You may have missed Irish directors Joe Lawlor and Christine Molloy’s debut feature film, Helen last year. Plenty of people did. I just caught up with it on DVD, and while it’s not without its flaws, it’s certainly the kind of work that I wish was supported more often in the UK. Told at a stately pace in an understated, almost fussily deliberate style, Helen is the story of a teenager in care, who is brought to question her own sense of identity when she is picked to play the part of a missing girl in a police reconstruction of her final movements.

Beginning with the police investigating the scene of Joy’s disappearance, it might give the impression of being a neo-realist murder mystery. There are poignant details such as the officer discussing arrangements for a children’s party on his mobile phone while in the background his colleagues are uncovering the traces of an absented child, but it quickly becomes apparent that things are far more composed, arranged and organised than might be required by a film wishing to suggest things just happening independently of the camera’s presence. The camera moves slowly, sidling up to its subjects and feigning disinterest, but this seems to be in the service of a subtext of dislocated identity.

There’s something odd about Helen. It is stilted, cautious. The dialogue is stripped back to the peculiar basics. Often it is functional, expository. We know that Helen has never been kissed because she says so. We know that she has meagre ambitions because she says so. It risks obviousness, and it’s difficult to tell whether it is just stiffly acted, or whether this is part of a calculated strategy of alienation.

The adults in the film are uniformly benign: the police are soft-spoken, supportive and mild, while the teenagers in Helen’s college are placid, quiet and rather sombre. Is this a vivid expression of a community sideswiped by tragedy into a state of stunned timidity, or is it a case of amateur actors overwhelmed by the rigid formalism of the film that requires them to hold positions, hit marks and maintain the shape of the composition? Jonathon Romney’s review in The Independent is customarily incisive on this question:

Molloy and Lawlor’s long-standing practice is to advertise locally for members of the public who fancy being in a film. The result in Helen is to give the cast a subliminally nagging stamp of arbitrariness: we’re aware of ordinary people filling roles, rather than the usual sense of non-professionals playing characters. In fact, that’s one of the film’s themes: Annie Townsend happens to have been chosen as Helen, just as Helen happens to have been chosen as Joy. Yet this somehow makes for an intense effect of reality: paradoxically, the fact that anyone might have ended up in a particular part makes the person seem not just an ideal fit, but an inevitable one. This thematically rich film is, among other things, a contemplation of the art of acting: how much does an actor need to resemble, or to become, the person she’s playing (or will just borrowing their jacket do the trick)?

The yellow jacket that Helen wears to “play” Joy is as much a visual motif as the red raincoat in Don’t Look Now. It prefigures the leaves that on the turn into autumn. It matches the yellow markers that hold the places of clues at the crime scene where Helen loiters like ghost. Apart from a prologue which may be footage of the reconstruction or actually Joy’s final moments, Joy is never seen, but she maintains a presence in the pattern of objects that are left behind in the woods, and Helen tries to reconnect with Joy through these, but it’s ambiguous as to whether she wants to emulate Joy, perhaps seeking after the parental love she herself has never had, or whether she wants to carry on Joy’s life and redirect it. Inspired by her selection to be Joy in the reconstruction, Helen takes the opportunity to imagine herself in the role, showing great faith in the process of dramatic re-enactment (allegorically suggested in the college’s production of Brigadoon, in which Helen also has a role) to get close to emotional truths. It’s either a simple tale of envy, or a much more complicated vision of teenagers living surrogate lives through pretence, emulation and mediated self-expression.

Most importantly, this is a film that communicates through the studied application of form, through ambivalence and irresolution. There’s a shot towards the end of Helen outside the care home, which ticks all the boxes of a pretty arrangement of lines, colours and a tustle between symmetry and imbalance, but it is not all style: it does a succinct job of conveying the states of artifice and fabrication in which she has found herself, and hints at why she hangs around at the crime scene, where she can curl up in the true colours of the earth and imagine herself to be fulfilled. Or maybe she’s playing Joy’s death scene in the woods, going beyond the requirement that she reconstruct Joy’s movements and instead allowing herself to complete the evidence, supplying the body that is otherwise absent and providing the longed-for completeness that allows for the case to be closed and the performance over.

• Podcast interview with directors Christine Molloy and Joe Lawlor.

