Coming Soon

Pineapple Express
From the team of Superbad comes Pineapple Express, a film packed full of Judd Apatow’s regular crew. Perpetual stoner, Dale Denton (Seth Rogen) witnesses a murder by a corrupt cop whilst getting high. As the highly unique blend of pot may be able to be traced back to him, Dale and his dealer, Saul (James Franco), must go on the run. Somehow director David Gordon Green seems to have successfully merged two very different and distinct genres (action with stoner comedy) in Pineapple Express. The film seems to be packed with Apatow (who is given credit for the story) regulars, so fans of comedies like Superbad, Knocked Up and Forgetting Sarah Marshall will surely get a kick out of Pineapple Express.
My verdict: As a huge fan of Freaks and Geeks, I would go purely to see Rogen and Franco’s hilarious, natural stoner banter that originated on the show.

Released: 7/8.2008



Son of Rambow
During the early 80s, two English schoolboys decide to make their own action film, after being inspired by seeing Rambo: First Blood. The boys, Lee and Will, are from two different circles (and Will being a Bretheren, is banned from watching any kind of film or television) come together over their film project, Son of Rambow. The ‘sequel’ is complete with some awesome, homemade stunts that only kids (or Jackasses) would try and attempt. As the pair starts allowing others to appear in their film, trying to keep the project under wraps becomes increasingly difficult and causes friction between the filmmakers.
My verdict: As someone guilty of trying to remake films in their backyard with a friend (Blair Witch Project in my case though), Son of Rambow seems to perfectly capture that experience. It looks to have the right balance of fun and whimsy, as well as more adult issues and a coming of age, presented in a fresh way.

Released: 28/8/2008



The Strangers
Supposedly “based on true events”, The Strangers is set around a seemingly random break-in which causes a couple (Liv Tyler and Scott Speedman) to fear for their lives. From the trailer, it seems quite slow but I’d be interested to see how they manage to sustain a feature film around such a simple concept. One of the masked attackers, when asked as to why they are terrorising this particular couple, responds with “because you were home”, and the plausibility of this, did manage to shake me.
My verdict: Could go either way – the apparently simple plot could work incredibly well, or fall flat. The film’s release has been twice delayed though, which to me is slightly worrying.

Released: 14/8/2008



Tropic Thunder
Apocalypse Now meets Zoolander. In Tropic Thunder, a film crew accidentally incites combat, whilst trying to make “the greatest war movie ever”. With an impressive comedic cast of Ben Stiller, Jack Black, Jay Baruchel, and Steve Coogan, Tropic Thunder is very promising. Special mention must also go to Robert Downey Jr, who is almost unrecognisable (see if you can pick him in the trailer). If the trailer is anything to go by, the film has the potential to be one of the top-grossing comedies of the year.
My verdict: With a great cast, and Stiller directing, Tropic Thunder could be comedy gold. Plus any film with knife-wielding Asian baby assassins gets bonus points in my book.

Released: 21/8/2008



The Wackness
It’s 1994 in New York City, and Luke (Josh Peck) is a teenager drug dealer, also trying to ‘deal’ with life and growing up. The film stars Juno’s Leah Thirlby, Mary-Kate Olsen and Ben Kingsley. It’s hard to get much from the trailer, except that The Wackness will have an amazing soundtrack and how the hell did Josh Peck get so thin? Creepy. Luke’s response when asked if he was still a virgin: “I’ve just never officially had sex” got a laugh though.
My verdict: Despite its incredibly short and obscure trailer, I would recommend heading down to your local independent cinema to check it out.

Released: TBA



Zombie Strippers
A science project with a deadly virus gets out of control in Nebraska, and manages to attack a local strip club. The title pretty much explains the resulting situation and as the trailer suggests “every man’s fantasy [becomes] their worst nightmare”. Starring porn darling Jenna Jameson and horror icon Robert Englund (Freddie Kreuger), Zombie Strippers was released to straight-to-DVD in the United States, if that’s anything to go by. If you like films that are ‘so-bad-they’re-good’, maybe Zombie Strippers would be worth your time.
My verdict: For die-hard fans of B-grade horror/C-grade acting only. Otherwise, wait for DVD.

