Category Archives: Film

“ADAM ANT: THE BLUEBLACK HUSSAR”— An In-depth Documentary

adam ant

“Adam Ant ‘The Blueblack Hussar’”

An In-depth Documentary

Amos Lassen

Jack Bond, captures Adam Ant’s comeback, after years of mental health problems.  “The Blueblack Hussar” is Adam’s latest persona and with it he sets out on his first tour for 15 years with a new band, ‘The Good, the Mad and the Lovely Posse’. For the first time since his Punk roots, we see Adam playing with a young, hungry band, and collaborating with Boz Boorer (Morrissey, The Pole Cats, etc). The film includes electrifying live performances, starting at London’s 100 Club and culminating at Hyde Park, before an film on the wall’ direction includes intimate scenes of Adam at home, backstage and even getting a new tattoo. The film exposes Adam’s complex personality through the characters that he meets on his journey and they include Amy Winehouse producer, Mark Ronson, Jamie Reynolds of The Klaxons and the legendary Pop Artist Allen Jones (‘A Clockwork Orange’), Adam’s art student days’ mentor

The film takes in the atmosphere pervading Adam’s life in London, including his explosive show at the 100 Club. We are taken to Paris to watch him record his ‘Bardoesque’ backing singer, Twinkle and the film star, Charlotte Rampling, who inspired his first album, ‘Dirk Wears White Sox’. Jack Bond is one of Britain’s most innovative directors and here he returns to his Cinema Verité roots.

The documentary is an honest look at “a troubled, but ultimately triumphant natural talent”. The years may have marched on but Adam Ant has remained a true star.

Bonus Materials include:

Live performance of ‘Whip in My Valise’ at The Scala, London

Live performance of ‘Young Parisians’ duet with Boy George

Live performance of ‘Deutsche Girls’ at the Electric Ballroom, London

Q&A Jack Bond and journalist John Robb

“IN THE BASEMENT”— A Look at Austrian Basements

in the basement german poster


A Look at Austrian Basements

Amos Lassen

Ulrich Seidl takes a look at the dark side of the human psyche in his new documentary, “In the Basement”. We go into Austrian basements that have been fitted out as private domains for secrets and fetishes. What I find so interesting is the fact that there is humor here as well outrageousness. People from suburban Austria give us the opportunity of looking into their private lives, to a degree, by allowing to see what is in the basements of their homes. The people we see here range from those who are involved in “the cult of Nazism to sadomasochism, going into guns and shooting, vanity and prepotency, baby-addiction and solitude”.

in the basement

For example, we meet Fritz, a former soldier who teaches at his illegal home-keeping shooting club and has a knack for singing opera. There is a married woman in her late fifties still dreams about having babies, using baby dolls that she conceals in boxes. Hitler’s admirer and Gestapo’s target, Josef Ochs, who also plays horn in a band, takes us to his Nazi retreat where he often drinks with his friends to share just a few.

This leads us to ask if what we see here has a purpose. Is there truth involved in the basements that we see? What we do not see is a cross-section of Austrian basements as the subjects were carefully chosen so that the film will exploit their freakishness to the maximum. The freakiest get the longest screen time while those who are “normal” just look out if place and odd. These Austrians have nothing to say while those who are really strange say a lot. I felt that manipulation took place in that regard.

The way Seidl introduces his characters in his “narration” is through extended static shots in which they simply stare at the camera and in the way they irreparably expose their deepest and sometimes unsettling truths.

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Some of what we see is just disgusting. A man plays a tuba and gets drunk with his friend in a basement decorated with portraits of Hitler and Nazi memorabilia and explains how the Führer’s portrait was the best gift he received at his wedding. Another licks his bathroom’s toilet seat, following the orders of his dominatrix, before they make their way to the basement for even harsher punishment and ‘truly serious domination’.

Director Seidl effortlessly manages to entertain and infuriate us at the same time. There are shots that are certainly engaging but by and large the film is akin to a freak show.


xmas postewr better


Two Families

Amos Lassen

Two families living worlds apart in the same community come together in Alicia Dwyer’s “Xmas Without China”. Chinese immigrant Tom Xia challenges the Jones family to celebrate Christmas without any Chinese products. Fed up with toy and food recalls, the Jones family accepts the consumer mission-impossible and is drawn into a surprising intercultural exchange with the Xia family. As the Joneses deal with the tremendous influence of China in their lives and Tom struggles to get beyond the stereotypes, he realizes that he has begun a journey to understand the complexities of his own divided loyalties between the U.S. and China.

