Watch the Taking Woodstock Trailer Here

You Tube once again disabled a video. So you can watch the Taking Woodstock trailer here. Plus, this one has a good Demetri Martin intro.

I still haven't seen the movie. If you have, let me know what you thought.

In Other Families, This Would Be a Big Fuckin' Deal

First watch this trailer:



The motel featured in this movie is the El Monaco. My grandfather bought the place two weeks after the events of this movie took place. He owned it for 35 years after that, selling it in 2004. He died in 2005, and in 2007, the town tore part of it down to build a clocktower.

I always knew Woodstock took place at Yasgur Farm, close to the El Monaco, but I never knew the extent of the restaurant/motel's role in the logistics of festival planning. In fact, when I first saw this trailer, I thought "Wait, did he just say 'El Monaco'? Could it possibly the same El Monaco that belonged to my crazy Italian family?"

Sure enough it is. And for the record, it looked nothing like the place in the movie.

And sure enough, my crazy Italian family never told me about the place's unique history. I just knew it had a vague connection to Woodstock, nothing my family played up. Crazies. I shake my head.

Quirky Is Not Bad (For Movies)

Ok, I know this comes as no big surprise, but I loved both 500 Days Of Summer and Away We Go. I realize that now the indie film aesthetic has gone mainstream, and there's nothing particularly new or experimental about either of these films. And I'll even admit that the quirk in both films border on cliche.

But here's the thing: Both films gave me what I want from a movie. Good stories, likable characters, funny situations, and some sweet, sad, beautiful moments. I don't really care if it's become cliche. I feel like I got my $8 worth.

500 Days has been criticized for being too much style over substance, and I'll grant that. There's a narrator, a musical number, black and white scenes that try too hard to look like a classic French film. But overall, I didn't really mind. It's also been labeled Nora Ephron for hipsters. So what? Nora Ephron makes romantic comedies that are actually good. While there are cliche elements to the story, [spoiler alert!] Tom and Summer don't stay together. There aren't many romantic comedies that feature a break-up between the leads...

As for Away We Go, I loved it. By far, it was my favorite movie of the summer (although Up comes close). First of all, it features a couple that has been together for a long time and still love each other and have a real friendship. Movies don't show us happy, established couples, and here come Burt and Verona. Plus, the supporting cast all put in great performances, and I particularly loved Maggie Gyllenhal as the crazy, hypocritical hippie. The film manages to move subtly towards poignancy, and while some critics may feel like they were being manipulated, I didn't mind at all.

Sometimes, you want your emotions manipulated a little bit. That's what movies offer us. They don't always have to be realistic or believable. I'm ok with that.

Sin Nombre

Two nights ago, my roommates and I went to see the movie Sin Nombre. It's an indie film in limited release right now and entirely in Spanish. This is first feature film I've seen in months that was actually in it's first-run, wide(ish) release. I've been to see special screenings at the Alamo Drafthouse, but those were small films with one-time showings.

But back to Sin Nombre. It's an intense film that focuses on the intersecting stories of two teenagers trying to immigrate from Central America to the U.S. Willy is on the run from his Mexican gang, while Sayra is leaving Honduras with her father and uncle. While the plot is pretty fast-paced, the film has a strong sense of realism. I left feeling that it was an accurate representation of gang violence and immigration.

I still haven't quite recovered--it's violent and, at times, disturbing. But it presents the characters with empathy and dignity, and the stark realism is, oddly, refreshing. It's worth seeing, although I'm not sure I'll be watching it again for at least several months.

Juxtaposition

I'm ecstatic that Slumdog Millionaire won Best Picture. It was the best movie I saw in 2008 (other than maybe Wall-E, which should've been nominated for Best Picture). I find the criticism somewhat warranted, seeing as the film was made by a mostly British crew.

In that context, I found this story/slideshow (and the comments) interesting. I'm happy to see people in Mumbai's slums celebrating this film, but there is a strange juxtaposition of such great poverty next to glitzy, glamorous Hollywood.

Pop Culture Hypocrisy

Sometimes I wonder if I'm only kidding myself that I'm distinctly high-brow when it comes to pop culture. I like to think I only expose myself to books, movies (or "film" as I like to think of it) and television I can consider art or commentary or above mainstream American appeal.

Who am I kidding?

Let's see - Top Chef, the highest rated food show on cable. The Office, one the most watched comedies on TV. And Juno? The largest grossing indie film in Fox Searchlight history.

I was going to write a post about my "issues" with the Oscar nominations, but the Gaza conflict has started up again, the Congo's death toll is more than 5 million and even here in Austin, the refugee population is rising. And all I can blog about is the Academy Award nominations? Does anyone watch the Academy Awards anymore?

