hesloc & Beau Willimon
• Moneyball – Aaron Sorkin & Steven Zaillian
• Tinker Tailor Soldier Spy – Bridget O’Connor & Peter Straughan
• Hugo – John Logan

My Expectation: Hugo

Films that honor movie-making and the overall love for cinema in general are doing well this year. Of all the movies nominated in this category, Hugo is the most infatuated with the art form of movie making and I think the Academy will be won over by that.

My Choice: Moneyball

Michael Lewis’ book is a really compelling piece of dramatic journalism. It truly is fascinating. Before Moneyball, die-hard baseball fans who have read the book were probably hesitant to the idea of a film adaptation. I think Aaron Sorkin and Steve Zaillian did the best they possibly could with the project. It was one of my favorite films of 2012.

Writing (Original Screenplay):

• The Artist – Michel Hazanavicius
• Midnight in Paris – Woody Allen
• Margin Call – J.C. Chandor
• A Separation – Asghar Farhadi
• Bridesmaids – Kristen Wiig & Annie Mumolo

My Expectation & Choice: Woody Allen

Woody Allen is notorious for refusing to attend the Oscars, but according to Roger Ebert, the Academy likes him anyway. The protagonist of Midnight in Paris, Gil, is modeled after Woody Allen himself. In Midnight in Paris, Allen channels all of his passions and fascinations involving the city of Paris, literature, art, and music, through Gil. For me, the result was charming, funny, and relatable. Most members of the Academy will probably see eye-to-eye with Mr. Allen on many of the themes presented in his movie, thus resulting in the win for best screenplay.

Visual Effects:

• Transformers: Dark of the Moon
• Harry Potter and the Deathly Hallows Part 2
• Real Steel
• Rise of the Planet of the Apes
• Hugo

My Expectation & Choice: Rise of the Planet of the Apes

The fluid interaction between the Apes and the humans in this movie is so fluid and captivating (unlike Transformers). I loved it.

Robert De Niro is Travis, a lonely man driven to violence in his efforts to feel significant..

Recently, a friend and I were speaking about the dominant theme of loneliness in Scorsese’s Taxi Driver.

The general summary of our conversation could be described as follows: for the beautiful, talented, smart, and/or gifted people of the world, love and acceptance come easily. But, for those who are ugly, fat, dumb, or whatever you want to label them as, life is just plain hard.

Think about what we do when we’re lonely. For one, we think to ourselves either consciously or subconsciously, “This doesn’t feel good.” Then, a desire to eradicate the inner torture that loneliness bestows upon us occurs. In some cases, when this constant state of solitude becomes the every day normal routine for someone, the lengths they will go to find significance can be drastic. This was obviously true for Travis in Taxi Driver. In our society, extremely drastic measures taken by lonely people in order for them to feel of importance are labeled as acts of madness or terrorism. Just think what the headlines would’ve read had Travis gone through with his plan to kill the senator.

Mark Twain said the following regarding classic literature, “A classic is something everybody wants to have read, but no one wants to read.” I suspect the same holds true for classic cinema, and undoubtedly, Taxi Driver falls into the category of a classic. Well, a “modern classic” perhaps. But anyway, I’m not sure what it is about old movies that inhibits us from wanting to see them. For me, I guess it would be the dramatized theater style acting, distracting scores, and by today’s standards, poor image quality. But again, it seems that in order to even begin to acquire a thorough understanding of cinema, it’s absolutely necessary to understand the origins and establish a respect for the important landmarks of the art.

Taxi Driver movie follows the life of a man named Travis (Robert De Niro), a NYC taxi driver who works 12 hour night shifts, prepared to drive anywhere and willing to drive any customer. He journals about his lonely life and after a failed relationship observes, “I realize now how much she’s just like the others, cold and distant, and many people are like that…” Travis’s isolation becomes overwhelming and he recedes deep into his own mind, convincing himself he must assassinate a U.S. senator. But at the same time, Travis also finds himself drawn to a young girl (Jody Foster) who is stuck in a life of prostitution. He desperately wants to help her get out. Travis’s frustration with the world around him grows until the film’s climax comes out of nowhere and hits you like a train.

Personally, I was able to stay involved with Taxi Driver was because of De Niro’s eerily convincing portrayal of a lonely man with nothing to lose and searching for anything to gain. This is achieved largely through the talent of Robert De Niro, as his narration provides for a very realistic and troubling look into the point of view of someone who has nobody and nothing to his name.

Next time you’re browsing for a movie at the video store, bypass all the new releases (which are mostly trash) and get this movie instead. You’ll be glad you did.

The Great Bear Rainforest

SPOIL is a spectacular film that I suspect will soon gather a lot of attention now that it’s finishing its run with the Banff Mountain Film Festival World Tour. Here is an excerpt from Banff’s website:

“The Banff Mountain Film Festival World Tour brings Banff to audiences around the globe. Immediately after the Festival ends in November, a selection of the best films go on tour across Canada, the United States, and internationally from Scotland to South Africa to China, Japan, New Zealand, Antarctica, and points in between. Each year, the films travel to 32 countries reaching more than 245,000 people at over 635 screenings.”

SPOIL tells the story of ten world famous photographers and videographers on a fourteen day expedition across the Canadian rain forest on a Rapid Assessment Visual Expedition (RAVE). The purpose of this RAVE (and the film as a whole) is to document the unspeakable beauty of the area’s natural surroundings and the richness of its ever present native culture. Their hope is that vivid images supplemented by disturbing information about the composition of oil at proposed drill sites will hault negotiations of a oil pipeline which would run through the rain forest. Such a pipeline would require enormous oil tankers to navigate the dangerous waters, and a catastrophic spill could potentially exterminate the native people’s way of life.

Multiple ships have already wrecked attempting to navigate the complicated and deceiving waters of the Canadian coast, including the Canadian ferry boat, MV Queen of the North. Two lives were lost in the accident and the toxins spilled from the vessel resulted in an extensive cleanup process and the loss of many native wildlife.

The MV Queen of The North

To get a feel for the type of photos taken by the photographers, here are a few of the photos taken during the RAVE. The following photographs were taken by Thomas P. Peschak:

The most fascinating element of the movie concerns an animal known as the Kermode Bear, or Spirt Bear as the natives call it. This bear is a white, Black Bear. Yes, a Black Bear whose fur is white. Their color stems from a recessive gene in the animals. However, they are not albino as many would seem to think at first glance. National Geographic estimates that only 400-1000 Spirit Bears exist today. The Native people of the Great Bear Rainforest wisely never spoke of the Spirit Bear’s existence to hunters or tourists in order to ensure its survival through generations. The team of photographers and videographers consider quality images of the Spirit Bear vital to the project because hey, who doesn’t love bears? Especially big furry white bears. The emphasis the filmmakers place on the Spirit Bear is a highly effective rhetorical strategy.

People from the Pacific Northwest will particularly enjoy this movie because of the justice it does to the beauty of the area they live in. SPOIL will also appeal to any fan of visual art because it is unique in the way it uses film as a medium to show photographers’ efforts to capture still images.We get to see the subjects through the video camera lens and then we get to see the final product from the still cameras. It’s pretty awesome, and certainly not you’re average nature film.

You can view the film online if you click on the link below:

SPOIL on Vimeo

Guilty perpetrators

If you’re a movie lover, you can probably acknowledge and recall the excitement and anticipation of those particular upcoming films that really get your heart pounding.

One such movie that instilled similar feelings in myself was The King’s Speech. Two years ago, after noticing the considerable hype and observing the overwhelmingly positive reviews surrounding the movie, my family and I drove over to Anacortes, WA to see it. Of course we showed up a little early and delight filled my soul as I observed a fairly empty theater. First pick on seats!

Slowly, the other people started to file in. The trailers soon started and I remember my relief at the site of the sparsely filled cinema. Confident there would be no irritating distractions from this group of people, I sat enjoying my popcorn, awaiting the start of the movie. And then…

“ACHOO-SNIFF-COUGH!!!”

What the? Hmmm… that was weird. It sounded like someone trying to clear their throat as they sneezed and coughed and spit at the same time. Slightly annoyed but also somewhat amused, I shook my head and soon forgot about it. The trailers continued to role.

Then, again, “SNIFFLE-COUGH-SNORT!!!”.

I clenched my jaw and gritted my teeth as my heart sank. The realization set in: I’m watching a movie with someone who has a strange cough snorting tick thing! AWESOME! May I also add that the level of annoyance was compounded by ten because I happened to be watching the quietest, dialogue driven, dramatic tear-jerking movie of all 2010. I’m sitting there, completely drawn into Colin Firth’s performance. He is in tears, breaking down to his wife, “I’m not a king!” And then… “SNORTTT!!!”

Yeah, that sets the mood perfectly snorting guy. Thanks alot.

Anyhow, enough with the story. The point is, we can all recall those times where movies have been ruined for us due to a number of different reasons. So, without further adieu, I give you 10 Annoying Things People Do At The Movies. Notice that these aren’t numbered in any order because all of the following perpetrators are equally guilty!

TEXTING

Does it even need to be said? Seriously… texting and driving, texting in class, texting here, texting there, texting freakin’ everywhere! Sitting by someone with a phone out at the movies is just pain horrible. Have you ever sat by a person texting who tries to be subtle about it by holding it to the side, way down between their legs, or hunching over? Yeah, sorry texters, it doesn’t help.

NOISY POPCORN BAGS

For some reason, most theaters have traded out popcorn buckets for paper bags. Not just any paper bags. No, these bags sound like rapid successions of firecrackers are exploding every time you reach in for another fist full. And oh, God forbid there’s someone wearing a bulky sweat shirt armed with one of these babies. If so, you’re ears will be treated to a pleasant, “CRUNCH SMASH CRACKLE CRACKLE CRUNCH” every time they reach in.

For those that haven’t figured it out, there is an art to eating out of these bags. It’s like that game, Operation. You have to carefully reach in and avoid the very sensitive sides of the bag. Short sleeves are preferable.

