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  • Mea Maxima Culpa: Silence In The House Of God – Review

    Mea Maxima Culpa: Silence In The House Of God – Review

    Documentary guru Alex Gibney gives us an very direct insight to the tragic and infuriating world of Catholic priest abuse.

    Often when reviewing I write with a fairly sarcastic tone, mostly to amuse me and in the hope that the two of you who read my ramblings might find it entertaining. With a film such as Mea Maxima Culpa, it would seem churlish. I’m sure I won’t be able to resist now and then so let’s see how it goes.

    The documentary focuses on four men who attended St. John’s School for the Deaf as boys. Whilst there they were molested by the school’s head teacher who is also a priest. Discussing what happened to them and the steps they took to gain justice the film begins to unravel and display the mass cover ups that go on within the Catholic church to hide these criminals.

    On first hearing about Mea Maxima Culpa I wondered about the need for another film investigating abuse in the Catholic church. Over the past two decades it seems we can’t go a handful of months without another horror story of young, vulnerable people being subjected to crimes that would satan weep. Many of these stories have been told to use through feature films, mostly investigative documentaries. It’s hard to disagree with their existence. It’s also hard to watch them. The prospect of seeing another film about priest paedophilia was not one I relished.

    Fortunately Alex Gibney is a man who knows the right angles from which to approach a story, he has also brought us some of the most high profile documentary releases of the last ten years; Enron: The Smartest Guys in the Room, Taxi to the Dark Side and We Steal Secrets: The Story of Wikileaks. He is incredibly prolific for documentarian but you never feel he is short changing his subjects. With Mea Maxima Culpa he goes so far as to literally give a voice to the four men recounting their stories of abuse. With each man telling his life through sign language, their voices are provided by actors Chris Cooper, John Slattery, Ethan Hawke and Jamey Sheridan. Their line readings add some weight to the stories being conveyed, but it could be argued that essentially “dramatising” these mens words brings the film into borderline ‘docu-drama’. The first half of the film concentrates on the young men as they attempt to tell their neighbourhood about the priest who abused them. As it becomes apparent that they are hitting dead ends the film begins to focus more intently in the Vaticans systematic cover ups and under-the-rug sweeping of criminal priest. It’s here that the film changes from an devastating personal confessional to a political and sociological study of why pedophiles seem to be so prevalent in the cloth. Academics, theologians and journalists make up the majority of talking heads. All seem to be in agreement. Yes, abusing children is bad. These priests are bad. They should be prosecuted. Sick as it may sound I would have like to have seen some deranged souls attempt to defend the actions if only to see what a real cretin looks like.

    Despite it being common knowledge that Pope Benedict XVI, whilst still going by the handle Cardinal Ratzinger, was the chief investigator/cover-up-man of alleged abuses within the church. Gibney seems to take delight in detailing the comfortable lives Ratzinger arranged for Priests. We also get to see a rare moment of anger as the future-Pope is blind-sided by a journalist.

    The film’s figurative and emotional climax comes when two of the former students of St. John’s track down the Priest who abused them. Living in a lovely situated home in the country the men film themselves as they attempt to confront their former tormentor. The situation manages to dumbfound and infuriate. Which is main emotions you may take away from Mea Maxima Culpa. But after an hour and half of head shaking and fist clenching Gibney allows hope to creep in as we see how the men have progressed with their lives and continue their fight to seek justice against those who wronged them and so many others.

    Hopefully some people who believe that this is not a major issue within the Catholic church will see this film and begin to have a good think about their views. There’s a good chance it could happen but also a good chance that this will be merely be preaching to converted. People who are angered by this subject and will continue to be angered until men who hold more power than they should decide to do something good with it and make the moral choices they should find so easy to make.

  • Film Review: Shark Night 3D

    Film Review: Shark Night 3D

    By Big Rich.

    To call it Shit Night 3D would be too easy, however it would be correct. I’ve never seen such a low rent, under performed medley of utter tripe. From the word go you couldn’t give a monkeys wether these giggling bunch of stereotypes died, got eaten or even just vanished from the film with no explanation. You have, sporty, nerdy, horny, goth, pretty and shy-weirdo-scary eyes-with a past. And they decide that it is a spiffing idea to go off to a posh house party, in the middle of a lake, with no phone signal or internets and weird slightly racist locals. I know right, I was thinking it too. What could possibly go wrong.

