18th Dec2016

Uncle Howard (Film)

by timbaros

th-8-936x703Who was Howard Brookner? He was an American film director and famous for his college thesis documentary on William S. Burroughs – the American novelist who was also a member of the beat generation. Brookner also wrote and directed the feature-length film Bloodhounds of Broadway – a period comedic ensemble that starred several big names including Matt Dillon, Jennifer Grey, Anita Morris, Julie Hagerty, Randy Quaid, and Madonna. Howard Brookner was three days shy of 35 when he died of AIDS in 1989.

But Brookner was more than just a film director – he was also an uncle, an uncle to Aaron Brookner. And Aaron has made a film about his uncle in a moving documentary simply titled <em>Uncle Howard.

Aaron, 35 years old, was inspired by his uncle to make movies. In the documentary we see home video footage of Howard hanging out with Aaron when he was a kid, with Howard parading Aaron around on his shoulders. These scenes are touching and sentimental because it sets the tone of the short relationship Aaron had with his uncle, an uncle who passed away when Aaron was only 8-years-old, an uncle who made such an impression on him that decades later Aaron would want to make a documentary about him. Aaron’s early memories of Uncle Howard included being on the set of Bloodhounds of Broadway, a film that turned out to be Howards only major studio film, and unfortunately, he passed away before its release.

Aaron wanted to seek out Howard’s original film footage for his Burroughs documentary, and found it in a place called The Bunker in lower Manhattan, the former home of Burroughs. There are scenes of Aaron watching the old tapes which are then inter-spliced with the actual film footage, which gives us, and Aaron, a glimpse of the early work of his uncle, an uncle with high doses of passion and talent. The old footage also includes glimpses of Allen Ginsberg and Andy Warhol, while both new and old footage shows Jim Jarmusch, with Howard in the 1980’s, and then with Aaron in the present day.

The writer Brad Gooch gives us a raw insight into his ten-year relationship with Howard, while discussing the loss of Howard and many friends during the height of the AIDS pandemic, scenes that are emotional, touching and sentimental. But what most pulls at the heartstrings is Aaron’s conversations with Howard’s mother, Elaine, who walks down memory lane with Aaron about the life of Howard and how he was taken from them at such a young age. Uncle Howard is a film with a personal touch, and Aaron has successfully delivered a fitting tribute to an uncle who died way too young.

I wish I had an Uncle Howard.

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18th Dec2016

War Dogs (DVD)

by timbaros

war_dogs_290932The true story of two young men who sold weapons to the U.S. government, and got too greedy

How did two twentysomethings get into the business of selling arms to the U.S. government? ‘War Dogs’ tells this story.

Based on the Rolling Stone article ‘Arms and the Dudes’ by Guy Lawson, Miles Teller and Jonas Hill play David Packouz and Efraim Diveroli. Packouz is a massage therapist, constantly being sexually harassed by his very wealthy male clients. He also sells expensive high quality bed sheets to old age homes but he’s told they don’t want to buy them because it would be like wrapping a lizard in very nice bedsheets. But when he runs into long lost friend Diveroli at a funeral, his life takes a dramatic turn. Living with his girlfriend Iz (Ana de Armas) in a cramped flat, Packouz takes up the opportunity to work at Diveroli’s company – AEY Inc. to make more money. It’s a company Diveroli set up to sell weapons to the U.S. government, with silent partner dry cleaner owner Ralph Slutzky (Kevin Pollack). AEY is initially tasked with obtaining beretta guns for a general in the thick of the Iraq war. When the italian-made guns can’t be transported directly into Iraq, it’s up to the Packouz and Diveroli to drive the truck to Iraq via Jordan, and that’s exactly what they do, risking their lives for a $2.8 million payoff. They then discover that the U.S. government has what seems like billions of dollars to give out to companies just like theirs in order to procure weapons, and all bids listed on a government website.
With a lot of cash now in hand, and with fabulous new properties they’ve bought (plus a new baby girl for Packouz and Iz), AEY decides to expand their business. They head to Las Vegas for Vegas X, a comicon-like convention with grenades and not comics. This is where they meet Henry Girard (a very good and subdued Bradley Cooper), who puts them in contact with the Albanian government to help them obtain ammunition to arm the Afghan military (money which the U.S. Government will pay. Their $300 million bid is amazingly accepted by the military generals but they tell them that their bid was $50 million less than the lowest bid. The men carry out the order, not realizing until too late that the ammunition the Albanian authorities are selling them are actually Chinese, which they re-brand and re-package (illegal). Diveroli’s greed and his and Packouz’s crumbling relationship gets the best of them, and it all comes down to not if they will be caught, but when.