Hmm.. on second thought, can we just have the bins back?

TALKING

Talkers come in a few different forms.  I will discuss them categorically.

1. Whisperers:  Sometimes people find it necessary to whisper doing certain parts of movies. Whisper very loudly I might add. For example, “Woah did you see that?!” or, “This is sad!”.
2. The Echo-er: Occasionally, people will hear a line in a film that they find humorous, memorable, scary, etc. To the echo-er, these lines are so great that they find it necessary to repeat it out loud! Sometimes, they will even look around at other audience members, perhaps expecting to be thanked or congratulated.
3. The Shoosh-er: Sometimes, in response to a whisperer or an echoer, a shoosh-er will try to intervene on behalf of the rest of the audience. Little do they know they are just as annoying and chances are, the perpetrator can’t even hear the shoosh. For example, a whisperer may enquire to a neighbor, “Woah! What’s gonna happen?” The shoosh-er then responds with a dramatic, “SHHHHHHHHHH!!!”
4. Ignorant Yellers: I had the not so pleasant experience of watching a movie with an ignorant yeller just the other day while watching The Grey. I knew we were in for it right as they walked in and I heard a, “Oh man F##k yeah that was hella’ funny!” It did not get better. These four guys, who were sitting about three rows in front of me, were in a different universe, screaming, yelling, and laughing about who knows what. But wait, you’ll never believe what happened. This leads me into my next form of talker.
5. The Hero: Sometimes, while you’re at the movies, experiencing one of the many horrors listed in this article, just when all hope of enjoying the movie seems lost, the hero will come to the rescue. They quietly put up with a few instances of annoyance and then suddenly, with authority, will shut them up. I was lucky enough in my most recent experience for this happen to me. I noticed a guy wearing a white T-shirt sitting about six chairs to the left of the ignorant yellers. The hero stared them down a few different times. I thought, “Is he gonna do it?” Sure enough, when everything got quiet, the hero turned to them and said, “Hey could you guys SHUT UP?” Immediately, the hero was backed up by the rest of the viewers who affirmed his statement. They weren’t a problem anymore. Thanks hero.

SLOSHING ICE OUT OF CUPS

There’s no more Coke in there and the guy whose obnoxiously sloshing the leftover ice into his mouth apparently didn’t pay for refills. So, the rest of us are treated to the sporadic crunching of ice and then the occasional pound on the cup. Cmon’ man!

FREQUENT COUGHS, WEIRD TICKS, ETC.

I’m not exactly sure how common this really is. However, I found it necessary to include in this article because of my own personal experience watching The King’s Speech. I guess you’ll have to experience this one to truly understand it.

POOR SEAT SELECTION

We’ve all experienced it. You’re sitting in a prime spot in an empty theater, maybe with a date, and then suddenly, you see Paul Bunyan lumber through the entrance. No biggie right? Look at all these empty seats! Everything’s cool. Okay, he’s coming closer. Alright there’s still a few rows left. Okay, the row in front of me is alright as long as… Okay how did I know he would sit RIGHT in front of me! Wow! Not cool at all! But, luckily this is an easy problem to fix. Just move along to one of those empty seats across the aisle.

SEAT KICKERS

You’re most likely to discover there is a seat kicker behind you when you’re eating popcorn and then suddenly a jolt of force will cause you to close your fist and send bits of  popcorn matter flying everywhere. Sometimes you can send a message to the kicker that says “cut it out”, by turning your head over your shoulder a little bit and making a disapproving shaking motion. But sometimes, you just can’t win with these people and you’ll just have to make yourself feel better by talking bad about them with your friends after the movie!

CRYING/SCREAMING KIDS

A lot of times, this annoyance (as well as many others) can be avoided by movie choice. For example, I don’t think a lot of screaming kids or ignorant yellers would go to see The Descendants or The Artist. But hey, some kids movies are really worth seeing. For example, Hugo, Up, Kung Fu Panda 2, Toy Story etc. Most people are aware that they are really rolling the dice when you decide to see a movie like this. Chances are the lights will go down and soon you’ll be hearing screaming voices talking about the bathroom, soda, popcorn, and whatever else kids talk/complain about!

FORTUNE TELLERS

The fortune teller finds it necessary to  yell out his or her prediction of what is going to happen next on screen. For example, “He’s gonna die!” Or, “He’s lying!”. It can be funny at times and maybe it says a good thing about the film. Maybe the movie has drawn them in so much that they feel like they can warn the characters of their future? Beats me.

RUINING THE BEST PART

Sometimes a friend or a family member will see a movie in theaters, enjoy it very much, and invite you to go with them to see it a second time. Most of the time, this is a fun experience! They get to see a good movie a second time and if you trust their taste, you’re in for a treat too. But sometimes, depending on the movie, this can go wrong. Let’s say you’re watching a movie that involves some kind of twist, and right as you’re about to figure it out or the truth is about to be unveiled, you’re partner leans over and says, “Dude, you absolutely won’t believe this part” or, “This is the best part of the whole movie”. We get it. You saw this movie and you liked it! Let me experience it!

Okay, so this concludes my list of annoying things people do at the theater. Now, with all the chips out on the table, I want to say that I still very much enjoy going to the movies. I’d like to think that these grievances are only committed many 25% of the time. Most other times, the whole experience of going to the theater with friends and family is quite enjoyable. But then again, when in doubt, hit up Blockbuster or Netflix instant stream and cuddle up with blankets and enjoy the privacy and comfort of your own couch.

Have an annoying story to tell? Comment below.

Tarantino on Fincher

According to Tarantino, the glory of his work stems from the fact that it all starts with a blank piece of paper and a pen.

Filmmaker. What does that title encompass? Well, it would seem that according to arguably the most eccentric filmmaker of our time, Quentin Tarantino, true filmmakers are those who write and direct their own pictures. He goes on to say that writing and directing your own movies is essential to developing a voice as a filmmaker .

“There’s a lot of writer directors that come out, and they write and direct one movie, a second movie, and then a third movie, well, there’s a real voice there… It’s a lot easier to go and look at the scripts that are out there and available, and maybe work with a writer, or do a little rewrite or do that kind of thing, and you get more movies made. But, cut to six years down the line and where’s that voice? It’s gone away.”

It’s an interesting point, and for the most part, I agree with him. Think for a minute, what is film? Well, it’s a form of art, and artists, of whatever type,  have distinct styles. So, maybe that’s it, Tarantino wants to recognized as a true artist; a man who deserves to be commended for his individual effort at making movies, as opposed to movies that are made from comic book adaptations, novel adaptations, or by directors who work with a separate screenwriter.

I have to admit, in that respect, he’s right. Writer-directors are different. The stories, images, and thoughts of those who write/direct their own pictures exist because they and they alone thought them up. Tarantino movies are literally a direct result of HIS ability as a story teller and a visual mastermind. Considering art as an expression of creative skill and imagination, Tarantino is in fact, a true artist.

Tarantino said that that directors who don’t write their own scripts can lose their voice as filmmakers over time, and that may be true as far as dialogue structure, style, and tone are concerned. But, “voice” can be defined in other ways. For example, directors who don’t write their own movies still have distinct trademarks that make their work unique and identifiable. Here are a few examples of notable visual trademarks of directors; proof that a director’s artistic touch can be seen regardless of who wrote the story.

Steven Spielberg’s “Wonder” Shot:

Spielberg doesn’t write most of his movies, but that doesn’t mean his style isn’t easily recognizable. Many of his movies tend to involve larger than life concepts, and his close up shots of characters with facial expressions of awe and wonder are a sure sign of a Spielberg creation.

Elliot, in awe of the site before him in E.T.

Alan Grant seeing the Dinosaurs for the first time in Jurassic Park.

The first glimpse of the third kind, in Close Encounters of the Third Kind.

Quentin Tarantino’s POV “Trunk” Shot:

Aside from Jackie Brown, Tarantino’s movies are completely original stories, written and directed by him. However, this is one of his signature visual trademarks, showing his characters from the point of view of what they’re looking at.  (It’s not always a trunk)

Trunk shot in Pulp Fiction.

Trunk shot in Reservoir Dogs.

Brad Pitt admires his work in Inglourious Basterds

Scorsese’s X of Death:

Martin Scorsese is a legendary director, yet, he doesn’t write most of his films. Here’s a signature touch of his, using X’s on screen to indicate the impending doom of his characters.

Billy Costigan, a character with a grim future in The Departed.

Captain Queenan meets his demise in The Departed.

Film is a collaborative art. Think about the credits at the end of a motion picture. They go on for quite awhile right? Simply put, the movie wouldn’t exist if it weren’t for all those people listed: camera operator 1, camera operator 2, sound editor, special effects assistant #3. All of those obscure titles contributed in some way, big or small, to the final product, and I think that’s a big part of why movies are so special. Everyone plays a special role. So obviously, I’m not criticizing directors who don’t write, or writers who don’t direct. I mean, the majority of all movies ever made were not written/directed by one person. Everyone has their talents. Writing a screenplay is difficult. Translating a story to the big screen is also very difficult. Those who can do it both? Well, the greater the difficulty, the more glory in surmounting it.

J.J. Abrams on the set of Star Trek.

J.J. Abrams’ follow up to his 2009 Star Trek is rumored to be released in 2012. His 2009 film proved to be a big surprise with its ability to appeal to both fans of the original T.V. series, and to those who’ve never seen anything to do with Star Trek. Chris Pine is rumored to be returning as captain James Kirk and that’s about all I’ve heard about this one.

All in all, I’m only asking that Abrams’ continues to build on the success of this newly rebooted franchise.

#9 – The Bourne Legacy

Matt Damon’s not involved with the new Bourne movie, but I’ll still give it a chance. Why? Well, mainly because I loved the first three Bourne films so much. They all worked together to form a very exhilarating trilogy, and trilogies are rarely successful as a whole. Not a whole lot is known about the film but I’ve heard from numerous sources that Jeremy Renner will be joining the cast. Nice!

The Bourne Legacy hits theaters in August.

