Courtesy "It Follows"
R.H. Greene says "It Follows," an AFI Fest offering, is easy on the gore, hard on the dread. It tells the tale of an unexplained and murderous shapeshifting entity that is transmitted from victim to victim via sex.
Off-Ramp contributor R. H. Greene is covering AFI Fest for Off-Ramp. Today, he reports on one of the more celebrated recent horror titles at the festival.
"It Follows," a more-artful-than-most teen horror film, broke out at Cannes last year and will be distributed by Radius-TWC (the Weinstein Brothers) in 2015. Very well directed by David Robert Mitchell ("The Myth of the American Sleepover"), the film uses a quasi-Hitchcockian approach — easy on the gore, hard on the dread — to tell the tale of an unexplained and murderous shapeshifting entity that is transmitted from victim to victim via sex.
This post-coital demon can take any shape, and slow walks implacably toward whomever is the latest victim in the chain. The only way to find respite from the monster's scary intentions is to remove yourself at a vast distance, and then pass it on through intercourse before it catches up to you.
Tuesday evening, a new Western directed by and starring Tommy Lee Jones premieres at the AFI Film Festival in a gala screening. R. H. Greene, who is filing from AFI Fest for Off-Ramp, saw the movie early so he could give you his thoughts.
We are far enough along in what could be called the Tommy Lee Jones Western Project to know it's an eccentric one.
A passionate amateur historian with a special interest in the history of Texas, Jones' deep knowledge of the Old West seems to drive him toward the margins of the form. With the arguable exception of "Lonesome Dove," Jones simply does not play archetypal Western heroes. Instead, he gives us the half-and-half shaman/cowboy of director Ron Howard's "The Missing," or the fraught and despairing Texas sheriff Ed Tom Bell in the Coen Brothers' downbeat classic "No Country for Old Men."
Mike Sheehan, the world's only public radio sketch artist, covered election night in Orange County.
I spent election night watching the results at the victory party held by the The Republican Party of Orange County at the Westin South Coast Plaza Hotel. It was a foregone conclusion that they were going to win seats.
These things always remind me of a high school dance: quickly decorated banquet hall, people dancing and, in this case, even an '80s cover band (they weren't bad). People broke into their respective groups, caught up and have a few cocktails. There was a big screen running Fox News and there were cheers every time a win came in.
But I was stuck at how low-key it was. Not the snark fest you usually get on the winning side. Not even a lot of the usual political networking chatter. It felt like what it was: "We got it done so let's hang out and have fun." And there wasn't much anticipation, since it rolled out the way the polls said it would, for the most part.
Courtesy of The Broad Stage
Joseph Marcell as Lear.
Off-Ramp's Marc Haefele reviews Shakespeare's "King Lear," the Shakespeare’s Globe Theatre production, at the Broad Stage in Santa Monica through Nov. 16.
The story is a cry out of the darkness of mankind’s deepest mythic past: an old man’s senile judgment and passionate rage destroy all those who love him, and even those who hate him.
The old English chronicles date the tale of King Lear back to the times of Homer and Elijah. But, in Shakespeare rendering, it remains as modern as tomorrow.
The great critics call "Lear" Shakespeare’s greatest play. It’s certainly his most involving tragedy, dragging the spectator deeply into its emotional and physical horrors. But it is also spiced with little doses of wit and even fun right up to its immensely saddening conclusion.
The Shakespeare’s Globe Theatre production of London’s “Lear” at Santa Monica’a Broad Stage somewhat overdoes the lighter end of things. Joseph Marcell in the title role works mostly in the upper register of his acting range, but then that is where the author places his character. His transition from patronizing indulgence to rage toward his faithful daughter Cordelia is massively unnerving, setting the pattern for his performance’s long descent into loss, utter deprivation and, finally, outright madness, followed by the parent and daughter reconciliation scene that is the mirrored reversal of his terrible rejection. Marcell’s is an intensely physical performance, very much in the spirit of the SGT’s entire production.
Witch Hazel makes her Looney Toons debut in "Bewitched Bunny."
It's not officially Hallowe'en until you've re-watched "It's the Great Pumpkin, Charlie Brown." But the special only runs a half-hour, so here are some suggestions for additional viewing — laughs and shivers that should help burn off the trick-or-treat sugar rush.
For all ages:
The Skeleton Dance
Walt Disney launched the "Silly Symphonies" in 1929 with this plotless graveyard romp. Eighty-five years later (!), the antics of the rubbery skeletons still get laughs. Disney has issued the film in its first “Silly Symphonies” collection.
Ub Iwerks, who animated "Skeleton Dance" almost single-handedly, returned to bony characters in this eerie 1932 cartoon. The story makes no sense at all, but Flip's awkward tango with a skeletal belle is a hoot. There’s no definitive set of the Iwerks films, but they’re available on various anthologies, like this one on Amazon.