A mini-documentary about the inevitable.
Directed by yours truly.

Additional footage used under Fair Use Clause of Copyright Act.

Okay first things first – Yes ol’ Baz stays true to the novel and yes, there is hip hop featured in the soundtrack.

That being said, this is the most breathtaking film you will see in a very long time.  Baz Luhrmann’s The Great Gatsby is not just a film – it’s an ode. And it’s one that speaks to the past, the present, and future.

The directorial choices are one of a kind, though have a familiar feel, especially to all you Moulin Rouge and Romeo + Juliet fans.

The soundtrack, though juxtapositioned to the setting, is necessary to the implicit theme of overindulgence and gluttony – definitive of the Roaring Twenties as well as the lavishness and greed leading up to the 2008 crash. Contemporary rap and rock ballads oddly connect these past and present worlds. Luhrmann is showing us that history does in fact repeat itself and that fame, fortune, and grandeur really is all relative.

The references to core motifs of the novel (the green light, the eyes of God) were very much acknowledged but not exhausted.

Fitzgerald’s oh-so familiar voice comes booming through as Luhrmann, Maguire, DiCaprio, and Mulligan take us on an enchanting picturebook journey that feels more like a spectacle than a movie.

There is over-acting. And there is over-the-top imaginative sequences that bridge reality and fiction. But it wouldn’t have worked otherwise.

You need to see Gatsby because it’s more than a novel adaptation (or a remake of a novel adaptation if you want to get specific). It’s an American classic that aired our dirty laundry nearly one hundred years ago, put up on the big screen for us to love, hate, and engage.

And I’m NOT talking about the American, MTV version.  It doesn’t hold a candle to the original, British version.

The Brits have it all together.  I mean, what else is new.  Witty writing, fun editing, and did I mention the soundtrack?  Any show that plays Kate Nash gets five stars in my book.  In love.

In the pilot we follow Will, a hapless chap who just transferred high schools and is failing miserably in the social realm.  But no fear, this is by no means a sappy teen dramedy – it’s bloody hysterical.  While Will comes across as totally pathetic by traditional high school standards, he’s oddly charming and confident,  ‘Anyone will be your friend if you hang around them long enough,’ he declares.

Desperately trying to make his way out of the newbies and into the semi-awkward, low-to-mid-level-popularity crowd, Will overenthusiastically introduces himself to Simon, Jay, and Neil – three unfortunate dorks who have one mission – to get laid.  But of course, British kids are far less impressed or inviting than American kids (imagine that) and refuse to give poor Will the time of day… Until they learn he has a hot mum.

I’m disappointed in myself for not getting into this gem of a show sooner.  It’s traditionally honest, deadpan, British comedy with a slightly demented take on high school and coming of age.  I hate comparing American comedy adaptations of British shows, but this is just another reason why we should stop stealing our former Motherland’s ideas – we aren’t doing it right lads.  Or at least MTV isn’t doing it right.

Anywho, I encourage you wankers to Netflix The Inbetweeners right away.

The show’s original premise involved following sisters Tess, Alexis, and Gabby as up-and-coming models making their way through the Hollywood social scene.  The highlight of the trainwreck was the girls’ airhead, former Playmate of a mother/manager, Andrea Arlington, whose stupidity made you hope she was a hired actress and not a real person.

Despite it being one of the poorest, most problematic shows (for a slew of reasons; let’s sum it up by saying Arlington should have had CPS called on her a long time ago) to ever grace the tube, people still tuned in…

Not because of the unprecedented parenting advice…

Not because of the trashy, barely legal promiscuity…

But because the middle sister, Alexis Neiers, got arrested for being a member of The Bling Ring.

The show’s premise quickly switched from pointless voyeuristic awfulness to a weird form of celebrity news; following a greedy, spoiled teen in her venture to stay out of jail and keep her modeling career on track.  Neiers, said to be The Bling Ring leader, was busted and sentenced to six months of jailtime (but somehow only served 30 days).

The Bling Ring was a group of well-off Valley teens who decided they didn’t have enough nice things already and began to rob celebrities’ homes, including those of Orlando Bloom, Lindsay Lohan, Paris Hilton, Audrina Patridge, Brian Austin Greene, and Rachel Bilson.

