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January 19, 2018

SouthBites Update: Introducing Roasters Village and Three New Trucks

SXSW Roasters Village

In collaboration with Sprudge, the Official Media Partner of Roasters Village, SXSW is thrilled to welcome the specialty coffee and tea industry in 2018 with the introduction of Roasters Village in the SouthBites Trailer Park. Curated to feature the top brands in the growing industry, this exhibition will run daily from 11am-9pm, March 10-12.

Come taste, touch, and smell some of the best names in the coffee and tea biz. Here’s a sneak peak of the vendors that will be in Roasters Village:

Three New Food Trucks

In addition to Roasters Village, we are delighted to announce three more food truck additions to the SouthBites Trailer Park: Bodhi Viet Veggie Cuisine, OneTaco, and Ranch Hand.
This brings the total number of food trucks in the lot to 14. If you missed the last announcement, you better go peep that list and get your taste buds ready for March.

SouthBites Trailer Park is open daily from 11am-midnight, March 9-17.

Bodhi Viet Veggie Cuisine


Peace begins on your plate. Our goal is to spread this message through tasty, meat-free and meat-alternative Vietnamese cuisine. We are a group of local Buddhist nuns who believe that wholesome vegetarian food is the key to a peaceful and healthy lifestyle. We seek to spread basic principles of wisdom and peace through fresh and affordable food.

OneTaco


OneTaco co-owners Tony Avila and Axel Beverido aim to bring a traditional Mexican Taqueria to the city. “What you want to do is perfect them and make them taste as best as you can and work on your environment. It’s not about experimenting. It’s about being true to the tradition.” OneTaco opened a food truck in November 2009 off 6th Street in downtown Austin. In June 2016, OneTaco opened their first brick-and-mortar location.

Ranch Hand


Ranch Hand was started by two Texas MBA students who believe meat from Texas ranches is too often showcased in an unhealthy way: think BBQ, Tex Mex, or cheeseburger joints. Ranch Hand flips the script and showcases Texas proteins in a healthy, sustainable way. Take their “Cilantro” bowl for example, which features ground Akaushi meatballs from HeartBrand ranch, organic avocado, organic mixed greens, watermelon radish, cucumber, black beans, grilled corn and a garnish of cilantro, served with a lime-jalapeño vinaigrette.

The post SouthBites Update: Introducing Roasters Village and Three New Trucks appeared first on SXSW.

Source: SxSW Film

January 19, 2018

Cyber Extortion, Social Media Music Licensing, and Ethics: CLE Track Sessions for SXSW 2018

Dive into hot-button legal issues across the music, film, and emerging technology industries. The Continuing Legal Education or CLE Track at SXSW offers 12 hours of accredited sessions – including 1 hour of ethics – available at no extra cost to SXSW registrants. Explore some of the most notable CLE sessions for SXSW 2018 and be sure to add our session recommendations to your schedule.

According to SXSW Programmer Adam Wode, “With speakers from a number of different companies across the music, film, and interactive worlds, the CLE Track epitomizes SXSW’s Convergence programming. Legal experts from Twitter, Sundance Institute, Sony Music, Facebook, and Musical.ly will share their insights and expertise.”

Discussions range from OTT video deals, licensing music for social media, cyber extortion, and much more. Join us for the CLE Track from March 15-17 during SXSW Convergence programming. SXSW Convergence programming features a range of topics that straddle the cultural and technological intersection at the heart of SXSW with primary access granted to all SXSW Badges.

If you’re a law student, faculty or staff check out our student and staff discounts for SXSW badges. If you’re interested in larger university focused initiatives, reach out to sales@sxsw.com.

CLE Session Highlights

Cyber Extortion: Doing Business With Crooks

Speakers: Elizabeth Cookson (Kivu Consulting Inc), Bart Huffman (Reed Smith LLP), Wendell Bartnick (Reed Smith LLP), and Benjamin Stone (Federal Bureau of Investigation)

Cyber extortion (typically but not always using ransomware) has become a billion dollar “business.” Individuals and companies of all sizes and industries are vulnerable. For health, safety, and financial stability reasons, regulators have heightened expectations for data “availability” as a critical component of security. In the digital arena, as elsewhere, disaster recovery and business continuity have a seat at the head table for incident response planning purposes. Panelists will discuss how to deal with a cyber extortion situation, how things are likely to go down if a decision is made to pay, what you may wish you had done or thought of, and what the law and law enforcement have to say about doing business this way.