The difficulty of avoiding products from China is a near impossibility today. Looking at the tags on the products around us reminds us that most of the electronics we’re using have at least have components made in China.

Manufacturing in China is kind of a hub for any discussion about the nature of globalization. There are different ways to look at it: the ecological impact (e.g., pollution, particularly from coal), the ethical concerns (e.g., the Apple/Foxconn factory issue), and the economic realities of the 21st century (e.g., the rise of the Chinese middle class).

What Alicia Dwyer does here is provide other unique ways to approach the matter, though at a micro level and through the interaction between strangers who get to know each other through different and odd circumstances. It all starts with a challenge: go the month of December (including Christmas) without buying or using any products made in China.


If we stop to imagine that we were immigrants from China living in the states right around the time when toys and food products were being recalled due to the discovery of lead paint and other hazardous material in the products, we would most certainly be annoyed.  Tom Xia was annoyed and rightly so about all the China bashing and so he decided to conduct an experiment—he decided to challenge his suburban American neighbors to see if they could survive the Christmas season (Dec. 1 to Dec. 25) without ANY Chinese products.  In Alicia Dwyer’s documentary, we discover if the Joneses have the wherewithal to accomplish this seemingly impossible consumer diet.

The film begins with Tom defending China and coming up with this idea to challenge his community.  We see him talking to some hardcore Americans who give the idea a thought and then deny the challenge.  What makes it more difficult is that he isn’t offering any money as an incentive but eventually he meets the Joneses and they could not have been a better find.  The husband Tom is a musician and the wife Evelyn is a schoolteacher and they have two young children, a son and a daughter and a dog, a cat and a couple of ducks.

Things get started and it’s amazing to see how many of the items in the house are taken because they were “made in China.”  Items like the light bulbs, the coffee maker, the X-box and more have to be put in the storage container outside their house, leaving them living by candlelight.  Tim tells his father, Victor, that “all the kids’ toys are gone and so are their plates. They have to eat off paper plates.  Due to a lack of understanding about the Christmas season, Tom later begins to question the challenge further when Victor says to him that Christmas is American’s favorite holiday and that he shouldn’t ruin it for them.

As the days go on and things start to get tougher, we begin to feel bad for the Joneses.  Evelyn is finding it really hard and Tom is having trouble coping without his X-Box, his distraction from the memory of his mother’s passing during Christmas time a year ago.  Throughout the film we see the evolution of both Tom and the Joneses perception of the challenge change.  Tom’s father tells him that the Christmas season might not have been the best time to challenge people to do this.

The challenge of not using Chinese products is the focal point of the film but the film also looks at Tom’s family and his parent’s mission of achieving the American dream. Even though he moved to the states at the age of eight, Tom never actually applied to get his citizenship so even though he’s more American than his parents; he’s the only one of the three who technically isn’t and at one point he lies about being a citizen by later admits that he lied. I think that the fascination with the film is   that while we witness the Xia’s American dream becoming reality, we witness the demise of the Jones family’s American dream.

This is not the most exciting or compelling documentary, but the idea is brilliant and is something that should be explored further.  The thesis is a bit strange in that to do what the film says is economically impossible ands we know that.

Domestically made products are extremely expensive and tough to hunt down, so is this a truly great idea in the first place? With an economy that is slowly making a return to form, the purchase and support of domestic products is important and influential within the grand scheme of the US economy, but it’s not something most US households can totally commit to.

The viewer is shown how difficult it truly is, and with beautiful photography and direction, and it is in the moments of difficulty or introspection that the film is at its best.

After its world premiere at South by Southwest in 2013, the film was nationally broadcast on PBS and went on to become a festival favorite, showing in 13 festivals so far, and is now finally coming to DVD and VOD!