    So one by one they get eaten. This is where they really let everyone down. You don’t, and I will stand by this, go and see a film called Shark Night 3D for the acting, locations, gritty dialogue, the camera work or the existential storytelling that adds a new spin on the concept that is life as we know it. No, you go to see gore, you go because you want to see limbs being ripped, bitten, gouged and pulled all the way off. I wanted buckets of blood splashed everywhere, but there were none. All we get is one arm off and the rest is all hinted at, all out of shot screams and murky water turning red. Quite frankly I felt cheated. Oh, and if you add 3D to the name of your film, make sure you use it…plums.

    Add to this an absurd plot that involves the locals wanting to cash in on the real Shark Nights on the discovery channel. And you have a neat little bag of toss that will just sink to the bottom of every bargain bin from here to Timbuktu. I didn’t hate this film, I just felt cheated. I wanted gore, I wanted another Piranha. I wanted something that wouldn’t be eclipsed by the Date Night (not 3D) that was unfolding itself in front of us in the adjoining seats. In short, don’t bother. Unless your high on Pizza Hut and unlimited Pepsi Max then give it a shot. I ask one thing of you keep your eye on the dog in the film. He is, and I quote from loves young dream in front, the star of the film.

  • The Comic Book Industry: 10 Facts About Its Financial Superpowers

    The Comic Book Industry: 10 Facts About Its Financial Superpowers

    With the recent conclusion of the 2013 Comic-Con International, this is still a good time to ponder on the success of our favorite past time material: Comic books of course!

    From Superman to Watchmen; aliens and superhumans; lone heroes and team efforts — the success of our favorite superheroes come alive not only through their fantastic powers and exemplary deeds, but also through unprecedented financial achievements.

    In the infographic below: , check out 10 of the best-recorded financial triumphs of these characters in capes and leotards (did you know that in 1946, comic books sales surpassed that of regular books — eliciting outrage?).

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  • Elliott Wheeler Interview

    Elliott Wheeler Interview

    Elliott Wheeler is a Sydney based composer, producer and founder of Turning Studios. He has worked continuously as a screen composer and producer across a broad spectrum of genres from studio releases to film, documentary, commercials, and theatre.

    For the last year he has been working on the soundtrack for Baz Lurhmann’s The Great Gatsby, collaborating on material from all of the film’s artists, from Jay Z, Florence + the Machine, Lana Del Ray, Jack White, will.i.am, Bryan Ferry and his Jazz Orchestra, Emile Sande and Kid Koala, Fergie, Q Tip and Goon Rock, as well as providing original additional music for the film.

    I managed to grab a few moments to chat.

     

    First of all, could you tell us a bit about your work on The Great Gatsby? How did you go about gaining this role? What were your initial ideas?

    My role on the film was Arranger and Additional Music Producer, as well as writing some original pieces for the film.  A large part of the role was helping get all of the music from the wonderful collaborators we had working on the soundtrack and making them sit together in the way that Baz wanted them to.  There were so many fantastic flavours coming in from the artists Baz and Jay-Z had brought together, and Baz had very particular ideas about the way he wanted those voices to sound together, particularly in the way they were to link in with Craig Armstrong’s beautiful original score.  So we spent a lot of time working on getting that weave right.  There was also the challenge of linking the eras between contemporary and the sound of the jazz age, which was another area we focused a lot on.

    I’d worked with Baz and music supervisor, Anton Monsted before, and I happened to run into Anton on the way to South by South West at the airport in LA not long before they started getting into early screening stages and we caught up then. My involvement happened fairly organically, from initially helping Baz and Anton explore a few ideas in terms of the way different contemporary pieces could work in different styles, to the eventual role we ended up with.  It was a fantastic process.

    Baz Luhrmann’s soundtracks are famously quite prolific. Did you find it a daunting idea coming up against some of his past work? 

    Absolutely.  The Romeo and Juliet soundtrack is one my favourite soundtracks of all time and everyone is incredibly aware of how passionate Baz is about music.  But it’s such an incredible enthusiasm to work with – you’re always being challenged, fed new ideas, being asked to look at things in ways you’d never have thought of.  It’s what you crave as a composer, having that degree of stimulus to work with all the time.

    How did you go about mixing the 20s theme with more modern sounds?