Add to Your Schedule

TV Goes OTT: Video Deals in an Age of Cord Cutters

Speakers: Matt Heckman (Twitter), Gabriel Fleet (Greenberg Traurig LLP), J. Christopher Hamilton (The Black Group), Michelle Skinner (Sundance Institute), and Tonya Rutherford (Verizon FiOS Tv And go90)

As more and more consumers decide to forego cable subscriptions in favor of “over the top” streaming offerings from the likes of Netflix, Hulu, and Amazon, digital video distribution deals have become increasingly important to the bottom-line of the entertainment business. This trend has surfaced a host of unique challenges that could never have been contemplated in the prior Golden Age of Television. This panel of experienced legal dealmakers will explore some common, hot-button legal and business issues associated with the structuring and negotiation of complex agreements in this evolving space.

Add to Your Schedule

Licensing Music for Social Media: A Perfect Storm

Speakers: Bobby Rosenbloum (Greenberg Traurig LLP), Tracy Gardner (Warner Music Group), Neil Miller
(Facebook), and Ted Suh (musical.ly)

As full-catalog streaming services have become more of an institutionalized business model and the core of the recorded music industry’s business, there is a new horizon of opportunities as music becomes integrated with social media. That said, the emerging social media models often push the limits of traditional music licensing, and new concepts are needed where the law has not adequately contemplated the new world order. This panel will feature some of the innovators and thought leaders in the space and will focus on the complex legal, business and licensing issues that have confronted service providers.

Add to Your Schedule

Browse All Continuing Legal Education Sessions

Crossover Track Recommendations

Make the most of your time at SXSW and learn from SXSW sessions across all 24 Tracks of Conference programming. These recommended sessions are outside of the CLE Track but will interest any SXSW attendee.

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Purchase your SXSW Badge and reserve your hotel today to experience these sessions along with 10 days of screenings, showcases, exhibitions, networking, and more this March 9-18 in Austin, TX. Take the Tracks Quiz to discover which badge will suit your needs. Attending SXSW with a group of (10+)? Complete our SXSW Group Registration form to get started and find out more about group discounts.

Already have your badge? Learn how to upgrade to Platinum for primary access to all of SXSW and then begin building your 2018 SXSW Schedule.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

Teaser Photo by Jay Nicholas

The post Cyber Extortion, Social Media Music Licensing, and Ethics: CLE Track Sessions for SXSW 2018 appeared first on SXSW.

Source: SxSW Film

January 18, 2018

American Music Abroad Now Accepting Applications to Tour the World

American Voices Abroad

From a Detroit-based hip-hop group collaborating with musicians in a studio in Madagascar to an L.A. rock band playing clubs in Minsk, Belarus, American Music Abroad (AMA) provides life-changing opportunities for U.S. bands to travel the globe.

The program, an initiative of the United States Department of State’s Bureau of Educational and Cultural Affairs, sends American bands from all genres on fully-funded month-long tours, focusing on countries with little or no access to live American musical performances.

Since it began in the 1950s with Louis Armstrong’s tour of Africa and Eastern Europe, AMA has focused on Cultural Diplomacy, creating person-to-person connections through performances, workshops, and collaborations.

Bands must contain between 3–5 members, and all members must be U.S. Citizens. We encourage groups in any characteristically American genre to apply, including those who span multiple genres or who may not find a genre that accurately describes their music.

Sound like your thing? Applications are being accepted through January 21 for the September 2018-May 2019 Touring Season. Apply now for your chance to perform, educate, and collaborate with musicians around the globe.

Questions? Email ama@americanvoices.org.

Content and image provided by American Voices Abroad

The post American Music Abroad Now Accepting Applications to Tour the World appeared first on SXSW.

Source: SxSW Film

January 18, 2018

Futuristic Kitchens, Transforming Wine, and Plant-Based Meat: Food Track Sessions for SXSW 2018

Join the food community’s most inspired entrepreneurs, chefs, data scientists, investors, filmmakers, and enthusiasts this March to learn and discuss the ways in which technology continues to transform the food industry. The Food Track programming at SXSW focuses on innovation and technological advances across the entire food industry. Get a taste for some of the most exciting Food Track sessions for SXSW 2018 and be sure to add our session recommendations to your schedule.