Alexis Neiers and her story were everywhere – making Pretty Wild the only reality show to practically bust its own cast member (unintentionally of course).  In one episode, Neiers was reportedly wearing a designer dress she stole from Hilton’s closet.

So why is this story resurfacing now?  Because Sofia Coppola is on the job and The Bling Ring is going to be the kick-off movie of the summer.

Loosely based off the Vanity Fair article, “The Suspects Wore Louboutins,” The Bling Ring is kind of a big deal in its own right.  It blends a slew of different media – print, TV, and film – and intertwines a web of Hollywood folk.  Not to mention the criminals and victims are now unofficially involved in the promotion of this film through Facebook, Twitter, and the blogosphere – which is kind of crazy to consider.

I like to think that the majority of mildly educated people across this country have a sense of awareness of the falseness of reality TV – an acceptance of sorts – of the poor and often inaccurate representations of real life.  The Bling Ring challenges this assumption.

Some food for thought: Neiers, a celebrity-obsessed reality TV star/model gets convicted for robbing Hollywood elite… she was more easily convicted because evidence was featured on camera during Pretty Wild production, including designer dresses, shoes, and jewelry.  Now she’s a celebrity all her own, portrayed in the film by Emma Watson.  A few people involved in the real-life debacle with Neiers, such as LAPD cop Brett Goodkin, is actually featured in the film and plays himself.

Coppola is famous for her bold direction which highlights a strange, hybrid version of the female gaze; creating somewhat experimental, subtly feminist odes like The Virgin Suicides (1999) and Marie Antoinette (2006).

Her films usually comment on consumerism and materialism and The Bling Ring is sure to be no different.  It will undoubtedly mock celebrity-obsessed America at its core, but in a weird contradictory way.  By making a film about Neiers and her circle of spoiled friends, mixed messages are being sent, even if those involved in The Bling Ring scenario are helping Coppola in the filmmaking process.

Do we really want to reinforce the fake celebrity phenomenon that has taken over: turning reality ‘stars’ into household names for accomplishing nothing, or in this case committing a crime?  Should girls like Neiers be glamorized in the slightest?

Hopefully Coppola will address these implicit issues in her film – due out in June.

Written and directed by Liv Hamilton Armstrong
Assistant directors, Cassie Doyle and Clayton Castellanos
Edited by Liv Hamilton Armstrong and Cassie Doyle
Sound by Liv Hamilton Armstrong

Cast in Order of Appearance:
Alaina Hanc
Melissa Aquiles
Skylar Apter
Lucca Damilano
HaleyJane Rose
Allyson Steele
Alexa Welch
Joey Jendrasik
Gianna Galiano
Justin Corin

Special Thanks:
Chris Carrillo
Graziella Murdocca

Shot on location at Traffic Bar & Restaurant Midtown East in NYC

After much ado, Mr. Jay Leno will finally pass the Tonight Show torch to the always amiable Jimmy Fallon. Whoo yeah, this is awesome right? At last, NBC gave the old schmuck the boot and brought the Tonight Show back to its original home in New York to start a new era with Jimmy and The Roots – the most badass duo late night has ever seen. Yet, I’m still skeptical. If you aren’t familiar with the Tonight Show debacle that has lasted for about two decades now, let me refresh you from the very start…

1962 – Johnny Carson succeeded the Tonight Show from Jack Paar. Carson, the most beloved late night host of all time, was also Tonight’s longest running host at 30 years.

1992 – David Letterman was in the runnings to take over for Carson, moving up from Late Night (which Jimmy Fallon now hosts).

1992 – Jay Leno sneakily took over the Tonight Show spot through a whole lot of ass-kissing and snooping around. He screwed over his friend Dave (the two were close at the time) and upset Carson, who was displeased with how the whole thing went down.

1993 – Dave moved over to CBS to begin his long run at the Late Show with David Letterman, which he hosts, owns, and produces.

1993 – Conan O’Brien succeeds his idol, David Letterman, as the host of Late Night on NBC.

2004 – NBC tells O’Brien he will be Leno’s successor when Jay’s contract expires in 2009.

2009 – Jay’s contract expires and O’Brien takes over the Tonight Show… for now.

2009 – Jimmy Fallon takes over Late Night.

