Ebertfest, Day One

Ebertfest, Day One (photo)

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Movies are the greatest time travel machine ever invented. They have the unique ability to send us back into the past and forward into the future all at once. Last night’s Opening Night at the 13th Annual Ebertfest was a great example of movie time travel. Back we all went to 1927, for a glimpse of a possible future that never came to pass; then all the way forward to 2011, to see the life of a woman trapped by her own sad history. It was a reminder of a lost age, when people watched movies in palaces like Champaign, Illinois’ Virginia Theatre and a hopeful glimpse of a time yet to come when gatherings like this one exist in every city in the country.

I have been to many film festivals. Ebertfest is the first I’ve attended that is more about the past than the future. Instead of trying desperately to discover the “next big thing,” programmer Roger Ebert acts as a sort of one-man cinematic oversight committee. Originally named the Overlooked Film Festival, Ebertfest is dedicated to shining a light on great films that have unfairly fallen through the cracks.

In the case of this year’s opening night program, that almost literally happened. Fritz Lang’s 1927 film “Metropolis,” has been hailed a science-fiction classic for decades. But for years after its Berlin premiere it was only seen in a heavily truncated version. Recently, a film archivist discovered a print in the archives of Argentina’s Museo del Cine, which gave birth to this “Complete Metropolis” which is now available on DVD and Blu-ray from Kino, and which we watched at Ebertfest.

(Why Argentina? Film historian Kristin Thompson answered that question with her introduction before the film: in the 1920s, prints travelled the world. Their last stop was often South America. By the time films made it to places like Argentina, the prints were in such bad shape that they weren’t worth the money it would cost to ship them back to their country of origin. So they got put on a shelf somewhere, hence this amazing discovery.)

Restored to a near-director’s cut, “Metropolis” is even more the masterpiece we’ve known it to be for years (you can read my review of the New York premiere of “The Complete Metropolis” here). But Ebertfest’s screening of the film was even more unique because it came with a live performance by the Alloy Orchestra, who performed a score they’d written specially for this restoration. At the post-screening Q&A, the members of the group explained how they were commissioned to write the score for the new Kino Blu-ray of “The Complete Metropolis,” but at the last minute the estate that controls the rights to the film refused to include it, demanding that only the original Gottfried Huppertz score appear on the disc.

When I saw “The Complete Metropolis” for the first time, I called Huppertz’s score “a classic.” And it is a beautiful piece of music. But having seen both versions, I can say without question that Alloy’s score for “Metropolis” is the superior one. Huppertz’s work is beautiful but it’s too grand and regal for a film this gritty and paranoid. Alloy’s work enhances the restored “Metropolis”‘s frantic energy, and turns the climactic destruction of the underground city and the race to rescue its forgotten children into an exercise in suspense unlike anything I’ve ever seen in a movie theater. We like to imagine modern films are more advanced than older, “primitive” works. “The Complete Metropolis” shows what nonsense that is. Show me one modern blockbuster that can match “Metropolis” for scale, scope, effects, action, themes, and sheer balls-out insanity. You can’t.

Opening night concluded with “Natural Selection,” which I missed at South by Southwest 2011 where it won the audience award and numerous awards from the features jury (which Ebert was a member of). I understand the accolades, particularly for Rachael Harris, who you might recognize from VH1 clip shows like “I Love the 70s” or as Ed Helms’ shrewish fiance in “The Hangover.” In “Natural Selection” she reveals herself to be an actress of remarkable range and nuance, playing Linda, a housewife in a fundamentalist Christian community in Texas. Because she had lost her ability to have children years before, her husband refuses to have sex with her (sex is for procreation, you see). But little does the unfulfilled Linda realize that her husband uses a local sperm bank as an excuse to regularly exercise his own desires.

Saying more about what happens next would spoil the film’s numerous twists. And part of what I enjoyed about “Natural Selection” was the fact that I went in completely cold and was repeatedly surprised by Linda’s journey after her husband makes one particularly eventful trip to the sperm bank. But Harris and her co-star Matt O’Leary, playing a man she meets on the road, both give incredible performances, painfully funny and even more painfully truthful. And writer/director Robbie Pickering, telling a story about a character based on his own mother, set in the town where he grew up, is clearly a talent to watch. Pickering balances comedy and tragedy in a way that a lot of indie directors try to do these days. Where most fail, he’s succeeded. And he fills his frame will all sorts of clever signs and symbols about birth and death. Even the way the characters relate to the seatbelts in their car says something about them (automatic seatbelts, it turns out, make a great metaphor for the way a woman entrusts her well-being to a higher power).

I could write more but it’s time to go watch more movies at Ebertfest. Speak to you again in the future.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.


Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.


Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.


Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!



Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.


Self Defense

You can’t throw a download like a ninja star. Think about it.


If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.



Stan Diego Comic-Con

Stan Against Evil returns November 1st.

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Photo Credit: Erin Resnick, GIFs via Giphy

Another Comic-Con International is in the can, and multiple nerdgasms were had by all – not least of which were about the Stan Against Evil roundtable discussion. Dana, Janet and John dropped a whole lotta information on what’s to come in Season 2 and what it’s like to get covered in buckets of demon goo. Here are the highlights.

Premiere Date!

Season 2 hits the air November 1 and picks up right where things left off. Consider this your chance to seamlessly continue your Halloween binge.

Character Deets!

Most people know that Evie was written especially for Janet, but did you know that Stan is based on Dana Gould’s dad? It’s true. But that’s where the homage ends, because McGinley was taken off the leash to really build a unique character.

Happy Accidents!

Improv is apparently everything, because according to Gould the funniest material happens on the fly. We bet the writers are totally cool with it.

Exposed Roots!

If Stan fans are also into Twin Peaks and Doctor Who, that’s no accident. Both of those cult classic genre benders were front of mind when Stan was being developed.

Trailer Treasure!

Yep. A new trailer dropped. Feast your eyes.

Catch up on Stan Against Evil’s first season on the IFC app before it returns November 1st on IFC.