One question is constantly brought up within Food programming; How will we feed the world’s population in 2040? At the current rate, we will not be able to grow/produce enough food to feed the booming global population. According to SXSW Programmer Adam Wode, “A number of sessions within the Food Track aim to tackle this question through innovative solutions. Discussions range from practical uses of artificial intelligence technology in agriculture to sustainable fishing methodologies, as well as a deep look into how chefs are fighting against food waste.”

Dive deeper into the Food Track from March 12-14 during SXSW Convergence programming. SXSW Convergence programming features a range of topics that straddle the cultural and technological intersection at the heart of SXSW with primary access granted to all SXSW Badges.

Food Session Highlights

The Restaurant of the Future

Speakers: Arielle Johnson (MIT Media Lab), Josh Kulp (Honey Butter Fried Chicken & Sunday Dinner Club), Joy Crump (Foode), and Mitchell Davis (The James Beard Foundation)

The cost of food, labor, and rent are forcing many in the restaurant industry to change their business model or get out of the business. What does a successful restaurant in 2018 look like compared to 15 years ago? And what kind of restaurant will we all be eating at 5 or 10 years from now? Will consumer preferences, food and climate policy, social and economic change, technological advances, and other forces play a role in the evolution of the restaurant industry?

Add to Your Schedule

Plant-Based & Clean Meat Will Save The World!

Speakers: Bruce Friedrich (The Good Food Institute), Alexis Fox (Lighter), Ethan Brown (Beyond Meat), and Dr. Uma Valeti (Memphis Meats)

Industrialized animal agriculture takes a significant toll on our environment, food security, global health, and animal welfare. But decades of work focused on convincing consumers to consume less meat have not put a dent in meat consumption in the developed world, and meat consumption in the developing world is skyrocketing. We have four panelists who are on the cutting-edge of food innovation that will relegate industrialized animal agriculture to the dustbin of history.

Add to Your Schedule

Taking Mass Extinction Off the Seafood Menu

Speakers: Amy Grondin (Duna Fisheries), Katherine Miller (The James Beard Foundation), Renee Erickson (Sea Creatures Restaurants), and Sheila Bowman (Monterey Bay Aquarium)

Over 90% of the world’s seafood stocks are depleted – and just three species are on nearly every restaurant menu. To save seafood (so we can keep eating it), the way we catch, serve and consume it must change. James Beard Foundation recruited the most powerful influencers – chefs and fishermen – as the new heroes to save the world’s seafood stocks. Along with scientists and activists, can they convince consumers to branch out from salmon, shrimp and tuna – and bring seafood back from the brink?

Add to Your Schedule

Disruptive Tech in Your Home Cannabis Kitchen

Speakers: Abdullah Saeed (ViceLand), Shanel Lindsay (Ardent LLC), Warren Bobrow (Cocktail Whisperer), and Caroline Rustigian Bruderer (K-Line Productions, LLC)

The panel is a great cross-section of experts in the cannabis industry who focus on the fundamentals of cooking with cannabis. We’ll talk about the best, fastest and easiest tech tools to make the perfect medicine, culinary treat or craft cocktail

Add to Your Schedule

Browse All Experiential Storytelling Sessions

Crossover Track Recommendations

Explore topics outside of your focus area and learn from SXSW sessions across all 24 Tracks of Conference programming. These recommended sessions are outside of the Food Track but will interest any SXSW attendee.

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<![endif]–>Reserve My Platinum Badge for SXSW 2018 hbspt.cta.load(558236, ‘fa624deb-695d-4287-912b-3d53ae2cd965’, {});

Purchase your SXSW Badge and reserve your hotel today to experience these sessions along with 10 days of screenings, showcases, exhibitions, networking, and more this March 9-18 in Austin, TX. Take the Tracks Quiz to discover which badge will suit your needs.

Already have your badge? Learn how to upgrade to Platinum for primary access to all of SXSW and then begin building your 2018 SXSW Schedule.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.

Teaser Photo by Merrick Ales

The post Futuristic Kitchens, Transforming Wine, and Plant-Based Meat: Food Track Sessions for SXSW 2018 appeared first on SXSW.