#8 – Brave

Disney Pixar films are always so dang adorable. But, don’t start feeling too sentimental about this one quite yet. Brave has been described by Aint It Cool News as “… somewhat darker and more mature in tone than Pixar’s previous films.” Hmmm… that sounds promising. The creative forces at Pixar always seem to turn out some pretty captivating material, in terms of plot as well as imagery. The story looks somewhat complicated and I don’t want to spoil all of the details so here’s the trailer:

Brave: Official Trailer

#7 – The Amazing Spider Man

Out with the old and in with the new: Andrew Garfield will take over the reigns as Peter Parker in the 2012 Marc Webb film, The  Amazing Spiderman. Now many fans of the first three Spider-Man films are questioning (some would say, complaining) about how this new Spidey film looks like a carbon copy of the 2002 Spider-Man film. Well, not so fas. There are a few important differences, additions, and unique things to consider about the new Spider-Man.

One aspect of the 2012 movie that should please audiences is its effort to remain more faithful to the comic book series. For example, Emma Stone has been cast as Gwen Stacy, who was in fact Peter Parker’s first love interest. It wasn’t Mary Jane, as the 2002 film seemed to portray.

It’s also important to note that the Hollywood studios are in fact, looking out for the audience’s best interest with The Amazing Spider-Man. Remember how Spiderman 3 was a flop? Well, it looks as though the film’s investors pressured those involved to reboot the series entirely, rather than continue to pour money into a franchise that seemed to be taking a turn for the worse. This is a good thing. In a series, nobody wants to go watch a movie worse than the one before it. Besides, Entertainment Weekly has compared the reboot of the Spider-Man series to be reminiscent of Chris Nolan’s Batman series reboot, describing James Vanderbilt’s script as “gritty and contemporary”.

You can watch the trailer for the movie here:

The Amazing Spider-Man: Official Trailer

#6 – The Hunger Games

Jennifer Lawrence as Katniss in The Hunger Games.

The adaptation of Suzanne Collins highly popular young adult novel The Hunger Games, hits theaters in 2012. The film will star Jennifer Lawrence as Katniss, the story’s lead character. In case you haven’t read the novel, here is the synopsis from the back cover:

“Katniss is a 16-year-old girl living with her mother and younger sister in the poorest district of Panem, the remains of what used be the United States. Long ago the districts waged war on the Capitol and were defeated. As part of the surrender terms, each district agreed to send one boy and one girl to appear in an annual televised event called, “The Hunger Games.” The terrain, rules, and level of audience participation may change but one thing is constant: kill or be killed. When Kat’s sister is chosen by lottery, Kat steps up to go in her place.”

The book was a huge success but it’s sure to be under heavy scrutiny from it’s die hard fan base.

#5 – The Hobbit: An Unexpected Journey

Peter Jackson’s fourth installment in his Lord of The Rings franchise will premier in December, 2012. The Hobbit is the first of two films that will make up the entire prequel of the main Rings trilogy. All of the familiar faces will be involved with the film, including: Elijah Wood, Orlando Bloom, Ian McKellan, Hugo Weaving, Andy Serkis, and Cate Blanchett. The film will be made on an estimated budget of $250 million so it goes without saying, The Hobbit is going to be big.

#4 - The Avengers

Iron Man. The Hulk. Nick Fury. Thor. Captain America. Hawkeye.

These are the heroes that will make up The Avengers. Chances are, if you’re reading this, you’ve seen most of the films made in preparation for the movie. You know, Iron Man, The Incredible Hulk, Captain America… etc. If not, well then this movie probably won’t interest you. Go ahead and skip to the next one.

Aright, much love for the cool people who kept on reading. I’m definitely excited to see The Avengers. But, then again, I’m going to express a little concern deep inside me that feels that maybe it’s going to be a little cluttered. The Avengers features six characters that we all want to have a lot of screen time. I just hope that the writers successfully accomplish the somewhat overwhelming task at hand, which is to feature all of the characters into a story that’s absorbing, and doesn’t feel like a tangled mess of hodgepodge.

Those who stayed after the credits for Captain America have already seen the first sneak peak of The Avengers. If you left the theater after the movie ended (like most people do), you can watch a trailer similar to it here instead:

The Avengers: Teaser Trailer

#3 – Lincoln

The legendary Steven Spielberg is set to direct a film about our 16th President.

Lincoln, Steven Spielberg’s upcoming biographical drama about our 16th president, is one of my favorites on this list. Abraham  Lincoln is one of America’s most loved presidents and Spielberg is one of America’s most cherished filmmakers. It’s as simple as that. I really think we’re in for something special with this one.

#2 – Django Unchained

Quentin Tarantino, writer and director of Django Unchained (2012).

Quentin Tarantino, Christoph Waltz, Leonardo DiCaprio, and Samuel L. Jackson. Okay, take a minute and let those names settle in your mind and in your soul. Experiencing some jitters? Uncontrollable excitement and anticipation?  GOOD! You should be.

Quentin Tarantino’s new film, Django Unchained, will hit theaters on Christmas day 2012. Here’s the short and sweet synopsis from Rotten Tomatoes:

“A slave-turned-bounty hunter sets out to rescue his wife from the brutal Calvin Candie, a Mississippi plantation owner.”

Okay, maybe it doesn’t sound too exciting all by it’s lonesome, but remember, this is Tarantino were talking about, and the Spaghetti Western is one of his favorite genres. I think we can all be sure he’s gonna make this one his baby. I’m not too sure about the supporting characters but I’ve heard that DiCaprio will assume the role of one of the main antagonists, Christoph Waltz has been cast as a German bounty hunter, and Jamie Foxx will play the title role, Django.

#1 – The Dark Knight Rises

The very brief trailer for The Dark Knight Rises has been published on YouTube for only one month, but has already recorded an astounding 3.5 million views. Without a doubt, I’m more excited about The Dark Knight Rises than any other movie coming out next year.

The Dark Knight, which was nominated for eight academy awards and is one of only three films to gross over $500 million at the North American box office, has left many fans of the series asking, “How will they top it?” Well, I’m not sure I have an answer to that one. I guess we’ll just have to stay hopeful and trust that the brilliant minds of the Nolan brothers have something incredible in store for us.

Not much is known about the Batman finale, other than Tom Hardy has been cast as Bane and Anne Hatheway as Catwoman. The teaser trailer for the film premiered before the showing of Harry Potter. If you haven’t seen it, you can watch it here:

The Dark Knight Rises: Official Trailer

So, there you have it, my top ten most anticipated films of 2012. But, let’s not get too ahead of ourselves. The last half of 2011 has a few more promising movies in store for us. Some are pure popcorn entertainment and others are possible Oscar contenders.

Notable Remaining Films of 2011:

• Steven Spielberg’s War Horse
• Mission Impossible: Ghost Protocol
• Apollo 18
• David Fincher’s The Girl with the Dragon Tattoo
• Contagion
• Warrior
• Clint Eastwood’s J. Edgar

Me (far left), Tony Ruland (middle), and my brother Jaxon Wolfe (right) at the Donut House in Anacortes, WA.

Three years ago, my friend James Middleton was writing a story for the school newspaper about an up and coming local band from Anacortes called The Lonely Forest. Fast forward to 2011, and they’re all over the radio, performing on Jimmy Kimmel Live, and officially the first band to sign with Trans Records, the new record label headed by Chris Walla of Death Cab for Cutie.

Pretty impressive.

A few days ago, my brother and I had the pleasure of meeting one of the members of the band, Tony Ruland, at the Donut House in Anacortes. He was extremely appreciative of our praise and just a really nice guy to talk to.

Seeing that this is a film blog, I must recommend that you watch The Lonely Forest’s music video for their song, “Turn Off This Song and Go Outside.” It was the song I used in the beginning sequence of my short film about The Blue Fox Drive-In. The music video features some distinct local landmarks and evokes the unique feelings of experiencing life outside with those you love. I think you’ll really enjoy it.

Turn Off This Song and Go Outside: Official Music Video

You can purchase the song, “Turn Off This Song and Go Outside,” and other songs by The Lonely Forest from their album Arrows, featured on iTunes.

Daniel Craig in Cowboys & Aliens.

Cowboys and aliens. Individually, these words can be associated with a lot of different things: video games, cool Halloween costumes, and of course, the subject of countless hit Hollywood movies. But, what do we get when we combine the two genres into one film? Well, low and behold, that’s what Jon Favreau’s Cowboys & Aliens gives us. The title sounds ridiculous, and the film’s previews have left many viewers hesitant. But hey, if aliens can attack modern cities, then why can’t, or why wouldn’t they attack America’s post civil war western society?

Daniel Craig plays the role of a loner cowboy, wandering the baron landscape of the dessert with no recollection of who he is, how he got there, or how he ended up wearing a heavy metal band with strange markings around his wrist. He wanders into a small western town, which as many other critics are also sure to point out, is filled with Western cliches. You know, Daniel Craig as the mysterious cowboy, the sheriff who struggles to maintain control over outlaws, the timid bartender who is bullied by those outlaws, and that one girl in town who is blatantly prettier than the rest. Yep, we’re presented with a typical Western setup.

It turns out that the cowboy with the metal wrist band is a man by the name of Jake Lonergan. Jake has no recollection of his past life as a notorious stage coach robber, and is therefore surprised when he discovers that he’s wanted dead or alive by federal authorities. But, when many people are abducted by strange flying aircraft in the middle of the night, it becomes clear to everyone that Jake ain’t the typical rough ridin’ fugitive.

This is where the movie took a step backwards for me. The first alien attack scene is just less exciting than it should be, especially from director Jon Favreau, who set pretty high standards for himself with Iron Man. Remember the opening attack scene in that movie? Yeah, pretty dang good. The nighttime setting in this one made details a little difficult to establish, which I think results in an average attack sequence, as opposed to a freakin’ awesome display of catastrophe. I think we as the audience become much more interested in the rest of the movie if that first abduction scene were more terrifying, exciting, breathtaking, or whatever you want to call it… It just needed more of the wow factor.