    Baz was very clear from the outset that he wanted the contemporary audience  to understand on a very visceral level the excitement and level of buzz that Nick would have felt falling into Gatsby’s world, what it would have been like going to those parties, how much at the cutting edge of society Gatsby was positioning himself.  And one of the ways Baz wanted to draw the audience into that world was by leading them into that space with a contemporary soundtrack that would translate the idioms of the time into something we can relate to now.  Jazz was the dangerous, cutting edge music of the time in the way that hip hop and dance music are now.  So we ended up taking the contemporary tracks and doing 1920’s versions of them, putting a speak easy band under a Jay-Z track, recording a Foxtrot version of the Lara del Ray track Young and Beautiful, whatever was appropriate, and then worked on weaving those different flavours together.

    Bryan Ferry and his Jazz Age orchestra were a huge part of that sound.  We travelled to London to work with Bryan after Baz heard The Jazz Age album Bryan released.  He’d put together the most incredible group of jazz musicians who were all utterly steeped in the music of that time.  They ended up not only recording versions of most of the contemporary tracks, but also some of Craig Armstrong’s themes for the film.  The result was incredible – Bryan and his team were absolutely meticulous in making sure the recording process was authentic to the time, and the musicality of the players was just astounding.  It was a very special part of the project to be involved with.

    We then had the luxury of being able to blend all those elements together to get the weave of that era working with the modern music and Craig’s score in the way Baz wanted.

    What was it like collaborating with some of the bigger names such as Jay Z, Jack White and Florence and the Machine? Were they easy to work with?

    Because Baz has such a good relationship with all of the artists involved, everyone was incredible responsive in making sure they were giving everything to the project they could to make sure it worked in the best possible way.  I think it’s testament to the level of respect Baz has within the  music community that so many of the artists were willing to make multitracks available to Baz, give him whatever components were needed so that we could make everything work together.  He has such a vibrant way of getting across to the people he’s working with the nature of what story he’s trying to tell, and he’s so respectful and excited by what they can bring to the project, all the artists seemed very happy to give everything they could to help bring the story to life.

    How did the making of this soundtrack compare to some of your previous movie work?

    It’s unique in a number of ways.  Having so many artists contributing and collaborating is very special and unusual, particularly when you’re working with the caliber of artists that Baz and Jay-Z were able to bring together. That was very special to be a part of.  And being able to travel across so many musical styles whilst still having that guiding vision of the story Baz was trying to tell was fantastic.  And being able to work all of that in against a score as beautiful as the one Craig composed was very special.

    As well as the release for this film, you’ve also got an album coming out, “The Long Time.” Could you tell us a little more about this such as the sounds that the tracks contain?

    The sounds I guess are a combination of my various backgrounds – jazz, classical, and film writing.  So the palette is large – I was lucky enough to be able to tie some sessions for the album onto the back of some scoring projects, so had the unusual luxury of using a live orchestra for a lot of the tracks.  The fun part was then being able to remix those elements to try and take that traditional sound somewhere new.

    What were your main inspirations for the album?

    The inspiration for the album came from scenes from my favorite films of the 60’s and 70’s.  Films like Chinatown, The Conversation, the Sting, Dog Day Afternoon, Bonnie and Clyde.  I’d take a look, a tone, a line, a mood, and start from there as somewhere to build an idea from.  I found it took some of the terror from the blank expanse you look out at when you’re starting an album, and gave me some sort of receptacle to pour my ideas into.  It’s also just an era of film making that really resonates with me, stylistically and narrative wise.  It seemed like a natural place to dig.

    When and where can we buy the album?

    Here, or most online shops, iTunes, amazon, etc.

    Talking about your musical history, how old were you when you first discovered your love for music?

    I started playing piano when I was about 5.  I can’t really remember it not being in my life.

    How did you go on to pursue your talents as a songwriter? Was it a tough road?

    I wouldn’t call it a tough road.  You’re always working hard at it, but it’s something that you love doing it and it’s a privilege to do be able to it full time.

    I studied classical piano and jazz and then got into film work very early through a wonderful mentor, Peter Kaldor, who taught me the craft and technical side of it.  I was just very lucky to meet someone who was generous enough to be so giving.  And I just sort of kept going from there.

    On a whole, who have been your main inspirations throughout your musical career?

