Here’s a clip of “Eleanor Rigby,” my favorite song from this album.

Here’s the trippy “Tomorrow Never Knows.”

Here is the official music video for “I Don’t Care Anymore.”

And here’s “You Can’t Hurry Love.”

Well, there you have it. Hopefully, it won’t be a month before I do this again. I’ve already begun work on the next vinyl album, but have yet to split the tracks. And, as already mentioned, the next album in Mr. Moon’s book is the infamous “Sgt. Pepper’s.”

TTFN, y’all!

Melanie Lynskey, perhaps best known for her roles in Heavenly Creatures, Ever After, and Two and a Half Men, finally takes center stage in this character-driven indie film. Hello I Must Be Going tells the story of Amy, a recently divorced thirty-something, who has found herself disconnected from the artistic young woman she once was, as well as from the buttoned-up lawyer’s wife she became before her divorce. Amy moves into her parents’ house without direction or drive, but when she meets a much younger family friend, her passion reignites in an unexpected, or perhaps quite expected, way. Hello I Must Be Going is a simplistic film that surprises with its sharp wit and charm as it tells the all-too-familiar story of starting over when life takes an unexpected turn.

Melanie Lynskey offers this film a subtle performance as the dejected and lost Amy. Her parents, played by the lively Blythe Danner and the more reserved John Rubinstein, work well as Amy’s parents. They do their best to get her out of bed and dressed appropriately for their upscale New England town. During an important work luncheon for her father, Amy meets a family friend, young aspiring actor Jeremy (Christopher Abott). Jeremy’s confusion over his chosen career path and future instantly draws him to Amy. Abott brings the same type of quiet passion to the film that Lynskey does, and they both feed off of each other’s calm and spunky energy.

It’s always nice to sit back, relax, and watch a Sundance-fueled, character-driven film, and that’s exactly what this movie is. Hello I Must Be Going went through Sundance labs before becoming what it is today. In places, it does feel like the kind of film that could have been pushed a bit harder to truly reach its potential, but the film bounces back with some memorable moments and unexpected cameos. Dan Futterman (The Birdcage, Judging Amy) and the quietly hilarious Jimmi Simpson (It’s Always Sunny in Philadelphia, Breakout Kings) punch up their scenes with the wounded Amy. In fact, Amy is able to reclaim some of her dignity and find some self-discovery through her brief interactions with these men.

Hello I Must Be Going, directed by Todd Louiso and written by Sarah Koskoff, could get lost amongst other indie films, but its wit and supporting performances help it stand out. The film skirts around clichés and ends up carving out its own path. It doesn’t try to be more than it is. Hello I Must Be Going is worth a viewing for anyone looking for a well done, character-driven flick and for anyone who has been waiting to see Melanie Lynskey as a leading lady.

Oscilloscope Laboratories has acquired this film for a theatrical release this year.

All of  my reviews are first published at Fanboycomics.net. Check out their site and if you like it, check out their podcasts or sign up for their newsletter (a daily highlight of the best in geek news). 

Sarah Koskoff

Salon, for example, says that although the movie starring Melanie Lynskey and Blythe Danner might be “too subtle (and too similar to several other low-key indie romcoms) to make a big splash,” it features “lovely performances and really builds strength as it goes along.”

That’s not what caught our eye, though. It was this paragraph — one worth reading through to the end:

The problem with “Hello I Must Be Going” is that Sarah Koskoff’s screenplay starts out so modestly: You think it’s just going to be a female early-midlife-crisis movie, or an older-woman/younger-guy love story, and, heck, it is both of those things. But to my taste, as the movie goes along it becomes much richer and funnier than that summary suggests, painting a satirical but sympathetic portrait of upper-crust family life in Westport, Conn., a rather toff and beachy New York suburb.

Note to Salon: “Toff” is a noun, not an adjective. Merriam-Webster calls a toff a “dandy or swell.”

Dictionary.com says a toff is “a stylishly dressed, fashionable person, especially one who is or wants to be considered a member of the upper class.”

And this, verbatim from the always-reliable Urban Dictionary:

Wearer of only Ralph Lauren polo shirts, usualy worn inside with loafers and torn up jeans half down their trousers, with 3day old boxers on underneath

Listen to songs like ‘Roxanne by Sting’ or the Top Gun soundtrack.