I recently had a chance to watch the movie Fast Track: No Limits which was released on DVD October 6^th by Maverick Entertainment Group. I thoroughly enjoyed this movie with its action packed sequences from the beginning to the end, keeping your attention the entire way through. Although the cars aren’t as high budget as other street racing movies, like the “Fast & Furious,” but there are still some very exciting race scenes to keep your engine revved while the indy cast puts on a great performance.

There is a unique plot intertwining some interesting characters such as a street racing cop, a trophy wife with a need for speed, a pizza boy mob wheelman, and a garage owner with a love for cars.

The lead Katie, played by the incredible looking (Erin Cahill) needs to find $50,000 to save her beloved garage, a garage which holds many family memories, and is also ground zero for the racing scenes. We learn early that Katie is too proud to except handouts, after she refuses to take a loan from Nicole (Alexia Barlier) to save the garage. Nicole is a blonde bombshell who has Katie build a street racer for her, and wants Mike (Andrew Walker) to teach her how to race. With the loan refused, the only way to get the kind of money needed to save the garage is to win on the street, and that’s going to take some serious driving and fast cars; luckily Katie has both.

But, can Katie find a driver and win the money needed to save the garage?  Check out Fast Track: No Limits NOW and see what happens!

The folks at Maverick tell me its available OnDemand; check with your local affiliates, or your can buy it, rent it, or queue it up at any of your favorite retailers.

-Justin Acita

Just a few films for ‘thought’ here.  All deal with Native American subjects in one way or another. Suggestions for  additional titles are invited. Please feel free to post. 

“Total Silence Native American Women Vs Hollywood Stereotypes” –>

http://www.imdb.com/video/wab/vi2242905113/

The Snow Walker —–>>>>>

http://www.imdb.com/video/screenplay/vi3019505945/

http://www.rottentomatoes.com/m/1143677-snow_walker/

Skins –>>

http://www.imdb.com/video/screenplay/vi2357723417/

Smoke  Signals –>>>

http://www.imdb.com/title/tt0120321/

Edge of America —->>>>

http://www.imdb.com/title/tt0363587/

Black Robe——>>>>

http://www.imdb.com/title/tt0101465/

The Business of Fancy Dancying –>>

http://www.rottentomatoes.com/m/business_of_fancydancing/#

The Only Good Indian  ->    http://www.theonlygoodindian.com/

American Indian Film Institute – - – - >.>.>

http://www.aifisf.com/aiff/2009/?fMenu=film

Pending

David Jetre
Writer | Producer | Director | Designer
www.ghostsofsaarke.com | www.studio930.com | www.jetrefilm.com

Local film fests aspire to drag up the country’s movie industry from being totally obsolete, and if I may say, the industry is definitely struggling to keep up with so many contributing factors edging for kill. To cite, the Metro Manila Film Festival, which we all know is being held during Christmas season, should rouse movie producers in coming up with a quality film as it try to compete with one another. Let me just say that presently, the entire festival is failing dismally.

To earn a decent spot in the box office hits slots, our local prominent producers tend to lie on stupidity rather than real comedy just to catch kid’s attention. And let’s face it, these producers target children as it is obviously Christmas, but that is definitely not an excuse in producing a “so-so lamest to its ultimate lowest point” quality of movie. Look at E.T. and Ice Age. Actually, I don’t want to cite foreign film as it may sound I am suffering from colonial mentality but maybe that’s just the way it has to be.

Normally, producers should scout for actors who can give life to the characters on script but abnormally here in the third world, we produce scripts and therefore films for our so-called actors and actresses. Everything must adjust to these high powered celebrities who think that the entire Philippines is sitting right at the middle of their palm.  I should know. I’ve been in the business.

Gladly there are contemporary producers who care less about profiting instead focus on producing real quality film. I know that sounds very ideal, but I know for a fact that there’s an independent film producer who has to sell his television set and refrigerator to continue rolling his film.

Festivals for independent films appear to be a shining beacon of hope for the struggling film industry of the country but if we are not going to be cautious, our last hope might fail us before we know. Not so long that we are charmed by a little gay guy named Maximo, now a certain Cinema in Robinson’s Galleria is flooded with a softcore pornographic material with an excuse for art and so-called public eye opener for the acceptance of third sex in the society. Now they’ve found a new market to cater with and the business is really promising as it seemed to be the trend for now that for every 10 guys you come across at the street nowadays, am telling you none of them are straight (I know am exaggerating)! Don’t get me wrong, am a very liberal and open type of person, but let’s be honest with our intention please. Having two (or more) guys with well sculpted bodies, locked in a steaming hot scene just to depict art isn’t that convincing anymore. I just don’t find the necessity at all! I should know. I happen to own few of them DVD’s.