2009 – Jay didn’t go easily so NBC’s Jeff Zucker granted him a primetime slot for a bomb called The Jay Leno Show which ruined everything. This show barely lasted six months and knocked NBC’s primetime dramas from their respective spots and tanked ratings for affiliates thanks to bad, boring comedy leading into 11 pm newscasts. Poor Conan didn’t stand a chance.

2010 – Due to diving ratings in both time slots, Conan was kicked out of the Tonight Show’s long-standing 11:35 pm slot and move The Jay Leno Show to 11:35 where Jay would only do a half hour of crappy comedy before Conan started his show at 12:35 am. Whaaa?

2010 – Conan decided to move over to TBS after just seven months of hosting Tonight. His career has yet to recover despite the valiant social media efforts of his loyal fan following.

2010 – David Letterman says, “I told you so.”

2010 – Leno takes back his Tonight Show slot and pisses off a lot of people.

2013 – NBC announces Jimmy Fallon will succeed Jay Leno next February when Jay’s contract is up.

2014 – Conan goes on a murderous rampage.

Just kidding, Conan couldn’t hurt a fly. But we should be skeptical of this, as the writing is on the wall and history tends to repeat itself. C’mon Jay, third time’s a charm.

Directed by Rodney Ascher, Room 237 takes us on a journey of the making of The Shining and how Kubrick manipulated us all to come to terms with his own demons.  Through a string of various interviews, we are forced to decide for ourselves, what is The Shining - the horror film that changed all horror films to come - actually about?

Different film theorists and Kubrick scholars debate the mysterious implicit theme behind the film (I’m paraphrasing): “It’s about the genocide of the Native Americans,” said one, “Indians are all over that hotel. And they mention the hotel was built on an Indian burial ground.” “It’s about the Holocaust,” argued another, “The idea that we are flawed people, that history repeats itself, and that we are a repressive society – hence the flooding of the elevators with blood.” Another film geek mentioned, “Kubrick plays with the idea of the Labyrinth and the hotel acts as an inescapable world.  The structure of the hotel,” which is actually a consciously constructed set, “is impossible. There are impossible windows and staircases leading to nowhere.”

All theories were thoroughly backed up by evidence from the film and extensive research about Kubrick, but the one that really sent me over the edge was the idea that The Shining is actually a film that helped Kubrick come to terms with his involvement in faking the 1969 Apollo 11 Moon landing.

Yup, that’s right.  Stanley Kubrick is believed to have helped stage the United States’ first Moon landing and there’s proof all over The Shining.  I don’t want to spoil this documentary for anyone because it’s that cool, but here’s a little tidbit that gets the ball rolling…

Take a look at Danny’s sweater:

Haven’t seen a documentary this intriguing in a long time – definitely worth your while.

Whether you read Ebert’s reviews or not, you know who the man was.  And his thumbs changed the way we analyzed movies forever.  Ebert’s “every man” way of reviewing movies opened the door for film historians, film theorists, and film geeks like me to voice their own critiques, write their own reviews, and create their own followings.  Farewell friend.

Let’s take a look. Here’s a list of future films to be released within the next year or two:

Title & Breakdown:

The Hobbit 2

Sequel to a prequel?

Despicable Me 2

Sequel (honestly not too upset about this one because those minions are so damn cute).

Hot Tub Time Machine 2

…really?

The Raid 2

Sequel.

Kick-Ass 2

Although it’ll probably be worthwhile, still a sequel to a graphic novel adaptation.

Finding Dory

Sequel.

Tron 3

Addition to Tron: Legacy, which is a sequel to the 1982 original.

Iron Man 3

How many more sarcastic one-liners can we take from Robert Downey Jr.?

Jurassic Park in 3D

Re-release. I guess Universal felt like they had to.

Jurassic Park 4

Another addition to the franchise. I guess Universal felt like they had to.

Transformers 4

Everyone stopped caring about this franchise when Megan Fox was fired. Damn you Michael Bay.

Scary Movie 5

No words.

The Great Gatsby

Although I’m intrigued to see how good ol’ Baz will use his magical powers on this one,
make this the fourth remake of the novel that should have never been adapted to film in the first place.

Star Trek: Into Darkness

Isn’t this the 80th addition to the Star Trek franchise? Give or take a few.
(Sorry Larry!)

The Hangover Part III

The first one was iight. The second one was lousy. Now a third?
Even Mike Tyson doesn’t want to do it, but let’s face it – he’s desperate.