The first part of Cowboys & Aliens works as an extremely effective western film. The hand to hand combat scenes are well done and even the typical western standoffs are enjoyable. Daniel Craig is also believable as the cowboy with a chip on his soldier, and the mysteries of his past are compelling even if the answers to our questions can’t quite live up to the dramatic build up. For me, the movie’s only flaws were an unnecessary twist in the middle of the story, and an “unconvincing at times” performance by Harrison Ford as the hardened war veteran/ cattle rancher. If you were to go and see the film, my advice would be to just go with it. It’s a lot of fun if you let it be.

Chris Evans stars as Steve Rodgers (Captain America).

Captain America, is one of the most likable super heroes to ever hit the big screen. I mean, he respects women, stands up to bullies, and puts others before himself. What more could you ask for? But, before Captain America was defending the rest of the world from the terror and violence of German forces in WWII, he was known only as Steve Rodgers, a shrimpy kid from Brooklyn who’d never ever give up.

The year is 1942, and Steve Rodgers desperately wants to enlist in the U.S. Army. The only problem is, he’s failed the Army’s medical inspection for the fifth time and recruiting officers have no doubt that Steve is too short, too skinny, and too much of a liability to be a soldier.

But, one night, as Steve and his best friend are enjoying a night out on the town with some girls, an Army recruiting sign catches his eye. He decides to give it one more shot. While undergoing his medical inspection, Dr. Abraham Erskine discovers that Steve has already failed the recruiting process five times. Taking note of his persistence, he decides that Steve is the perfect candidate for a military experiment that will transform him into an enhanced super soldier. When Steve asks, “Why me?” Dr. Erskine responds, “Why someone weak? A weak man knows the value of strength. Knows the value of power.” It turns out that Steve’s mission is to stop a mad man by the name of Johann Schmidt, a powerful Nazi who claims he’s harnessed the power of the God’s. The U.S. government believes that the power Schmidt possesses is a new super-weapon capable of annihilating all of Europe.

At first, the new and improved Steve Rodgers is used only as a propaganda tool, traveling around the United States doing shows as “Captain America”, demonstrating feats of strength and advertising war bonds with a patriotic sales pitch. But, when Steve travels overseas to perform for the troops, he soon becomes fed up with being a showman. When he overhears that a large number of U.S. troops have been taken prisoner in enemy territory, he decides to take the role of Captain America seriously and sets out to save his fellow troops and halt the advancement of Johann Schmidt’s army.

The action/ fight scenes in Captain America aren’t as crisp and realistic as one might expect. Instead, they have a retro feel to them, similar to a comic book drawing. From the way the action sequences were made, you almost expect “BOOM!” to appear on screen when Captain America punches an enemy. But, I didn’t mind the old-school special effects; they compliment the overall feel of the film.

The thing that makes Captain America worth seeing is the pleasantness of its title character, and the movie’s refreshing sense of patriotism. Here’s a hero without the cockiness of Tony Stark, the vengefulness of Bruce Wayne, or the tortured soul of Peter Parker. When Steve Rodgers becomes Captain America, he stays true to himself and even though he’s a hero, in his own words, he’s still just a kid from Brooklyn.

James Franco stars in Rise of the Planet of the Apes.

Rise of the Planet of the Apes is the biggest surprise of the year for me. Judging from it’s advertising campaign, which consisted of chaotic scenes of destruction by a seemingly infinite number of Apes, I dismissed it as a one dimensional special effects film. I was very mistaken; it’s one of the best films of the year thus far.

James Franco stars as Will Rodman, a scientist at a medical research center whose ambition is to develop a drug that will cure Alzheimer’s. The center’s test subjects are Apes. The scientists treat the animals with the drugs they develop, and then test their mental abilities through various puzzles and/or logic tests. The general idea is the scientists believe that if they can develop a drug that increases brain function in apes, then said drug will repair damaged brain tissue in humans.

In order to avoid spoilers, I will proceed both cautiously and vaguely. Will Rodman develops a man’s best friend type of relationship with one of the apes, whom he names Caesar. They live together for three years until Caesar is forced to move into an animal shelter for reasons I will not discuss. From there, the movie makes the leap from heartfelt, very human, drama… to high paced action flick. The film’s biggest strength by far is its special effects. Simply put, they’re flawless. In fact, some of the close ups on the animals are so realistic that if you walked into the theater unaware of what  you were seeing, you’d think it was some type of documentary on primate life.

The movie’s only flaw, I would say, are a few scenes where Caesar’s level of intelligence is taken too far. I’m not saying this part of the movie is horrible, and in retrospect, I realize that it’s necessary for the continuation of the franchise. And yes, the movie is obviously not a showcase of realism, but it still took me by surprise when Caesar actually growled out a few words in English. It almost seemed…. corny? Ahh, I didn’t want to say that word but I have to be true to my first impression.

Rise of the Planet of the Apes is a good summer movie that I wouldn’t recommend judging by its his previews, which almost make you feel the story is way too “out there,” to be enjoyable. It’s actually well worth your time and I recommend you go see it with a group of friends this week at The Blue Fox Drive-In. Bring blankets!

One of the more crazy scenes in Crazy, Stupid, Love.

Crazy, Stupid, Love is my favorite love story to hit the big screen since Marc Webb’s 500 Days of Summer. I believe audiences will find it appealing because compared to many recent romantic comedies, the humor isn’t overly raunchy, there’s minimal amounts of cynicism, and it appeals to a broad range of viewers.

There’s some praise to be given to Crazy, Stupid, Love for its ability to make us laugh when we need to laugh and cry when we need to cry. Okay, maybe not cry, but it does know how to evoke a sense of seriousness when it’s necessary. For example, during the film’s opening scene, we’re introduced to Cal (Steve Carrel) and Emily Weaver (Julliane Weaver). Before they even have a chance to order their food, Emily informs Cal that she wants a divorce. Then, during the ride home, Emily ruthlessly bludgeons Cal’s heart with all the reasons why she wants out of the marriage. Nobody’s laughing at this point, which I thought was a bold first step for a film pinned as a romantic comedy. Then, due to a well-written script, and also because of the comedic talents of Steve Carrel, the film seamlessly transitions from heavy heartache to some pretty funny material.

After the Weaver’s divorce, Cal starts to spend his nights out on the town, frequently visiting a night club and spilling out stories of his miserable situation to everyone around him. The fly-lookin’ babe magnet magnet, Jacob Palmer (Ryan Gosling), overhears Cal moping in the bar and approaches him. Jacob points out how pathetic Cal’s routine is and pledges to help him get his game back. Carrel’s typical, clueless, nerdy behavior is abundant in the movie, and his attempts to go from “lame” to “game” are quite humorous. Ryan Gosling’s performance in a comedic role is also a pleasant surprise. He plays the womanizer role in a way that avoids being overly cocky/annoying, and instead, comes off as rather amusing and original.

The “love triangle” is common in novels, cinema, and even in life. Well, I would describe Crazy, Stupid, Love as a love… polygon?  Let’s see, the Weaver’s son is in love with the babysitter, the babysitter is in love with Mr. Weaver, Hannah (Emma Stone’s character) is in love with Jacob… and there’s still more. All of these love interests can account for the “Crazy,” portion of the film’s title.

Crazy, Stupid, Love suggests a belief in an old fashioned type of love. A love where you have to fight for what is lost, pronounce your love for someone when they may not return it, take leaps of faith… etc. The movie also realistically portrays the pain of seeing a loved one rebound into the arms of someone else and still manages to effectively instill a comic spin on the material. Crazy, Stupid, Love doesn’t guarantee it’s good old fashioned, “fight for love” methods to be effective, but instead leaves the choice up to the audience. Either way, it’s well worth the price of the admission ticket. No matter your relationship status, Crazy, Stupid, Love has something hopeful to offer you.

Vincent Lindon (left) and Firat Ayverdi (right) in Welcome.

Recently, after finishing up a morning bike ride, I made my way down to the local Blockbuster to pick up The Lincoln Lawyer and any other movies that I may have missed in theaters. I arrived early, and was waiting for the doors to open. When 10:00am came, I made my way into the store and picked up The Lincoln Lawyer and continued to browse the store for any other titles that might’ve caught my eye.

Soon, the picture you see above caught my attention. I paused for a minute and looked at the cover of the French film, Welcome. I noticed that the movie had won a few awards at select festivals and the simplicity of the cover art appealed to me. In fact, when I took note of the stark differences between the cover of Welcome, and the cover of The Lincoln Lawyer, I admittedly felt a bit guilty for conforming to the sometimes, overly stylish ways of mainstream Hollywood movies.

So, after reading the back of the case and seeing that the story interested me, I decided to get it.

Welcome was inspired by the actual illegal immigration issues concerning the rising number of Kurdish refugees in France. The film is about a young Iraqi refugee, Bilal (Firat Ayverdi), who is trying to cross the English Channel to reunite with his girlfriend, Mîna, who emigrated to the UK. After unsuccessfully attempting to board a cargo ship by hiding in the back of a semi truck, he decides that there is no other way to cross the channel. Desperate, he decides that he will swim across. Bilal goes to the local swimming pool and attracts the attention of swim coach Simon Calmat (Vincent Lindon), who is in a struggle of his own. Simon is mentally and physically drained from the resulting grief of his recent divorce.

After awhile, Simon starts to notice Bilal’s frequent visits to the swimming pool and finds about his plan to cross the channel. Seizing an opportunity to gain the approval and affection of his ex-wife (who is an immigration activist), Simon decides to help Bilal train for the swim. But, what starts out as a relationship of self interest for Simon soon changes into an unexpected friendship.

The movie is at times, very bleak. In fact, many of the plot elements in the story are comparable to Ernest Hemingway’s A Farewell To Arms. For example, the protagonists in both stories are trying to reunite with the woman they love, both have to cross a channel of water, and both feel unwelcome in a country different than their own. If you’ve read the novel, you should know what I mean when I say “bleak.”