Source: SxSW Film

January 14, 2018

Oprah Discusses Time’s Up With Natalie Portman, Reese Witherspoon, Tracee Ellis Ross, and More — Watch

A week after her show-stopping Golden Globes speech, Oprah Winfrey was back on TV this morning to talk about one of the other most notable presences at the ceremony: Time’s Up. She was joined by Reese Witherspoon, America Ferrera, Natalie Portman, Kathleen Kennedy, Shonda Rhimes, and Tracee Ellis Ross on CBS Sunday Morning to discuss the initiative, whose legal defense fund just received a $1.5 million donation in Michelle Williams’ name following the controversy over Mark Wahlberg’s salary for “All the Money in the World” reshoots.

More than 300 women are taking part in Time’s Up, which led Winfrey to an obvious question: Does it have a leader?

“Who is the head of the group? And is it an organization? A movement?” Winfrey asked. “Black-ish” star Tracee Ellis Ross responded, “At this moment it’s a campaign. And we’re all sort of workers among workers and women among women, sort of rolling up our sleeves and doing whatever sort of comes to the forefront.”

Ross also touched on the fact that she still finds it difficult to speak up about these issues. “The thing that’s always surprising to me: I am a strong, outspoken, powerful woman, and there are places and ways and times that I am even afraid to speak up. There are environments that we all work in that support a culture of harassment or a culture of any of those things.”

Time’s Up isn’t just concerned with Hollywood, but rather female workers in nearly every other industry who have faced sexual harassment and worse. “You know, we have public voices,” Witherspoon said. “We have resources. But women who are workers in this country have nothing to gain in certain instances by coming forward. But we want to help.”

Witherspoon also quoted Elie Wiesel: “Silence helps the tormentors; it doesn’t help the tormented. And neutrality helps the oppressors.” Watch their discussion below.

Source: IndieWire film

January 14, 2018

‘Paddington 2’ Is Giving ‘Lady Bird’ a Run for Its Money on Rotten Tomatoes

For a few weeks last year, “Lady Bird” set a record. Greta Gerwig’s coming-of-age drama maintained its 100% “fresh” rating on Rotten Tomatoes with 196 positive reviews, making it the best-reviewed movie in the website’s history; when a lone dissenter finally came along, that record reverted back to “Toy Story 2.” With 149 reviews, all of them positive, the animated “Paddington 2” is now closing in on that same mark.

“Toy Story 2” has 163 reviews to its name, meaning Paul King’s sequel will surpass it if 15 more positive notices come along. That isn’t too unlikely, as nearly everyone who’s seen the movie echoes IndieWire’s Kate Erbland, who calls “Paddington 2” “the rare sequel that improves upon the original, and in turn makes the still rarer case for a franchise to continue on as long as it possibly can.”

Ben Whishaw once again voices the beloved bear, a staple of children’s literature for more than half a century; Sally Hawkins, Hugh Bonneville, Brendan Gleeson, Julie Waters, Jim Broadbent, and Hugh Grant all co-star in the film.

Source: IndieWire film

January 14, 2018

Oscar Contenders Dominate Robust Specialty Box Office

Led by an expansion of “The Post” (20th Century Fox), Oscar contenders grossed a combined $40 million-plus this weekend. This continues to be a high-end year for awards hopefuls, as six have already topped $10 million and four have passed the $20-million mark.

This compares well to recent years when titles like “Whiplash,” “Foxcatcher,” “The Danish Girl” and “Room” never reached those highs despite their strong awards presence. This year Amazon’s Sundance buy “The Big Sick” followed “Manchester by the Sea” as a robust awards contender, which could yield elevated acquisitions bidding at the upcoming Sundance Film Festival.

With such a crowded field of established titles, new openings faced intense competition. Lebanese Oscar contender “The Insult” (Cohen) led the field of openers, which all grossed under $10,000 per theater in initial dates.

Opening

The Insult (Cohen) – Metacritic: 71; Festivals include: Venice, Telluride, Toronto, AFI 2017

$24,957 in 3 theaters; PTA (per theater average): $8,319

This Lebanese courtroom drama is one of the nine shortlisted Oscar Foreign Language submissions, and the last of the group to open. Its date was advanced in order to land an opening at soon-to-shutter Lincoln Plaza Theater, which is usually the top New York theater for similar subtitled films. Its initial dates also included Los Angeles, with the usual muted response for subtitled films these days (but more than double the numbers for German contender “In the Fade” two weeks ago).