Released: 14/8/2008



By Steph

Coming Soon

Choke
Victor Mancini (Sam Rockwell) lives by the motto “what Jesus would not do”. By day, he is a historical interpreter (read: costumed tour guide at a historic tourist attraction) and sex addict by night. Whilst his mother (Angelica Huston) is in hospital and unable to remember him, Victor has refined the act of pretending to choke in crowded restaurants, to get money from sympathetic strangers. His life becomes more complicated however, when he finds himself falling for his mother’s doctor. Written from the author of Fight Club, Choke is far from your typical romantic comedy.
My verdict: Choke looks like the perfect combination of dirty, sexy and funny.
Released: 9/10/2008


Disaster Movie
From the people who bought you the unfunny sequels to Scary Movie, comes another colossal failure in the form of Disaster Movie. Somehow, they still haven’t managed to get the memo (despite the dismal box office results of their more recent attempts like Meet the Spartans, Date Movie, Sports Movie and Epic Movie) that the spoof film has been done to death. Disaster Movie combines the ‘dramatic talent’ of socialite Kim Kardashian and a no-star cast with parodies of current blockbusters like Hancock, The Incredible Hulk and Iron Giant (which all are more superhero films than disaster films to be nitpicky), as well as Juno, Sex and the City and Disney’s Enchanted.
My verdict: Quit beating a poor, dead horse! Don’t even bother.
Released: 2/10/2008


Hamlet 2
A hopeless, high school teacher Dana Marschz (Steve Coogan) attempts to save the drama department by putting on an original and self-penned musical, Hamlet 2. Despite everyone dying in the first Hamlet, Marschz uses the brilliant time-machine plot device so that Shakespeare’s characters can return, with the addition of Satan, ‘sexy’ Jesus and the President. Hilarity surely ensures with an unruly group of drama geeks, a maniac director and a possible first amendment lawsuit.
My verdict: Any film which has a song entitled ‘Rock Me Sexy Jesus’ will most definitely get my butt into a seat.
Released: TBA


Lord Save Us (From Your Followers)
A documentary exploring Christianity in America. Filmmaker (and follower) Dan Merchant asks the question “why is the Gospel of Love dividing America?” Merchant aims to incite discussion about the role of faith in contemporary (American) culture. The clever trailer definitely caught my attention, comprised of simple cut-outs of celebrities, politicians and cultural commentators with sound bytes about religion. Despite the likeable preview, it was difficult from this small sample to get a clear idea of which direction this documentary will head in, and what style it will take.
My verdict: As a lover of documentaries and Jesus jokes, I will probably end up seeing this. I think it is especially interesting to see how much of a role religion plays in the daily life of Americans (apparently 9 out of 10 Americans claim a belief in God), as Australians seem to be more liberal minded.
Released: 14/7/2008


Not Quite Hollywood
Another documentary, this time focusing around about Australian cinema. Not Quite Hollywood looks at the national cinema of the 60s, 70s, and 80s, with an emphasis on the ‘Oz-ploitation’ film. Despite the documentary being so ‘Australian’ focused, the trailer is filled with Americans (Jamie Lee Curtis, Quentin Tarantino – although I know he is a long-time fan of Australian horror). Other interviews include Barry Humphries and the Saw duo, James Wan and Leigh Whannel.
My verdict: Will be of interest to cinema students, those interested in film history, and fans of dodgy-Aussie films of the 70s but I don’t think this documentary will have much of a general appeal.
Released: 28/8/2008

By Steph

Fabulous! The Story of Queer Cinema (2006)

Directed by Lisa Ades and Lesli Klainberg, Fabulous traces the history and development of queer cinema. The film starts at its origins in early European art house films, 50s muscle films and 60s female sexploitation/women’s prison films and how this slowly led to a cultivation of an American Queer cinema. The film is comprised of a number of interviews with queer filmmakers, producers, critics and actors who share their filmic inspiration, and feelings on how sexuality is portrayed on screen. John Waters’ interview is one of the best (though I’m somewhat biased), as he candidly discusses his own films such as Pink Flamingos and Female Trouble, also displaying an extensive knowledge of history and characterisation of Queer cinema. Waters and his collaborations with the late Divine, provided some of the forerunner material in the American Queer cinema, and his flippant lament of “the world of heterosexual is a sick and boring life” in Female Trouble was a cause for celebration within the GLBT audience.

