For the second year in a row, I’ll be hitting the Savannah Film Festival in Savannah, GA. This year, I have the added bonus of a media pass getting me full access to the event, which features some high profile films such as Cannes hit The Artist, Sundance Winner Like Crazy, A Dangerous Method, Carnage, We Need to Talk About Kevin, and a many more. Be sure to check back here, on Twitter, and at the festival’s Voices of the Fest page throughout the week.
TUiW Goes to the 2011 Savannah Film Festival
Filed under Movie Review, TUIW Guide To
Savannah Film Festival Announces Competition Films
Once again, TUiW is fortunate enough to go to the Savannah Film Festival and get a sneak peak of some of this year’s Oscar contenders before they hit wide release. Headline films include Roman Polanski’s Carnage and Cannes favorite The Artist, and this morning, the festival announced its competition films. Check out the list below and check back when the festival starts to read our thoughts on them.
A Year in Mooring
USA, 2011, 91 min., HDCam
Director: Chris Eyre
Producers: Kevin Reidy, Sally Jo Effenson
Writer: Peter Vanderwall
Cast: Ayelet Zurer, James Cromwell, Jon Tenney, Taylor Nichols, Josh Lucas
Synopsis: A successful businessman, attempting to escape his past, moves aboard a dilapidated boat in a remote harbor. Told over movements framed by the calendar year, the Young Mariner meets other harbor inhabitants with pasts of their own.
Inuk
France/Greenland, 2010, 90 min., HDCam
Director: Mike Magidson
Producers: Mike Magidson, Sylvie Barbe
Writers: Mike Magidson, Jean-Michel Huctin
Cast: Gaaba Petersen, Ole-Jorgen Hammeken
Synopsis: In Greenland’s capital, Nuuk, sixteen year-old Inuk lives a troubled life with his alcoholic mother and violent step-father. One morning, after pulling the half-frozen boy out of an abandoned car, the social services decide to send Inuk north to a children’s home on a tiny island in the middle of the arctic sea-ice. Shortly after arriving, Inuk meets Ikuma, a local polar bear hunter who has his own share of problems, and is asked to take Inuk on his annual seal-hunting trip. So when Inuk, the troubled boy from the city, joins Ikuma, the last great hunter of the North, on this epic dogsled journey, they will face much more than the bitter cold and fragile sea-ice.
Let Go
USA, 2011, 109 min., HDCam
Director: Brian Jett
Producer: Leif Lillihaugen
Writer: Brian Jett
Cast: Alexandera Holden, Amy Stiller, Brian Huskey, Catherine Reitman, David Denman, Dov Davidoff, Edward Asner, Gillian Jacobs, Johnny Pemberton, Kali Hawk, Kevin Hart, Kirk Fox, Maria Thayer, Rance Howard, Simon Helberg
Synopsis: A comedy that follows the intertwining stories of Walter Dishman, a melancholy parole officer struggling with the doldrums of married life, and three eccentric ex-convicts that were recently placed under his supervision. Using the afflictions of modern love as a common thread, the stories build to a poignant climax as each of the characters struggle to free themselves from both literal and figurative bonds.
Take Me Home
USA, 2011, 97min, Blu-Ray
Director: Sam Jaeger
Producer: Michael Hobert, Jane Kelly Kosek
Writer: Sam Jaeger
Cast: Sam Jaeger, Amber Jaeger, Victor Garber, Cristine Rose, Lin Shaye
Synopsis: When Claire jumps in Thom’s beat-up cab in New York, neither realize that they have just begun a journey together of self-discovery that will have them crossing the United States in an effort to find home.
Filed under Movie News
Review: ESPN Films’ Catching Hell
In the interest of full disclosure, I’m a die-hard Cubs fan. My great grandfather started the family tradition when he was a kid living in Chicago, and though I’ve never lived in the Windy City myself, I spend every spring getting my hopes up in time for them to be dashed by mid-June. Game 6 of the 2003 NLCS (otherwise known as the Bartman Game) was a particularly painful night for me, one that is still clearly etched into my mind. When I heard about “Catching Hell,” ESPN’s terrific documentary on the incident and scapegoat culture in baseball, my first reaction was to sigh, realizing I’d get to spend two hours reliving one of the worst nights of my sports fan life.
While it was indeed painful to watch the events of the night unfold (Moises Alou’s reaction to Bartman, Alex Gonzales’ error on a sure thing double play, the Marlin’s 8-run rally), Alex Gibney’s documentary did more than simply talk about an infamous man that people know almost nothing about. Instead, Gibney tells the story of a night in which 40,000 fans let nearly 100 years of disappointment on one guy who made an honest, human mistake.