Am saying these because we seemed to have digressed from that time that our predecessors, the likes of Lino Brocka and Ishmael Bernal, strive hard to make it known to the world that we have a good sense of what is quality in terms of producing films. Am saying this because I am disgruntled with the current status quo and am hoping that there would be more stalwarts in this industry that one day might exhort for an end to this chronic plague, this industry is suffering from. I am no expert, am just a mere viewer; a regular viewer who believes in the talent of Pinoy movie makers. I should know…I am one of them.



Tonight is the world premiere of the web series, Grimm’s Reaper! Please be sure to check it out and respond with any questions or theories you may have! We’d love to hear from you!

www.grimmsreaper.com

Hey yo readers! So it’s the last couple of days of my holiday (as in, time where I don’t have to go in to my day job, not time spent chillaxing…) and I’ve put in a bit of good writing effort, almost completed the scene outlines for my feature. The way I write means that’s the hardest bit nearly done so that’s pretty exciting. And on that note 2010 is the year where this feature that I often talk about gets going… but there is a lot to do before the cameras roll. Step 1, figure out where to get a camera from (oh yeah, a lot to do….)

It’s not just a feature though, this is the new world! The film is part of a bigger concept, there’s a film, a series, maybe a graphic novel and a whole heap of other mediums to deliver this story. It’s a bit of a monster but it will be worth it!

In the next month or so I will be starting a new blog slash video blog (which will stick unlike my last failed attempt at a vlog!) which will begin to document the long, hard road towards um, featuredom. More details will be spilled then and this ball can start rolling.

Speaking of ball rolling, there are a lot of collaborators needed for this mammoth project which will be a wealth of creative visual material so if you like what I’ve done in the past, you’ve got some skills and want to be involved then get in touch right here at dave@iamdave.com.au

In fact it has been almost one year to the day since I last did a similar call to arms and managed to get the momentum going on To the Victor so I’m hoping to repeat the feat, only on a much, much larger scale.

Here we go!

Everyone loves New Year’s Eve because it’s an excuse to drink away the memories of the past year. 

But, it’s also a tremendous opportunity at a second chance.  A chance to do better, to feel better, to live, love and learn better.  And, let’s be honest, who doesn’t appreciate a free “do-over”?  In a world where we have no knowledge of or control over what the next day holds for us, we can, with near-absolute certainty, know that we get to try again.  And while each day is really an opportunity to start anew, there is something momentous about knowing you have achieved this milestone of making it through a year, looking back at what you’ve accomplished over the year, and making decisions to alter the course of your life for the year to come.

I traditionally do not make resolutions.  I ongoingly set and achieve and reset goals for myself.  Doing so in a formal-type of ritual at the beginning of the year, I think, negates my quest for continual growth and improvement.  At the turn of the year, I am not “turning over a new leaf” like so many others, but simply continuing what I’ve been doing in a more focused or fulfilling way.  I don’t want to change things about myself (like losing weight) - I love the way I am!  I just want to experience and achieve things that will give me a broader perspective on and greater appreciate for life.

But this year, I am stating 5 things that I hope to achieve by December 31:

1. Complete a sprint triathlon
2. Find someone to publish my novel
3. Act in an independent film that is entered into a film festival
4. Write enough original music to put out my own CD
5. Buy a house

A quick note on progress… it’s important to nudge each of these along, bit by bit, day by day.  To me, these are lofty goals.  I refuse to allow myself to succumb to feeling overwhelmed.  I need to focus on just keeping the ball rolling on each of these items. 

There is a big difference between living IN your dreams, and LIVING your dreams.  Here’s hoping that 2010 is full of the latter!

For those of you who don’t know I make independent films. I don’t have any equipment or training, but I have some short film ideas that I’m hoping to film late 2010 once I get a HD camera. It’s more of a hobby for me rather than a career aspiration, so to start off with my friends and I have been making a few webisodes.

The Super Fantastical Awesome Movie Review Show: Starring Heller & Budz is a movie review show in which we choose a movie we found terrible, and rip it apart. The latest episode is a review of G.I Joe: Rise of the Cobra, a film which was so bad I sit in the shower for hours trying to scrub it out of my mind haha!

