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SIFF: J-man on SPRING SUBWAY, THE OTHER SIDE OF THE BED, DOMINOES, NUDITY REQUIRED & more!

Hey folks, Harry here with J-Man up at the funtastic Seattle Internnational Film Festival in... umm... Seattle, like the name says. Anyway, this time out he's only seen one film I've seen, that being SPRING SUBWAY (Click Here To Read My Review), which I saw in Beijing when I was there last year. Of the films he reviews, the one I most want to see is THE OTHER SIDE OF THE BED, mainly because that country's movies have a habit of kicking ass, and from the sound of it, this one does too! Here ya go...

Hi, Harry. What a hectic last few days. I feel like I'm attending a school of some sort, hustling from one class to another. When I sat down and worked out a slate of films to see for this festival, I didn't realize how little time there would be in between -- considering you have to get there an hour prior to screening, or you don't get a seat. Especially the ones that have any kind of buzz. Ah.. you live, you learn. On to the flicks:

NUDITY REQUIRED

A comedy about two guys who work at a bowling alley in Bremerton, WA. Todd's girlfriend dumped him after five years to pursue an acting career; Oded only gets laid every 88 days but would like to more often. They decide to make a movie. "Success out of spite".

You know, I knew going in there wasn't going to be a great deal of actual nudity based on the film's title but none whatsoever? The one guy keeps saying "it's not porn" like he's defending the more artistic aspects of the film they're trying to get made, even though there is some adult content and he'd just rather that not be the main focus for potential viewers -- but, there's no adult content.. at all. The other guy keeps talking about nude scenes to film and scenes with lesbian sex, but none of it ever happens. And, I guess that's not supposed to be frustrating (making fun of the softcore genre, are we?), but I was frustrated. HOLLYWOOD CHICKS, or what we see of it, wouldn't even play on -- well, maybe on Skinemax. At 4 AM, when nobody's up.

Regardless. NUDITY REQUIRED opens strongly, with some good CLERKS-esque dialogue. But, it runs out of steam just in time for tedium to set in and I sat stone-faced for well over an hour. The financing scenes, a character who thinks INVASION OF THE BODY SNATCHERS was a documentary, disco bowling night -- none of that stuff works. Then again, the men's casting session with a girl named Joey (local cutie Whitney Leigh) all over them is funny, and a chunk of the dialogue up front has just the right pacing.

DOMINOES

We've seen waaaay too many movies about the dating scene to put up with this pretentious load. Another bunch of self-loathing interchangeable twenty-somethings "over analyze, obsess and freak out"; noone is happy where they are in life, so everybody has to sit around getting drunk and talking about how dissatisfied they are and how much relationships suck. Please, God, put me out of their misery.

If nightlife in Seattle were really this dull, I'd move. The program director for the festival took stage before the screening and said this was one of the best produced, most enjoyable film we would see: Bull. Shit. Longest 90-minutes of the festival yet.

SPRING SUBWAY

Examines a 7 year marriage as it hits the skids, from the couple sitting and listening to the sound of a water drip to a wierd scene of them bungee jumping. He lost his job three months ago and doesn't have the nerve to tell her; she entertains the advances of a coffee shop owner who takes a shine to her. There's also a timid guy who would talk to the photo processing girl if only he could speak.

But, I'm still not entirely clear what the hell SPRING SUBWAY was trying to say. When your own relationship isn't working out, you take solace in ones around you that are? The narrative is fragmented; we cut from things that really happen to things that happen only in the mind. Aggrevating at times, but admittedly just plain beautiful at others.

The leads are gorgeous, the cinematography lush; SPRING SUBWAY is a good-looking film. Loved the score. We'll leave it at that.