Much Ado About Nothing

Film adaptation of Shakespearean play.

Monsters University

Prequel, but I’ll let this one slide as well.

World War Z

Although it will most likely be pretty dope, it’s still a novel adaptation.

Grown Ups 2

Sequel. Let’s put every failed comic in one movie… yeah that sounds good.

Red 2

Sequel. Bruce, please stop making movies. You’re becoming Tom Cruise.

The Smurfs 2

As if five decades of these creepy things isn’t enough.

300: Rise of an Empire

Prequel. Gerard Butler isn’t even in it.

Insidious Chapter 2

Sequel from the people who make sequels and prequels for a living.

Cloudy with a Chance of Meatballs 2

Sequel to the children’s book adaptation.

Sin City: A Dame to Kill For

Sequel to the graphic novel film adaptation. Bruce, c’mon man. (Still pretty pumped though).

Carrie

Remake of a remake of the Steven King novel.

Now that I have y’all pumped for summer, which goes against my original intentions, let me make myself clear – am I saying all sequels, prequels, and the like are poor cinema? – absolutely not. Look at Terminator 2 (granted, they should’ve stopped at 2), the Batman trilogy, The Godfather trilogy! – the list goes on. But the majority of sequels, not only suck, but are unnecessary; often released (or remade, or re-released) to make a quick buck.

The worst part is Hollywood isn’t even trying to come up with something new. Probably because the route they’ve been going is so easy. Even if something is “new” so-to-speak (and isn’t already a novel or graphic novel adaptation) it’s either “based on true events” or involves a high-concept plot. The most famous example of this is Titanic which managed to compile both – a Romeo and Juliet love story on a boat that sank in real life. Good going. Here’s the Oscar for Best Picture and everything else on the list.

I know I’ve ranted about the end of cinema before, but this next year of movies is by far one of the worst lineups ever. And this is just a handful.

I heard of House of Cards when it first aired earlier this year and I was immediately intrigued, not just because I adore Kevin Spacey, but because the drama was being aired as a Netflix original series – a first of its kind.

It’s been broadcast and and cable’s shared nightmare for some time now – the streaming of original television shows and movies online through a paid subscription.  This is different from outlets like iO or HBO GO however, because: 1. Netflix is much cheaper and 2. You aren’t limited solely to Netflix’s original content like you are with HBO GO and Showtime on Demand.

The dark and ominous future of broadcast and cable is practically mocked by the opening of House of Cards.  We are met with a black screen and the sounds of a car crash, then the grim sound of a dog whimpering.  Cut to Kevin Spacey opening the double front doors of his brownstone looking concerned.  Wearing the basics of a tuxedo and walking down a cherry blossom-lined street, we can infer he is of higher social stature.  A neighbor meets him outside and thinks the dog belongs to the couple who lives between them; he goes to alert them and we are left alone with Spacey and the dying pup.  Out of nowhere, Spacey breaks the fourth wall and looks directly at us: “There are two kinds of pain… The sort of pain that makes you strong and useless pain, the sort of pain that’s only suffering.  I have no patience for useless things.”  He then proceeds to put the dog out of its misery before its owners come outside to see what’s happened.

Produced by Spacey and directed by the one and only David Fincher - House of Cards is a stack of political drama awesomeness.  Think The West Wing meets… well Spacey and Fincher.  Granted, Fincher is not on as director for the entire series, but he sets his familiar tone to kickstart the show for Netflix, which is based on a set of novels and a mini-series of the same name.

Spacey is obviously our main star; playing a seasoned Southern congressman, Francis Underwood, involved in the next presidential race.  He narrates the whole thing, a bold direction move for a political drama and yet it feels effortless.

After two episodes, I’m hooked.  This is huge for Netflix and other online streaming companies who are willing to make the jump – the game has undoubtedly changed.  Cable companies have to continue coming up with new ways to keep their subscribers paying top dollar for sometimes hit (Dexter) or miss (The Newsroom) material, especially if Netflix members are receiving the same quality material for $8 a month.

Since Netflix released the entire series at once, I urge you to stock up on trail mix, salt and vinegar chips, and diet Dr. Pepper and make a day of House of Cards.

[Also related: See why Amazon is jumping on the digital streaming bandwagon as well]