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A Halloweek Love Story
RVA TV produced a commercial for next weeks Halloweek 2010! Have you checked out all of our events through the week yet?
VCU 1977 by Glenn Hamm
Glenn Bruce Hamm Jr. - born May 30, 1936 in Dayton, Ohio was a noted artist who worked and lived in Richmond, Virginia. He had a BFA and MFA from Carnegie Mellon, and a Ph.D.
RVA TV: Santo Diablo! by Joey Tran
A comedy in the tradition of Double Indemnity and The Lost Weekend, Santo Diablo! is the story of a young man, driven mad by guilt and paranoia after stealing a can of chili, who becomes convinced that his roommates are plotting to kill him.
Local filmmaker Joey Tran has been making comedies for years, you can see more of his work at www.vimeo.com/metimo.
DAILY FIX: The Bear
Lil' Bear laid down in the grass today and spent time with his butterflies and mushrooms.
Get Up. A Documentary about Richmond Graffiti PT.2
In the fall of 2009, Virginia Commonwealth University students Emma Ellsworth, Kenyatta Watts and Nathan Madden walked into a documentary film class as strangers—not only to each other, but to the art of film-making as well. The trio quickly developed an idea, narrowed a focus and began developing an outline for their film that was tentatively expected to explore the graffiti culture in Richmond.
In the three-months that followed, the trio worked diligently to learn all they could about graffiti’s history, purpose and perception. The team had no delusions that they would create the first film of its kind, as each knew graffiti has been well documented. The only hope was to produce a film that introduced graffiti in a different light and informed audiences from all cuts of cloth about an art form that is, at its roots, controversial yet beautiful. Their final product, 'Get up.' aired on PBS in January.
RVA Sessions w/Duchess of York
For years I've heard people at their shows mention how unbelievable it is that they are unsigned. Their sound becomes more and more polished and we await their return to the stage as they are now locked in a room writing us new material. Directed and edited by our own Ben K Muri. - Jonathan
Resident Evil: Afterlife
While the typical progression of films in a series sees each successive movie getting worse than the one that preceded it, the Resident Evil series has managed to buck that trend with its most recent installments. Resident Evil: Afterlife is the fourth chapter in the series, and it is also the best. Perhaps this can be attributed to the return of Paul WS Anderson to the director’s chair after he directed the first film in the series, but dropped back to producer for parts two and three. Though he is not usually counted among master filmmakers of today, the vast improvement of the latest installment over the previous entries must make us wonder if there was some aspect or vision that other directors were unable to translate from Anderson’s writing. It sounds unlikely, but Afterlife delivers a superior story and far exciting action sequences than any of its predecessors.
On RVA TV: GET UP. - Part 1 - RVA Graffiti Scene
In the fall of 2009, Virginia Commonwealth University students Emma Ellsworth, Kenyatta Watts and Nathan Madden walked into a documentary film class as strangers—not only to each other, but to the art of film-making as well. The trio quickly developed an idea, narrowed a focus and began developing an outline for their film that was tentatively expected to explore the graffiti culture in Richmond.
In the three-months that followed, the trio worked diligently to learn all they could about graffiti’s history, purpose and perception. The team had no delusions that they would create the first film of its kind, as each knew graffiti has been well documented. The only hope was to produce a film that introduced graffiti in a different light and informed audiences from all cuts of cloth about an art form that is, at its roots, controversial yet beautiful. Their final product, 'Get up.' aired on PBS in January.
Our interview with one of the three film-makers Nathan Madden…
RVA TV: What was your connection to the graffiti scene that led you to document it?
NM: Heading into this, I had zero connection to the graffiti scene. Sure, I was an observer of the tags and graffiti pieces that I had seen around town, but I was unaware about what happened behind the scenes. I was completely blown away when I traveled to secluded areas where graffiti artists had done elaborate pieces. Vandalism, illegal, whatever … the real art isn't scribbled on the sidewalks and street signs. Some of the work out there is very impressive and is being thrown up in completely harmless places. It became clear to me that the more respected and talented artists pick their spots carefully. I think the graffiti we generally see around town—with the exception of a few pieces—doesn’t really do justice to what some of these people are capable of.
RVA TV: How was it collaborating with 2 other film-makers?