John Cameron Mitchell, the director-writer-star of Hedwig and the Angry Inch, a queer-glitter-rock musical, also provides some great perception into transgender representation in cinema. Producer Christine Vachon, actresses Heather Matarazzo and Jane Lynch are also amusing and insightful. The documentary includes footage from a number of films which helped pioneer the movement of Queer cinema, including Blow Job (Warhol, 1963), Mala Noche (Van Sant, 1985), Paris is Burning (Livingstone, 1990), Bound (Wachowski, 1996) and Brokeback Mountain (Lee, 2005). Ades and Klainberg have an unobtrusive style of interviewing and their documentary brings to light a detailed history of GLBT cinema, a (somewhat reluctant) acceptance by Hollywood, and addresses some of the issues Queer cinema will have to face in the future.

Who will like it: Pretty much anyone interested in gender and sexuality issues (Fabulous has some great discussion about on-screen representations of both). Fans of GLBT cinema will appreciate the documentary as a more updated version of The Celluloid Closet (1995).

What I think: I found Fabulous appealing, especially as I had a pretty limited knowledge of queer/GLBT cinema. I did feel however, that certain filmmakers were not utilised enough in their interviews, such as Gus Van Sant (who spoke briefly about Mala Noche but not about his more recent films, which have gained wider reception in Hollywood). After watching This Film is Not Yet Rated, I found it interesting that both documentaries shared a number of films in common. This led me to question why queer films seem to pose a greater threat to the censors. Why anything other than straight, ‘normal’ sexual experiences is deemed unsuitable for a general audience? Overall, Fabulous was insightful, and somewhat thought-provoking, but personally, I felt it lacked the enthusiasm of some other film-themed documentaries.

By Steph.

This Film is Not Yet Rated (2006)

In his most recent documentary This Film is Not Yet Rated, Kirby Dick investigates the complex and often contradictory US ratings system and its governing board. The film briefly examines the history of screen censorship in Hollywood, but concentrates on the MPAA and its role in cinema culture. The documentary really comes in two parts; the first covers the politics and inconsistencies in the current system. Dick’s focus is on the notorious NC-17 rating (the highest rating, in which no one under age seventeen can be admitted). This Film is Not Yet Rated looks at what onscreen garners an NC-17, which is quite a controversial issue. It seems that this rating is only used in regard to sex on screen (blood fests and heavy violence will receive an R at most, in which under 17s can view if accompanied by an adult). Anything ‘weird’ is deemed by the MPAA as NC-17 material: oral sex, threesomes, female masturbation and same sex relations. Raters seem to be incredibly harsh on anything non-hetero and without the presence of a male. Dick draws an excellent comparison to illustrate this point: in R-rated American Pie, Jim (Jason Biggs) is seen, bare-arsed thrusting into a freshly baked pie. However, But I’m A Cheerleader depicts Megan (Natasha Lyonne) touching herself over her clothes and is slapped with an NC-17.

Some of Dick’s best footage is his interviews with filmmakers whose work has been branded with the topical rating, such as John Waters (A Dirty Shame), Kevin Smith (Clerks), Jamie Babbitt (But I’m A Cheerleader), Kimberley Peirce (Boys Don’t Cry) and Matt Stone, whose discussion of censorship of puppet sex in Team America: World Police is hilarious. On the more serious side, the affects of the NC-17 on a film are more worrying. These films will not be shown at multiplex chains, so viewers must rely on art house or independent cinemas (which are lacking in Middle America). Similarly, chains such as Wal-Mart will refuse to stock these DVDs.

