Strike a Pose! Films.com

Now that we’ve released a couple of really cool flicks, Strike a Pose!!! Films is getting more traffic than ever! Please keep up the fan support by posting a link to one of your favorite movies on Facebook! We already provided the button to do so for you!

On the other side of the plate, here’s a couple of quick personal updates about my life in the field:

Personal Work:
I’ve been putting a bit of effort into filming this little documentary for my martial arts school, Self Mastery Systems. Already over 10 hours of footage have been filmed and logged, including interviews, training, and various conversations. The project is super exciting and hopefully will come to fruition by the end of Summer 2010!

I’ve also been interning at the awesome Foreign Language video company, Peanutbutter. I’ve been working with another local filmmaker from Towson, who’s great music videos you can check out here. As for myself, I’ve been learning a lot of green screening and animation. Here’s a couple of video links to let you see some of the demo work  the company has done:

Video Temporarily Down

Finally, this month’s slated film is going to be the FINAL version of Jasper Conroy: Salisbury Bounty Hunter, with fully-featured FX, thanks to John Ianuzzi (System Shock 2 SFX) and new music. Be sure to see the final cut here sometime by the end of this month!

Hopefully we have a couple of new scripts coming our way thanks to the uber-talented Tom Murphy. You can see some of his work on Youtube here. We’re looking to cast some new talent in these new projects, and speaking of which…

Contacts and Adventures:
So let’s say I’ve been scouting. A lot. Lot’s of new talent has been added to our contacts list, and if you’re reading this chances are you’re one of them. The game show I was on, Silver Screen Test, has provided me with a lot of great contacts in Montgomery Public Television, not to mention the other really cool two contestants I met (and matched considerable wits with!).

Also scouted some locations. I ended up wandering around in DC, trying to get home one night after an awesome performance witnessed by myself and Rob Moroney. The performer? Christopher Titus, a personal hero of mine, supplying not only his new standup, NEVERLUTION, but also his now-classic Love is Evol. It was tubular. I got in trouble with him cause I was in the first row and started speaking lines from the show before he could…oops. Here’s an embarrassing picture!

It was a great meeting and Titus was a cool dude. Hopefully someday we can get cast in one of our flicks. Who knows?!?! (/shameless shoutout).

I have also been INCREDIBLY fortunate to get on board a project for ValDean entertainment, the brilliant minds between Johnny B. Homeless and Lennox Ave., starring Al Thompson. Here’s a link about these conquistadors of the internet medium! They’re shooting a new series in Ocean City in late April, and I’ll be down there to help out as an “Assistant Producer”. Excitement, hooooo!

Here’s a trailer for Johnny B.:

http://news.tubefilter.tv/2010/03/26/valdean-entertainments-one-two-punch-johnny-b-homeless-and-lenox-avenue/

Finally, here’s a list of movies I’ve recently watched, and some quick words:

IN THEATERS:

Book of Eli– Excellent Post Apocalyptic Sci Fi actioneer with an ANTI ORGANIZED STUPIDITY story. Definitely check it out. Thoughts?

Shutter Island– Best thriller I’ve seen in ages. Even though you know the ending that is coming, it still wallops you with its dramatic reveal and realization that maybe, sometimes the truth is so bad you don’t want to know it after all.

How to Train Your Dragon (3D)– A charming kids movie that ends like Final Fantasy: Advent Children. Do NOT waste money on seeing this in 3D. This is purely a great 2D spectacle with a few charming moments and video game like ending.

ON DVD:

Frost/Nixon– I kinda put this one aside during last years Oscar’s, and I really wish the Academy hadn’t. This is the kind of movie that would have gone up well against The Hurt Locker this year.

SO much going on! It’s hard to keep up with it all. If there is anything you think I missed, lemme know, and I’ll put it  up in the next post!

So I recently watched Melville’s “masterpiece” LE SAMOURAI, a film about a hit-man in France that is either “betrayed” or caught or something while performing a hit. His plans go askew, and he has to avoid the cops for a while, not only reconfiguring his alibis but also snaking his way out of a suspect line up by doing seemingly nothing. He eventually is pursued through the city streets by the police, also while dealing with his untrustworthy employers and a couple of lovely dames. Although, as an unusual turn for the crime drama with the noir-ish anti-hero, he never calls them “dames”, let alone anything I can remember.