The full review can be found at our website : www.kinghitstudios.com but here is part one for you guys to check out.

Just a reminder to everyone that the 1st episode is due up on the 2nd of January – that means this Saturday, folks! Mark your calendars and make you sure to check the website on Saturday!

www.grimmsreaper.com

The Julie/Julia Project is very specific.

Julia Powell blogs about her project.

 I’ve been reflecting on the purpose of this blog. I just happened to watch the recent release, Julie & Julia last week. The wife and I love to frequent the dollar theater here in town. I like to see films in a wide range of genres and viewpoints. In the case of Julie and Julia, this true story specifically used blogging as a vehicle for one main character to convey her thoughts while on a mission to cook through Julia Child’s cookbook in a year. 

I liked the idea of Julie’s blog. It was documenting a simply-stated mission with a dose of honesty and creative writing. Of course I don’t know how interesting the actual posts were compared to the Hollywood script. Seeing that blog and some of the other blogs around, they seem to all have missions of one sort or another. There are end goals, or at least very specific scopes for their writing. While their thoughts might not be interesting or appealing to everyone on the planet, they have a niche category and audience. 

The subtitle of my blog is “Adventures in Film and Television”. It covers alot more than I really thought about it covering when setting out. I’ve had interest in many fields within the broadcast and entertainment industries for years. I’ve professionally been in parts of radio, television and film for about 5 years now. It may be time to commit to narrowing my career goals . . . though perhaps not the focus of this blog. You see, I like going on and on about the industry . . . so there. 

So here are some of my personal goals:  

1. Finalize my reels for general indie work, shooting and acting.
2. Expand my shooter experience in outside projects and contacts.
3. Gain more experience editing outside of ENG and news desk work.
4. Get my personal fitness in order to better represent my company and enjoy things.
5. Fully write and produce at least one of my own projects (probably more).
6. Build/Purchase more assets for Akembo Creations to move to the next step of business organization.
7. Build my indie/freelance business up enough to rely on that income. 

I may come back to update or correct this list, but there it is for now. 

More Posts to Come: ”New Indie Web-series for jan. 2010″, “Fatal Rollover Hits Close To Home” and “The Enemy Called Time”.

When we last left off, our 8 day shoot was not as productive as we had hoped. Weather sucked, our bigfoot was injured, and our ability to estimate how many pages we can shoot per day was severely lacking. On the plus side, what we did get was excellent and enough to keep everyone excited and wanting to continue. We agree to try to work with everyone’s availability and shoot every weekend in October (or until the weather would no longer permit). We resume our tale with the 9th day of shooting, one week after our primary shoot ended.

Day 9 – October 4

After the detailed planning of our primary shooting week did not work out so well, Tyler decided to take more of a “we’ll shoot whatever we can shoot” approach. Scheduling all of our players was going to get more difficult. Vacation times were over, some were moving on to other jobs, some were going out of town. Typical low budget indie film headaches. We’ve dealt with it before, just never on this scale. Oh well. We’ll shoot whatever we can shoot.

Ready for action!

As a result of this new mentality, everyone (especially Tyler) was a bit more at ease. This day we had Jeidy, Max, and myself in the morning decided to shoot some of the running scenes. No dialog, no elaborate setups. Just a healthy jog through the woods. It was good actiony stuff. And, for my part, I came away feeling really good as my nine months of working out to prepare for the film paid off and the running was a breeze.

The afternoon was a big event. We had Jory on set in full Bigfoot costume for the first time. Everyone was excited and amazed to see how he looked in the thick fur bodysuit.  He was, after all, the true star of the film. Without a cool bigfoot, we have no movie.

We have a movie now, bitches!

Now, we have a movie.

We shot some action scenes deep in the woods and some effects shots with Jeidy and Jory and then called it a night. Damn fine day.

Day 10 – ???

I have no idea what happened on Day 10. Either I counted wrong in my notes and behind-the-scenes pics and vids, or I was abducted by aliens on this day and did not participate in any shooting.

I prefer the later explanation.

Day 11 – Saturday Oct 10

After the alien abduction of the previous day, it was time for some kick ass hiney filming to resume. That’s right. I said “hiney.” Why? Because, not only did we have all of our primary cast on set for this day, but we also had a variety of children. Because, we at Monkey Productions, LLC (formerly Monkey Ltd) believe in a family friendly work environment.