World Premiere, South by Southwest (SXSW) Film Festival

Film Society of Lincoln Center – Green Screen Series

Friars Club Comedy Film Festival – “Best Comedy” Award

Wild & Scenic Environmental Film Festival – People’s Choice Award

Flagstaff Mountain Film Festival – Best Environmental Theme Award

Edmonton International Film Festival

Los Angeles Asian Pacific Film Festival

Mountain Film Festival, Telluride and Aspen 

“THE COLOR OF NOISE”— A Look at XXL and Amphetamine Reptile Records

the color of noide

“The Color of Noise”

A Look at XXL and Amphetamine Reptile Records

Amos Lassen

This is a full-length documentary about the Artist Haze XXL (Tom Hazelmyer) and his notorious record label, Amphetamine Reptile Records. During the decades of the 80’s and 90’s the record label achieved almost cult-like status. It was adventurous and daring in the midst of a time where “safe” punk rock would rule the airwaves with Grunge music, a newly accepted style of music by the mainstream college goers. Though with AmRep, not only a roster of the most outrageous performers would find a home, but also a legion of poster artists who dared to break all of the rules. 

Hazelmyer emerged as a kind of artist and his story is about a man who made his own path that was nowhere near the norm (if such a thing ever existed). He was able to bring many others with him and they would achieve notice ability just be being with him. Here was the real American underground.

With over fifty interviews from all over the world and new live footage of bands and visuals this is a feast for the eyes and the ears. Mastered together the music and the visuals are stunning.

“The Color of Noise” has become one of the most important films about the Noise Rock era.


gabo poster

“Gabo: The Creation of Gabriel García Márquez”

The Definitive Portrait

Amos Lassen

Justin Webster’s documentary about author Gabriel Garcia Marquez is a probing and definitive portrait of the Nobel Prize-winning author of “100 Years of Solitude” and many other celebrated works of “magical realism.”
 It explores the question – how did a boy from a tiny town on the Caribbean coast of Colombia become a writer who won the hearts of millions around the world and whose work changed our perception of reality? 
The film is a story about the incredible power of human imagination. In addition to his brother and sister, the film’s interviewees include the Colombian writers María Jimena Duzán and Juan Gabriel Vásquez; Márquez biographer Gerald Martin; Márquez literary agent Carmen Balcells; New Yorker writer Jon Lee Anderson; and former presidents of Colombia and the U.S. César Gaviria and Bill Clinton.


We not only look at how Marquez, a boy from a tiny town on the Caribbean coast become a writer who won the hearts of millions but also how he changed our perception of reality with his work. Marquez was a law-school dropout and political journalist who grew up in the poverty and violence of northern Colombia. He became known as “Gabo” to all of Latin America and his sensual and magical sensibility lead him to the forefront of the political struggles of the 1970s and 1980s—including a pivotal and previously unknown role in negotiations between Cuban leader Fidel Castro and American President Bill Clinton as well as into the hearts of readers across the world. The film prioritizes the political over the personal. Journalist Juan Gabriel Vásquez and biographer Gerald Martin trace Gabo’s path from the Colombian village of Aracataca to internationally renowned author and Nobel Prize winner.


Gabo, who grew up primarily with his grandparents and they inspired him.. After his grandfather’s death, Gabo moved to Bogotá to make his way in the world. There he established himself as a journalist before settling in Mexico where he would remain. From there, he dealt with fame, horror over Pablo Escobar’s reign of terror, and a fascination with Fidel Castro.

The film has garnered many awards:

2015 American Film Institute (AFI) Latin American Film Festival

2015 Cartagena de Indias International Film Festival

2015 Lima International Film Festival

2015 Docs DF Film Festival of Mexico City

2015 Kosmopolis Barcelona Film Festival

2015 Sneak Preview, at New York Colombian International Film

“MERU”— The Most Dangerous Himalayan Peak

meru poster


The Most Dangerous Himalayan Peak

Amos Lassen

Mount Meru is one of the most coveted prizes in the high stakes game of Himalayan mountain climbing. In this film we meet three elite climbers who struggle to find their way through obsession and loss as they attempt to climb Meru. We may never really know what causes someone go want to climb dangerous mountains but we certainly see these three who have made the sport part of their lives and existence.