What comes next: Irrespective of whether it makes the final five, this is expected to expand to top cities over the next few weeks.

Lover for a Day

“Lover for a Day”

Mubi

Lover for a Day (MUBI) – Metacritic: 68; Festivals include: Cannes, New York 2017

$(est.) 7,500 in 1 theater; PTA: $(est.) 7,500

Veteran French director Philippe Garrell’s black-and-white romantic drama about an older man dealing with a 23-year-old girlfriend who is the same age as his a daughter. The film opened with an exclusive date at New York’s Film Society of Lincoln Center with a respectable initial response.

What comes next: Los Angeles opens on Jan. 26 with other big city dates to follow.

Vazante (Music Box) – Metacritic: 64; Festivals include: Berlin 2017

$3,511 in 1 theater; PTA: $3,511

This black-and-white drama set in the early 19th-century slave era in Brazil opened in one Manhattan theater to minor initial results.

What comes next: Los Angeles, San Francisco and Washington open by the end of the month.

Also available on Video on Demand:

Saturday Church (Goldwyn/Tribeca 2017) – $(est.) 7,000 in 2 theaters

Freak Show (IFC/Berlin 2017) – $6,024 in 1 theater

“The Post”

Courtesy of 20th Century Fox

Ongoing/expanding (grosses over $50,000)

The Post (20th Century Fox) Week 4

$18,600,000 in 2,819 theaters (+2,793); Cumulative: $23,089,000

While it hardly feels like a specialty film, Steven Spielberg’s newspaper drama “The Post” is acting like one with its adult appeal, initial platform dates and awards pursuit. Its gross is about $4 million less than the successful “Hidden Figures” last year when it expanded post-Christmas, though much below similar patterns for earlier-year openings “American Sniper” and “The Revenant.” The movie scored #2 overall this weekend, the best of the new wide-release titles despite heavy competition from similar adult titles. It performed $3 million better than Spielberg’s last historical drama, “Bridge of Spies” which went wide from the start, boasting a nearly five times multiple as a fall release. This could get a welcome push from Oscar nominations, boosting its its business at a crucial time.

Darkest Hour (Focus) Week 8

$4,525,000 in 1,693 theaters (-40); Cumulative: $35,738,000

Still flying high, this Churchill 1940 historical drama has hit its marks at every step of its release so far. It dropped only 25 per cent this weekend, and it’s set to compete with “The Shape of Water” and “Lady Bird” at the high end of specialized non-studio awards releases.

Molly’s Game (STX) Week 3

$3,885,000 in 1,708 theaters (+100); Cumulative: $20,715,000

Aaron Sorkin’s retelling of a ski Olympian who found herself running high stakes poker games didn’t have the hold that many other recent adult-aimed films are finding. It dropped 43 per cent this weekend; its quick wider run has already pushed it past $20 million. Its future in a very competitive market will be effected by how well it fares with nominations.

I, Tonya

Courtesy of NEON

I, Tonya (Neon) Week 6

$3,302,000 in 517 theaters (+261); Cumulative: $10,001,000

Neon’s first major hit is still early in its run and looks positioned to place among the better awards-enhanced titles. Its wider break is timed for January 23 nominations, with signs of significant crossover interest. This has already grossed more than all Neon’s previous releases combined — not bad for a film they acquired less than five months ago.

The Shape of Water (Fox Searchlight) Week 7

$2,700,000 in 723 theaters (-81); Cumulative: $26,421,000

Holding very well (this PTA is actually about the same as last week), Guillermo del Toro’s 1960s science-fiction romance has yet to get to over 1,000 theaters. That comes soon, with a terrific total so far suggesting that its total might as much as double with expected Oscar attention.

“Three Billboards Outside Ebbing, Missouri”

Three Billboards Outside of Ebbing, Missouri (Fox Searchlight) Week 10

$2,300,000 in 1,022 theaters (+712); Cumulative: $28,509,000

Searchlight is balancing two films competing for many of the same screens, and in this case returning again to over 1,000 theaters (it had been over 1,600 earlier) after recent awards wins. And that’s before the nominations arrive to boost it more.

Lady Bird (A24) Week 11

$1,686,000 in 652 theaters (+90); Cumulative: $36,902,000

Not quite back up to its likely wider break when the Oscar nominations come, Greta Gerwig’s breakout hit shows every sign of getting to $50 million or more.