Grassman Daycare - Your little ones are safe with us

That, and we really want actors to show up.

We shot a lot of scenes in our campground set, which also doubled as the daycare site. Rich had some back pain but was a trooper and hung in for the entire shoot. As it began to get dark, we built a campfire (experienced fire starters that we now were), and prepared to shoot our first night scenes. We shot a couple of scenes around the fire, ate some tasty pizza, wrapped for the night. Not as much shot, but a productive day none the less.

Shooting at night. Looks creepy, don't it?

Day 12 – Sunday, Oct 11

This day, with all our primary actors 0n set for the second consecutive day, was set to be primarily a dialog intensive day.  We also had a surprise visit from Adam, who has a part in the opening of the film, and who assisted with audio for the later half of the day. The campground was the primary set piece involved, as well as some of the surrounding woods. What stands out most about this day was that everybody brought their inner “actor” to the set. We have not hidden the fact that we have only one actual actor on our film (Tyler, Stephan and I are not arrogant enough to include ourselves in that category). But you would never have guessed from some of the scenes we shot this day.

"Jinkies! A clue!" - Hunting for grassman

One scene in particular involved Stephan and Rich in a heated argument. I enter the scene in the middle of it and simply react. I found myself fighting the urge to step in an calm things down. The shit felt real. It was cool to be a part of. I just hope when the time comes for my more intense scenes that I am able to hold up against the effort I’ve seen from these folks so far.

Keep up, writer boy! Or we will remove you from the picture our way!

Otherwise, I am pretty sure Tyler will find a way to once again leave my ass on the cutting room floor again…

When it rains it pours, and in April 1999 it rained hard at Jefferson High School.  The fictional stand in for Colorado’s Columbine High and the infamous tragedy that befell its students, faculty and their families is the subject, with a few alterations, of APRIL SHOWERS (2009) by Andrew  Robinson.  Because the scenes surrounding the massacre have such a fierce intensity (and they accost us almost from the beginning of the film) it is easy to praise the picture almost without taking a breath.  But when we do come up for air, we make some observations that color our interpretation of the viewing experience. 

There  are some sound problems, particularly in scenes taking place in a kitchen and on a middle class home’s staircase.  Sound, of course, is the bane of the low-budget filmmaker’s existence but Robinson and his crew do well with their resources overall.  Another problem with the film is an over ripe quality to some of the more melodramatic sequences.  There is the moment in a convenience store  where one student, plagued by guilt over his actions the day of the shooting, almost wigs out in a paranoid breakdown.  It is to say the least, a bit much.  Still other scenes, such as the same students suicide, seem terribly contrived.  Nevertheless, it is obvious that this is a pretty good film. 

This version of events, as told by director-writer Robinson, an actual Columbine survivor, focuses mainly on the relationship between Sean (Kelly Blatz) and April (Ellen Woglom).  It is Sean’s realization that April is one of those killed in the attack that provides most of the drama, and some scenes have a surreal quality for which Robinson deserves kudos.  Ironically, in a film with a few sound problems, the use of sound elsewhere is exemplary.  In the frantic moments after the assault, Robinson and his sound designer Craig Polding, have the sounds fade in and out, creating a touch reminiscent of the boxing scenes from RAGING BULL (1980).  It is as though the characters are losing contact with the outside world.  Near the end of the film is another fine touch.  Sean leaves the church following April’s funeral, photographed in long shot.  The cars are frozen in the middle of the street as if they have all been abandoned-a superb visual metaphor for Sean’s world coming to a stand still. 

The performances are just adequate, but Tom Arnold in a small roll as a beloved teacher, makes a moving impression.  Aaron Platt’s cinematography is at its best capturing images such as the sunset behind the crosses erected in memory of the dead, and elsewhere creates lasting memories. 

APRIL SHOWERS has been given the deluxe distribution treatment by indieflix, meaning it is not only available on the company’s website, but also can be found in video stores and other outlets and has been distributed to theatres.