But I'm not going to feel guilty. I think there's enough room in my life for passionate social justice activism and shallow love of media. After all, sometimes a film comes around that changes the way we think. Sometimes, a TV show can give us vital social commentary or even influence the outcome of an election. (Thanks, Tina.)

Now I gotta come back to my original point: Maybe the stuff I watch and read is slightly more ... quality than what most Americans are watching. But a lot of other people are into this stuff, too, and I'm ready to admit that I'm not any better than the mindless masses when it comes to my favorite shows and movies.

There is one specific reason I mention this: I bought Seasons 1 and 2 of 30 Rock, and I can't stop watching it. I spent about four hours yesterday watching Discs 1 and 2 of Season 1. I even had a dream about Jenna arguing with Liz.

Hey! It's Not That Easy Being Green.

Christian Lander strikes again.

On another note, Slumdog Millionaire is an excellent movie. It's a little stuck between cinematic traditions, and it might be a little too westernized. But it's a great movie all the same. Worth your $9.

SXSW Film recap

Here's another attempt at being a film critic. All these films are typical of the festival's indie selections, although these have the distinction of being my favorites. I saw a few others, but they're not worth mentioning.

Otis - A campy horror movie that’s really a political statement, Otis tells the story of a lovable loser who tries to relive the past by abducting teenage girls and torturing them. That is, until one family decides to avenge their daughter and bypass the justice system. Sound funny? It’s hilarious.

Run, Fatboy, Run - This delightful, if predictable, British romantic comedy is already in theaters. It may not be worth full admission price, but if you can’t find a better Saturday night date movie, I’d recommend it. It’s cute in an understated British way and noteworthy as David Schwimmer’s directorial debut.

Medicine for Melancholy - A one-night stand becomes something a little more when two indie kids spend the day together exploring San Francisco. The catch is that they’re black and dealing with the complicated issues of urban life, with the issue of gentrification acting as a backdrop. This is a very pretty film, and San Francisco acts as more than a setting and becomes a third character.

In a Dream - Isaiah Zagar is a mosaic artist in Philadelphia, and his work is featured on buildings throughout the city, particularly on the famous South Street. A documentary directed by Zagar’s son, In a Dream creates an intimate portrait of the artist and his complicated family relationships with. His colorful work helps to make the film beautiful and ethereal. This was the winner of the SXSW Audience Award.

Dear Zachary - This film started as a personal project for filmmaker Kurt Kuenne after his best friend, Andrew Bagby, was murdered. He went around the country interviewing Andrew’s grieving friends and family. Until events took a shocking twist - Andrew’s murderer and ex-girlfriend was pregnant. Kurt then decided to make the film for Zachary, the baby, as a way for him to know his father. But more twists, including a custody battle between Zachary’s mother and grandparents, send the film into new directions. This film is incredibly moving - most people in the theater were weeping by the end, myself included.

Some Assembly Required - Yet another documentary, this one has a lighter subject. It follows teams of middle schoolers as they compete in the National Toy Competition. What’s most fascinating about this film is how the kids grow and become more self-confident throughout their journey to the national competition. Early adolescence is of course awkward, but it’s great to see a film that encourages their strengths - creativity, ingenuity, and belief in the impossible.

I also saw Jesus Camp last week, and hopefully I will have some reactions and comments on that film ready to post within the week. All I will say for now is that it was quite thought-provoking, although not as as "shocking" as the liberal made it out to be.

Small Victory for Art

Sadly, this clip of Glen Hansard and Marketa Irglova accepting their Oscar was taken down from YouTube. It was a beautiful moment.

I cried when I saw this:

Best Movies of 2007

Until November, The Queen was the best movie I had seen in 2007, and it's not on this list because it was released in 2006. (That's why Helen Mirren won her Oscar back in the spring.)

Because I don't go to movies as often as I'd like, I'm currently inadequately prepared to write a 2007 Top 10 Movies list, so this is a Top 5 with some honorable mentions and other lists.

1. Juno. This movie was made for me: quirky yet believable characters, smart snappy dialogue, a darling low-fi indie soundtrack, half the cast of Arrested Development, and a Rainn Wilson cameo. How could I not love this? My one complaint is that Juno, the protagonist, does seem to be a bit too witty to be 16, but that is counterbalanced by her kid-like behavior. Covering themes of growing up, familial commitment, and just surviving high school, this is the best film I've seen all year.