Phantom Thread (Focus) Week 3

$1,145,000 in 62 theaters (+56); Cumulative: $2,227,000

In its first expansion, Paul Thomas Anderson’s 1950s London set fashion story has a good PTA of over $18,000. That’s not that far below what “The Shape of Water” grossed when it first added new cities. Anderson has a strong base of support, so these numbers aren’t surprising with reviews in new cities still propelling this ahead of most other recent releases. This will have a measured expansion ahead parallel to expected Oscar attention.

“Call Me By Your Name”

Sony Pictures Classics

Call Me By Your Name (Sony Pictures Classics) Week 8

$715,559 in 174 theaters (+57); Cumulative: $7,231,000

Luca Guadagnino’s highly acclaimed 1980s romance scored decent numbers as it readies for wider release starting this Friday. This is already SPC’s biggest-grossing film in two years, and looks likely to top any of their films since “Blue Jasmine” in 2013.

The Disaster Artist (A24) Week 7

$448,475 in 371 theaters (-107); Cumulative: $20,312,000

James Franco’s award-winning portrayal is still in play, with most of its gross in after an aggressive early push.

Hostiles (Entertainment Studios) Week 4

$276,000 in 42 theaters (-4); Cumulative: $821,468

Continued support for this Christian Bale western pays off as grosses remain consistent if not high end in advance of its national break this Friday.

The Florida Project (A24) Week 14

$51,100 in 51 theaters (+14); Cumulative: $5,499,000

Sean Baker’s Orlando childs’ world drama continues to add to its total later in the run.

“Film Stars Don’t Die in Liverpool”

Also noted:

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) – $33,322 in 9 theaters; Cumulative: $130,438

Happy End (Sony Pictures Classics) – $24,590 in 11 theaters; Cumulative: $118,085

In the Fade (Magnolia) – (est.) 16,000 in 9 theaters; Cumulative: $(est.) 66,000

Jane (Abramorama) –  $19,239 in 18 theaters; Cumulative: $1,588,000

Faces Places (Cohen) – $9,327 in 8 theaters; Cumulative: $670,448

Source: IndieWire film

January 14, 2018

‘Early Man’ Review: Nick Park’s Stop-Motion Marvel Is More Advanced Than Its Primitive Protagonists

With all due respect to Pixar and Studio Ghibli, can we start acknowledging Nick Park and Aardman Animations as the innovators they are? Those who’ve seen the “Wallace & Gromit” shorts and 2005 movie tend to love them, but the studio responsible for that iconic duo doesn’t get a fraction of the acclaim. Maybe it’s because the British studio has never been especially prolific, but with “Early Man,” its first feature film since 2015’s delightful “Shaun the Sheep Movie,” Aardman once again reminds viewers that its stop-motion creations are consistently joyous spectacles.

Beginning, as it must, with a primordial prologue about the asteroid that wiped out the dinosaurs — just as it strikes, two dinos who were fighting moments before embrace in fear — the film concerns a tribe of well-meaning cavemen whose happy existence is disrupted by the arrival of civilization: Bronze Age intruders show up one day, there to turn their communal cave into a mine so that Lord Nooth (Tom Hiddleston) can maintain his lavish lifestyle.

Park, a four-time Oscar winner who created Wallace & Gromit 30 years ago, is stepping into the director’s chair for the first time since 2008’s “A Matter of Loaf and Death” short. He hasn’t lost his step, with his latest fictional world being both a departure from, and continuation of, his usual settings. At the center of it is Dug (Eddie Redmayne), Park’s latest affable protagonist whose good nature can’t stop him from getting into increasingly ridiculous situations.

He and his cohort live in the crater left by the asteroid’s impact, which has grown lush and verdant in the centuries since it struck; the human price of progress was steep even then, as stone gave way to bronze and left the primitives in its wake.

Park fashions this inevitability something akin to Mordor encroaching on the Shire: industry subsuming an old idyllic world. If that setup sounds too Luddite-friendly, it’s also quite funny: Dug is among the smartest of his tribe, which is led by the very old (read: 31) Chief Bobnar (Timothy Spall), includes a rock with a face painted on it and a pig named Hognob (voiced by Park himself). He feels like a Gromit stand-in and, though not as memorable a companion, is still good for some laughs.