A REVIEW

Please be sure to read more under the cut, or go to our forums thread to join in the discussion!

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We don’t normally review games on this site, but I felt this one merited some attention. Silent Hill is an amazing, cinematic series, typically filled with film-like mise-en-scene and suspenseful camera work. It’s a series that plays games with your head, just like a good David Lynch film.

This is a re-post of my review on Gametrailers.com, the same place where System Shock 2: The First Encounter, premiered. I am reviewing this game because the series has had a huge influence on not only my taste in video games but also my feelings towards film as a narrative tool of  subjective perspective and reality-bending. If you wanna see what movies I’m talking about, just look at either Car Trouble or the recently released Clarity. Anyways, here’s the review! Read behind the cuts for more information. Very limited spoilers.

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A while back I was doing previews for this site and I mentioned a small-budget (nearly independent) British film, Franklyn, from first time feature writer-director Gerald McMorrow. You can check that out here, trailer included for your previewing pleasure: http://strikeaposefilms.com/2009/02/05/previewfranklyn …wait a second…there’s something funny about that link…oh well I’m sure it’ll come to me by the end of the review.

STRIKE A POSE!!! FILMS REVIEWS: FRANKLYN

FRANKLYN is a tale of four very non-connected people being tugged in by that ever-so-invisible fishing line we’re all being reeled in by: Fate. Layered on top of this drama is an action-packed meta-narrative taking place in an abstract alternate world: “Meanwhile City”, a Metropolis-styled Florence with shades of Gotham City, populated claustraphobically with zealots in clothes that could only have been designed by Jim Henson and Tim Burton tripping together acid tabs. In that sense, it sort of plays out like 21 Grams in terms of character and narrative, with the aesthetic sidelines of Dark City-meets-Watchmen. Granted, FRANKLYN was released before the Watchmen film, but it’s safe to say one character was at least texturally inspired by its nihilistic narrator in the squidgy mask.

Does this mix of human drama and otherworld comic-babble work? Well, yes and no. Not 100%. Our four characters each have their own (and I must stress- VERY SEPARATE) narrative strands dealing with the themes of loss, perceptions of reality, faith, and fate. In terms of loss and perception it succeeds on so many levels, but by adding the extra non-Meanwhile characters into the mix, the final product is a little unbalanced. However it’s still one hell of a trip to Disneyland, a remarkable interlude of events that almost feels vacation-like in comparison to the hum-drumness of modern-day emotional disorders.

That’s not to say in the least that the other characters are dull, they merit fascination on their own levels . In London, Eva Green plays Emelia (and another character, but we’ll stick to this), a college art student who’s thesis is filming her own suicide attempts, setting up the situations so paramedics have ample time to pick her up before she knocks on heaven’s door. Her dangerous project is somehow connected to childhood resentments  towards her father and mother, which is only briefly examined.

MEANWHILE, going fist-to-cuffs against Authority in a brown leather trench coat, Ryan Phillipe plays our masked vigilante, John Preest, on a mission against God. But is his vengeful mission real or in his head? In a fantastic use of cinematic distortion, Preest is never in London, occupying only the world he aesthetically belongs to. As he never is shown physically crossing over into contemporary London,  the question grows: Which reality is real, or more importantly, more pertinent?

The oldest character attempts to tie up this question. Peter Esser, played by a soft-spoken Bernard Hill, wanders around London in search of his missing son, giving the London setting also a narrative through line that the Emelia strand lacks. While his character is the least developed of the three Londoners, it is only in conjunction with Preest’s story that there is some sort of narrative “doom” approaching, something to keep the audience looking forward, instead of mulling over the tricky details of the jigsaw plot they’ve been trying to follow.  Thankfully, this is one of the story’s stronger points, for without it, writer-director Gerald McMorrow’s tale wouldn’t have enough suspense to keep this tangled ball of yarn rolling.

Each of these threads are intriguing, but some seem more occupational than others. Sam Riley, for instance, plays the heartbroken Milo, and very well I might add. He’s got a quiet, tender look that draws the viewer into his hurt. Just like all the other characters. However, his story strand is about a failed relationship, a seemingly doomed-before-it-started marriage, and his musings on childhood inspired true love that may or may not have been fabricated.