NM: This film was absolutely a group effort, and not just between me, Kenyatta, Emma and Kristine [executive producer, documentary instructor]. The artists who took the time to answer our questions really made the film possible. They all put themselves out there to try and help us understand something that is just completely over our heads. I think we all agree that our film serves as a good introduction to graffiti, like a Graffiti 101, but only scratches the surface.
RVA TV: What have you learn that you did not know before?
NM: I certainly look at graffiti differently now than I did pre-film. There is still so much that I don’t get, but I am aware of elements to look for. There are certain names now that jump out at me, certain tags … before making this movie I never would have noticed this stuff. I’ve been out fishing by the river and seen names on overpasses and bridges. It’s pretty interesting to see how much these people are putting their names out there.
RVA TV: So what can we expect in the future from you?
NM: I'd love to work on more short documentaries. I majored in journalism and currently work in print, but I definitely seek out opportunities to use film to supplement writing. The film equipment we had while I was in the School of Mass Comm at VCU wasn't always the most reliable, but damned if I don't miss having access to that stuff. All I have access to now is my dated laptop that doesn't really support editing software, so the video camera my folks gave me for graduation hasn't gotten a lot of use. Like most people these days, I'm pretty broke. I certainly intend to eventually invest in a more high-powered computer so that I can edit together videos for my friends bands, cookouts, outings and whatever else I might feel compelled to splice together. I just want to take on little projects that keep my skills sharp.
FILM REVIEW: Machete
The story behind the making of Machete, the new film from director Robert Rodriguez, is an unlikely saga leading to an uncommon movie. Fifteen years ago, while Rodriguez was making his breakout hit Desperado, he was also writing a script to star his friend, Danny Trejo. That script became Machete, but Rodriguez shelved it in order to pursue other projects. Then, in 2007, Rodriguez decided to use the character for a fake trailer segment in Grindhouse, his joint project with Quentin Tarantino. The reaction to the fake trailer, which depicted little more than the scary looking Trejo cutting up bad guys and shooting a motorcycle mounted machine gun, was so positive that Rodriguez decided to finally make the project into a feature length film. The result is a film full of the off-the-wall action promised by the fake trailer that surprisingly delivers a timely political statement about Mexican immigration to prove that thought went into the writing.
RVA TV: Best Friends Day The Movie - Part I
If you only watch one RVA TV video in your life, make sure it is this one.
It's Richmond's favorite day of the year and now favorite weekend. It's Best Friend's Day 9!! Our coverage takes you from the opening concert to the lake where this video starts to take on a girls gone wild at a judas priest concert parking lot kinda feel. Join our hosts Ashby and Jesse on this tour as they show how much our cameras love drunk people!
Best Friend's Day 9 VIDEO WRAP UP PARTY
We bring you the best of the BFD 09 videos done by people in the community. Cue the music.
FILM REVIEW: Piranha 3D
It is pointless to criticize a movie like Piranha 3D. Kitschy, hyper-violent creature features like this are meant to be comedies more than horror films. The filmmaking team clearly had set goals in mind: Have plenty of bloody violence, show a lot of breasts, pack in some funny cameo appearances from some old stars, and make as ridiculous a film as possible. They succeed on every point of the list. If you do not want to see the things on the list, or if you want anything else besides what is on the list, do not see this film.
FILM REVIEW : The Expendables
The Expendables should come with a disclaimer that goes something like this: Warning: The film you are about to see is made for GUYS by GUYS who make movies for GUYS, movies that feature lots of GUYS doing things that GUYS like to see other GUYS doing in movies that are made almost exclusively for GUYS.
In all honesty, girls who like action films should have a great time here as well, but there is enough testosterone on display in The Expendables to incite aggression and perhaps even violence within the theater. Watch yourselves.
Make no mistake, this is not an insightful and thought-provoking film about the brutal realities of war. This is not a tense, gripping account of a siege wherein authenticity and suspense illuminate the bloody toil of an all-consuming power struggle. No, this is an adrenaline-soaked balls-to-the-wall action film that delivers roughly 100 minutes of gleeful carnage. All this glorious mayhem takes place in a rambunctious landscape populated by ultimate badasses who are so utterly macho that each of them borders on being a caricature. Yet the film succeeds from start to finish because Sylvester Stallone is a truly gifted director who knows exactly what he wants to accomplish. A wonderful cast, a rocking soundtrack, and some truly fantastic choreography backed by spectacular effects give him all the tools he needs to provide audiences with a damn good time at the theater.