The good parts of the movie: Well, for one, Bilal is a likable lead, and he manages to hold our attention throughout the movie. He’s kind, thankful, positive, and his unwavering dedication to his girlfriend Mîna is pretty awesome too. The movie will also provide a few tear jerker moments for some viewers, which I guess could also be considered positive. Hey, some people like movies that make them cry.

Now for the not so good parts of the movie: Simon, the swim coach, is in a very depressing predicament. He’s a man stuck in that limbo type of lifestyle where you love someone who doesn’t love you back. Much of Simon’s screen time involves him either sitting on the couch, waiting for his wife to call, drinking beer, or looking at the things his ex-wife left behind… the painful reminders of her absence.

Welcome, it’s a good enough film. It’s inspiring, socially and politically relevant, and free of a typical Hollywood-ish formulaic plot. I’d even go so far as to recommend Welcome as a date night movie, but not a “first date” movie, or even a “second date” movie for that matter. Welcome will appeal to anyone who would enjoy a simple story of courage, friendship, and dedication to a loved one.

Blue Fox is finally complete! Yes, after weeks of balancing my time with college priorities, job obligations, and just regular everyday life, I can now officially say that I’ve broken free of the post production phase. Yeah!

In order to comply with YouTube’s fifteen minute limit on uploaded films, I was forced to cut a lot of footage and didn’t have room to include formal credits. Therefore, I would like to give a HUGE thanks to the following people:

The Bratt Family

Thank you for letting me walk around your theater and do whatever I needed to finish this project. More importantly, thank you for your dedication to keeping the Blue Fox alive and bringing countless people so many great memories. All your efforts are greatly appreciated!

Dean Dickson

Thank you for contributing your great stories about the Drive-in! I enjoyed talking with you about Mark Twain and about memories of Oak Harbor High School.

Perry Woodfin

Thank you for the work you do; your paintings represent special memories to the people of the Puget Sound. Also, thanks for showing me around your studio and telling me about the life of an artist.

I hope you all enjoy The ReelScope’s first short film. Feel free to leave a comment and tell me what you think!

A young Caylee Anthony. (Aug. 5, 2005 - Jun. 16, 2008)

“It would be better for him if a millstone were hung around his neck and he were thrown into the sea, than that he would cause one of these little ones to stumble.” Luke 17:2

“Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these.” Luke 18:16

Children occupy a special place in the hearts of our people. In fact, as is evident by the two verses listed above (religious views aside), it’s clear that things weren’t so different 2000 years ago, when Jesus Christ lived. Indeed, the belief that children are the world’s most precious beings has long been instilled in our hearts and in the hearts of past generations. Unfortunately, the world we live in today is far from perfect, and there are those corrupt people, devoid and destitute of a sense of right and wrong, who bring harm to our society’s most blameless souls.

Turn on the news today, and you’re guaranteed to hear something about the infamous Casey Anthony murder trial. Debates amongst celebrities, news anchors, and/or average American citizens over the not guilty verdict seem to dominate the airwaves. Responses to the verdict range from pure outrage and hatred for the defendant Casey Anthony, to more reserved, neutral statements about the nature of the American justice system.

It’s difficult to wrap one’s mind around all the unanswered questions that arose from Caylee’s death. I mean, just consider for a moment Caylee’s future: the goals she would’ve reached, the lives she would’ve touched. The answers to these questions will forever remain unknown, and when we consider this truth, we yearn for retribution. But, let’s face it, it’s probably fair to say that we will never know what happened to little Caylee Anthony, and that sentiment doesn’t feel right in our hearts. So what do we do? We channel our frustrations into the form of hate for Caylee’s mother. Pain makes us feel powerless. Anger makes us feel powerful. We need answers. We want someone to point a finger at. But is all the backlash at the trial’s verdict really fair to the memory of Caylee?

Gone Baby Gone is a film that explores the lengths people will go to bring justice to the violated innocence of children. Though it may not be an easy film to watch, and I suspect that to be true now more than ever, it’s a very important film. The movie has much in common with current events in America: a missing child, unanswered questions, a neglectful mother, and a city full of pain and outrage.

Casey Affleck stars in Gone Baby Gone

The story is told through the point of view of a young private detective, Patrick Kenzie, and his girlfriend/partner, Angie. We watch as their sense of right and wrong, their relationship, and their faith in humanity, are all brutally tested through their quest to bring justice to a missing little girl. Patrick is a rough talking, hardheaded young man; a good detective, dedicated to the straight and narrow. For the most part, he’s what we would call a “good guy”. In his personal life, he cares for his girlfriend and stands to defend her honor. In his professional life, he strives to make the right decisions, contemplating the line between choosing proper justice, and taking justice into his own hands. He wants to find this little girl and when people stand in the way of that, he’s quick to let the four letter words fly and use any level of violence necessary to accomplish his goals.

For some, obscene language and violence are avoided at the movies. But, in Gone Baby Gone, certain viewers will find their emotions and frustrations vicariously played out on screen through Patrick’s methods. Though we may not want to admit it, we find that we don’t mind as much when he pistol-whips drug dealers or go’s on swearing sprees because we tell ourselves it’s all for the sake of finding a missing child.

There is one scene in Gone Baby Gone that I believe sums up the theme of the whole movie. Do two rights make a wrong? Can we really count on the American justice system to do its job? We already know what needs to be done. The scene also eerily reflects the feelings and questions that the Casey Anthony trial gave life to. In the following excerpt (which is censored by the way), Patrick is talking with fellow detective, Remmy Bressant (Ed Harris), about the hard choices and thin boundaries that exist with the work their involved in.

Taken from: Gone Baby Gone

Detective Remmy Bressant: I go in the back room. Now, this place was a s-hole, mind you? Rats, roaches, all over the place. But the kid’s room, in the back, was spotless. No, I mean, he swept it, mopped it; it was immaculate. The little boy’s sitting on the bed, holding onto his playstation for dear life. There’s no expression on his face, tears streaming down. He wants to tell me he just learned his multiplication tables.

Patrick: Christ…

Detective Remmy Bressant: I mean, the father’s got him in this crack den, subsisting on twinkies and whippings, and this little boy just wants someone to tell him that he’s doing a good job…. I mean, kids forgive. Kids don’t judge. Kids turn the other cheek. What do they get for it? You gotta’ take a side. You molest a child, you beat a child, you’re not on my side. If you see me coming, you better run, because I am gonna lay you down! Easy.

Patrick: It don’t feel easy.

It may not feel right and it may not be easy, but let’s take our attention away from the granted freedom of the accused perpetrator. Instead, let’s focus our attention on what truly gives life to our anger; the pain of losing a beautiful little girl. After all, little Caylee wouldn’t know such resentment and hate. Let us honor her life by letting go of the anger we have for her mother, and choosing instead to forgive, like a child would.

Gone Baby Gone: Rated R for pervasive language, drug content, and violence.

Christopher Nolan

He’s given us The Dark Knight and Inception. Okay, so that alone should be enough to love this guy right? Maybe so, but in all seriousness, Christopher Nolan is one of Hollywood’s most promising directors and there are lots of other reasons to pay attention to him. His ability to combine intelligence, dark subject material, and crafty story telling in cinema engages the audience in a truly distinct manner. In fact, it’s very likely that a few of your favorite movies stem from his handiwork. So here, in no particular order, are five reasons to be a fan of Christopher Nolan.

1: Following

Chris made his first independent film, Following, on a micro budget of $6,000.00. The film is about a young writer suffering from writers block. Searching for inspiration, he takes to the streets, following random citizens. When his following turns into an obsession, the young man finds himself in dark places.

Following should make Christopher Nolan a hero amongst all amateur filmmakers. For one, it is arguable that the most common question aspiring filmmakers ask those who have “made it” is, “Where did you get the money?”. Well, Nolan is very relatable to the average starving artist in this respect because during the production of Following, he worked a full time job and shot only on the weekends. He also rehearsed scenes numerous times to preserve precious film stock and saved cash by using the homes of friends and family for shooting locations. Although the film took a whole year to shoot, Nolan’s persistence paid off, and the movie was selected to premier at the 1999 San Francisco Film Festival.

Another fact about Following that makes Chris Nolan highly relatable too amongst amateur filmmakers: when he submitted his film to the Slamdance film festival in 1998, they rejected it. However, a year later, he resubmitted the film and it made the cut. Persistence!

2: He’s Never Made a Bad Movie

Okay, so maybe this is a bit subjective, and obviously there will be those who disagree. But, for the most part, critics and average movie goers agree that any movie with Chris’s name on it is well above average. In case you don’t already know, Chris has made seven feature films in his career: Following, Memento, Insomnia, The Prestige, Batman Begins, The Dark Knight, and Inception. According to the website Rotten Tomatoes, which collectively gathers the ratings of critics across the country, Nolan hasn’t made a single bad movie. The site allows critics to assign movies a rating of either “fresh” or “rotten”. The amount of critics who rate a movie as “fresh”  is then reported as the film’s collective score. Christopher Nolan’s films have an average score of 86%!

3: He Brought Back Batman

Before Batman Begins (2005), the last Batman film to be met with praise from audiences was Tim Burton’s Batman in 1989 and then Batman Returns in 1992.

Burton’s Batman was well received, I believe, for a few reasons. First, I’ll give credit where it’s due; Tim Burton is a gifted filmmaker and his Batman is one that is unique and reflective of that Tim Burton-ish style.Those who are fans of his work know what I’m talking about. However, there’s also another reason why I believe his films were successful. At the time Batman was released, the character had this freshness about him. In fact, before the 1989 film, audiences hadn’t experienced the super hero on screen since the televised Batman TV series aired in the 1960′s.

Tim Burton’s Batman movies were so well received that the studios decided to crank out two more Batman movies in the 90′s. They were both flops.