Last Minutes with Oden: On Experiencing Grief and Loss

Last Minutes with Oden is an attractively engaging, but extremely heart-wrenching 6-minute short documentary directed and edited by Eliot Rausch, in association with PhosPictures.  The film tells a story about Jason Wood, an ex-convict saying a final farewell to his best friend, the man’s last minutes with his dog before he has to have it euthanized for health reasons. The documentary is a beautiful elegy that calls attention to certain heartbreaking moments most of us experience, and which is an incredibly powerful reminder of the importance of family and friendships in all our lives.

Last Minutes with Oden: On Experiencing Grief and Loss

Five Hours with Woody: Love is Everything

Last Minutes with Oden is accompanied here by another short documentary by Eliot Rausch, Five Hours with Woody.  The film follows Jason Wood going through a dark period of anguish and heartbreak, during the time he was trying to raise money for his dog suffering with cancer.  Thinking about his dog, which helped bring more love into his life than he could ever have possibly imagined, Woody wondered why all friends couldn’t be as loyal as his dog Oden had been.

Five Hours with Woody: Love is Everything

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I had a very vivid dream in which I visited The White City.

A high-fantasy fortress, everything in The White City was, well, white:

The colossal walls with their exquisite friezes; the ornate patterns of the cobblestone streets made of a million stamped, five-sided bricks; long, leaping tendons of stone that fused into bridges, buttresses and fantastic terraces; the odd porticos, carved columns and seducing statuary; the sculpted stone doors hewn so thin as to appear as diaphanous sheets of rune-bearing bone; the milk white steel of flowery hinges, ornate hasps and clever, scrolling bolts; the seemingly seamless fence of helical minarets, twisted miradors and sky-aimed towers; the cryptic design of a vast park of white-stained glass optic devices, armillary spheres and other astrological henges; the albino brass markers countersunk into the streets, walls and arches of the city like a grid of glyphs; the wide, five-sided moat of white wine that surrounded The White City.

Against this snow-blinding, five-sided city moved its wise yet indistinguishable population, which among their number not a rebellious hue of color could be found.

Their eyes, skin, hair, nails, lips, and the entire spectrum of their raiment—cloaks, crowns, plate armor—could scarce be separated from their colorless keep.

Not even a shadow could be found in The White City. 

It was as if there was such a perfect ambience of day that no priority of light, no deficit in the bright pervasive alabaster, could be found.

As I moved through The White City I pondered if such a place had ever known night, conceived of darkness, or had ever entertained or even dreamt of a defiant shade. Surely it was a place with no word for black, or the countless other chromatic compromises that hide in prisms.

I didn’t want to leave.

For all was perfect in The White City, for there was neither blame nor blemish.

There was only gleam.

Stainless and saintly.

David Jetre
Writer | Producer | Director | Designer
www.ghostsofsaarke.com | www.studio930.com | www.jetrefilm.com

Let it slip into its proper place as the last chapter of all things yore.

David Jetre
Writer | Producer | Director | Designer
www.ghostsofsaarke.com | www.studio930.com | www.jetrefilm.com

Jon Reiss (filmmaker) gives 10 things you can add to your Christmas (and Hanukah) list to help save independent film.

via videography

Never underestimate the power of The Holy Spirit, especially when being spread by a little old lady who is unassuming.  I have to commend writer/producer Delsea Flowers for executing a wonderful story about the fusion of youth headed in the wrong direction, the love of music, and the power of God. Off the bat, I can’t say that I am looking forward to seeing this film again but the story, while at times predictable, was still engaging. The lead actor, Mike, played by Digo, was fearless and extremely committed leaving Mike to be by far the most relatable character in the cast. While Sister Thomas, played by actress Carol Jackson, was the most admirable character in the story, seeking relentlessly to save the future of a young talented artist, was the actor I found the least interesting. 

As far as the writing goes, the story was excellent, but it was the actual dialogue that failed the actors. It seemed like production prematurely decided to shoot a rough draft rather than a matured script. Nonetheless, it was nice to see two people with a substantial age difference get along in a positive manner that wasn’t romantic. And I LOOOVE a good villain. Brandon G. Katon Donegal plays Flex, the jealous-enraged best friend of Mike, who sets him up to take the fall for murder. Donegal’s work was full of depth and thoroughly entertaining, as he found ways to show there is more than one way to be jealous of the same person. Flex stopped at nothing to deteriorate Mike, even going as far as lying to him about the fidelity of his long-time girlfriend, Tiffany (and what I lovely name she has).