TOP 5 FILMS: Zombie edition!
So, I’m scoping out the latest happenings on RVA when I start seeing zombies. I don’t mean that zombies had invaded my home, mind you, but rather that there were zombies on my computer screen. You can probably connect the dots. If you guessed that these gore-soaked fiends led yours truly to the conclusion that it was time for a Top 5 Zombie Films, you* can promptly move to the head of the class. You should have seen the title of the piece prior to reading this paragraph anyway, so if you came to a different conclusion maybe you should come back once the room stops spinning.
Ever since George Romero unleashed the living dead on cinema patrons in 1968**, zombies have been a constant presence in the horror genre. For whatever reason, zombie films have always ranked among my favorite sub-genres, and there have been a number of significant offerings in that vein over the years.
As I write this, A&E is developing a television adaptation of Robert Kirkman’s comic book sensation The Walking Dead. With Frank Darabont at the helm and Greg Nicotero handling effects, this series is building a lot of anticipation throughout the horror community. The show will debut in October, not long after the latest Resident Evil, a 3D spectacular with the surname Afterlife, hits the big screen.
Zombies are apparently as relevant now as ever, and I have to wonder if Peter was right after all. In the original Dawn of the Dead, when an exasperated Stephen asks Peter what the zombies are, Peter coolly replies: “They’re us.” Whether he was right or not, they’re definitely here to stay. What follows are the results of another agonizing debate, as it’s time for me to unveil my Top 5 Zombie Films. Let the gut-munching commence!
1 ) Dawn of the Dead (original) - 1978
So visionary and thoughtful that even now, some 32 years after the fact, it’s still damn impressive. It’s also a testament to the creativity and the iron will that make George Romero the director he is. No one says: “Screw the MPAA, we’ll release the damn thing unrated”—no one except George, that is. No one else could capture the goriest satire and perhaps one of the most profound statements on commercialism ever on film. No one else would be able to dig so deeply into the premise, lovingly examining each character and the fragile relationships they share. No one else would bring us the heartbreak that comes as a result of watching these determined survivors struggle, facing off with both the undead and their futile attempts at trying to pretend things really aren’t that different from before when there aren’t zombies knocking down the door. This film has a little bit of everything, to include terror, drama, humor, and suspense, but I think it functions primarily as a character study of the highest order. It should be noted that none of the leads are established stars, though Ken Foree has had a nice career and is currently enjoying a bit of a resurgence thanks largely to Rob Zombie. Regardless, that doesn’t stop these thespians from putting on a hell of a show, and though of the four characters the piece centers on are amazingly complex, none of the performers fails to deliver. Tom Savini also shines in a small
but crucial part, and his effects work is still impressive to behold. That man is a true wizard within the industry, and his importance to the horror genre can’t be overstated. I sometimes wonder if this was his finest hour. It was certainly Romero’s best film, and it is easily the finest zombie film of all time. I greatly enjoyed the remake, but this is a film that will never be topped, at least so far as originality and depth are concerned. DOTD is a true juggernaut that hasn’t lost a bit of its magnificent scope and clearly remains one of the most introspective horror films of all time.
BEST OF THE WEB: FreddieW's Psychedelic Action Scene
Ever hear a hippie talk about "what if guns, you know, like, shot flowers in stead of bullets, man? Wouldn't be the world be beautiful if, like, that happened?" Apparently, YouTube awesome-maker FreddieW decided to put that theory to the test with this fantastic video. From his production blog:
This one was basically Brandon thinking “what if we did red flower petals as blood hits?” because it would let us be ridiculously violent, yet not appear so because it’s, well, flower petals. We went from there – sunflowers for muzzle flares, flowers shooting up with the ground hits, general 70s look and vibe (although the G36 is most definitely not a gun from the 70s). Once we got the VW Bus, it was on.
He shot it on a Canon 7D. His website has great notes on how he shot the video and all of his videos are pretty damn awesome.
Geekity Speakity: Scott Pilgrim Vs. The World
Our crack team of reviewers JMO (Justin O'neill), KMO (justins wife kim) and the Furi (i suspect you know who that is) (pronounced "fury," not "furry") take a shot at Scott Pilgrim Vs. The World in this week's Geekity Speakity.