What makes Catching Hell so interesting is the way in which Gibney dissects every possible angle of the game. He sets the stage by reviewing the Bill Buckner error of the 1986 World Series, pointing out that Buckner may have missed the ball, but it was preceeded by one pitcher loading the bases and another throwing a wild pitch. Buckner just had the bad timing of being last and the most easily remembered. Gibney’s driving question about Bartman comes out right then and there: did he actually cause the Cubs to lose or did they lose it themselves?
Gibney also questions the mob mentality that overtook Wrigley Field and Chicago following the incident. Several of his interview subjects mention that all of the sudden, every fan in the park thought the game and season was over when there was still an inning and a half of baseball to play. The crowd starts chants of “asshole” directed at Bartman. They throw beer on him. One piece of footage featured a fan yelling “put a 12-gauge in his mouth and pull the trigger!” It’s a shameful sight that actually hit closer to home as a Cubs fan than rewatching footage of the actual game. Wrigley Field is supposed to be the Friendly Confines after all.
The most riveting part of Gibney’s documentary is the way he humanizes Bartman. He mentions that Bartman was at the game with two friends, both of whom appear to be trying to distance themselves from him and who left him alone as soon as they could. He interviews the reporter who badgered him right after incident and a fan who was thrown out of the game for harrassing him. Most heartbreakingly, Gibney talked to the security guard that was with Bartman in the aftermath, watching him process what happened and seeing he wasn’t concerned with himself, but whether the Cubs won or lost. Anyone that still hates the man after watching Catching Hell probably has no capacity for sympathy in them.
On the surface, Catching Hell is about scapegoats and the assignment of blame in sports, but deeper, Gibney offers brilliant commentary on the idea of fandom. Gibney only interviews two players on that Cubs team, Alou and first baseman Eric Karros, talking mostly to people that were in the stands or covering the game that night, clearly pulling the film away from the field and into the seats. Did the crowd at Wrigley that night actually lose the game? It’s a big question that Gibney wisely leaves to the viewer, but one that leads to a rabbit hole of questions about the notion of being a fan and the lengths we go to to support teams in our culture.
Filed under Movie Review, TV Review
TV Report Card: New Comedies
Welcome to a new TUiW feature, TV Report Card, in which we periodically check in on a show or shows that aren’t in our normal review rotation. Today, we start by evaluating the new comedies of the fall season.
The Good: Christina Applegate and Will Arnett have terrific chemistry is the charming comedy about new parents entering middle age. Maya Rudolph follows up Bridesmaids with a wacky character that will highlight her strengths while adding a touch of the absurd to the show. The pilot had several great bits, including Applegate and Arnett worrying about their swearing in front of the baby and Rudolph bringing the couple a ridiculous gift basket for the baby.
The Bad: Up All Night mostly hit its marks in the pilot, but the already aired second episode was a noticeable step back. The second episode of any new show is usually pretty weak, as the writing staff navigates the transition from pilot to series, so it can be forgiven if the show bounces back in Episode 3.
Potential:Good. Not only does the show have terrific potential, but it was a rating success for NBC, and it wouldn’t be surprising to see the show make a jump to Thursday night if a spot becomes available at mid-season or next year.Show: New Girl
The Good: Zooey Deschanel seems more comfortable in this role than any she’s had on the big screen in years. While it’s still hard to buy her as a socially inept nerd, but her charm carries the show. At its best, New Girl is smart and funny without toying with genre conventions and trying to hard.
The Bad: While Damon Wayans Jr. shined in the pilot, his commitment to Happy Endings led him to be replaced in subsequent episodes. While Zooey carries the show, it’s up to her three roommates to back her up and keep the show moving in the right direction. Based on the performance of the other two, there’s reason for concern.
Potential: Very good. New Girl not only held Glee’s audience, it built on it. You’re going to hear the word “adorkable” for at leas the next three years.
Shows: 2 Broke Girls and Whitney
The Good: Since both shows were written by comedian Whitney Cummings and are in the same vein, it makes sense to group them together. Unfortunately, that also means that there’s not a lot of good in either show. Kat Dennings is perhaps the bright spot of 2 Broke Girls, and her career will only go up after this show.
The Bad: Both shows are centered around hip and snappy women, but Cummings packs in so much unnecessarily raunchy dialogue that does little else than say than to show how edgy the shows are. There’s no substance to either show, and compared to the great comedies on television these days, both 2 Broke Girls and Whitney seem incredibly one-dimensional and stuck in a bygone era in which comedians distilled their stand-up act into a television show.
Potential: 2 Broke Girls will do fine on a network that bases all of its comedies around raunchy jokes and one dimensional characters, so it will be around for at least the foreseeable future. Whitney will have a harder time, especially with 30 Rock returning at midseason and Up All Night doing so well. It will have to step it up big time to survive after fall sweeps.