Flash forward to the year 2005. Audiences in theaters around the country have just seen the trailer for another Batman movie. Movie goers are excited, but hesitant. For the most part, all of the previous Batman movies have been all over the place, with little connection between each one. What could this one possible be about? Luckily, Christopher Nolan erased the white board and started from scratch with Batman Begins. The movie was a huge success and three years later, he hit another home run with The Dark Knight.

4: He’s Only Forty Years Old

Nolan’s directorial career officially began when Following premiered at the 1998 San Francisco Film Festival. Since then, he has released six films, all of which have been both critical and audience hits. At only forty years old, his movies combine for a total of 21 academy award nominations and over 2.4 billion dollars in worldwide gross earnings; an impressive résumé for such a young movie maker. For the most part, Nolan’s films can be categorized as science fiction or psychological thrillers. Many are asking, with so much success in so little time, will he step out of his comfort zone and begin to embark on more dramatic material?

5: Balanced Style

Christopher Nolan is a filmmaker who knows how to draw you into the characters of the movies he makes. What makes this ability of his even more impressive is the fact that he can pull it off  in the superhero and the science fiction film genre.

So many movies these days rely on recycled perks and/or gimmicks to make the audience feel a certain way. You know, like how graphic violence can make us feel afraid or repulsed, or how unrealistic, stylized sex scenes are used to make us feel like love supposedly exists on screen. These types of movie tactics are almost like violating that golden rule of writing, “show don’t tell”. Only, in the movies, it should be called, “develop, don’t show”. You see, when a film is trying to evoke a sense of passion in a relationship, or maybe expose the horrors of war, or whatever it is that the story is about, subtlety and character development is most important. Nobody will feel attached to the characters of a romance film because of a sex scene and nobody will be able to completely sympathize with a soldier because we’re shown a close up of a gaping wound. We need to understand, sympathize, and feel genuinely attached to the characters on screen before we care what happens to them.

Nolan is a master at this. His films have the ability to affect you on deeper levels by not only showing you what you should be feeling, but by developing his characters and tap dancing on heavy material in such a way that leaves a lot to your imagination. It’s his ability to compliment gripping visuals with a great script, making sure one never overshadows the other, that makes Christopher Nolan such a great movie maker.

The Dark Knight Rises (2012)

Mark your calendars! Christopher Nolan’s next film, the final installment in his Batman trilogy, is scheduled for release next year.

Shia LaBeouf and Rosie Huntington Whiteley in Transformers: Dark of The Moon.

Transformers: Dark of The Moon is a picture that will be mostly hated by critics and mostly loved by the average moviegoer.  Directed by Michael Bay, the third and final installment of the Transformers series is the biggest, possibly the longest, and undoubtedly the most visually impressive film of all the previous Transformers films. It’s great fun to watch, and I’ll admit, there were a few times when the sheer exhilaration of some of the action scenes gave me goose bumps. But, before I give the movie too much praise, I’ll say right now that it’s far from perfect. Very far.

There’s something to be said of the Transformers’ series director, Michael Bay. For those who don’t know, hes’ somewhat of a notorious figure in Hollywood, famous for his love of excessive explosions and special effects in his movies. More often than not, his love for visual dazzle is so obsessive that he seems to forget the need to implement those impressive visuals into a sensible story.  This will be the main complaint from critics. Messy plot, bad story, and bad dialogue… whatever you want to call it, statements like these will litter the critics’ reviews of Dark of The Moon. However, regular movie watchers who love to see Bumblebee transform from Camaro to Decepticon smashing hero will not be disappointed.

The plot revolves around an incident during the 1960’s that sparked a supposed cover up by the United States. In the beginning of the movie, a discovery by NASA seems to indicate that a type of alien aircraft has crashed on the dark side of the moon. President Kennedy orders a manned mission to investigate.  American astronauts discover a huge alien aircraft with a large robot “dead” inside.

In the present day, we’re reintroduced to the series’ hero, Sam Witwicky (Shia LaBeouf) and his new love interest, Carly (Rosie Huntington Whiteley). Sam is finished with college and searching for a job. He eventually lands a desk job pushing paperwork. There, he meets a man named Jerry, who informs him about a theory he has about the 1960’s space race. He tells Sam about a crashed alien spacecraft on the Dark Side of The Moon. After hearing about Jerry’s delusions, Sam wants to know the truth and this is how he becomes reconnected with the Autobots.

Meanwhile, Optimus Prime has discovered a piece of alien technology that was being hidden and studied by the humans. He identifies the piece of technology as an engine piece from the Ark (the ship that crashed on the moon). Optimus and the rest of the Autobots go to the moon in search for the rest of the ship. When they arrive, they resurrect the captain of the Ark, Sentintel Prime. Sentinel used to be leader of the Autobots before Optimus. Soon, Optimus and the rest of the Autobots discover that Sentinel might not be who he once was. From here, the plot begins to set up for the insanely long special effects spectacle that is the movie’s finale.

Some time ago, while I was browsing the internet, I watched some behind the scenes footage of the first Transformers film. I remember specifically one of the head special effects artists saying, on the subject of the final battle scene, “We needed to do something big”.  After the effects guys brainstormed for a while, what resulted was the scene where the Decepticon smashes the bus on the freeway. It was one of the more memorable scenes in the whole movie, and it was pretty much awesome.

The V-22 Osprey crash scene. The most impressive sequence in Transformers 3.

In Dark of the Moon, it’s like the special effects guys tried to make ten or twenty of those “big scenes.” Out of those attempts, I think there were three or four great action sequences that really leave you taken aback. The others? Well, they unfortunately sum up to repeated clanking metal that goes on for way too long. I imagine all of the animators in the editing room, looking at all of these beautifully rendered scenes that took so much time and effort to create. Unfortunately, it seems they loved them all too much to separate the good from the great, and just threw them all in.

Most won’t be surprised to hear that the film’s biggest strengths are its visuals. The whole movie is like a two hour and forty minute long showcase for the future of digital filmmaking and animation. One of the most impressive sequences is when a fleet of V-22 Ospreys crash and the soldiers inside leap out of the flying aircraft. A lot of the footage is done in long continuous takes and in first person view. It’s really incredible to see. But, it’s still not enough to make up for the silly dialogue of the robots, or the close up shots of Rosie Huntington Whitely sexily staring off at nothing, or the improbable story, or… okay I’ll stop, I think you get the picture.

During the making of this project, I’ve had the chance to meet some wonderful people with really interesting stories and memories of the drive-in to contribute. As mentioned earlier, I met with Dean Dickson, whose parents first created the Blue Fox Drive-In. When I asked if he had any photos he’d be willing to contribute to the movie, he informed me that the last time he went digging for photos of the drive-in, it was for a report his children were doing in elementary school. He then told me that to his knowledge, most of the old pictures of the drive-in’s early years are still in their possession. However, during Dickson’s searching, he was able to come across one photo. It was taken in the early fifties and it shows the original screen being put up.

The original screen being put up about sixty years ago.

I’ve also had the pleasure of meeting another Oak Harbor local with a special connection to the Blue Fox. His name is Perry Woodfin. Most will recognize him as the man who sells fabulous watercolor portraits at the island’s farmers’ markets. The works of Woodfin that are most loved by locals, perhaps, are his incredibly detailed paintings of cherished local landmarks. Landmarks like: Deception Pass, The Shrimp Shack, Washington State Ferries, Fort Casey, and The Blue Fox Drive-In.

Perry Woodfin's portrait of the Blue Fox Drive-In.

I sought out Mr. Woodfin and spoke with him about his life as an artist, what inspired him to paint the drive-in, and why he thinks it’s a special place to our small town. He is a great man with a lot of knowledge and I’m very grateful for the time he spent sharing his stories with me. His contribution to this short film provides a unique perspective that I immensely enjoyed. I believe that others will too! Stay tuned for more updates on The ReelScope’s first online digital short film, Blue Fox.

Jim Carrey as Tom Popper in Mr. Popper's Penguins.

Mr. Popper’s Penguins is a film advertised as a quirky family comedy. But, there’s a problem. It’s not funny enough, and it presents a twisted view on the words “family friendly”. It’s a movie where laughs are few and far between and awkward moments abound. Popper’s Penguins is based on a book of the same title, which was named a Newberry Honor book in the 1930’s. I’ve never read, and until recently have never heard of, the book from which the movie is “based on”. But, from the research I’ve done, the book seems to have very little resemblance to this newly replicated version of the story.

The film’s hero is Tom Popper (Jim Carrey). As a child, Tom’s hero was his father, who was some kind of explorer. Rarely home and always out exploring the corners of the world, Tom’s father would communicate with him via an old school two-way radio. The two would converse about Tom’s father’s incredible discoveries and Tom would sit, listening in wonder. But, all he really wanted as a child was his dad to be home with him.

Years later, Tom works for a high profile real estate company in New York City. He’s the golden man of the company and almost always lands the sale. But, Tom’s not so successful in his personal life. He’s divorced and his relationship with his children is strained. Tom and his ex-wife Amanda seem to be on the verge of reconciliation, however. When she drops the kids off at his place, they’re kind to each other and when they’re alone, they converse about nostalgic memories of their past.

One day, Tom receives the bad news that his father has passed away. But, his father’s death isn’t too difficult for him to bear because he hardly ever knew him. In fact, the only memories Tom has of his father are the various gifts he would send from his expeditions. One morning, Popper is surprised when he leaves for work and finds a large wooden crate at his doorstep. It’s his father’s last gift to him. He drags the large wooden box into his living room and busts it open. Tom Popper is dumbfounded at the site before him: an arctic Penguin squawking loudly in the middle of his studio apartment. A few days go by, and more penguins arrive. Soon, his home is at the mercy of these destructive, exotic birds.

Popper, living in the middle of New York City, and reacting as any normal human would, is very resistant to these creatures living with him. But, Tom’s quandary is escalated when his children discover the birds and develop an attachment to them. He decides to seize an opportunity to be the dad that follows through for once. He tells his son that the penguins are a birthday gift and the kids are thrilled at the news. Somehow, his ex-wife is too.