The other part of This Film is Not Yet Rated is a search to uncover who exactly is on the MPAA’s Rating Board (as until this film was produced, these identities were kept hidden). Dick hires a PI to take the raters, predominantly to see whether or not they actually comply with what the MPAA claims are key criteria for them in order to have a balanced, fair board (members are supposed to be aged within, and have children aged within a certain bracket). As the members are identified, Dick proves this is not the case. Again, this is a definite cause for concern, as it seems an older and somewhat outdated generation are in charge of classifying today’s films (a number of the board’s members are over fifty, childless, and of those who do, their children are aged over 18). This is an alarming result, and proves that the key purpose of the MPAA and Board (supposedly to protect children) is being jeopardised by a group of people and system which is doing anything but.

Who will like it: Definitely of interest to any aspiring filmmakers. Fans of documentaries will enjoy the style of This Film is Not Yet Rated. Similarly, it is surely to please cinema and media students and self-confessed film buffs, and will at least provide interesting party conversation.

What I think: Dick provides a comprehensive look at the current system and why it is not working. His discussion is well-researched and considerably well-structured and backed up. The interviews and his use of animation (to illustrated what sex acts are worthy of NC-17) bring the right amount of humour to the subject. My only criticism was that some of the investigation of the board members with his PI went too far, like digging through their garbage. With a less-invasive documentary style than Michael Moore, Kirby Dick’s handling of the controversial issue of screen censorship will surely intrigue and provoke.

By Steph.

Love and Other Catastrophes

Emma-Kate Croghan’s feature debut Love and Other Catastrophes (1996) should be compulsory viewing for all university undergraduates. It is the story of a group of students navigating their way through sex, relationships, an education and everything in between. Alice (Alice Garner) is struggling to finish her drawn-out thesis. Her housemate Mia (France O’Connor) can’t commit to her cinema studies major or her girlfriend, Danni (Radha Mitchell). Meanwhile, whilst Ari (Matthew Dyktynski) philosophises between sexual conquests, Michael (Matt Day) just wants to keep things simple.

In my opinion, Matt Day is the standout performer in L&OC. He plays the ‘loveable dork’ well; gawky with just the right amount of earnest. Alice Garner’s portrayal seems very natural, but her whining can grate after a while (though her character’s criterion for choosing boyfriends matches my own, so I suppose I can’t critique her too much).

As a recent graduate herself at the time of production, Croghan succulently captures the niceties of being an Arts student. The influence of Hollywood’s screwball comedies of the 30s and 40s makes Love and Other Catastrophes enjoyably quirky (without the appearance of trying too hard).

The story of Love and Other Catastrophes as “an exercise in fast-paced, low-budget collective filmmaking” also makes it worthy of praise. Croghan and her producer self-funded the production of the film, raising the initial $25,000 to make L&OC through personal loans and credit cards. They got their friends (also recent film school graduates) to work for next to nothing and shot on a shoe-string budget. Pretty impressive seeing as the film went on to Cannes and international distribution rights were bought for around $800,000.

Who will like it? Prospective students, current students, ex students. Cinema studies majors in particular will appreciate Croghan’s spot-on faculty and course observations. L&OC should also please Melbournians, as they should recognise some familiar haunts.

What I think: As the first film I ever watched for my cinema studies course, Love and Other Catastrophes is something special (though the likeness between the film and my university life kinda scares me).

By Steph.

Forgetting Sarah Marshall

Forgetting Sarah Marshall

Peter Bretter (Jason Segel) just got dumped, by none other than TV’s hottest crime fighter, Sarah Marshall (Kristen Bell). After numerous one-night stands and wallowing in his misery, he follows his brother’s advice and books a holiday to Hawaii. This attempt to get over his ex is foiled however, when he (of course) finds that Sarah and her new beau, Brit rocker Aldous Snow (Russell Brand) are vacationing at the same resort. Luckily, the staff at the Oahu resort (including Paul Rudd and Jonah Hill) and the lush guest-services co-ordinator, Rachel (Mila Kunis) are willing to help the broken-hearted Peter forget Sarah Marshall.

I was actually surprised to discover that this film was not directed by Judd Apatow (The 40 Year Old Virgin, Knocked Up) as its visual style and sense of humour is pretty similar. The cast of Forgetting Sarah Marshall is rounded out with Apatow favourites. Though I didn’t like it as much as Apatow’s work, Nicholas Stroller (long-time friend of both Apatow and Segel) does well with this as his first feature film. The script is well written and has the right combination of below-the-belt jokes and romantic comedy.