THE OTHER SIDE OF THE BED

THE OTHER SIDE OF THE BED doesn't take chances like other recent offerings from its homeland -- SEX AND LUCIA and Y TU MAMA TAMBIEN are both raunchier by half -- but I swear I felt like dancing. This film is playful, sexy, infectious fun. Two couples -- Sonia (Paz Vega, _from_ SEX AND LUCIA) and Javier (Ernesto Alterio), and their best friends Pedro (Guillermo Toledo) and Paula (the delicious Natalia Verbeke) -- do a little bed swapping. A lot, actually. Paula tells Pedro she's in love with someone else. He makes out a list of possibilities. Javier, whom Paula has been having her affair with, plans to tell Sonia, but doesn't want to rush it even under pressure; "let me send my signals". And of course, that's just the beginning.

I can't tell you how refreshing this movie is after a slew of amateurish crap and wasted opportunities; just because you have the funds to put a movie together doesn't necessarily mean you _should_. But, I digress. For my money, you can't beat sultry babes purring out tunes and slinking about in shorts and tee-shirts. OTHER SIDE OF THE BED has plenty. Natalia Verbeke singing "Tell Me That You Love Me" is possibly the sexiest thing I've ever seen. All of these characters break into song and dance wherever they happen to be at the time, and you can't help but smile.

And unlike so many movies stateside, nudity is not an issue. Which is not to say OTHER SIDE is some mindless fuck-fest: if Lion's Gate can't get this movie released with an R-rating it will be a shame. No cuts are necessary, and anybody that sees this film is going to have a terrific time.

The cast is exuberant. Bound to be a sleeper hit.

TO BE AND TO HAVE

For those of us who want to be reminded of what it was like to be 4, this is the film. TO BE AND TO HAVE sets its camera in the classroom and in the homes of a group of children, as they learn to read, write, do math, and criticize fellow classmates ever so innocently and try and help out when teacher wants the answer to a question and you lock up. We've all been there. Without a doubt this man, Georges Lopez, truly cares about the well being of everyone under his tutelage; after twenty years, he maintains the time and patience required for not only his students but also their parents, whose job may be even more difficult.

No real point to this documentary, other than a reminder of days gone by. But, it'll put a smile on your face.

-- J-Man (with eye strain)

and here's an earlier misplaced set of reviews from J-Man...

Hi, Harry. Two days + one evening down, and I've seen some interesting flicks. It's fun not having to work, and just bunnyhopping from one venue to the next, waiting in the hour-long lines... ok, scratch that part... and seeing what's out there. It's exciting to see movies that may or may not get an official release (like the one I saw last night). So anyway, here's a few more reviews for you:

THE WEATHER UNDERGROUND

Maybe because I haven't seen a documentary in quite some time, or because it really is that damn good, but I was completely riveted by THE WEATHER UNDERGROUND. It fucked me up, royally. And I don't mean that safe kind of being fucked up, where you say yeah, that was really something to see, now lets get back into the comfort zone of our everyday existence. This film _got_ to me, and even my alcohol binder afterward couldn't shake it. I don't know how you're supposed to see a man pulled aside seemingly at random and shot in the head with blood geysering out of his skull and not receive a visceral ass kicking. We see tremendously unsettling footage from the Vietnam War early on, as WEATHER tracks the rise and eventual fall of a group called Students for a Democratic Society (S.D.S.) whose sole purpose for being was to "bring the war home". As long as there was what most people collectively describe as a senseless war taking place, S.D.S. would attack the U.S. Government, with protests that began peacefully enough but quickly escalated. Police were a primary target.

THE WEATHER UNDERGROUND determines itself to make that particular war seem utterly ridiculous. Mass murder committed by us on them. So the clips we see in the beginning are a means of explaining, with as much impact as possible, why this faction came about and what they were trying to accomplish. Which was a lot more than just sending a polite message. It's disheartening to see how much we, the human race, seem so incredibly willing to harm and kill each other. I suppose its always been that way, but it's something I'd rather not fully accept at this early an age. Still, that's the point the movie is making, and it makes it; a pleasant picture is not painted.