Show: Free Agents
The Good: Hank Azaria and Kathryn Hahn are terrific and sell the show. Without them, this show suffers tremendously. Their banter and chemistry are impeccable and shouldn’t be missed. The supporting cast backs them up well, adding an extra zing whenever they can.
The Bad: Great chemistry from the leads aside, Free Agents suffers from a lack of good story. Both episodes that have aired have similar plots, and if the show wants to survive, it’s going to need to prove its different than any host of other comedies.
Potential: It doesn’t look good, which is a shame because Azaria and Hahn deserve it. I give it a year at best.
Filed under TV Review
A Fond Farewell to R.E.M.
After 31 years, R.E.M. are calling it quits. One of the most important bands of the last three decades, R.E.M. are responsible for the success and popularity of modern indie rock. There are obvious musical descendants, like The National, but every band on an independent label owes a little bit to R.E.M. for helping keep indies financially viable. Even after joining Warner Brothers, the band set the gold standard for artistic integrity in the MTV era, creating compelling, thoroughly enjoyable music without a hiccup for nearly 15 years. Though the band weakened a bit with the departure of drummer Bill Berry after 1997’s New Adventures in Hi Fi, the three remaining members went through a renaissance on their last two albums, 2008’s Accelerate and this year’s Collapse Into Now. Undoubtedly, their legacy will be centered into what they did between 1981 and 1995, but what the band leaves behind is a tremendous catalogue of music that very few bands can match.
While countless tributes will be offered up by writers and critics more important and influential than myself, I can’t sit by and fail to comment on a band that has meant more to be than can be put into words. I was born in the mid-80s, and by then, Murmer and Reckoning had already made the band one of the most respected and beloved bands of the decade. Because of this, I quite literally grew up on the band. I very clearly remember the first time I heard them. Driving home one night as a kid, I was in the back, clamoring for my parents to put something on. My dad told me that we were going to listen to something he and my mom wanted to hear, and he put on a mix tape of R.E.M. songs. To call the moment transformative would be a stretch, but even as a kid, I instantly fell in love with the band. I may not have known what the hell “Losing My Religion” meant, but it was an incredibly catchy song that was impossible not to be drawn to.
Filed under Music News
Breaking Bad – “Problem Dog”

One of Breaking Bad’s finest aspects is its tendancy to play fair with the audience. It doesn’t put off plot movement out of the need to fill time, it doesn’t cheat its characters out of their next logical move, and it doesn’t underestimate its audience. We’re smart enough to know where Jesse stands with Walt and Gus, that Hank wouldn’t march into the DEA headquarters without something concrete, and that Gus wouldn’t be cowering in fear of the cartel if there wasn’t something very serious going on. It is so good about this that when it does take a little narrative indulgence, as it did tonight, it has more than earned the right to do so.
This week’s episode largely belonged to Jesse and Hank, connected as they are. The former remains haunted by his demons (as we learned in this week’s bang-up opening, complete with a camera attached to the end of Jesse’s light gun) while the latter is exorcising them. Gus and Walt’s maneuvering has landed Jesse square in the middle of this conflict, after Walt learns from Saul about Jesse’s encounter with Gus last week. Walt tries to talk Jesse into killing Gus but it doesn’t matter because Jesse seems ready to do it anyway.
Walt, for his part, is more on the fringes of this week’s episode, but he remains driven to ridiculous extremes by his powerlessness. Rather than returning Junior’s car, he sets it on fire (incurring $52,000 in fees). He finds Skyler growing increasingly distant (see the awkward peck on the cheek) and he even offers her an out when he seems surprised about the amount of money he had (I have to admit I found this part a little bit of a stretch. Did this really never come up? Especially given Walt’s warped sense of pride)
So, anyway, Walt gets to work on a Breaking Bad standard, the odorless, flavorless poison (long term viewers will remember him trying to give the same thing to Tuco in Season 2). He gives it to Jesse, who hides it in a cigarette but is not sure when he may see Gus again. It turns out that he would see him the next day, as Mike takes Jesse to serve as muscle for Gus’ big meet with the Cartel. Jesse has a chance to poison Gus right then and there, and then again could just shoot him in the head, but both times he doesn’t do it. It seems like Jesse might be thinking seriously about Mike’s suggestion that his loyalty is to the wrong person.
Or it could just be Jesse’s deep and powerful self-loathing. The latter drives him back to NA where he runs into one of the lifers from last time (who we last saw harassing Raylan Givens on Justified). Jesse flirts with confession, telling the people that he killed a dog but when a woman in the group turns on him, Jesse turns back on himself, lashing out at the group and admitting that he started there to sell them drugs. The episode leaves Jesse even worse off than before. He’s slouching more and generally seeming disconnected from the world around him.