While ‘War Dogs’ is a very good film, reminiscent of a Martin Scorcese movie, though not all of what you see in this film actually happened. In the beginning we’re told that ‘War Dogs’ is ‘based on a true story,’ so several events in the film didn’t actually take place (driving the truck from Jordan to Iraq.) Directed by Todd Phillips (The Hangover) and produced by Phillips and Cooper, ‘War Dogs’ succeeds, however, in the performances of both of it’s leads (though neither one of them look in their 20’s and Hill is quite chunkier than usual), and the film’s script is clever and witty. ‘War Dogs’ also has an excellent movie soundtrack, with songs by The Who, Pink Floyd and House of Pain, carrying the spirit of a 1990’s Scorcese gangster film. If ‘War Dogs’ were a fictionalized film, then it would’ve been fine the way it is. But there’s no reason why the filmmakers couldn’t have just stuck to the real version of events of these two very young arms dealer – it would’ve made for a more compelling and very realistic tale.

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11th Dec2016

The Pass (Film)

by timbaros

19-arinze-kene-ade-russell-tovey-jason-smallTwo footballer players end up scoring with each other in Ben A. Williams feature film debut ‘The Pass,’ which was recently featured at London’s BFI Film Festival.

‘The Pass’ take place in a ten year time span which tracks the relationship between two Premiership football players. There’s always been some kind of chemistry and attraction between James (an electric and very good Russell Tovey) and Ade (Arinzé Kene – Hollyoaks – also very good). We meet both of them while they’re sharing a hotel room in 2006 in Bulgaria right before one of their first big matches. They’re both very young, and they’re also both very fit, masculine and extremely sexy, and they spend the first third of the movie in their tight white underwear. James and Ade are talking lads stuff, having a laugh about other players, and watching a video that was taken of another player having sex. The sex talk continues, and the banter goes something like ‘getting as hard as your sister sitting on my face.’ They’re playing around with each other; it’s hot, it’s erotic, it gets brutal, and homophobic, plus, we find out later, it leads to more than just talk.

‘The Pass’ takes us beyond the hotel room to tell us the story of the relationship between these two men, but especially about the relationship James has with himself. He’s all man, a star footballer, with all the trappings of stardom; money, women, celebrity, and eventually a wife with two kids. But he’s also battling with his sexuality, and even though he buys whatever, and whomever, he wants when he wants it, the thing he wants most is out of his reach. And when he’s questioned about his sexuality by a woman who has been paid to videotape having sex with him, he wants to go through with it, just to prove to the world (and obviously to himself) that he’s not gay. He’a a man who is not able to accept who he is and who he really wants to be with.

‘The Pass’ is 88 minutes of purely charged up adrenaline. It’s a movie that’s full of dialogue, dialogue that goes from playful banter to sexually-charged hi-jinks, up to and including the final third scene of the movie, which involves a hotel bellboy that’s a bit over the top. But it’s not to take away from a movie that brings up a real issue – that there is not one out gay football player in the game now. Let’s hope this film opens up the dialogue that it’s fine for a player to come out of the closet. Originally produced for the Royal Court Theatre in 2014, ’The Pass’ makes an excellent transition to the big screen. Kene brings a real toughness kindled with a bit of softness to his role, but it’s Tovey who owns the movie. He’s never been better; his James is battling with his sexuality while at the same time trying to uphold his image. Tovey is electrifying and is at the top of his game. This is one pass that you have to catch.

