Nordling here.
I've only been here a little over 24 hours, but I can safely say that South By Southwest has changed my life. When Harry told me a couple of weeks ago that he go me a Film Press Pass to cover the festival I moved heaven and earth to make sure I cleared these days in my schedule. And it has been so completely worth it. I've met so many amazing people here that it's difficult to keep track; I'm especially surprised and honored to meet people who are familiar with me through my writing for AICN. It's safe to say that just on these too brief hours I've been here that I'm going to come here every year for the rest of my life, health and luck willing.
I've been told that I need to see something bad film-wise to make all the great films I've seen so far balance out, but on my schedule I'm not going to worry about that. I'm seeing BELLFLOWER and the AICN 15th Anniversary Screening today and going to two panels, and leaving in the morning. But I'd like to briefly talk about the films I've sen thus far - flat out, all three of them are terrific films and well worth your time when and if they get widely released.
First up, Morgan Spurlock's POM Wonderful Presents: THE GREATEST MOVIE EVER SOLD, his documentary on product placement in films and the inundation of advertising in society as a whole. Wickedly funny and thought-provoking, Spurlock brings the sensibilities he's brought in SUPERSIZE ME and 30 DAYS to the advertising world, and the result is a terrific examination on how the constant barrage of ads in our media is changing our very thought processes and decision making. Spurlock approached ad agencies and different products to endorse his film, and what's remarkable about it is that he never lies to these people about his intentions on what he's doing - he's direct and honest and many of the product companies and ad agencies shut him don. But even then, some of the products are either so desperate for ad placement in the film or just intrigued on where Spurlock is going with his project that they participate. The result is a hilarious take on commercials and placement, and the film asks deeper questions on what it means for artists who want heir work heard and seen by people to compromise on principles just to get their work out there. This will be released this spring by Sony Pictures Classics and I urge you to see it.
The next film I saw was Takeshi Miike's 13 ASSASSINS, and unfortunately due to the horrible events in Japan Miike was not able to attend, but his message to the crowd was to see his film and let the film bring the audience's appreciation and love for Japan flow through. The year's still early for me, but if I see anything as good as 13 ASSASSINS this year, I'll be a very happy man. I adored this homage to Akira Kurosawa samurai films and since I'm a Kurosawa freak anyway this one pushed all the right buttons in me. The story is about a Shogun's adopted son, who is the foulest, evilest man in the kingdom, and the 12 samurai who decide to break their rules of honor to take him down. On the way they meet a 13th person, a tracker, but not of noble birth. The film's first two thirds set up the stakes and the characters so well, that by the time the climax hits you're so invested in each and every character. And what a climax it is. An action sequence that blows away everything I've seen recently, they had me when they set the bulls on fire. You have to see it to believe it. I know Magnet has distribution rights to this one, but this one has to be experienced in the theater. This crowd ate it up and cheered so loudly at key points in the film. It has dialogue that as a Kurosawa fan I adored, just magnificent. 13 ASSASSINS is tremendously great, and already a classic entry into the samurai genre. I'd dare say that it even can be compared in quality to SEVEN SAMURAI. Yeah, it's that frigging good. If Kurosawa were alive he'd be smiling with pride at Takeski Miike today.
The final film I saw yesterday was Joe Cornish's ATTACK THE BLOCK, produced by Edgar Wright. This one is easily the film of the fest so far. I'm not sure of the distribution rights of this one, but it's an easy sell. London street kids fight off alien invasion. It ain't hard. But Cornish pulls out all the stops with this film, pulling back from THE WARRIORS, John Carpenter films, and evn a little bit of E.T. to tell this story of a group of kids who no one gives a damn about stepping up to protect their homes from alien monsters. It's genuinely scary and thrilling, and the cast, made up mostly of unknowns, at first seem like those kids lost between the cracks, but once they decide to fight, you cheer them on, especially John Boyega as Moses, the leader of the kids. The monsters, refreshingly, aren't CGI and are scary as hell, reminiscent of ALIEN and CRITTERS, all glowing teeth and inky black fur. It's a fucking amazing debut for Cornish, who with this first film should have a very long career as a director. If this isn't picked up for American distribution before the end of the fest, I'd be very surprised. ATTACK THE BLOCK would fit right in with any giant summer release and pound for pound I'd bet it delivers more thrills than any of them.
Today I see BELLFLOWER and the AICN 15th Anniversary Screening, and will participate in two panels. Not as movie intensive as yesterday, but I'm pacing myself. If you're here, come say hi if you see me. I'm having a complete and utter blast at my first SXSW. It's an experience I'll remember forever. If I seem overly gushy I'm operating on a little more than 4 hours sleep, but I don't want to miss a second of anything. These three films are genuinely great though, and it's not just hype. If they make it to your area, I urge you to check them out. And ATTACK THE BLOCK deserves the widest release possible.
Nordling, out.