Sundance Institute founder Robert Redford opened the festival by characterizing the slate of 117 feature films as products of “dark and grim” times and the “suffering from a government that’s in paralysis.”

“Even though the work reflects hard times, there’s not paralysis here,” the 75-year-old filmmaker said at an afternoon news conference. “They’re breathing life into fresh, new stories.”

The selection of films are “as diverse as they can be” and no overriding theme has emerged, said festival director John Cooper.

“Independent film is the theme,” he said.

For 11 days every January, Sundance becomes the focal point of the independent film world as established directors and stars mix with up-and-coming talent, while theatrical distributors prowl the festival looking for the next indie hit, and film lovers just have a good time being the first audiences to see new movies.

“You can’t make a film with a festival in mind, and it’s not something I would have expected or taken for granted. But it’s always kind of the dream in the back of your mind,” said Lauren Greenfield, who premiered her debut documentary “Thin” at Sundance in 2006 and returns this time with one of the opening-night films, “The Queen of Versailles,” chronicling the housing-bust story of a couple that tried to build a palatial 90,000-square-foot (27,000-meter) mansion.

“I think it’s this really magical environment, a place that’s such a nurturing, supportive influence for independent films. Even when you’re out there making your film, I think that you think about Sundance, and it just kind of gives you motivation.”

Also opening Thursday is “Hello I Must Be Going,” actor-turned-director Todd Louiso’s U.S. dramatic entry that centers on a love story between a 19-year-old man and a 35-year-old divorcee, and stars Melanie Lynskey; the world-cinema drama “Wish You Were Here,” a dark story of a vacation gone wrong from Australian filmmaker Kieran Darcy-Smith that stars Joel Edgerton and Teresa Palmer; and Swedish director Malik Bendjelloul’s world-cinema documentary “Searching for Sugar Man,” a portrait of promising 1970s singer-songwriter Rodriguez and his fade into obscurity.

Sundance also is a launch place for films that already have distributors, who show off their films hoping to build buzz among audiences and the legions of cinema journalists and bloggers who attend the festival.

“All the film press in North America is at Sundance to discover films,” said Michael Barker, co-president of Sony Pictures Classics, which is showing director Nadine Labaki’s Lebanese drama “Where Do We Go Now?” and Gareth Huw Evans’ Indonesian action tale “The Raid” at the festival. “Sundance is like the best place to set up a film for release. You have instant press junkets at Sundance.”

Among the more established filmmakers showcasing their work at the festival are Spike Lee with his urban drama “Red Hook Summer,” in which he reprises the character he played in “Do the Right Thing”; Stephen Frears with his sports-wagering caper “Lay the Favorite,” starring Bruce Willis, Catherine Zeta-Jones and Rebecca Hall; documentary veteran Joe Berlinger with his Paul Simon portrait “Under African Skies”; and Julie Delpy with her relationship comedy “2 Days in New York,” in which she stars with Chris Rock.

The Sundance Film Festival has grown tremendously over its 28 years, but Redford said the institute’s mission remains the same: to support and encourage independent filmmakers and provide a platform for their work to be seen.

“There are those people who say, ‘Why give money to art? It means nothing,’” Redford said. “I think it means a lot. And we’re here to try and prove how much it does mean. So we can only do what we can do, but we’re going to keep doing it.

The Sundance Film Festival continues through Jan. 29. (AP)

___

Online:

http://www.sundance.org/festival

1/20
6 Wish You Were Here
9:45 The Raid

1/21
noon That’s What She Said
3:30 The Queen of Versailles
5:30 West of Memphis or Celeste and Jesse Forever at 6:30 if I can’t make the transition work
9:30 Red Lights
midnight The Pact

1/22
noon Indie Game: The Movie
3:30 Beasts of the Southern Wild
6 Filly Brown or 6:30 Hello I Must Be Going
9:30 This Must Be the Place or 9:45 Wrong