And here's the trailer:
CULT CLASSICS FROM DIMNENSION X: Vice Squad (1982)
Cult Classics from Dimension X:
Vice Squad (1982)
There are all kinds of classifications for films based on the reception they find upon release, to include blockbusters, sleepers, flops, and one of my personal favorites, cult classics. Cult classics are films that don’t find mainstream success, but are fortunate enough to stumble upon a rabid legion of devoted fans nonetheless. Cult Classics from Dimension X will examine one such film each week, evaluating both the strength of the piece and the various merits that have inspired some film buffs to memorize their favorite lines and perhaps even model their appearance or even their lifestyle after a particular character.
It should be interesting to see what we find from week to week, as some cult classics are awful movies that audiences enjoy because they’re so outrageously bad, while other cult classics are fine films that were simply overlooked by mainstream audiences. Regardless, the tales should be colorful and the films should be intriguing, so let’s kick this column off by taking a look of one the best cult classics ever filmed.
Let’s talk about Vice Squad, the masterful thriller that gave Wings Hauser the best role in his lengthy career, a role he played to absolute perfection. Hauser is billed third, yet he clearly steals the show as Ramrod, a vicious pimp who is the villain of Vice Squad. Ramrod is a true scumbag, but Hauser is so unbelievably powerful in the role that by the time we reach the closing reel there can be no doubt that this is Ramrod’s story. In fact, Hauser’s lunatic pimp is so dogged and so focused in his efforts that he has become a figure that some fans of the film openly root for despite his deplorable actions and his psychotic behavior.
The picture unfolds during a single night in Hollywood, where the "Vice Squad: of the title is on the prowl. This gritty unit is led by Gary Swanson as Detective Tom Walsh, a 13-year vet of the force who is as close to burning out as any cop could possibly be right before his career goes up in flames. When Walsh comes upon yet another of Ramrod’s victims, he goes to gruesome extremes to convince an unwilling working girl by the name of Princess to set a trap for the demented pimp. Princess is played by Season Hubley in what may have been her best performance, allegedly drawing on the difficulties she incurred in the bitter custody battle with her estranged husband (Kurt Russel) that was wreaking havoc on her life while Vice Squad was shot in 1982. Reportedly, Hubley encouraged director Gary A. Sherman to make good use of her distress during the film’s gripping finale, and it should be noted that she rises to the occasion and matches Hauser’s incredible ferocity during that violent struggle.
Walsh convinces Princess to wear a wire, and before long he has his man. Ramrod vows to kill the double-crossing call girl, and of course it doesn’t take him long to escape police custody. Then it’s up to the vice squad to keep Ramrod from getting his hands on Princess and making good on his promise, but this time the unit’s quarry clearly knows the neighborhood better than they do. Ramrod doesn’t have a bankroll or any technological means to track his prey, but he does know the streets. He also knows a lot of hoods and freaks, people who are either willing to help him find Princess or too scared not to. As Ramrod lights up the night in a suicidal quest for vengeance, Walsh and his men do everything in their power to locate either the deranged pimp or the oblivious Princess, who doesn’t even realize Ramrod is loose again until it’s already too late.
Throughout, Hauser rages across the screen, investing everything in a part that could have been very familiar in another performer’s hands. His zeal and his devotion make Ramrod a vibrant character who threatens to leap off the scream and come charging into your living room. Though Wings has had a long and fruitful career, including a role in Michael Mann’s The Insider, this performance (as well as roles in films like Tough Guys Don’t Dance and A Soldier’s Story) makes one wonder whether or not he didn’t deserve better roles in better pictures than the B-rate cheapies he later became famous for. He’s on fire here, and he is the probably the primary reason so many people hold this little powderkeg near and dear to the heir hearts. He certainly offered a lot to the production, as in addition to his bravura performance, Hauser also performs the vocals for the picture’s theme song, Neon Slime, which is played over both the opening and closing credits. In truth, his acting is far superior to his singing, but the song is interesting at the very least, and Hauser had cut a record, 1975’s Your Love Keeps Me Off the Streets, so he has some talent.