On the other hand, Hank finds himself taking control of his life and the episode reflects that in his physical improvement. Not only is he walking around without help, but he goes from a walker to a cane in the course of the episode. In his first scene he slyly takes Junior to Los Pollos Hermanos, getting some face time with Gus Fring and even a free refill hand delivered by the man himself (and look at how smooth Gus is in this scene. Not only does he laud Hank but he offers Junior a part-time job, which would also happen to give him more leverage with Walter, without ever once dropping his “upstanding businessman” act. The guy is cold-blooded.)
Gus is very good, but Hank is even better, and he shows the lengths he has been going to when he finally sits down with his former colleagues in the DEA. He backtracked a serial number in Gale’s apartment to a company that sells the kind of tanks that would be useful to someone looking to make a massive meth lab. Then he connects the company to Pollos. All of this is circumstantial, and the DEA guys dismiss it as much, until Hank drops his bombshell. He found Gus’ fingerprints at Gale’s house.
For an episode that was mostly about table-setting, this week’s Breaking Bad was still superb. The parallels between Hank and Jesse were brilliantly drawn, as was the tension (this show sure does poison really well). The tension has gotten so hard to bear that a lesser show would have brought everything to a boil weeks ago. Here, however, things just keep getting worse and worse, and the ways out keep getting narrower and narrower.
Jonah’s Score: 89
TUiW Grade: A
Other Notes:
-I didn’t touch on the bit of narrative indulgence I alluded to earlier, when we found out that the Cartel is after something very specific from Gus. I’m not sure if I was the only one who was assuming that the Cartel was simply mad a Gus for his direct actions against him, but that took me by surprise. Any guesses about what they’re after? The obvious guess would be Heisenberg, but the Cartel seemed happy to let the Cousins kill him last season. Maybe they want Hank dead? Either way, frustrating as it was, I’m sure there’s a good reason why we didn’t learn that piece of information this week.
-Really great work by Aaron Paul this week, especially in his big scene at the NA meeting. In fact, between him, Dean Norris, Giancarlo Esposito, and Jonathan Banks, there are enough good performances this year to totally overwhelm the Best Supporting Actor category at the Emmys.
-I would like to see more of how Hank’s newfound sense of purpose has changed life at home for Marie. She certainly seems happier. Am I the only one who wants to see a scene with just the two of them to confirm it?
Filed under TV Review
Neutral Milk Hotel Releasing Box Set, Unreleased Tracks
It’s become a small tradition here at TUiW to report on every movement Neutral Milk Hotel frontman Jeff Mangum makes, but this one undoubtedly takes the cake. On the band’s newly redone website, Mangum announced the release of a massive vinyl box set of NMH material, including a slew of previously unreleased tracks. The box will contain the band’s two classics, On Avery Island and In the Aeroplane Over the Sea, as well as the out of print Everything Is EP and 7″ for Aeroplane single “Holland, 1945.” The exciting part is the bonus EP, Ferris Wheel on Fire, that features seven previously unreleased tracks (and “Engine,” a b-side), a single of unreleased versions of Avery Island‘s “You’ve Passed” and “Where You’ll Find Me Now,” and a single with studio and live versions of unreleased track “Little Birds.” Phew. The box is available for pre-order for $88, while MP3s of the unreleased tracks will be available as pay-what-you-want on November 22 at the new NMH website, which has been overrun with traffic all morning. If you get through on the site, you’ll have a chance to listen to “Sister” and “Ferris Wheel on Fire,” as well as a 30-minute radio program curated by Mangum himself. Below, check out the Ferris Wheel on Fire tracklist, as well as Mangum’s tour schedule. Past Me is so jealous of Present Me right now.
Ferris Wheel on Fire:
- Side A -
- Oh Sister
- Ferris Wheel on Fire
- Home
- April 8th
- Side B -
- I Will Bury You In Time
- Engine
- A Baby For Pree/Glow Into You
- My Dream Girl Don’t Exist
Jeff Mangum Tour Dates:
09-07 Northampton, MA – Academy of Music Theatre
09-09 Cambridge, MA – Sanders Theatre at Harvard University
09-10 Boston, MA – Jordan Hall at New England Conservatory
09-26 Baltimore, MD – 2640 Space at St. John’s Church
09-27 Baltimore, MD – 2640 Space at St. John’s Church $
09-30 Asbury Park, NJ – Paramount Theatre (ATP)
10-02 Asbury Park, NJ – Paramount Theatre (ATP)
10-03 Asbury Park, NJ – Paramount Theatre (ATP) $
10-27 Woodstock, NY – Bearsville Theater (Woodstock Farm Animal Sanctuary Benefit)
10-29 New York, NY – Town Hall
11-06 Jersey City, NJ - Loew’s Theatre
11-30 Dublin, Ireland - Whelan’s
12-04 Minehead, England – ATP Curated by Jeff Magnum
12-08-09 London, England – Union Chapel
$ with a Hawk and a Hacksaw
Filed under Music News