Thursday, March 31, 2011

Gran Torino” movie review (originally reviewed in 2009) by Frank Tobin



Gran Torino” movie review (originally reviewed in 2009) by Frank Tobin



Amidst a recent plethora of horribly mediocre movies (save for “The Dark Knight”), a shining light of superb writing (rare in this industry) and tremendous acting prowess, by an icon of the Silver Screen, bursts out of the Hollywood chum-bucket.

There are no bending bullets, no poorly conceived slap-stick, pop-culture references, no car chases (though there is a beautiful 1972 Gran Torino), and no teeny-bopper, sappy romantic, emo-Vampires.


Instead we get Walt Kowalski; a racist, Korean War vet, who loses his wife at the end of his life, and who has seen horrors beyond measure; a broken man, a survivor, a real man, a man who finishes what he starts.



In “Gran Torino,” Clint Eastwood makes a triumphant return to the business end of the camera, behind which he has made a remarkable career with such modern-day classics as “Million Dollar Baby” and “Unforgiven.”

The transformation that occurs within, and without, Walt is a marvelous blend of cultural shock and old school traditional “manning-up.” Living in a desecrated, gang-ridden Detroit neighborhood, Walt begins the story with a profound, deep-seeded hatred for the Hmong immigrants who have moved next door. As time goes on, he discovers the history of their heritage, and their, albeit unwanted, connections to the family’s gang member associations. The bond that forms between Walt and this family is both wonderful, and spiritual.



Walt finds himself alone in a changing world; a man from a forgotten time, with morals derived from the bitter-sweet embrace of looking down the barrel of an M-1 Garand Rifle. Throughout the course of the story he befriends a young boy named Thao; a typical teenager rife with teen angst and insecurity.

Drawn against his will into the life of Thao's family, Kowalski is soon taking steps to protect them from the gangsters that infest their neighborhood.

Cantankerous in his demeanor, but honorable in his intentions, Eastwood conveys a character that has been seen before, by Eastwood himself no less (Dirty Harry comes to mind immediately), but still retains a fresh appeal, and demands your attention from start to finish. It’s not like Eastwood hasn’t been doing this sort of thing for more than 50 years, and doing it extremely well no less (four Oscars, another 100 wins & 58 nominations). 

The ending, while still a touch predictable, resonates with you, and shows that not only are all people capable of salvation, but that Eastwood still has a lot of magic, even for a 78 year old, for making quality pictures in an age where computer generated superheroes are the norm, and spoof-movies are nothing like they used to be (how hard is it to emulate “Airplane!” properly… do your homework film students, and learn your roots).

This is a man’s movie and should be required viewing for every overly emotional momma’s boy, and the fathers who failed them, in our society. Take notes kids, you’re about to be schooled by the best of the best: The Man with No Name (Eastwood’s character from “The Good, The Bad, and The Ugly.”

Wednesday, March 30, 2011

Friday The 13th (2009) Review by Frank Tobin



Review by Frank Tobin


Friday the 13th” movie review (originally reviewed in 2009)

Jason. The hockey mask. The machete. That ominous theme that sounds a lot like "Kill, Kill, Kill."



Anyone with any knowledge of the horror genre has undoubtedly come across this villainous icon; this monster of the silver-screen, that practically coated the inside of every theater with blood throughout the 1980s. Although he pretty much became a parody of himself in “Jason X,” and then was basically (and wrongly) turned into a psychologically tormented Frankenstein's monster-esquire creature in “Freddy vs. Jason,” the beast was always remembered for who he originally was.

And that is what makes the new remake/re-imagining of “Friday the 13th” such a success (for the most part). Despite being written by Damian Shannon and Mark Swift, the same hacks who brutalized the characters of Freddy and Jason in their fabled match-up, they wisely went back to the basics that made the character so popular. Sure he runs like Usain Bolt now, but he’s a hulking beast again. There is a bit of added development in the relationship between Jason and his mother, but the story remains the same. He’s still the vengeful bane of any group of sex-crazed teenagers stupid enough to camp out in Crystal Lake.




“The Texas Chainsaw Massacre,” “Halloween” and, to an extent, “The Hills Have Eyes,” established parental issues for our lovely lot of deranged killers, in order to solidify their motives as adults. Perhaps attempting to appeal to a wider audience, the filmmakers felt it necessary to provide more of an emotional backdrop for these iconic psychos to brutally indulge in their deranged eccentricities. Apparently, they couldn’t exist as simply being demented, and absolutely bonkers. Thankfully, by and large, “Friday the 13th” doesn’t bother with any of that. Sure, there’s a plot twist that will make any devotee squirm with inner fan-boy repulsion, but it still makes sense in the grand scheme of who Jason was and is now. The character has no added dimension completely taking away from how terrifying he is, and making him into a misunderstood infant. For that alone, the movie is more than worth the price of admission.

Another wise choice was to stick to the traditional, R-Rated horror movie formula. None of this ripping off Japanese horror flicks; none of this Paris Hilton inspired garbage; no more “Saw” movies; just sticking to what made classic slasher flicks so great in the 80s and 90s. The filmmakers here (including director Marcus Nispel of ‘Texas Chainsaw’ remake fame) have made what equates to an homage to the series; a gooey letter to the fans of the character. Instead of trying to completely redo and re-brand Jason for a 2009 audience, the film amalgamates everything everyone loved about the series that made them come back for ten sequels. Remember the gratuitous amount of breasts and graphic sex scenes? They’re here, and just as tantalizing as ever (in a Cinemax, soft-core, sort of way).