What follows is Tom’s descent into what most would consider complete madness. This isn’t all bad. I mean, on a positive note, it is pleasant (in a strange way) how Popper goes to such extreme measures to redeem himself. Before the penguins, he was distant and relatively un-involved with his children. The film wants us to sympathize with him, and at times I guess there were times when I almost cared about what happened to the film’s characters. But, I for one couldn’t get over the absurdity of it all. The pleasantness of Tom’s efforts at reconciliation is drowned out by the strangeness of the whole plot. The film wants us to believe that through Popper’s slow descent into… well, borderline severe psychosis; he will earn back his children’s and his ex wife’s love and appreciation.

Divorce is difficult, and kids who’ve been through it know that. Kids are also smart, and I think most of the older ones will recognize the foolishness of Popper’s Penguins. The movie takes on heavy issues and ineffectively uses them as comedic plot devices. To his credit, Jim Carrey does the best he can with a bland script that stoops to low levels for laughs. Fart jokes, childlike behavior from adults, and many other worn versions of “kid humor” slowly chip away at our interest in the movie. If you’re looking for a really good movie that both adults and children will enjoy, wait until Kung Fu Panda 2 comes out on DVD.

The late documentary filmmaker, Richard Leacock.

Hello readers of the ReelScope! Principal photography for Blue Fox begins tomorrow afternoon. I’m excited to see what I will hear from my first interview subject, Mr. Dean Dickson. Dickson’s parents were the ones who first started the Blue Fox Drive-In way back in the day. Dickson and I have spoken on the phone and from what I can tell, he seems like a great individual who has plenty of information and life to add to this project!

I’ve recently experienced a liberation from a burden that this project has generated. You see, in the preproduction phases for Blue Fox, I had this vision for what I wanted certain parts of the project to look like. There were these images in my head that, even though I didn’t quite realize it at the time, require complicated camera maneuvers involving tripods and/or makeshift dollies and crane systems to adequately pull off.

So, I arrived at this dilemma: I either had to search some of my favorite indie film making websites to find the blue prints of a make shift system like the ones previously mentioned, or I had to say, “screw the tripod!” and press on with the available resources I have.

Let me explain.

So here I was, weighing my options. Should I build these rigs, so that I can achieve this high budget Hollywood look? After all, it will be so cool! (Or, so I thought). Well, when I finally decided to be honest with myself, I realized, no, I’m better off without them.

My decision was fully confirmed when I suddenly remembered a great article I read some time ago while browsing film critic Roger Ebert’s website. The article was about the late cinema director, Richard Leacock, a pioneer documentary filmmaker who developed two revolutionary techniques in cinema called Direct Cinema and Cinéma vérité. Now extremely popular and widely used in both documentary and narrative filmmaking, these techniques are similar, but have distinct differences. However, essentially, they are both camera techniques that the cinematographer uses to represent raw reality in a truthful and realistic fashion.

From what I understand, Leacock’s philosophy and style of filmmaking is one without expensive rigs or complicated engineering. One can see where this technique would be useful, especially in documentary filmmaking. Sweeping crane shots and perfectly stable images, some think, take away from the purpose of documentary filmmaking. Which is what? Well, I would say that a documentary’s purpose is to take a story from the real world and bring it to the screen for others to learn about and enjoy, with as little distraction as possible.

Here’s an interesting quote from the article on Ebert’s page. The following was said by Chicago digital filmmaker, Nelson Carvajal, on his appreciation for Richard Leacock’s techniques.

“‘Anyone who knows my shooting style knows that I’m not a fan of tripods. To me, most static “pretty” shots that I see from other indie filmmakers represent an analogy for an elusive Hollywood-esque model of moviemaking. Ever been on a student film set and notice how much of the day goes to laboring over a shot that really doesn’t grab you in the end? We go to the movies and are swept away by the big budget vistas and then for some reason we’re convinced that our camcorder, a tripod and a light set will accomplish the same feel. And when it doesn’t, we’re surprised. But we shouldn’t be. At the end of the day, it’s all about the content of what we’re trying to show, say or provoke in an audience’”

For Blue Fox, I’m not saying that won’t use a tripod in any of the scenes. But, in the spirit of Richard Leacock, I am saying that I will proudly embrace my status as an amateur filmmaker, complete with my limited budget, supplies, and crew.

Leacock’s techniques have been taken to the extreme in many recent, popular narrative hollywood films like Cloverfield and The Blare Witch Project. Even though the cinematography in these films stems from the work of Leackock, I doubt that he was considered as an inspiration to their shooting style. Nevertheless, as a result of the extremely shaky cinematography in these films, Leacock’s techniques have sometimes been modernly referred to as the “shaky cam” or the “queasy cam”.  But fear not, because in my movie, I can assure that the footage will not make anyone sick!

The talented young cast of J.J. Abrams' new film, Super 8.

Kids on bikes, summer time, and a mysterious monster that wants to go home; J.J. Abrams’ nostalgic summer blockbuster, Super 8, is a throwback to the good old days of the quintessential summer movie. In fact, the techniques he uses in Super 8 are considered by many to be a direct tribute to the master of that genre, Steven Spielberg. Abrams’ work in Super 8 is a much needed breath of fresh air and change of pace from the current trend of seemingly endless comic book sequels and bad novel adaptations. Super 8 is certainly not “original,” and it makes good use of cinematic techniques that have been around for decades, but it works because of its distinction from the all too familiar material that we’ve been presented with in more recent times.

The movie is about a variety of things and according to writer and director J.J. Abrams, it’s a love story, an adventure story, and a science fiction mystery. In fact, he mentioned that with Super 8, he had the opportunity to make his “favorite type of movie.” Here’s an excerpt from an interview Mr. Abrams did with the Los Angeles Times:

“As the process went along I realized I had the potential makings of my favorite sort of movie, which is the one that is the hardest genre to define,” Abrams said. “That because you could say — and be right — that it’s a science fiction movie; or you could say — and be right — that it’s a love story; or you could say — and be right — that it’s a comedy; or you could say — and be right — that it’s a special-effects spectacle. That sort of cocktail is for me what I love about movies … that was the beginnings of this movie coming together.”

J.J. Abrams on the set of Super 8.

In the opening shots of the movie, Super 8 introduces us to the small town of Lillian, Ohio. We get the feel that it’s a pleasant town. A safe town. A place where kids would want to live. The evening hillside point of view shots showing the layout of Lillian’s streets and homes are very similar to the techniques Spielberg used to introduce us to the rural landscape of E.T.

The film’s hero is Joe Lamb (Joel Courtney), a thirteen year old make-up artist who is working with his friends in the production of their new zombie film, which they hope will make the cut for a local film festival. The director of the film within the film is Joe’s best friend, Charles (Riley Griffiths). He’s an animated and enthusiastic believer of the film he’s working on, and he’s striving to give his movie “production value.” After all, as Charles tells the crew, “… there’s gonna be sixteen year olds in this festival!” He needs material that will hold its own against the films the older kids are making; films with cars and higher budgets.

So, with hopes of getting some much needed production value, Charles adds some emotional depth to his Zombie script and recruits a new actress to bring it to the screen. He also scouts out a great new shooting location near a train station. Location location location right? The new cast member is is Alice (the brilliant Elle Fanning), and the way she pulls off the newly written dialogue completely entrances the boys and also sparks the beginning of Joe’s affection for her.

Geez who am I kidding, it almost made me tear up too. Elle Fanning’s performance in Super 8 is magnificent.

Shortly after Alice finishes her lines, Charles calls for a second take of the scene as he hears a rumbling train in the distance. He figures that the passing train will add to the shot’s overall what? Production value of course! So, the boys hustle to get the camera set up and the lights in place so that they can re-shoot the scene. However, during the second take, the enormous train derails and wrecks in what I believe is the most invigorating action scene I’ve witnessed in a movie since… well, a very long time. Believe me, it’s impressive.

During the days following the wreck, strange occurrences begin to happen in the small community of Lillian. Missing people and pets, destroyed car engines, and power outages are but a few of the odd developments that occur following the wreckage. Joe’s father, who is also the town’s deputy, knows that things are serious when the Air Force occupies the town and refuses to release information to the public.

Charles’ Super 8 film footage survives the wreckage, and when the boys get it back from the lab, what they discover provides for the mysterious core of the film. We know that it’s some sort of creature, but in Spielberg-like fashion, we as the audience aren’t given the satisfaction of seeing it fully revealed until the film is well into its third act.

For me, Super 8 consisted of those magical ingredients that create my favorite type of movie, and like J.J. Abrams, I too enjoy the movie that is impossible to define via one genre. Super 8 made me nervous, laugh, (almost) cry, and all in all, remember what a great summer movie is supposed to be about: adventure, youth, excitement, and wonder. Super 8′s greatness is also achieved through the stellar performances of its young cast, which consists of mostly unknown talent. One of the greatest is Elle fanning; she’s just as good, or if not better in this film than her sister Dakota has been in any of her previous efforts. Joel Courtney performs the difficult role of the film’s hero with excellence and Riley Griffiths is also hysterical as Joe’s best friend.

Super 8. It’s a wonderful date movie, it’s a good movie to watch alone, or even a great picture to see with a giant group of friends. Seeing the pattern? Super 8 is just great fun; a perfect summer blockbuster. It’s not quite a family movie, and though it’s been compared to E.T, it’s darker and more frightening, but, nevertheless, still extremely enjoyable.

Michael Fassbender (front left) and James McAvoy (front right) in X-Men: First Class.

Fans of the X-Men series will breathe a sigh of relief after viewing X-Men: First Class, the X-Men series newest installment. Right from the get go, First Class sheds the recently damaged “X-Men reputation” and reconciles with the audience by taking them right back to the beginning. How so? Well, for one, the film is actually decent. But also, it reflects much of what made the first X-Men so successful. For those who haven’t seen any of the X-Men films thus far, worry not, because First Class is a great place to start, and may very well be better than most of the previous efforts.