1/23
6 V/H/S
9 Something from Nothing: The Art of Rap

1/24
6 The End of Love
9 Room 327

1/25
6 For Ellen
9 John Dies at the End

1/26
6 Sleepwalk with Me
9 The Imposter

1/27
6:30 Safety Not Guaranteed
9:45 Luv
midnight Excision

1/28
noon Arbitrage
3 Red Hook Summer
6 Tim and Eric’s Billion Dollar Movie
9:45 Shut Up and Play the Hits
midnight For a Good Time Call…

1/29
12:30 The Words
3 Predisposed or 3:30 Robot and Frank
6 The Tower TBA

“06880″ reader Marcia Falk has a great idea.  She writes:

We’re heading up to Vermont tomorrow afternoon — specifically the Mad River Valley — to bring clothing, toys and household goods to people who have lost their homes.  Especially needed:  winter coats and clothes, for adults and children.

Anyone wishing to make a donation can drop it off at 3 Lone Pine Lane (off Tamarack, which is off North Compo).  For more information, email mistyfalk@gmail.com

If she gets enough donations, Marcia says, she’ll hire a van.

———————————————

If you’re completely over the hurricane, and have absolutely nothing to do, this next item is for you.

Extras are needed tomorrow (Thursday, September 1) for a Sundance film called “Hello, I Have to Go.

Aspiring extras should report to Tavern on Main restaurant (Main Street) at 10:30 a.m. Dress as if you’re out to dinner at a fine restaurant (men can wear jackets).

You’ll need to stay through 5 p.m.

If you can make it, email nsherter@hotmail.com, or call 203-451-9227.

Don’t Let Him Steal Your Heart Away – Phil Collins

Until then, take it away, Groucho . . .

Once brothers Gummo and Zeppo were born several years later, 10 family members were stuffed into one apartment, which they paid $27 a month for, according to Groucho’s autobiography, Hello I Must Be Going.

At right is the Marx Brothers’ building today, more or less part of the affluent Carnegie Hill neighborhood. Back in the 1890s, however, it was in the middle of gritty breweries in working-class Yorkville. In his book, Groucho recalls his neck of the Upper East Side around 1900:

“We were surrounded by three breweries where we lived. When I went to school I could smell the malt. We used to go over to Park Avenue, where old man Ruppert lived in a big house with a fruit orchard, and we’d steal his apples and pears. There was a spiked fence about eight feet high, and dogs. We might have been dog meat, but we were very young, and we sure did like those apples and pears.”

Old man Ruppert was the owner of Ruppert’s Brewery, which spanned four blocks in the East 90s and is now the site of Ruppert Towers apartment complex. 

Today, neighborhood preservationists are trying to extend the Carnegie Hill Historic District so it includes the Marx Brothers’ building and isn’t vulnerable to demolition. 

An early photo of the Marx Brothers. That must be Harpo on the left, but it’s hard to tell for sure who the other three are. Groucho on the far right?

We had a wonderful evening last night down at the Kennedy Center, where Barb, Madi and I had the pleasure of seeing Wynton Marsalis and the Jazz at Lincoln Center Orchestra. I’ve been a fan of Wynton’s dating all the way back to Black Codes From The Underground, yet until last night, I had never had the opportunity to see him live. And boy, he didn’t disappoint. He promised to get the Kennedy Center “swinging,” and that he did for the next three hours, with one of the hottest bands you’ll ever see.

But don’t take my word for it. Here’s Wynton and the Jazz at Lincoln Center Orchestra* swinging to Duke Ellington’s “Across The Track Blues.” Enjoy, and I’ll see you next week.

* Ignore the fact that whoever posted the video spelled Marsalis’s name as “Winton.” It makes me crazy, too.

Face Value came out in 1981 and Testify came out in 2002, so thats 21 years of Phil making albums and putting his mug on the cover. I’m not an expert but the guy is balding and awful looking. Homie has the big ego of the week. Come on Phil!!!! 

While we have them all in front of us let’s talk about the names of these albums: But Seriously, Face Value, No Jacket Required, Testify, Both Sides, and Hello I Must Be Going. My favorite is Hello I Must Be Going followed by No Jacket Required… but all in all they are all golden.

Congrats Phil you have won this week’s… drum roll please….
Yes that is a tool shed
Sussudio Phil Sussudio 

 z.