Drew Barrymore's little-seen film features a brilliantly hysterical performance by Susan Tyrrell.
Sometimes the whole is greater than the sum of its parts. For a film like Far From Home, however, there’s a whole bunch of parts that don’t really add up to much. This wouldn’t detract from the fact that the film is altogether enjoyable in a way that films today no longer are. If you’ve never heard of the film, you can be forgiven. An old, forgotten Drew Barrymore vehicle that was meant to help her transition from child star to adult actress, this feature came as quickly as it went, appearing for just a flash in theatres during the summer of 1989.
Filmmaker Theresa Brown and singer-songwriter Lindsey Wilson screen 'Meg Ramsey' web series at Tribeca Screening Room in Manhattan.
Life imitates art in Meg Ramsey, a web series produced by filmmaker Theresa Brown and singer-songwriter Lindsey Wilson. The series stars Wilson as the title character, a Brooklyn-based artist who flees corporate life to pursue a music career in New York City. Directed by Brown, the series introduces a colorful cast of characters who orbit Ramsey’s world, from musicians to family members to resentful former co-workers. Meg Ramsey features original music composed by Wilson, as her character performs at open mics, auditions band members, and debuts her own stage show while also learning lessons about the road to independence. Both Brown and Wilson will present a special screening of Meg Ramsey on 28 February 2013 at Tribeca Screening Room, 6:00 p.m.
The Occupation means that decisions on the ground, when soldiers are "knocking on doors" of suspects and families, are left to boys who may have just left high school.
Dror Moreh’s Oscar-nominated documentary, opening 1 February in New York and LA, focuses on a particular period in Israel’s history, but it’s as topical and urgent a film as you’ll see this year. Astutely structured in part as a series of interviews with former members of Shin Bet intercut with images that can’t possibly mean only one thing, it considers how Israel’s decisions (official and not) following the Six Day War established attitudes, fears, and policies that shape tensions to this day. With a couple of reenactments set in a reimagined surveillance room—tapes recording, televisions monitoring, and computers whirring—the film suggests that advancing technologies and expanding violence didn’t make anyone safer, neither the occupying Israelis nor the occupied Palestinians. The conflict is fueled in part by access to oppressive machinery and weapons. Carmi Gillon (head of Shin Bet from 1994-1996) laments that—as in most every battle zone—decisions on the ground, when soldiers are “knocking on doors” of suspects and families, are left to boys who may have just left high school. Making these decisions “changes people’s character,” Shalom says, illustrated as he and other former heads remember their own childhoods, their fears, their faiths, and often, the influences of their fathers.
Though the past decade saw black metal enter into the mainstream, most media discussions of its roots and effects remain shallow. The present debate about a correlation between media violence and real-world violence provides a natural opportunity to examine this popular form. Having premiered at the just-wrapped 2013 Sundance Film Festival, Kat Candler’s short film Black Metal arrives right on time. In less than 10 minutes, the film provokes more serious thought on its subject than Until the Light Takes Us or other similarly uncritical/self-satisfied analyses of recent years.
Scott Thurman's documentary charts the work of the Texas State Board of Education, as it insists that science classes in Texas teach intelligent design, given that evolution is just a "theory."
Don McLeroy is a believer. He believes in God, in the Bible, and in the need to ensure that all children come to believe what he does. In The Revisionaries, airing 28 January on PBS, he makes his case again and again, in the office where he works as a dentist, in the church where he serves as a pastor, before assorted cameras, and as a member of the Texas State Board of Education. Scott Thurman’s documentary charts the inspiration SBOE Chairman McLeroy provides for other board members, like Cynthia Dunbar (who served from 2007-2011), as they insist that science classes in Texas teach intelligent design, given that evolution is just a “theory.” The “power” here has to do with Texas’ influence on textbook selections around the nation: it has to do with numbers, as textbook publishers endeavor to serve (profit from) those schools ordering the most books. Well aware of this power, the Texas School Board creationists in the 1980s made a case for teaching the “strengths and weaknesses” of evolution: this language is challenged in 2008, and The Revisionaries follows the battle between McLeroy’s Republicans and a set of opponents, including Eugenie Scott of the National Center for Science Education and Steve Schafersman, of Texas Citizens for Science.