Jason Segel is excellent as Bretter, the slacker whose only career aspiration is to write a Dracula inspired musical. You genuinely feel sorry for him, but can also laugh at him as he becomes the butt of some pretty awkward situations. Bell is suitably snippy as the divalicious title character. Mila Kunis is naturally charming and surprisingly likeable as Rachel, Peter’s possible love interest. Props must also go to Jack McBrayer (best known for his role in Mariah Carey’s ‘Touch My Body’ music video), as a Christian newlywed with consummation difficulties.

The standout performance, however, is of English bad boy, Aldous Snow (Russell Brand). Brand channels British rockers including Pete Doherty, the Gallagher brothers and Keith Richards to create the totally self-absorbed Snow. His effortless brand of cool and complete obliviousness to the sensitive nature of many scenarios he finds himself in (like crushing an ambitious fan’s dream of a demo “I was just gonna listen to that, but then, um, I just carried on livin’ my life”) is priceless.

The film’s final ten minutes are its greatest. Without giving away too much, Peter’s Dracula musical opens and no one will be disappointed.

My only issue with Forgetting Sarah Marshall is that the editing, to be frank, sucks. It lacked natural transitions and was very jumpy between scenes, which really disrupted the flow of the narrative. Besides this, the film has the makings of a great comedy, and one of the best of the year to date.

By Steph

Lars and the Real Girl

Lars and the Real Girl

In a small, nondescript Midwestern town, Lars Lindstrom (Ryan Gosling) lives alone in the garage of his family home. His timid nature and lack of social skills isolate him from his peers, including his brother Gus (Paul Schneider) and pregnant sister-in-law, Karen (Emily Mortimer). Everyone is surprised when Lars brings home a ‘friend’ he found online, Bianca, but much to the disappointment of his friends and family, Bianca is no ordinary woman; she is a Real Doll™, an incredibly lifelike (and expensive) sex toy.

After Lars is diagnosed as suffering from delusions, Gus and Karen are able to rally support from the initially reluctant town. Bianca’s life is quickly filled with appointments, volunteer work and well-wishing visitors. Instead of ridiculing Lars, the town is surprisingly supportive of his relationship and goes out of their way to make the couple feel comfortable. At the same time, Lars and Bianca both receive treatment from the local doctor (Patricia Clarkson), revealing Lars’s painful past and present inability to deal with physical affection.

For Craig Gillespie’s directorial debut, Lars and the Real Girl is impressive. Gillespie sensitively deals with the somewhat awkward subject matter. It is touching without feeling forced and sappy. The film is beautifully shot; very simple yet each frame captures something special, demonstrating Gillespie’s eye for detail.

Gosling gives a pretty remarkable performance as Lars. He perfectly portrays every minor nuance of the character, from a nervous eye twitch to his softly spoken demeanour. Paul Schneider and Emily Mortimer also give understated performances, which add to the film’s beauty.

The only problem with this quirky film is that it hasn’t managed to gain a wide release, so check your local art-house cinema for session times or purchase it online.

For those who are interested in Real Dolls and the kind of people who purchase them, Nick Holt’s documentary Guys and Dolls (2007) is worth watching. Holt interviews four men and their silicon sweethearts and looks at the production and success of Real Dolls. Slightly awkward and a little sad. You can watch it for free on Google Video.

By Steph

TEETH, BITCH

Made by The Fetus

We are TEETH. We will take over the world.

TEETH is a project about all things that are awesome. It has no boundaries. We are revolutionary! Radical! Unconventional! Or perhaps we are just not very good at sticking to one thing. Whichever it is, this is TEETH and it is whatever we want it to be. TEETH is not about money making, it is about sharing ideas and music and love and drugs and words and art.

TEETH is based in Sydney. It is a collaboration between ANNIE LY and Ivana Stab; Steph is our Melbourne correspondent. All TEETH contributors are the awesomest kids in the world and we love them more than toothpaste. If you would like to contribute, email teethmag@gmail.com with your ideas.

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TEETH