Jimmy Chin and Elizabeth Chai Vasarhelyi’s documentary, “Meru” is a chronicle of three climbers’ mission to conquer the mountain. The focus here is on “the discipline that such a mission requires, the angular shape and varied terrain of the mountain itself, the tragedies that befell the climbers in between their two expeditions, and the various forms of calculated and uncalculated risk involved in big wall climbing”. Even without looking at the way anyone would want to climb this mountain, we get that answer vaguely—it is something of a rite-of-passage phenomenon.


Talking heads are the backbone of the narrative and the three climbers, Conrad Anker, Renan Ozturk, and Chin as well as the climbers’ significant others) talk about the need to climb. Renan says that it is worth the risk and even dying for and he has reason to say this since he has a medical problem— a brain artery complication that put shim at a higher risk of altitude sickness and the kind of minor setback that can throw off an entire climb. However, we do not really get the climbers’ motivating rationale or their processes of weighing checks and balances.

Mount Meru is 21,000 feet high, the last few thousand feet of which is a sheer rock wall that seems impossible to climb. It is called the Shark’s Fin and we can only wonder why anyone would want to try to climb it. It is a very slow process to get up it and when that is combined with very cold, almost arctic temperatures, it seems to be an impossible achievement.

In 2008, longtime climbing partners, and possibly the two finest mountaineers in the world, Jimmy Chin and Conrad Anker along with Renan Ozturk, took their best shot at reaching this seemingly impossible summit. Their 2008 summit bid was almost successful, but discretion got the better part of valor, and they decided not to put their lives in an unacceptable level of risk. As we watch this climb, it seems obvious that they would never attempt this again—who would go through something so arduous and dangerous once, let alone twice?


The following year, a trio of Slovenian alpinists, considered the vanguard of alpine excellence, contacted Anker and Chin for insight into how to tame the impossible peak. They agreed and shared what they learned, since they had gotten closer than anyone. But when they, too, failed, Anker knew that it was possible no one would ever conquer Meru if he didn’t rally his friends Chin and Ozturk for one last crack at it. In 2011, they returned to Meru to ascend the Shark’s Fin.

What really makes this such an interesting film is that it is about failure. We see the profound psychological, emotional, and physical scars these three men carry with them, as well as frank assessments from their loved ones about living with these superhuman risks.

The film is more exciting than any big-budget blockbuster and it is one of the more inspiring odes to the power of the human spirit.

Though directors Chin and E. Chai Vaserhelyi take breaks to interview the wives but what the filmmakers really want is as many of the eighty-nine minutes taken up with close-ups of the climb and they indeed are able to capture the rain and sleet and pour down on the group. The cinematography is absolutely breathtaking.

Bonus Features:

-Audio Commentaries by Conrad Anker and Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi

-Sundance Film Festival Interview with the Filmmakers

-Director Q&As from Chicago Premiere and Full Frame Festival

-Bonus Expedition Footage from Mount Meru

“ONE CUT, ONE LIFE”— One Last Film

one cut, one life


One Last Film

Amos Lassen

When Ed Pincus, the man who is considered to be the father of first person non-fiction film, is diagnosed with a terminal illness, he and collaborator Lucia Small get together to make one last film. They decided to tell Ed’s story from the two filmmaker’s points of view, much to the chagrin of Jane, Ed’s wife of 50 years. That film is “One Cut, One Life” and it challenges the form of first person documentary. We see a unique approach to filming that offers a vulnerability and intimacy rarely seen in non- fiction the film questions whether some things might be too private to be made public. It is intense, raw, and sometimes humorous exploration of the human condition and it invites the viewers to think for themselves what is important, not just at the end of life, but also during.

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Pincus had been diagnosed with myelodysplastic syndrome (MDS), a deadly bone marrow disease and so he decided to make one last film chronicling his final years as his illness slowly worsened. Lucia Small, his frequent collaborator and sometime muse, co-directed. The film follows Pincus as he spends whatever remaining time he has left with his family, as the various visits to doctors grow increasingly hopeless in their outlook. The documentary is not so much as a glimpse into the mind of a dying artist but a factual drama on how loved ones are impacted by an individual’s death.

The film opens on Pincus with a surgical mask covering his face to the point where he’s unrecognizable as he rides amid other passengers on a New York subway. We see him as just an average guy and this is what the film does as it avoids hagiography. Pincus immediately gains our sympathy due to his ailing body’s sensitivity to crowds but it gives no hint at how deeply intimate and personal the documentary will be, even so far as compromising the compassion we feel for the man. The film, told from both Pincus and Small’s points of view, becomes a tribute to the filmmakers’ passionate yet unconsummated personal relationship, which seems to constantly threaten Pincus’s marriage to his wife, Jane.