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11th Dec2016

Buried Child (Theatre)

by timbaros

34016_fullIf you want to see Ed Harris sitting on a couch for close to three hours, then ‘Buried Child’ is the show for you.

Harris, film and television star, is excellent as Dodge, the father of two sons (dysfunctional doesn’t even come close to describing them). He lives in an old, ramshackled dilapidated house in Illinois with his wife Halie (Harris’ real life wife Amy Madigan), who pops up in the first and third acts. Yes, this play has three acts, with two very quick ten-minute intervals between the acts. The last show I saw that had three acts – ‘The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures’) was very painful to sit through and felt a bit like Chinese water torture. ‘Buried Child,’ playing at Trafalgar Studios, is not that bad but it still feels like a long show.

Harris does spend the whole time on centre stage, on the sofa, and he’s even on the sofa before the show even starts. Dodge and Halie share their home, unwillingly, with their two grown up sons. They’ve obviously missed the financial gravy train and are unfortunately tethered to their poor lot in life. One son, Bradley (Gary Shelford), never left home, and who continues to bring into the house freshly dug up vegetables from no one knows where because there’s not a garden anywhere near the house. Tilden (Barnaby Kay), who used to live in New Mexico, has returned to the family homestead because of an incident that happened there. It’s up to Halie to be the sane member of the family, this is until their grandson Vince (Jeremy Irvine), son of Tilden, arrives in tow with his girlfriend Shelly (Charlotte Hope). Immediately Shelly is uncomfortable in the house full of Vince’s miserable and depressed and sick grandfather, father and uncle. But there is a family secret that’s slightly mentioned which peaks Charlotte’s curiosity, and she wants to find out more. Meanwhile, Vince goes to the grocery story to buy booze for his grandfather because the bottle he had under the couch is missing, and while Charlotte is speaking to Bradley and wanting to know more about this secret, and starts nagging a bit too much, he puts his hand into her mouth (at this point if I were her I would’ve ran out of that house). But the secret that has doomed this troubled family is literally, and eventually, out of the bag, but not before Vince goes missing for the rest of the night and Halie returns home with the family pastor who’s just as uncomfortable in the house as Charlotte is. But it’s not until the final scene that leaves you with an image that you won’t soon forget.

‘Buried Child’ is a very wordy play. perhaps a bit too wordy, but it being a Sam Shepard play, there’s lots thats overdramatic, over the top, and bordering close to the unbelievable. Surely cutting out one act would’ve made this play more biting, sharper and dramatic instead of long-winded,, but director Scott Elliott is able, just, to keep the drama and tension up, while maintaining, until the very end, the mystery to this family’s tragic existence on earth.

‘Buried Child’ is now playing at Trafalgar Studios until February 18, 2017.

http://www.atgtickets.com/shows/buried-child/trafalgar-studios/

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06th Dec2016

Beauty on the Piste – Theatre

by timbaros

img_8415nIt’s Panto season in case you’ve been hiding under a rock, and with that comes shows that are silly and campy, some good and more than a few not so good. But does it really matter?

