Robert Klein and Fred Willard |
the traveler's resource guide to festivals & films
a FestivalTravelNetwork.com site
part of Insider Media llc.
Get Out
Writer/Director:Jordan Peele
Sleight
Director: J.D Dillard.
The Transfiguration
Writer/Director: Michael O'Shea
Three films focused primarily on an African American cast or from an Black person’s perspective, employ the conventions of the horror/sci-fi genre to express several profound and/or disturbing ideas.
Though director Michael O'Shea’s debut feature “Transfiguration” riffs on vampire lore, it actually uses the mythology to address far more contemporary and disturbing behavior. Troubled teen Milo’s blood drinking fascination leads him to spiral out of control, but once he meets an equally alienated Sophie (Chloe Levine), their bond almost pulls them back from the brink. As this bond grows Milo's fantasy descends horrendously into a nihilistic reality.
Brooklyn-born filmmaker O'Shea’s mulit-genre movie deals with love, loss and blood; as much a psychological study as it is an indie horror film, it’s been a surprise hit that garnered him critical acclaim for its debut at Cannes Film Festival and at SXSW as well. Now it’s enjoying a theatrical release for a director’s debut more than a decade in the making.
Already in theaters as a surprise hit, veteran tv writer-turned-director Jordan Peele’s “Get Out,” takes quite the left turn employing horror and sci-fi tropes while subversively exploring social issues with an African-American bent.
In this speculative thriller from genre power house production company Blumhouse (which also backed “The Visit,” “The Gift,” and the “Insidious” and “Purge” series among others) a young African-American man goes with his relatively new white girlfriend to visit her parents Missy (Catherine Keener) and Dean (Bradley Whitford) at her family’s upstate New York estate. There he realizes things are quite amiss and he becomes ensnared in a sinister plot’s that’s the real reason for his invitation. Now that Chris (Daniel Kaluuya seen in “Sicario”) and Rose (Allison Williams from HBO’s “Girls”), have reached this meet-the-parents dating milestone — in a scene worthy of “Guess Who’s Coming To Dinner” — things go awry — in ultimately the most horrible way possible.
Equal gripping and provocative, “Get Out” challenges assumption with equally doses of comedy and dread. And in this era of Trump, doesn’t seem as absurd or farfetched as it might have felt in the Obama era.
In cross-genre-fied “Sleight,” musician Jacob Latimore (“Maze Runner,” “Collateral Beauty”) plays a street magician left to care for his little sister after their parents’ deaths, who then turns to drug dealing to keep them fed and clothed — for him to make sure she gets good education. When he gets in too deep with the dealer he thought was relatively benign, his sister is kidnapped and he’s forced to use his magic, his science skills and brilliant mind to save her.
This suspense thriller fits several genres, but it’s a lot more deceptive than just switching from genre from being gansta to being superhero-ish. Of the three films, this one’s sketchiest but it’s also ambitious, making for both a slick fast-paced crime drama and tech thriller almost worthy of a sequel.
Rogue One—A Star Wars Story
(Strand)
(Arrow Academy)
(MHz)
(Acorn)
Robert Klein and Fred Willard |
Franz Welser-Möst
On the evening of Friday, February 24th, the first of three extraordinary concerts were given at Carnegie Hall by the superb musicians of the Vienna Philharmonic Orchestra under the masterful direction of Franz Welser-Möst, one of the greatest living conductors.
The program—aptly devoted to Viennese music, which dominated all three concerts—opened with the lovely, uncharacteristically Rossinian Overture to Die Zauberharfe, by Franz Schubert, heard here in a sterling account. This was followed by the American premiere of Time Recycling by contemporary composer, René Starr, which was notable for its accomplished orchestration.
The second half of the evening was devoted to the brilliant tone-poem, Ein Heldenleben by Richard Strauss, magnificently rendered by the musicians. Enthusiastic applause brought forth a delightful encore, the Frühlingsstimmen Waltz of Johann Strauss Jr.
The program on the following evening opened with a dazzling performance of the great Piano Concerto No. 1 of Johannes Brahms, featuring the deservedly celebrated Rudolf Buchbinder as soloist who rewarded the audience's spirited ovation with a marvelous encore, “Soirée de Vienne,” Op. 56, Concert Paraphrase on Waltzes from Die Fledermaus (after Johann Strauss II), of Alfred Grünfeld.
The second half of the concert was just as remarkable, opening with a glorious account of Schubert's exquisite, if ubiquitous, "Unfinished" Symphony in B Minor. This was followed by an equally impressive performance of the excellent The Miraculous Mandarin Suite by Béla Bartók. Another round of excited applause elicited another enjoyable encore, the "Frauenherz" Polka-Mazurka, Op. 166, of Josef Strauss.
The concluding program, presented on the afternoon of the following day, was also superlative, opening with a magisterial version of the Arnold Schoenberg's Verklärte Nacht, one of the masterpieces of late Romanticism, while the second half of the concert enchanted with a wonderful account of Schubert's titanic Symphony No. 9, the "Great." The audience's joyous reception of this performance was reciprocated by one final encore in this thrilling series, the thoroughly pleasurable "For Ever" Polka, Op. 193, of Josef Strauss.