As hinted by the title and the taglines of the film’s trailers, X-Men: First Class explores the origins of the mutant characters portrayed in the previous X-Men films. Who are the mutants? Well, they’re like humans, but different. Mutants are unique because of the “mutations” in the structure of their DNA. Their mutations grant them the ability to do things like read minds, take on the appearance of other people, and/or move large metal objects.

Okay, get the picture? Cool! Anyways, about the movie…

When a young boy in a Nazi concentration camp is forcefully separated from his mother, the guards stand in awe and confusion when the boy bends the barbed wire rimmed gates of the facility as he extends his arm towards her. This peaks the interest of one of the camp’s doctors, Sebastian Shaw (Kevin Bacon). Shaw is interested in harnessing the powers of mutants for himself through DNA experimentation.

Year’s later; the young boy in the camp is all grown up. His name is Erik (Michael Fassbender), and he’s tracking down Shaw, seeking revenge for the atrocities he committed against him.

For the sake of those who haven’t seen any of the previous X-films, Erik is also the mutant known as Magneto… before he actually became Magneto. Okay moving on!

Charles Xavier (the future Professor X) is a gifted telepathic mutant and he discovers Erik. He invites him to join a division of other mutants that work for the CIA to help protect humans. He also councils Erik on his damaged past and helps to reform his current revenge seeking thought process/ lifestyle. There are arrays of other mutants involved in Charles’ mutant crew, but the plot’s dominant strength is undoubtedly Erik and Charles.

The whole film is building up to its visually impressive, yet far-fetched climax; a battle between Shaw’s “evil” mutants and Professor X’s “good” mutants. Their showdown takes place directly in the middle of the Cold War’s most unsettling time, The Cuban Missile Crisis. Shaw sides with the Russians and has them convinced to take nuclear action against the U.S.

Xavier, Erik, and their crew are ready to defend both “good” mutants and the human race. After all, they have been training for this critical battle for hmmm… three weeks? I thought the mutants rise to glory seemed a little formulaic, especially the Rocky-esque montage training scenes.

Anyhow, overall, I thought the film was very entertaining, especially the story lines involving Professor X and Magneto. However, it seemed that the mix of other characters was a little overwhelming. They were there to fill a place in the script. Unlike Magneto and Professor X, no character development is given to the other mutants to draw us into them. In fact, most of their powers and abilities aren’t even enough to make them interesting.

The film’s climax is also flawed. The SR-71 Black Bird that Professor X’s mutants use to battle Shaw and the Russians hovers and performs helicopter-like maneuvers. Do they even do that? Also, the scene where Shaw uses a submarine’s nuclear reactor to harness energy for himself is flat out ridiculous. In fact, a friend of mine who studies nuclear engineering at West Point Military Academy informed me that the “nuclear reactor section” of the submarine is not a room full of mirrors with two handles (perfect for grabbing!) in the middle of it. I thought that seemed odd.

With X-Men: First Class, it seems that what should’ve been the capstone to an otherwise great movie left us with doubts about what we just saw and that’s disappointing because it was so cool before that!

Attention readers/viewers! This article’s purpose is to announce the upcoming release of The ReelScope’s first original online short film, Blue Fox. The Film will explore one of Oak Harbor’s most cherished landmarks, The Blue Fox Drive-In. In it, I’ll speak with the owners of the theater, interview fans of the drive-in, and ultimately strive to show what makes the Blue Fox Drive-In so special not only to our community, but the whole Pacific Northwest! I suspect that filming will be completed by the end of the month. Hopefully, post production and editing won’t take long and I will have this up as soon as possible! Until then, keep reading the ReelScope and keep your eyes open for Blue Fox.

“Nothing's unstoppable except for me when I'm stopping you from telling me something's unstoppable!” – Po (the Kung Fu Panda)

Kung Fu Panda 2 is a film filled with dazzling visuals, a strong story, and a bunch of laughs. I’d say that even if you’re an adult, Panda is a film that will capture your imagination and pleasantly pluck your heartstrings.

In the beginning of the movie, we learn the history of the evil Peacock Lord Shen, who long ago became determined to use the powers of fireworks as a weapon to rule China. However, Lord Shen’s medium and fortuneteller warned him that a creature of black and white would one day put an end to his villainous plot. In response to the vision, Lord Shen attempted to exterminate China’s panda population.

Meanwhile, years later, Po (Jack Black) is basking in contentment and satisfaction as he lives happily in his new life as The Dragon Warrior, protecting the Valley of Peace. Yet, the nature of Po’s content sometimes borders on flat out laziness, and his distaste for hard work is the subject of numerous jokes. (As is the case with any Jack Black movie) But, nevertheless the recycled Jack Black humor still works and the innocent context makes it that much more enjoyable.

However, soon, Lord Shen and his gang of wolves victimize the citizens of the Valley of Peace as they search for scrap metal and other materials to build weapons. During Po’s effort to stop the wolves, he sees a symbol on one of the thieves’ helmets and experiences a flashback during which he remembers the day he was separated from his parents. What ensues is Po’s quest to find out why his dad is a goose, what his destiny holds, and ultimately how to find inner peace.

The film uses distinct styles of animation throughout, all of which are equally impressive. For example, informative flash back scenes involving Lord Shen are animated in a dark “cave art” like fashion, filled with bright coloring and hieroglyphic-like, two-dimensional figures that eerily transform as the narrator speaks. Painful illusions to Po’s separation from his parents are animated in a peculiar way as well. The colors in his flashbacks are dark and heavy. In his memories, his parents lack the realistic lighting and perfect rendering that the characters in the present time have.

The craftsmanship of the animation is also admirable in the way it makes use of each of the animal’s physical features. The artists had a field day with Lord Shen, for example. He uses his brightly colored fan for a number of cool kung fu purposes. A few of which include a shield, a disorientating technique, and a forceful striking weapon.

But, aside from its snazzy graphics and numerous hee-haws, Kung Fu Panda’s biggest strength is the way it deals with the concept of family, and more specifically the question, “What is home?” It’s the best animated picture I’ve seen since last summer’s Toy Story 3 and I recommend it to parents and children alike.

Which summer movie are you most looking forward to?Market Research

Vin Diesel and his crew of crooks in Fast Five.

If you’re looking for a fast paced summer action flick that will leave you smiling afterwards, then go see Fast Five. I’m going to be honest, this is the first “Fast and the Furious” movie I have ever seen. But, I feel that judging from its limited-dialogue-action-based-self-explainable plot, it seems as though I’ll be able to give this film a fair review.

Fast Five cuts straight to the chase with a high-speed, stylishly executed freeway prison bus breakout conducted by Brian O’Conner (Paul Walker) and his girl friend Mia Toretto (Jordana Brewster). The couple is out to reclaim Mia’s brother Dominick Toretto (Vin Diesel) who, along with a number of other inmates, is being moved to by bus to another facility. It was during this point in the film that I noticed Fast Five’s characters supreme confidence, or maybe superhuman ability, to survive scenarios in which they do things like: drive cars off cliffs, leap from rooftops, run through showers of gun fire, and fly. Yes, fly. Is their flawless execution of seemingly suicidal stunts and immunity to the laws of physics a little farfetched? Of course.  But it doesn’t matter because Fast Five doesn’t for a minute hint that it wants to reflect any sort of realism. In fact, it’s for this reason that it’s so fun to watch.

Okay, back to the movie. Following the successful breakout, Dominick, Brian, and Mia flee to Rio de Janeiro and take refuge with a close friend. They are in rough shape. As wanted fugitives, their names are at the top of all sorts of bad lists and they’re looking for a way out of their on-the-run lifestyle. Dominick has the answer to their prayers. The plan? To topple the empire of Hernan Reyes, Rio’s most powerful drug lord. Dominick and his crew plan to buy back their freedom by stealing the entire sum of Reyes’ $100 million dollar drug fortune.

The man sent to stop Dominick’s sensational plot, and also one of the film’s biggest strong points (pun intended) is United States DSS agent Hobbs (Dwayne Johnson).  With every ounce of his performance riding on his glistening biceps and short, hostile snippets of dialogue, he seems well within his comfort zone, and we as the audience appreciate it.  Well, at least I did.

Agent Hobbs is sent into Rio with a few other big muscled super-cops to track down Dominick and his team. The chase sequences involving Diesel and Johnson add to both the films absurdity and its high level of entertainment. Seriously, for the entire duration of the film, I was anxiously anticipating a testosterone-jacked showdown between the film’s two brawny heroes, and I wasn’t disappointed. In fact, I’d go as far as to say that the film’s final action sequence is worth the price of the ticket. Disclaimer: I know I’ve stated this before, but I can’t reiterate enough that it’s likely that over 60% of what happens in Fast Five is not humanly possible. So, if well crafted dialogue and thought provoking subject matter is your cup of tea, Fast Five may not be for you.

Hmm… Fast Five.  Let’s see. I think that by now, most viewers know that the Fast series is filled with action, and there’s definitely plenty of it in its newest installment. But, I would say that Fast Five is more of an expertly crafted, chaotic type of art form that I believe will bring a smile to any destruction loving movie fan. The film also offers other enjoyable plot elements, like an array of entertaining supporting cast members and a lightly handled, pleasant love story. I’d say it’s worth your time.

Films will be reviewed on a classic grading scale rating system: A through F.  This type of system is pretty easy to relate to for most of us and especially for a guy like me who is in the heat of his academic career.

This September, I will be entering my freshman year of college, studying film and creative writing. Aside from being a long time lover of movies, I guess I ultimately decided to pursue this art form for that same reason so many of us love movies to begin with, and that of course is the excitement, the emotions, and the memories all associated with the movie experience. In fact, I believe that when we boil the cinema down to its core, we find that we love it because of its ability to completely draw us into the worlds of characters and predicaments previously unknown to us, and make us care about what happens to them.

So, as I conclude my preview of what you can expect on this blog, I’d like to thank all future readers for viewing any articles, stories, essays, or recommendations I upload to this site. All opinions and discussions are welcome and I greatly appreciate the time you spend as you visit The ReelScope.

-Samuel Harrison Wolfe