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In spite of how ambiguously Pincus speaks about his feelings for his wife in his on-screen appearances, he and Small remain attuned to her mindset during the difficult time period documented in the film. Not only is Jane (as we see her in interviews and observational moments inside doctors’ offices) filled with anxiety over losing her husband, she also grapples with Small potentially stealing her husband’s affection during his final months. Small, who speaks in metaphors, is reluctant to dwell on her own life and feelings, thus rendering her side trivial compared with Pincus’s emotional nakedness, but this can be understood as a show of empathy and tact. The movie is ultimately less about Pincus’s slow march toward death than Jane’s own struggle that we see with insight and honesty as she prepares herself for a world without him.

“One cut, one life” is a Japanese expression that refers to the importance of making every movement count. For Ed Pincus, it was also his philosophy for how to live life, one that took on a new urgency. “Everything could be the last time. When he’s faced with the diagnosis of a terminal illness everything has meaning.


Considered the father of first-person documentary, Pincus contacted Small with the hopes of creating a last, personal work from two separate points of view upon learning his diagnosis of cancer. His disease, complicated by Parkinson’s, makes having a partner a necessity. Small was in the process of grieving over the sudden and violent deaths of two close friends when Pincus delivered the news of his imminent demise but she nevertheless agreed to participate in this final collaborative project. The raw emotional states of both filmmakers impact the film as each in their own way sees and utilizes the medium as a path to recovery.


A brief history of each filmmaker’s life is gradually revealed between discussions about the making of this one, which makes use of old photographs, home movies, and clips from their documentaries. Jane, Pincus’s wife of 50 years and mother of their two children (as well as co-author of Our Bodies, Ourselves) is a bit of a problem for the moviemakers in that she understands the importance of this project to her husband, but resents the intrusion of cameras into their last months together, and she is jealous of the intimate emotional relationship between Pincus and Small. She provides a powerful presence as she vacillates between ambivalence, anger, and hurt. As Pincus and Small try to get around her feelings, the film seems to increasingly center around her, and as a result does more to reveal the personalities of the two filmmakers than they had planned.

There is footage that shows the progression of Pincus’s illness but it is not the focus of this film. Rather, it is about his making the most of the time that is left. The camera catches with brilliant color and clarity the vision of someone who knows that they are witnessing everything for the last time and this is so very touching. At times it seems that Pincus transcended his illness to savor life to the end and Small found a way to work through her grief. It does leave one wondering, however, what benefit could there possibly have been for Jane?

Also we questions why having two points of view is included in what was supposed to be Pincus’s personal documentary. Both filmmakers have an equal presence and come across as very similar in their approach to filmmaking. We get the feeling that the inclusion of the much younger Small in this project was a way for Pincus to act once more as teacher and to enjoy the admiration of a peer as well as bring closure to unfinished business between them. What we really see here is that life is a stronger force than the persistence of death as there is enjoyment to be found amid a struggle to survive. Ed is full of ideas and emotions that put Small in a position as a follower.


The film parallels these three strong, intelligent, and creative forces that collide from time to time. The circumstances of uncertainty require pressing decisions that are juggled between the pragmatic and impassioned.. Ed, Jane, and Lucia pursue their relationships and experience it with all its complications. We see a man who is dying and his sad women dealing with that. Death is a key figure, making a final appearance in what could be considered a trilogy.

The Boston Globe stated beautifully that this is “An elegy for the dead, the dying, and those who live on. It’s a thing of lovely imperfections: profound and banal, self-absorbed and insightful, weighted with grief and buoyed by resilience. In short, as messy and precious as life itself.”

The DVD Extras include Deleted Scenes • Filmmaker Interview • Panel Discussions (“Being Mortal” / “Ed’s Legacy” / “The Female Gaze”).