    Different people for different aspects.  Family and the people I work with.  Artistically, Jon Brion, Bach, Bill Evans, Keith Jarrett, Arvo Part, Carter Burwell,  Erkki-Sven Tüür, Sebestian Tellier, Radio Head, Brett Whitely, Miles, Danger Mouse, Jonny Greenwood’s writing for film, Nick Cave.  So many, but there’s a few.

    If you have one, what has been your favorite project so far?

    It’s so difficult to choose, each project you work on resonates in such a different way.  I’m very lucky to spend time working on what I love.

    Aside from your album release, do you have any other plans for the future?

    I’m working with George Miller on Fury Road, the next installment of the Mad Max journey, and am about to start to work with Baz again on another project, which I’m really looking forward to.  It should be a fun year.

    Awesome, thanks

  • National Lampoon – Where Are They Now?

    National Lampoon – Where Are They Now?

    Since we met the Griswolds 30 years ago, the cast of this legendary all-American family have gone out to explore on their own adventures in the world of acting. From having success in the music charts, to starring in hit TV shows such as The Big Bang Theory (Johnny Galecki) and even becoming another one of Hollywood’s most famous embarrassing fathers, the original cast from The Ultimate Vacation Collection, out now on Blu-Ray for the first time, is still very much alive and kicking!

    The embarrassing dad Clark Griswold – Chevy Chase

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    Chase has continued his comedic roles in films such as Caddyshack, Fletch and ¡Three Amigos! More recently, he’s been enjoying something of a career revival since his role as Pierce Hawthorne in the comedy sitcom Community.

    The beleaguered mum Ellen Griswold – Beverley D’Angelo

    Since D’Angelo’s big break as Clark Griswold’s wife, she can now be seen on the series Entourage playing the role of feisty agent Babs Miller. D’Angelo also appeared in two episodes of The Simpsons as Lurleen Lumpkin, a beautiful Southern country singer and waitress, in both 1992 and 2008.

    The original Rusty Griswold – Anthony Michael Hall

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    Hall gained stardom when he played Rusty at the young age of 13. Following this success Hall was named a member of the ‘Brat Pack’, alongside Rob Lowe and Demi Moore. In 2006, Hall was ranked # 4 in VH1″s list of the ‘100 Greatest Teen Stars’. Hall has starred in hits Edward Scissorhands and The Dark Knight.

    The older Rusty Griswold – Johnny Galecki

    "The Big Bang Theory" Press Room - Comic-Con International 2012

    Galecki established his acting career playing the role of Rusty when he was just 14. He currently plays the role of socially awkward physicist, Leonard Hofstadter, in the hit sitcom The Big Bang Theory. Although Galecki is not a true science geek, he is a self-proclaimed motorcycle ‘nerd’ and drives a Harley Davidson Softail Deluxe!

    The original Audrey Griswold – Dana Barron

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    One of four actresses to have played the role of Audrey Griswold (and the only one to ever reprise it, in the made-for-TV sequel to Christmas Vacation), Barron also had a role in the original Beverly Hills 90210, for which she won the Youth in Film Award for the best recurring actress. Since then, Barron has made guest appearances on TV shows including Babylon 5 and Murder, She Wrote.

    The older Audrey Griswold – Juliette Lewis

    Actress Juliette Lewis arrives for the British Comedy Awards 2008 at the ITV...

    After playing Audrey Griswold in Christmas Vacation, Lewis gained international attention with her roles inNatural Born Killers and Due Date. Beginning in 2004, Lewis took a break from acting to start a music career with her band Juliette & The Licks, finally launching solo after six years and two full length albums. Perhaps not so well known, between 1990 to 1993 Lewis also dated Brad Pitt!

    The car salesman – Eugene Levy

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    Since the original Vacation, Levy has appeared in no less than over fifty films. Levy’s box office success in the likes of Bringing Down the House,  and Over the Hedge has helped establish him as one of Hollywood”s most popular comedic character actors. But it was Levy’s role as Jim’s Dad in theAmerican Pie movies that really made him a screen icon, eventually becoming the only actor to appear in all eight films from the series.

    The Ultimate Vacation four disc box-set (featuring National Lampoon’s Vacation, National Lampoon’s European Vacation, National Lampoon”s Christmas Vacation and National Lampoon’s Vegas Vacation) is available now on Blu-ray™ with UltraViolet™