Vice Squad is a very entertaining piece that moves quickly. This is largely due to director Gary A. Sherman, who cut much of the script that didn’t directly pertain to Ramrod’s pursuit of Princess in pre-production. Sherman also spent a lot of time with actual policeman who worked in vice to prepare for the piece, as did star Gary Swanson. In addtion to Vice Squad, Sherman directed Raw Meat and Dead & Buried, both of which are cult classics in their own right. Though much of his later work came in television, Sherman’s early films are well-made outings with tight plots and rapid-fire pacing, leading one to ask the same questions of his career trajectory that we might ask of Hauser’s legacy.
In closing, Vice Squad is definitely a winner, and Hauser, Sherman, Swanson, and Season Hubley all make the most of this seedy journey into Hollywood’s underbelly. I treasure this film, but as an avid fan of Wings Hauser that shouldn’t come as a surprise. Those who are unfamiliar with this brazen performer may find themselves taking an interest in his work after watching this film, but in all honesty this is probably as good as it gets for the man named Wings. If you haven’t seen Vice Squad, I strongly encourage you to do so, as this film is a great example of a true cult classic. It is fun, frantic, and offers a nice alternative to many of the less audacious crime films available to fans of such pictures.
Author’s Note:
This picture also boasts one of the funniest scenes I have ever beheld, an absurd little gem that has absolutely nothing to do with the plot itself. I call it “The Paperclips Scene,” and it centers on an illogical and altogether hilarious police station rant about missing paperclips courtesy of an angry cop who is never seen again in the film. That bit certainly stands out, but Vice Squad is positively brimming with memorable bits of dialogue. Perhaps no line has been quoted by fans of the piece so much as the infamous “$500 don’t get you no El Dorado.” Check it out and you’ll understand, and if you don’t laugh during The Paperclips Scene, you might want to check for a pulse.
Vice Squad Trivia!!!
Reportedly, the film is at least partially based on actual vice squad cases that originated in the film’s Hollywood setting. Indeed, the screen credit for Kenneth Peters is allegedly a pseudonym for the LAPD detective who opened his files for the production.
A young Martin Scorsese was allegedly a big fan of the film, reportedly going so far as to advise Dawn Steel that in his opinion Vice Squad was the year’s finest film. This exchange supposedly occurred at an official Paramount dinner function.
Though it has never been confirmed, many feel this 1982 film (concerning the dogged pursuit of a woman by a ruthless madmen over the course of a single night) may have been one of James Cameron’s influences when he sat down to write The Terminator, which was released in 1984.
As Detective Walsh, Gary Swanson utters the line “Go ahead, . . . make my day.” A year later, Clint Eastwood would make the line famous as Dirty Harry Callahan in 1983’s Sudden Impact.
By James Wayland
Indie film trailer/event: The Man Who Would Live
A buddy of ours sent this in:
Last year, after ten good years in the advertising business, David McKay decided to throw caution to the wind and go full steam ahead into the world of filmmaking. He believes that working on countless TV commercial shoots, directly with high profile film directors and actors, has helped him parlay his talents into film rather seamlessly.
He’s written and directed a few shorts and is now moving forward with production on The Man Who Would Live, which he hopes will be the gateway to something bigger and brighter. David and his crew of local filmmakers are currently casting, scouting and raising money to film the short in the upcoming months and eventually submit it to film festivals across the country as a representation of Richmond, VA film.
The first fundraiser will be held Wednesday, August 4th at The Fanhouse. There will be various drink specials, in addition to ways to donate additional funds or assistance to help the cause. More information on getting involved, donating money, future events, and the production progress can be found at http://themanwhowouldlive.blogspot.com/
FILM REVIEW : Inception
Going into Inception, I was keeping a cautiously optimistic attitude. Christopher Nolan, the writer and director, always makes excellent films, and Leonardo DiCaprio, the lead actor, is running on an almost ten year hot streak. That said, I was still concerned about how well Nolan would be able to transition from his recent reboot of the Batman franchise to an original work. It took about five minutes for this movie to put all my fears to rest. It would be a difficult to focus on lingering concerns while such an immediately engrossing movie is playing. This is the kind of film that completely absorbs the viewer with a brilliant plot and dynamic visual effects. You cannot look away, you cannot think about anything else, and Nolan rewards this attention from start to finish.
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