“ROTOR DR1”— Positive Drones

rotor poster


Positive Drones

Amos Lassen

Chad Kapper’s “Rotor DR1” grew out of the Flite Test  community that he founded in 2010 and which has evolved to become the world’s premier online community for drone enthusiasts with over 400,000 members. Because he is such an enthusiast, he wanted to be sure that drones are shown positively and creating a movie was the perfect way to do just that. Here we see drones as technology that have improved human lives, “rather than antagonistic militarized drones that have been popularized lately.”


Posting this idea to online forums for drone enthusiasts, Chad soon had input from thousands of engaged community members about creating a community-collaborated web series and feature film.  Using forums, GoogleDocs, Facebook and Youtube–and without a script–the group embarked on developing a ten episode online series over twelve weeks in late 2014, with each episode shared with the Rotor DR1 community for feedback and further development.  Decisions on casting, wardrobe, props, dialogue, action scenes, episodic arcs, general storyline, and the backstory of the cataclysmic virus, were made in collaboration.  Community members, including top drone racers (RC Explorer), were even able to participate in the film’s innovative drone race, where real drones were flown. No CGI was used in any drone scenes.

After partnering with Cinema Libre Studio, the episodes were edited together to make a cohesive and compelling feature film, which marks a milestone in the emergence of community driven media.


“The future of community collaborated entertainment is at the forefront of Hollywood’s mind,” says Rich Castro, V.P. of Distribution and Acquisitions at Cinema Libre Studio. “We believe this is the first high-quality, community-collaborated, narrative feature film to be released commercially Chad Kapper is the Director and Executive Producer ofRotor DR1 Recently named president of unmanned aerial vehicle (UAV) companyTheiss UAV Solutions Kapper discovered a dormant passion for radio controlled flight in 2010. The same year, Kapper startedFlite Test, an online community for radio controlled aviation enthusiasts to share knowledge and common experiences with others. When Flite Test began, Kapper’s day job was runningStoneKap Productions a high-end corporate video marketing company in North Canton, Ohio. The Flite Test community grew rapidly to over 350,000 users through biweekly videos, a dedicated forum, and community-generated articles about radio controlled aviation. Flite Test was designed to empower its audience, and since its inception has developed its YouTube show, website, content, and store products by listening and adjusting to community feedback. This unique development in the U.S.”


A worldwide viral outbreak has devastated the world. There is no government, no infrastructure. Electricity is scarce. The sky is full of autonomous drones that were developed to deliver vaccines to the population. But by the time the drones were online, it was too late: 90% of the population was gone. Now the drones fly empty missions, dropping vaccines everywhere though there is nobody left to use them. 

After being separated from his father, 16-year-old Kitch tries to lead a normal life in this post-apocalyptic world. When he discovers a strange drone following him, Kitch’s life becomes anything but normal: Kitch believes this drone, DR1, can lead him to his long-lost father. As Kitch prepares for his journey, he meets Maya, a girl that works for a local crime boss, 4C. Maya decides to help Kitch, and together Kitch, Maya and DR1 start their journey.


As Kitch and Maya follow DR1 to find Kitch’s father, they encounter people from all walks of life that have had their lives turned upside down by the outbreak. DR1 leads Kitch and Maya to an unexpected destination, where Kitch reunites with his father and learns the key to saving the next generation from the virus. This is a movie filled with excitement that you do not want to miss!!

“HOMEMAKERS”— Restoring a Home



Restoring a Home

Amos Lassen

When a young singer who loves to destroy things has to deal with her domestic fantasies while she restores her dead grandfather’s abandoned Pittsburgh home, we get a dark comedy directed by Colin Healy.

Part-time punk singer Irene McCabey (Rachel McKeon) is a part-time punk singer in Austin, Texas who moonlights as full-time “harbinger of chaos” and as a result her life is falling apart. When her ex-girlfriend moves to kick her out of their band, Irene gets a surprise of some big news— her estranged grandfather has left her a dilapidated house across the country in Pittsburgh.  To forget her troubles, she goes to Pittsburgh and gets a long-lost cousin Cam (Jack Culbertson) to assist in renovating the house.  Suddenly Irene has relatives she had never heard of and she soon begins to fall apart from the pressure of dealing with it all. Then when an unexpected visitor comes to visit, Irene must choose between her new domestic side and her desire to self destroy. Irene is a disaffected young woman struggling with issues of self-identity. With a superb lead performance by Rachel McKeon, director-screenwriter Colin Healey’s debut feature at times tries one’s patience and will surely not be for all tastes but young hipsters will quickly take it up and make it their own.