Emelia, Preest and Esser’s  stories link stylistically and emotionally on a more successful level, and meet up quite appropriately by the end. Milo’s, on the other hand, is simply used as a tool to perform one of the few predictable moments of the film. It’s a shame, because on his own merit, Sam Riley gives a strong performance and the story itself would make for a half-decent short film.

From http://tobatheinfilmicwaters.com/2009/07/27/review-franklyn/

It’s not that it doesn’t feel at home with the piece, it’s just that it doesn’t reach the same caliber of anguish that the other characters must be going through. Yes, it follows the theme of perception, and to an event more supernatural extent, faith and fate. But by the end of the movie Milo’s payoff is cheap and, dare I say, Hollywood? I really shouldn’t, this movie is about as anti-Hollywood as you can get, even while wearing a mask and fighting a fascist state.

More time would have been better spent on developing the personal demons of the other three characters. We only get, criminally enough, one brief don’t-blink-or-you’ll-miss-it shot of why Emelia is so determined on not-killing herself over her father. The fate of Esser’s son may come clean by the end, but Preest’s motivation towards saving a little girl’s life is hardly revealed– it floats in the background but never reaches the surface. Movies like this toe the line between rewatchable intrigue and an infuriating desire to ram your finger into the pause button.

As for my own evaluation, I’m gonna have to say I find this movie the former, even if during its viewing I was leaning towards the latter, and gladly would watch it again and again if not just for its cool visuals, well-directed acting, and incredible piano score. The mood of this movie is always appropriate, even when it jars you from personal stories of emotional breakdowns to moments of hardboiled-fantasy action. Even more of a plus is when the final twist plays out, the mystery 0f Meanwhile City will make sense, and fortunately it’s the groovy kind of sense that a lot of first time writer-directors aspire, often fruitlessly, to convey.

…With all that said and done…I’m still trying to figure out the mystery behind that link…

http://strikeaposefilms.com/2009/02/05/previewfranklyn…hmmm….dammit wait…what? WHAT THE?

… looking at the date in that link I apparently wrote that preview EXACTLY ONE YEAR AGO TO THIS DAY (Well, yesterday, I started watching it last night, power went out…fell asleep…etc). Based on the content of this film that’s kind of spooky, kinda DAMN SPOOKY, because this is one of those strange, dreamy films that plays on that theme of fate. Smack me on the face and call me crazy! I think I’m going to Meanwhile…

I’ve been busy working. A lot. I got a job at Six Flags America, finally putting my fantasy action mindset/obsession to good use as a stunt man in a Pirate Show. Go figure.

What can I say in terms of updates? Quick stuff–

During this Summer I saw… four movies, in theaters, me thinks?

Let’s backtrack!

9–
I most recently saw this little gem. Its being marketed as “not a kids movie” but well, if I was a kid and I saw this thing I would probably think it was the coolest thing ever. 9 succeeds in bringing some excitement and mystery that has long been lost to children’s films since the late 90s when Pixar and Dreamworks opened up shop and explained everything at all times (with the exception of, maybe Toy Story and Wall-E). 9 is exciting, simple, unique, and effective in its final moments at giving you hope for the future. In that it provides excellent entertainment, if little more. Word of note– a LOT of this movie reminded me of Final Fantasy VII: Advent Children, and I mean that in a GOOD way.

This was probably the best main-stream action movie of the summer. Suck it, Transformers, Wolverine, Terminator, etc etc. You got schooled by a First Time Feature Director.

Inglorious Basterds–
or however the hell you spell it. Tarantino does it again, bringing us a more-clever-than-it-really-needs-to-be storyline with some great scene chewing by Brad Pitt. But the real treasure to this piece of historical fiction (or is it fictional history? I always get the two confused!) is Christoph Waltz, a man you’ll all here of very soon as this gig will most likely land him a Best Supporting nod (as the trademark laughing villain will, I predict, forever be added to the character roster for the event) and also netted him the role of the villain in the Seth Rogen lead Green Hornet film. Considering Stephen Chow dropped out and they replaced him with a pop-singer in one of Bruce Lee’s trademark original roles, this is currently the best thing Green Hornet has going for it.

Basterds is his first American movie, and he speaks 5 languages. Fluently. With better acting than any American I’ve seen in years, across the board. I believe this to be an intentional effect of Tarantino’s, as he wants to make Americans sound like stupid cliches, and make the “foreigners” sound honest and real. Its ironic his name bares such striking similarity to another actor with incredible charm and dark humor. If you can guess in the comments who I mean, I’ll send you a virtual cookie.