2. Lars and the Real Girl. I thought about this movie for days after I saw it. This bizarre film, about a young man who falls in love with a life-size doll whom he believes is a real woman, is heartwarming without ever becoming sappy. Other critics might disagree with that sentiment, but Ryan Gosling as Lars was one of the most touching (and admittedly awkward) performances of the year. I hope he's not forgotten come Oscar time.

3. Once. I heard about this movie on NPR for about six months before I finally saw it, but it lives up the pretentious public radio hype. It's a low-budget drama about some Dublin street musicians who record an album. That's it. There's a guy and a girl. They (sort of) fall in love and record some beautiful songs, but it doesn't have a Hollywood ending. Refreshing, beautiful, and simple with a soundtrack to match.

4. Ratatouille. Okay, this was probably the best movie I had seen until November. Personally, this is my favorite Pixar movie to date. Remi the rat is my hero, and how could I not love a movie about food and cute animals set in Paris?

5. Superbad. I almost gave this spot to The Darjeeling Limited, but on further thought, I laughed more during Superbad. I laughed a lot. I was also disgusted, but I laughed a lot. Michael Cera is perfectly awkward, and Jonah Hill is … gross. And they captured high school more realistically than most teen movies. And then there's McLovin…

Honorable Mentions:
The Darjeeling Limited
Charlie Wilson's War
Zodiac
The Namesake
Hairspray
Kabluey (I saw this one at the Austin Film Fest earlier this year. It's an indie comedy that has yet to get wide distribution. I'm keeping my fingers crossed for Fox Searchlight to pick it up.)

Biggest Disappointments:
Knocked Up
Harry Potter and the Order of the Phoenix
Transformers
I Now Pronounce You Chuck and Larry

As for the disappointments, I will only say this: I'm disappointed Chuck and Larry was ever made and more disappointed in myself for seeing it. As for Knocked Up, I direct you to my friend Alison's blog, where she has an excellent analysis of both this film and Juno in regards to unplanned pregnancy.

Finally, here are the movies I want to see, ones that will probably be nominated for a zillion Oscars and make my list seem a little irrelevant:
Atonement
Sweeney Todd
I'm Not There
No Country For Old Men

China Blue

I remember the first time I was aware of Bangladesh. I realized it was an actual place with it's own culture, with people who work and raise families and dream and hope. I was 15 and I read a Gap clothing tag.

Sweat shops had always been the fodder for media sensationalism, only noticed in Kathie Lee type scandals. They were distant and far away from me, the budding adolescent consumer who only wanted to wear what her friends were wearing. It was some attempt at self-esteem, but I never thought of the price beyond the dollar amount on the tag.

But I remember reading "Bangladesh." It sounded so exotic, still distant, but somehow real. I didn't know exactly where it was, somewhere in Asia I guessed. I found the family's red World Book letter B encyclopedia and looked up the entry on Bangladesh. It was dated in 1992. Even then, it was poor.

In that moment, I realized someone far away made my clothes and probably didn't make much money for it. Somehow, it seemed wrong and unjust and horrible, but being as self-absorbed as I was, I didn't bother to pursue those feelings of injustice further and put them to action.

It has remained in the back of my mind so that every time I've bought a new piece of clothing and seen the tag, the old feelings come back up. If I let them stir a bit, I'll actually think about the factory worker. I became aware of fair trade in college, but only in terms of coffee. Fairly traded apparel is almost unheard of, and when I can find it, it's always very ethnic looking. I would need dreadlocks and Birkenstocks to pull the outfit together.

I have learned more and more about fair trade in the past two years, especially after traveling to the developing world and working with people who were committed to international social justice. And, honestly, it is trendy right now to be concerned about other countries, to be into social justice, but I wonder if all the buzz will lead to real change. I have to ask: What's the next step? What do we do?

Awareness comes first. This weekend, I went to a fair trade craft festival, which included a screening of China Blue, winner of the Independent Lens Audience Award for 2007. It is a powerful and gut-wrenching real-life portrayal of teenage girls in China who work in a denim factory. They lived in a crowded factory dorm, hardly ever went outside, worked long hours with no overtime pay and lost pay for "misconduct" such as laughing or sleeping on their breaks.

The girls in the movie were not much older than I was when I first looked at the Gap tag. They are babies, too young to be nearly enslaved. All so that we can buy cheap jeans and corporations can make bigger profits. Yet, they have a certain dignity that comes through in the film - they want to work and send money to their families. They take pride in what they do.

I believe fair trade is the answer. There's a lot economic theory I need to read and understand first, but economics, much like science, must be viewed through an ethical lens at some point. If we have compassion, if we can empathize, if we are essentially human, we must address our consumption and ask if the human price is too high.

From there, I believe we can change apparel industry. More on this later.