In a look back at the year of film that was 2012 we take a look at the state of the art (digital vs film) in terms of shooting a film and projecting that film. In a general election year we got to see the rise of the republican political documentary (2016: Obama's America). How to determine if you had a good year or bad year of film viewing. A quick look at the female roles in 2012 as well as the thriving American independent film scene.
Films of Note
West of Memphis
Mea Maxima Culpa
The Invisible War
How to Survive a Plague
Last Call at the Oasis
The House I Live In
A Royal Affair
God Bless America
On the Road
Safety Not Guaranteed
Beasts of the Southern Wild
The Perks of Being a Wallflower
CrimethInc. Ex-Workers Collective, Citizens United, As-Sahab and Participant Media. Or to describe them another way-by their political ideology-in the same order; Anarchist Activists, Religious Extremists (Republican), Liberal Progressives and one more Religious Extremists (al-Qaeda).
The final wrap up for the 2012 Cleveland International Film Festival. Over 85,000 people in attendance for over 320 features and shorts. Under African Skies, Missed Connections, Beauty is Embarrassing, Finding North, Bill W. and Best Intentions are the winners for this year.
Attendance is growing and looks to his capacity on the weekends within the next few years. Some more Audience Award guesses as well as a look at some fantastic documentaries from Kenya, France and the USA.
This Dispatch covers days 3 and 4 of the Cleveland International Film Festival - well not really covering the day so much as talking about 3 films (7 if you count shorts). Drive-In Movie Memories - Rent-A-Person - Validation - Slow - The Phone Book - No Room for Rockstars - Headhunters (Norway).
Ahhhhhh, it's back - The Cleveland International Film Festival! 11 days of international films and amazing documentaries from around the world. In Dispatch 1 we look at how to open a film festival (Nesting), Ethan Hawke goes French (The Woman in the Fifth), why Diane Keaton films have no place at an international film festival (Darling Companion), a Kazakhstan space comedy (Baikonur) and how not to end your at the festival (Tyrannosaur).
As Justin and Aaron warp up the sh*t year of 2011, they try and do it on a happy note. Justin joins Aaron in awarding Winnie the Pooh as one of the best films of the year. Conan O'Brien Can't Stop is dissected and exposed for the overblown, strung together web series that it was. Aaron proposes a Martin Scorsese line of 3D glasses that already exist, but without his name on them. Prom vs. Bully. Aaron gushes over some great American Indie films like Our Idiot Brother, 50/50, Bellflower, Martha Marcy May Marlene and Justin joins in with praise for Red State. As Justin gets drunker and angrier and a little quitter, Aaron names The Black Power Mix Tape 1967-1975 as the film that just beat out The Interrupters and Paradise Lost 3: Purgatory as his favorite film of 2011. Then Justin lets his fury go with his rationale for why there won't be any more theatres
-Once again the most attended films worldwide were devoid of anything resembling originality (shocking).
-Netflix apparently decides to let a 12 year old run the show for a while.
-Tom Hanks puts out two films that even bored, white housewives don't care about.
-The Digital Revolution finally takes hold with over 50% of screens in the US converted.
-Pixar finally makes a shitty film.
-Atlas Shrugged Part I proves that aiming for the Tea Party demographic is not a way to recoup your budget, let alone finance Part II.
-And, finally, the comedy genre may have a lot of original screenplay's, however, the emphasis is clearly on the second word.
Up next week: Aaron's favorite films of the year and the couple of films that Justin hates the least.
Christian Bale spends over 16 hours with a CNN crew tracking down a Chinese man on house arrest and Johnny Depp spends Halloween night with the Obama's at the White House, with decorations provided by Tim Burton of course. Then, after Name That Trailer, Aaron explains why there is no difference between the Claudette Colbert/Cecil B. DeMille version of Cleopatra and Roland Emmerich's 2012.