Remember the goofy dialogue, and total lack of any knowledge shown by the characters in trying to combat them against this machete-wielding maniac? You get that in spades. And remember all those ridiculously violent, over-the-top bloody, kills?  Let’s just say, the horror movie gods are smiling upon this movie.


The film knows its genre, and it knows its audience. It throws plenty of cheap scares at a moment's notice, and offers just enough laughs (both intentional and unintentional) to keep the audience invested in the movie. And when the actual scares come, the film manages to keep the audience transfixed at those moments too (whether they’re screaming in fear or laughing from how ridiculous the scene is). Rather tastefully, the deaths are gruesome, but not to the point of overkill like in the awful “Saw” series, or even within “The Texas Chainsaw Massacre.” Honestly, they just know which buttons they want to push.

But for all the praising, the film is obviously imperfect. Leaving aside the ridiculous twist in the middle of the film and the total lack of character development, (albeit, totally expected, but upsetting nonetheless) the film drags its heels getting to the finale. There’s a particularly dry spot as the film nears its third act that borders on painfully boring, and seems more like a forced narrative device to stretch the running time out. Some scenes seem marred by a failed attempt at building tension. But of course, it’s pretty hard for a scene to be tense when you’re cheering for the killer as opposed to the victim (you do that a lot in this movie).





The film also suffers from the same slapdash editing that plagues other modern horror and action films. In some instances, it’s almost impossible to be scared because our view is obstructed by MTV inspired smash-cuts, and overly abused shaky-cam nonsense. Some scenes linger on the aftermath, but some happen and disappear quicker than Michael Phelps spraying Lysol in his buddy’s room just as the cops show up.

In the end, “Friday the 13th” is a whole lot of fun. Granted, if you know what to expect from a film featuring Jason Voorhees as the main character, then you shouldn’t go home disappointed.

And coming from a remake, that’s saying quite a lot.

Saturday, March 19, 2011

Cast and Crew from Idiot Savant

Here is the cast and crew for Gamestore Pilot: Idiot Savant.  It was shot on March 18th on a Cannon 5d Mark 2 and a Cannon T2I.

Cast:

Alex: Alex Banos


Dylan:  Frank Tobin


Blondie:  Chelsy Bishop


Douche Bag 1:  Xavier Gonzalez  


Douche Bag 2:  Nick Alford


Extras -
Dee Du Arte
Bethany Ilene Wedlund
Adam Ray
Zach Tatom
Monica Gonzalez
Robert Dodill
Menemsha Pearl Morales
Karen Chmilnitzky  
Brandy Grant
Larry Jenkins III
Chloe Allen
Lisa Megna
Raven Megna  

Crew -

Produced by:
Valensky Sylvain
Alex Banos

Directed and Written By: Alex Banos
Director of Photography: Navid John Namazi
1st Asst. Director:  Chris Greene
Camera B Operator: Hannah Dawnielle
Sound Mixer: Joshua Wright

Monday, March 7, 2011

Introducing the cast of Advanced Payment

I would like to introduce you to the new cast of Advanced Payment.

Advanced Payment is a short being produced by Mark Cranisky of Pulse Productions, Heath Jones of Koralis Pictures, Nathan McMahan of August Moon Productions and Dark Elf Films.  It will be directed by Heath Jones and it is written by Jeff Malphurs. Yours truly, Valensky Sylvain of Dark Elf Films, was the casting director.

The story revolves around a woman looking for revenge and the man who she goes to facilitate that revenge.  What she doesn't know if that she may have bit off more than she bargained for.

Without further ado here is the cast:


Man :  Kenny Rogers




Woman:  Chelsy Bishop




Waitress:  Dawn Davis



Homeless Man:  Big John Kyle    http://www.imdb.com/name/nm3059582/



You can find more info about the director Heath Jones @ http://www.koralispictures.com/

More info and behind the scenes will be found @:






Friday, March 4, 2011

Hunter Gatherer's

I would like all of you who follow the blogspot to go see your very own Jeremy Woods in the outstanding play Hunter Gatherer's.  There are only two weekends left with Friday, Saturday Shows.  Please make your reservations early because it will sell out.  Let me know when you are going I might join you to watch a third time!




The Code Music Video





This was a project that Dark Elf did 2 years ago.

Directed by Toy Spears
Produced by Valensky Sylvain

Wednesday, March 2, 2011

New Cinematic Haiku marketing material for Uncomfortable Preferences and Bond









Advanced Payment Castings

Good afternoon, we are having auditions for the short film Advanced Payment which will be shot in early April.  We are looking for union and non-union talent.  It is a low pay project.  Auditions will be by appointment only this Saturday March 5th between 2 pm and 5 pm.

We are looking for:

WOMAN -  Any ethnicity Pretty, twenties to early thirties,
fish out of water. Very strong actress needed.

HOMELESS MAN - 50s, very run down drunk

MAN - late 30s, any ethnicity, rugged and cold street-hardened face
and dark, sunken eyes.  very strong actor needed

WAITRESS - any ethnicity, 24-35 just a normal waitress at a diner.

Please email head shots and resume to vsylvain@darkelffilms.com.  Please include the role and movie you are auditioning for in the subject line.  We will then email you back with time and location.  PLEASE FOLLOW DIRECTIONS.

Once again email head shots and resume to vsylvain@darkelffilms.com and include movie and role you are auditioning for in the subject line.  Auditions are THIS SATURDAY between 2 and 5 pm.  This will be the only opportunity to audition.

I look forward to seeing all of you.

Valensky V Sylvain
Actor/Producer
www.imdb.com/name/nm1944955
www.valenskysylvain.com
www.tviexpress.com/vendy71
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