Entertaining dialogue ripples throughout but a dearth of action really dragged this piece under, even in its final act where we expect a little bit more than what we’re given. The only reason I complain about this is because Tarantino DOES have a knack for action scenes and he totally wastes some of his greatest potential (really, this could have been twice as exciting as Kill Bill since its more grounded), by only showing the Basterds being Inglorious for about 20 minutes of the film, with only 5 of that being action. Its 2 and a half hours long, QT, if you sell us a movie about killing NATZIS, kill us some FUCKING NATZIS.

District 9–
I don’t think many of you out there would realize how sore I felt when site co-creator Ryan told me that this movie was somewhat underwhelming. I was vehement– this movie was supposed to CHANGE summer block busters– fix what Pirates, Spidey and Transformers (two more than one) had broken!

Well to a degree, it does. Its smarter, better crafted (more efficient in pacing and consistent in style), and shorter than all three of the above films. It provides a clever and original story that bears some relevance to current events. Its satirical, it makes us think, like many Schwarzenegger movies actually used to do. The special effects are fresh and fun, and are employed inventively. With all of this, what could go wrong?

Well, the main character is almost completely unforgivably annoying, the plot twist is predictable and takes forever to get to the point, the pacing is way off early on and the final act isn’t as big as it should be. There’s some strange similarity in the pacing issues between this and Inglorious Basterds, but I think this movie, with its 45 minute first act (though I didn’t record the time, it sure as hell felt that long), really took forever to start tying together threads. And then when it finally did? Felt totally rushed for the rest of the film.

My favorite example of this is the weapons used in this sci-fi achievement, and by that I mean “weapon.” While about three types of alien guns were employed at one time or another, director Blomkamp decided using the one microwave-explodey-goo-gun every 5 seconds until the end of the film would be the most exciting choice. While the sight of someone popping like a zit because they got hit by lightning never did get old, it got…well. Old. I dunno, I think you’d have to see it to know what I mean. Even when the film’s best special effect, a freaking MECH ARMOR comes into play…it still uses the same damn space blaster! What the hell?!?!

On the positive side: District 9 has the greatest final frame of a movie I have seen in YEARS.

I still recommend seeing this movie whole-heartedly. Give Blomkamp MORE money so he can make MORE movies. He deserves whereas people like Michael Bay squander. Proof is in the pudding: District 9 cost 30 mil to make, and Transformers 2 cost over 200. If you genuinely liked Transformers 2, third grade math is beyond you and you probably can’t tell the difference between those two dollar amounts, so don’t worry, let what I mean just go right over your head anyways, you’re probably 6.

Finally:
and the Best Movie of the Summer award goes to…

The Hangover–
Clever. Crisp. Refreshingly SCRIPTED (my scorn flows over to your side of the table, Apatow), and angular.

This movie had humor that most guys are familiar with but told from the perspectives of three very dissimilar men trying to survive a most peculiar situation. They go to Vegas, their best friend (and soon husband to be) disappears, and well…chaos having already ensued the night before lets just say CATASTROPHE WREAKS UTTER HAVOC.

Yeah, this movie gets nuts. Mike Tyson playing real life punch out, a wild tiger in a bathroom, a baby’s mama situation, naked asian trunk ninjas, and autistic super-gambling are just a few of the great moments spread throughout this frenetic piece of comedy. A lot of these moments are laugh out loud, a feeling I haven’t had in theaters since Superbad and very little previous to that.

Whats even better about this flick is that it contains such a great little mystery plot to drag you along. Its Screenwriting 101 but put to GOOD use. You never find yourself bored, and you usually find yourself smiling. The referencing back to the bride-to-be character keeps the compelling nature of the piece always at the front WHERE it NEEDS to BE and the final twist to the whole thing just…well it kicks you in the teeth. Its one of those moments when you just look to the person to your right. Look forward again. Smile at the screen, unable to look sad, and just go “Damn.” And that’s it. Its all you can say, cause you just had your mind blown.

When was the last time a comedy actually did that to you? Not I, said the cynical film critic.

Alright, its getting late, I have a lot of homework to do, and that was really written just to fill space on the blog. Please comment if you’ve seen any of those movies and let us know what you think. Also be sure to swing by the forums, as they’ve been slightly rejuvenated and are in serious need of some threading love.