This year’s panto at Above the Stag is ‘Beauty on the Piste,’ a reimagining of Disney’s Beauty and the Beast, and it’s exactly what you would expect, but perhaps a bit less. This is the plot, in a nutshell: Morag (David Moss) and her son Mac (an adorable Ross Tucker) own a tea house high up in the mountains in a town called Les De Nice (Les Dennis – cue laugh here). Passing by the tea house is the young lithe and blond boy Beau (Joshua Oakes-Rogers) and his father Gustav (Andrew Truluck). Beau is eternally horny and always on Grindr (we’re getting tired of Grindr being in almost every gay play nowadays). But nearby is where The Beast (Jamie Coles) lives, behind huge gates in an old mansion, and he’s hardly ever seen. One night Morag and Gustav decide to take a walk to get to know each other better, but they are kidnapped by The Beast, and it’s up to Morag and Beau to go looking for them. They find them in The Beast’s home, and Beau trades places with his father to let him free, and it’s only a matter of time before sparks fly between Beau and The Beast. But trouble lies on the horizon; the gay Sebastian St. Moritz (Simon Burr), who owns lots of the property in Les De Nice, wants to raise the rent of the tea house, so what’s the newly rescued Morag and her son going to do? Throw in Mabel the Fairy (a cute Briony Rawie), and The Beasts housekeeper – Heidi (Ellen Butler) – who keeps morphing into various items one finds in the house- and what you’ve got is a show, with a sing-a-long, that’s full of glitter and glee. Does it matter that the songs are awful? No! Does it matter that this production is not one of the Stag’s better shows? No! And does it matter that most (if not all) of the cast can’t sing? Of course not! Why? Because you’re not going to see ‘Beauty on the Piste’ because it is sold out for the rest of it’s run! So perhaps console (or congratulate) yourself and buy a ticket to their next production – ‘Bitches Ahoy’ – a show that bills itself as a ‘gay holiday hilarity’ – hopefully it’s a return to the Stag’s better quality shows. Just one month to go until Panto season ends, whew!

To buy tickets to ‘Bitches Ahoy’, which starts from January 19th, please go here:

What’s On

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04th Dec2016

Chi-Raq (Film)

by timbaros
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Chicago has such a high murder rate that from 2003 to 2011 there were more murders there than in the same years in the Iraq war. On one Independence Day, 55 people were murdered. And in one year alone, 400 school kids were shot. With stats like this, a film with a message about violence and murder in the Windy City is seriously needed. But don’t expect it from Spike Lee’s new film called ‘Chi-raq’ (Chicago and Iraq).

What we do get instead is a musical drama where woman ‘take away the pussy’ from the men in order to stop them from using their guns. This is triggered by the death of a local girl who is the daughter of a church going religious momma (Jennifer Hudson). This in turns leads Lysistrata (yes, that’s her character’s name – and she’s played brilliantly by Teyonah Parris), to withhold sex from her boyfriend Demetrius, whose nickname is ‘Chi-raq (a surprisingly good turn by an unrecognizable and very buffed up Nick Cannon a/k/a the former Mr. Mariah Carey). Lysistrata rallies her girlfriends to do the same, and they all band together to declare ‘no peace, no pussy’ while wholed up in an armory in downtown Chicago (the scene where Lysistrata seduces the general in charge of the armory is got to be the most ridiculous scene this year). This sex strike makes the men crazy, they’re missing their women, and even the mayor’s wife joins the strike, causing him (played by D.B. Sweeney) to intervene in this major crises that’s taking place in his city, and, of course, right before a re-election.

It’s the women who take center stage in this movie; they’re sexy and hot and all of them seem to be wearing very little clothing, and what they do wear is extremely provocative – tight fitting tops and shorts – with padlocks over their crotches (yes, for real). It’s quite misogynistic. It all comes to a head when Lysistrata and Demetrius have a sort of sex-off to resolve the crises that’s televised live for everyone to see. Really stupid stuff there.

Spike Lee has a voice and the talent to make a film that could’ve highlighted the problems and issues dealing with Chicago’s murder rate, but instead he’s written, produced and co-wrote a satire/comedic farce that can’t decide whether it’s a musical, a tragi-comedy, or something so surreal and stupid that you can’t believe that it’s is unfolding right before your very eyes. The cast is first rate, including Angela Bassett as a woman who had a daughter that was killed by a stray bullet, and John Cusak as the local white priest who has to preside over the many funerals that take place in the black neighborhood. The music is excellent and the locations and cinematography are all first rate. Samuel Jackson is ridiculous as a narrator who pops up every now and then wearing very bright colored suits – his role is a distraction that doesn’t really help the film’s narrative. ‘Chi-raq’ was released in U.S. Cinemas in 2015 and was a commercial bomb, making only $2.7 million from a budget of $15 million. It’s a film that’s likely to recoup it’s costs back – deversedly so.

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