2012 Academy Awards: Reductive as Usual . . .

Best Picture
This category goes to the film that bests upholds stagnant art and the status quo of cultural and socioeconomic divide; however, don't be deceived in thinking the award is balanced. They always sneak in one or two art films to make you think "art" matters. The best films don't get nominated anyway because they don't have millions to waste on campaigns; and ironically enough, the American government works the same way.

Nominees:

"The Artist"
*Review Rending*
Mandatory Art Film. It has a chance to win because Hollywood films are so bad that industry execs rather glorify the past, instead of forging into an unknown, undiscovered future with stories, styles and genres by "outsiders."

Definition: Hollywood Outsiders - Non-westerners,  People of Color, Poor People, Artists

"Tree of Life"
*Review Pending*
Mandatory Art Film. Terence Malick is too smart for the Oscars, so this film probably won't win. His films will always get nominated because his biggest supporters are smart actors (Brad Pitt, Sean Penn)  who keep his work financed through attaching themselves. If not for major star support, Malick would be in the realm of David Lynch's self-distribution and DIY maverick filmmaking.

"The Descendents" *
Quick Review: Elitist, racist, inconsistent direction, screenplay and boooring performances. I've been to Hawaii and I swear there are more than 3 native Hawaiians . . . Does it fill some kind of ethnic quota if all of the Caucasian characters in the film claim their .0000001 % Hawaiian hertiage?? This was like watching the wealthy ancestors of John Smith and Pocahontas wallow in melodrama while barbecuing mahi mahi and wearing cargo shorts, flip flops and tropical shirts.

"The Help"
*Quick Review: You're supposed to think it's subversive and progressive, but it's actually just reinforcing the aforementioned  "status quo of cultural and socioeconomic divide" in all facets of cinema and "the real world," as well. Do you ever wonder why Don Cheadle can't get his Miles Davis film produced and the Angela Davis story does not get produced, funded or even read. Why? The only facet of African-American history that is perceived as marketable to wide audiences has to involve racism, or else it's not authentic. But of course.... That explains why Tate Taylor was hired to adapt and direct the film. His previous short film is called, "Chicken Party," so of course he was the best choice to direct "The Help." Of course.

"Hugo" *Can we stop awarding subpar films by established directors just because they're still alive? " Are the voters still feeling guilty over not awarding "Taxi Driver" I promise you there are new films by daring directors out there. I promise you.

"Midnight in Paris."
*This falls into the same category as "Hugo." Old director with new faces and people get nostalgic and guilty for the classics made 20 years ago that were snubbed. See Allen's "Crimes and Misdemeanors."

"War Horse"
*Spielberg owns the Oscars. If he shat on a napkin and scanned it into 3D, it would probably get nominated for an Oscar. Last watchable Spielberg film? "Munich." Last good Spielberg film? "Schindler's List."

"Extremely Loud & Incredibly Close"
*Review Pending*

"Moneyball"
*Review Pending*

For our next meeting:
Remember, whatever should win Best Picture usually wins for Best Screenplay. That's the category to watch.

Quick Examples:
"Citizen Kane" lost Best Picture, but Won Best Original Screenplay in 1942
"Pulp Fiction" lost Best Picture, but Won Best Original Screenplay in 1995
"L.A. Confidential" lost Best Picture, but Won Best Adapted Screenplay in 1998
"Traffic" lost Best Picture, but Won Best Adapted Screenplay in 2001


Also . . .special thanks to Madonna for the pop culture resurgence of the word "reductive" and for dressing as a Baphomet for her Super Bowl performance. YVHV.


jce

Official "All Tomorrow's Children" Website is LIVE

WWW.ALLTOMORROWSCHILDREN.COM

The official "All Tomorrow's Children" website is now live and ready to be tapped, rapped and poked by all the digital and physical friends out there.  The main site will feature exclusive behind the scenes footage,  event news,  cast and crew profiles and other special content starting from now until . . . the end of this world (or until the film's release in December 2012 :) ). 

Welcome,

jce

"All Tomorrow's Children" CONCEPT ARTWORK PREVIEW

Tomorrow never was . . .and never will be.

Happy Halloween!!!

Check out the one year anniversary stream of "10-31-10" by ReVerse Bullets.  This is a one day, Halloween-only, stream of the first official RB video and release.  Tomorrow (November 1st, 2011), we have a few (like 2, or maybe 3) major announcements in store; until then, enjoy "10-31-10!"

http://reversebullets.tumblr.com/

*Lights out, sound up*

NEW TIME. NEW FILM. "ENTROPY AT THE GRAND" - JUNE 15TH, 2011

 

The final addition to the "Entropy at the Grand" line-up is Waleed Zaiter's "In Egypt," a video interpretation of Suheir Hammad's poem of the same name. Sawung showed me this and I was blown away. After watching these films several times in show order, and  I can tell you for a fact: all killer, filler. 

The diversity(unity) of the projects flow like In formation from the Antithesis of Death and Beauty, not only In Egypt, but more than Ten-Thirty-One-Ten Pale Castles before we become The Action Hero of our own Distortion, left with only a copy of The Beaufort Diaries. 

All of the darkness. All of the light. Just wait until we turn on the darkness and turn off the lights at "Entropy at the Grand."

BUT REMEMBER: 

 Check-in now begins at 6:30 PM with film rolling at 7:15 PM.

There is a suggested donation of $10.

Entropy at the Grand - June 15th, 2011

Come out to join the filmmakers, casts and crews of NYC's most cutting edge shorts the Tribeca Grand Hotel on June 15th for the first Perfect Entropy curated screening in the After Set series. 

Check-in starts at 7 PM with screenings at 7:45 PM.   After the screenings, stay for the Q & A with all filmmakers in attendance and stay even later for drinks with all in attendance.  The suggested donation is $10 for facility costs, but our attendance is the most important gift.

FILMS TO BE SHOW INCLUDE:

'"Antithesis" by Jon-Carlos Evans

"The Action Hero" by Oliver Mann

"The Beaufort Diaries" by Alexander Petrowsky

"Death & Beauty" by Ezra Peace

"Distortion" by Juan Loney

"information" by Zavé Martojardjono

"Pale Castle" & "Ten/Thirty-One/Ten" by ReVerse Bullets

Make sure to RSVP to perfect.entropy.productions@gmail.com with "Entropy at the Grand" in the subject line.  

The Primates Are Loose and the Kids Just Wanna Dance

March 19, 2011, New York City, USA - On the second night of the four city electronic mini-tour known as Hard Weekend at NYC's Terminal 5, headliners Simian Mobile Disco and supporting duo Benga and Skream unleashed explosive sets of eclectic electronica that left the audiences in a dream-state of awe, sweat, dance and euphoria.

Simian Mobile Disco emerge amongst a backdrop of a honeycomb of neon veins like a cut scene from TRON. The duo twisted, bobbed and rode their racks of synthesizers, and effects pedals as if summoning the gods of distortion and dance. By the end of the night, the audience was transfixed by a mixture of ambient daydreams for the cerebral crowd, and high frequency noise and ground-rattling bass for the dance-fiends.


Simian controls their cacophony of beats and noise like mad scientists on the verge of a electronic meltdown.

In the supporting slot, dubstep wingmen, Skream and Benga - 2/3 of UK DJ supergroup/phenom Magnetic Man worked the sweating, half-dressed crowd into sensual, dizzying and head-banging acolytes of the almighty DROP . By the end of their set, one would be hard pressed to see who had more fun - the jubilant Benga & Skream or their sweating, bass-drunk fans.

-jce, 3/22/11