Early Man

Under Nooth’s yoke, warring tribes settle their differences on the soccer pitch rather than the battlefield; England’s national team may be underachievers in the 21st century, but their predecessors in Real Bronzio were a dominant force to be reckoned with. And so it is that “Early Man” turns into a sports comedy of sorts, one in which the motley crew of good guys must somehow overcome an imposing squad that is in every way their better.

That’s especially difficult when Dug’s tribe is exiled to the Badlands, where they’re besieged by giant mallards, harsh conditions, and a paucity of the rabbits they used to depend on. Their temporary home proves the ideal training ground, however, its cruel landscape and craggy formations making formidable obstacles that do a right proper job of preparing the underdogs for their big match.

As ever with Aardman, the cleverest moments are also the most fleeting. Lord Nooth can be spotted reading a newspaper called the Prehistoric Times; a woman seeing sliced bread for the first time exclaims, “Wow! That’s the greatest thing since, well, ever.” The narrative as a whole is familiar, if not overly so, and after the Silent Era gags of “Shaun the Sheep Movie” it sometimes feels like “Early Man” could have gone further and been similarly ambitious.

What really gives our heroes a potential upper hand can be best described by a scene from, of all things, Carlos Reygadas’ “Post Tenebras Lux.” Assembled on a rainy field, a rugby team huddles as their leader explains the key to victory: “They’ve got individuals; we’ve got a team.” That isn’t an uncommon message in an animated movie aimed toward kids, but it is a worthy thematic bedrock.

Grade: B

“Early Man” opens in wide release on February 16.

Source: IndieWire film

January 13, 2018

Stunt Coordinator Joel Kramer Denies Molesting Eliza Dushku: ‘These Are Absolute Lies’

Joel Kramer denies that he sexually assaulted Eliza Dushku. Speaking to TheWrap, the stunt coordinator — whom Dushku accused of molesting her during the filming of “True Lies,” when she was 12 and he was 36 — said, “Wow. That’s news to me. I never sexually assaulted her. She’s a sweet girl. We all looked out for her, that’s surprising.”

“I’m just shocked,” he added. “I don’t know why she would say that. We took her out to dinner and we took her to our hotel for a swim at the pool.” In a Facebook post published this morning, Dushku wrote that Kramer “laid me down on the bed, wrapped me with his gigantic writhing body, and rubbed all over me” in a hotel room.

“These are absolute lies,” Kramer said of her allegations. “She said I took her home in a cab? I was the one who was driving the car. There were four or five of us in the car. I’m absolutely floored,” he said. “I don’t know what to say. I Never took her to my hotel room. I never took off her clothes.”

Kramer has been active in the film industry for decades, most recently working on films like “Blade Runner 2049,” “The Conjuring 2,” and “Fast 7.”

Source: IndieWire film

January 11, 2018

25 Years of SXSW Film Festival – Jamie Babbit

To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with filmmaker Jamie Babbit.

After her groundbreaking debut film But, I’m a Cheerleader, Babbit world premiered her third feature, The Itty Bitty Titty Committee at SXSW 2007, where it earned the Grand Jury Award for Narrative Feature Competition. In 2015, she brought her ensemble dark comedy Fresno, starring Natasha Lyonne, Judy Greer, Molly Shannon, Fred Armisen, Ron Livingston, and Aubrey Plaza. Babbit has worked consistently in television and directed multiple of episodes of hit television series such as, Gilmore Girls, Looking, Girls, Silicon Valley (also co-executive producer), and more!

We are pleased to share her #SXSWFilm 25 story with you.

“I love SXSW because I made a film about a ragtag punk group of ladies who blow up phallic symbols in DC (The Itty Bitty Titty Committee) and not only did SXSW show it, but the jury gave us an award. The SXSW audiences are fearless and the programmers aren’t scared to show some out there films.

I’ll never forget that at our Itty Bitty Titty Committee premiere at The Alamo Drafthouse, a petite shy woman whom I would NEVER think would like this punk film just started crying as she came up to me afterwards whispering ‘it’s just so empowering’. This encounter is why I make movies. Thank you, SXSW!”

Stay tuned to SXSW News each week for more 25th edition stories.

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World Premiere of Fresno at SXSW 2015 – Photo by Michael Loccisano/Getty Images for SXSW

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Source: SxSW Film