When Irene discovers that the three-level row house that no one has lived in for a decade is sorely dilapidated and badly in need of repairs, she plans to sell it for a quick payday but then she bonds with her long-lost cousin Cam in an attempt to fix it up.The main problem here is that neither of the pair is particularly handy, and their efforts are frequently hurt by their consumption of alcohol and drugs as well as by the elderly next-door neighbor. Then something happens to Irene, a girl who once saw settling down as a death sentence slowly begins to like the idea of domesticity and settling down in her new home.  

There is not a great deal of narrative and unfortunately even though we like Irene, we realize that she is quite an opaque character of whom we hear almost nothing of her back story. Yet the film is fascinating in many ways. One example of this is when Irene and a girlfriend watch her grandfather’s collection of porn films.

The house, though livable, is furnished by thrift stores and rummage sales. It has a moon room and a yard filled with bathtubs but it also has something special that I cannot define. In fact, the house is as much a character in the film as everyone else.


McKeon’s performance is sublime and the film is fun albeit quite quirky. I loved watched Irene trying to find some sort of balance between doing what she thought was right and not doing what society expects her to do. For a nonconformist like Irene, home becomes a place where she is able to relax and be herself and it is an escape from the life she wants out of anyway.

“Homemakers” opens at Cinema Village in New York City and will be available exclusively streaming on Fandor October 16th.

“MONTY PYTHON & THE HOLY GRAIL”— Come and Celebrate its 40TH Anniversary on Wednesday, 14th October 2015.



Come and Celebrate its 40TH Anniversary on Wednesday, 14th October 2015.

Classic comedy Monty Python and the Holy Grail is getting a special 40th Anniversary re-release in the U.S. to mark the film’s 40th anniversary.

Wednesday 14th October 2015 is “International Holy Grail Day” when a new” sing-along/quote-along” version will be on hundreds of screens in the U.S and in Canada and will continue to roll out in theaters throughout the rest of 2015.

From its opening multi-language titles (that sure looks like Swedish) to the closing arrest of the entire Dark Ages cast by modern-day bobbies, Monty Python and the Holy Grail helped to define “irreverence” and became an instant cult classic. This time the Pythonites savage the legend of King Arthur, juxtaposing some excellently selected exterior locations with an unending stream of anachronistic one-liners, non-sequiturs, and slapstick set pieces. The Knights of the Round Table set off in search of the Holy Grail on foot, as their lackeys make clippety-clop sounds with coconut shells. A plague-ridden community, ringing with the cry of “bring out your dead,” offers its hale and hearty citizens to the body piles. A wedding of convenience is attacked by Arthur’s minions while the pasty-faced groom continually attempts to burst into song. The good guys are nearly thwarted by the dreaded, tree-shaped “Knights Who Say Ni!” A feisty enemy warrior, bloodily shorn of his arms and legs in the thick of battle, threatens to bite off his opponent’s kneecap. A French military officer shouts such taunts as “I fart in your general direction” and “I wave my private parts at your aunties.” Rabbits are a particular obsession of the writers this time around, ranging from the huge Trojan Rabbit to the “killer bunny” that decapitates one of the knights. Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin collaborated on the script and assumed most of the onscreen roles, while Gilliam and Jones served as co-directors.

Movie theaters showing the “sing-along/quote-along” can be found at:

The Monty Python alumni John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin are encouraging moviegoers to wear medieval costumes, bring their coconuts and be prepared to quote their favorite lines.

Monty Python and the Holy Grail, the British comedy troupe’s first of three films, parodies the legend of King Arthur and his quest for the Holy Grail and was a surprising success on its US release in 1975, becoming the top grossing British film of that year.

The film was also the basis for the Emmy-winning 2005musical “Spamalot” written by Eric Idle that in its 10th year is still playing in live theatres across America.

Sony Pictures Home Entertainment will release a 40th Anniversary Blu-ray and Limited Edition Box Set in the US and Canada on 27th October.

Melcher Media are simultaneously re-releasing The Holy Book of Days: an iPad app that recreates the 28 days of the production of the Holy Grail available on the App Store.