Overall, I’d have to say Reggie James, who played Elder Frank, gave the most believable performance and seemed to be the professionally trained actor on set. His line delivery and facial expressions were very present and lacked premeditation.  I also appreciated the independent music used throughout the film as well. Most of it was in good production taste and delivered a message that complemented the story line.

There were a few unanswered questions: Does Mike’s relationship with his grandmother improve due to his relationship with Sister Thomas? Why shoot the present day of the film in black and white and past in color? Was Flex’s jealousy motivated by something Mike had done in the past? Some scenes were just not needed, such the scene with Sister Jackson visiting the studio while the rapper recorded and her dancing to the music. Still, the production quality was excellent as the video and sound never made me feel like I was watching an indie film.

Moving forward, I don’t know where Flowers is in the stage of her writing, but I’d say that 2 more drafts would have done this story wonders. However, she has to be commended for writing, producing, and acting, and volunteering her home, serving as the location manager, and writing songs for the soundtrack! You go girl!

I received Book of Songs for review from Maverick Entertainment.

-Tiffany Black, Actress/Writer/Director/Blogger Extraordinaire

Did everyone have a good weekend? I spent most of it playing Tokimeki Memorial 4, but there was plenty of motion in the anime world. Among other things, we have a manga sequel to magical girl series Shugo Chara, an anime sequel to parody/history/moe anime Shin Koihime Musou, and a note of recognition for one of my favorite shorts of the year!

Shugo Chara Encore! Sequel Manga Starting in February

There was some worry earlier this year that the third Shugo Chara series going too far afield from the source material and starting to use too much filler material to pad the episodes. That concern was worsened when the end of Peach-Pit’s popular magical girl manga was announced. But fear not – according to the next latest Nakayoshi manga magazine, there’s more Shugo Chara on the way, and that almost guarantees a fourth season of the anime. Whether or not this is a good thing is up to you – I think that Shugo Chara is long past its expiration date, but as long as they keep putting out Mizuki Nana singles, I’ll still buy ‘em. (Source: ANN)

Shin Koihime Musou: Otome Tairan Announced

At the end of the last episode of Shin Koihime Musou, the producers snuck in a little joke. In spite of it being the end of the season, the characters participated in a next episode preview, which led to a lot of confused yelling. But there was a point – at the end of the episode, the logo for a new anime called Shin Koihime Musou: Otome Tairan appeared, along with an April 2010 air date.

I got tired of Koihime Musou’s premise after playing a little bit of the original game, so this new the anime doesn’t elicit any response from me. I’ve seen enough “turn historical/literary figures into cute girls/hot guys” anime and games in the past few years to fill a lifetime (see: Sengoku Basara, Ryofuko-chan, Ikki Tousen, and an endless stream of 18+ works I probably shouldn’t admit to knowing about), so I’m more than a little jaded about Koihime Musou.

“Fumiko’s Confession” Nominated For YouTube Video Awards Japan 2009

Over on YouTube Japan’s year-end awards page, you can find a whole host of independent animation projects from the sea of Japanese social media. My personal favorite is obviously the Looney Tunes-esque “Fumiko’s Confession,” which I loved when I saw it last month, but there are plenty of other worthy candidates you should check out too, like the lush and colorful Elephant Santie 3.

But, just because, here’s Fumiko’s Confession again:

Fleiss singer Glen ugly Naughty (GuN) is planning the possible production of a short indie pop musical based on the music & songs of upcoming Your Mixed State, LLC release Fat Noble Kings Eat Buffalo Wings. The new production could also include new previously unreleased songs by The Fleiss & scripts writen utilizing The Green Goat Method of Accord (GuN’s personal Philosophy of Language)

The Pilot will likely be a 24 minute episode similar in length to a T.V sit Com & potentially to be released on T.V, DVD & Short Film cinema. Also proposals 4 A full length feature presentation will be submitted 2 film studios such as Universal. WB, Disney & MGM etc

GuN describes the project to likely b a cross hybrid between The Rocky Horror Picture Show, Abba, Singin’ in The Rain, 24 Hour Party People, BBC’s The Young Ones and MTV type reality shows with preview footage to b shot in 16mm film & HD

The pioneer musician & soon 2B filmmaker plans to gain 50 lbs B4 production starts 2 capture A realistic Glen ugly Naughty & break the Hollywood Stereotype stranglehold image of indie pop stars

Did somebody mention an Oscar (askmark)

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