There is expert interweaving of interviews with former members of S.D.S. as they are now, and as they were then, each giving his or her take on what they were able to change as a whole if anything. These were people who devoted a significant portion of their lives to a cause, would have done whatever necessary to ensure its survival (the occasional bouts with police brutality). They don't come off as delusional kids of America with pent-up rage issues on a kamikaze mission -- even though everyone involved pretty much knew it was suicide -- but as individuals who believed vehemently in what they were doing. It wasn't pointless, or irrelevant (although, as the film points out, it inevitably became that). And yet, violence begets violence; there are cold aftermaths, but no end to the cycle. So, I'm not sure if ultimately S.D.S. didn't just add to the problem.

I think the film starts to cover just a little too much information, and as a result, focus blurs toward the end. But, no stone is left unturned on this subject matter. And, as a meditation on violence and the evil that men are capable of when they think that right is on their side, THE WEATHER UNDERGROUND is stark and fascinating. Just this side of sensationalistic, actually. It take an unflinching look at a certain ugly period of our history, and pins you to your seat.

OWNING MAHOWNY

Philip Seymour Hoffman as a banker with a gambling addiction that his luck can't quite support. As someone in the movie explains, he wants to win so he can keep losing. His girlfriend (a badly wigged Minnie Driver) won't leave him, a casino manager (John Hurt) may have a crush and all Mahowny wants is "barbeque ribs, no sauce and a coke". How long before his fraudulent activity at the bank catches up with him...?

Shoot me, shoot me now.

Camp

There's something funny at just about every turn in Todd Graff's competent debut as director. About a summer camp kids go to for acting lessons, CAMP is a spirited little gem. No real story to speak of, just a collection of entertaining theatre bits. The film doesn't venture too far into coming-of-age territory, thank God; nothing where emotions are concerned makes any sense at sixteen, and the film makes tolerable melodrama of that. But, anyone who sees it will not argue: these kids can sing. Like there's no tomorrow. They bring it. I got chills during Daniel Latterle's "Wild Horses" number; another of his songs that plays over the closing credits will more than likely end up on the charts. A lot of unknowns in the cast, my favorite of which has to be Anna Kendrick, as Fritzi, who has the best line in the movie and I have to quote it because I'm still grinning: "She's fucked. I'm ready. And, the goddamn show must go on!" Kendrick's scene, with Alana Allen as her roommate puking on stage, is the funniest I've seen in a movie this year.

That, or the blocking scene with three kids in a very confined space; "Piss in the dumpster! Start from the beginning!". Anyway. I've said too much.

BUBBA HO-TEP

Strange goings on at an East Texas rest home where Elvis Presley (Bruce Campbell) and Jack Kennedy (Ossie Davis; "they dyed me this color") disucss assassination attempts and wonder back on lifes spent. Elvis has loving words for his attending nurse -- "Come on, now. Why don't you pull on it a little" -- and wonders how he went from King of Rock to a man with a growth on his penis.

BUBBA HO-TEP has an intriguing concept: Elvis, who cares if he's deluded, weighing his former life in the spotlight as compared to who he has become, his peaceful existence interrupted when a "soul sucking" ancient Egyptian mummy starts wreaking havoc on the home. But, the execution wasn't my cup of tea. I laughed a few times, even cheered (if nothing more this is an audience participation movie because only the right crowds seem to be knowing about it). You see two old codgers using walker, wheelchair and bedpan as weapons against the forces of evil, you crack up.

Bruce Campbell gives what's sure to be considered an iconic turn. The film defies categorization, which is I think why it's confined to the late-nite and festrival circuits. It's original, but hopelessly inert.

-- J-Man

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FIRST
by Toby Wan
May 26th, 2003
11:32:46 PM
Second
by Toby Wan
May 26th, 2003
11:34:09 PM
Sixth
by Toby Wan
May 27th, 2003
12:23:57 AM
seventh
by pavemental
May 27th, 2003
01:50:00 AM
Toby Wan, TipUrBartender and pavemental can all eat the peanuts
by Dog Of Mystery
May 27th, 2003
07:25:35 AM
I walked out of DOMINOES....and BUBBA HO-TEP just plain sucked
by AlienBoy
May 27th, 2003
03:47:51 PM

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