tag:blogger.com,1999:blog-176659362024-03-19T05:58:08.703-07:00The GoodTimesKidA story about stolen love and stolen identities, shot on stolen film.
Hot-tempered Rodolfo Cano enlists in the army to escape a meaningless existence with his free-spirited girlfriend Diaz. When his call-for-service letter somehow winds up in the hands of another Rodolfo Cano, a quietly dignified loner who lives on a sailboat, their three lives intersect in odd and beautifully unexpected ways.Unknownnoreply@blogger.comBlogger52125tag:blogger.com,1999:blog-17665936.post-81837915217313678642010-01-02T14:32:00.000-08:002010-01-02T14:35:31.914-08:00Berlin<p><strong><em><a href="http://www.exberliner.com/unknown-pleasures-2_4201">The GoodTimesKid</a></em>, Jan 6, 21:00, Jan 8, 22:00, <em><a href="http://www.exberliner.com/unknown-pleasures-2_4201">Nobody Needs to Know</a></em>, Jan 4, 19:00, Jan 17, 19:30 | Babylon, Rosa-Luxemburg-Str. 30, Mitte, U-Bhf Rosa-Luxemburg-Platz, Tel 030 2789 1919,</strong> <a target="_blank" href="http://www.babylonberlin.de/"></a><a>www.babylonberlin.de</a><span style="font-weight: bold;"><br /></span></p><p>interview <a href="http://www.exberliner.com/verbatim/79/interview-azazel-jacobs">here</a><br /><a target="_blank" href="http://www.babylonberlin.de/"><span style="font-weight: bold;"></span></a></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-17665936.post-35528771169735534782009-09-26T07:55:00.000-07:002009-09-26T07:59:41.196-07:00new review<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhG6Kje7J7eNKT5_Uhpk2zglcfKQ-kQVLfXCBIl3QAvF5G8zNdfbh50oswF8I3PSE1b1xegZK7Yzs3KF2JYS9OTO4IhnSDrR2eztdHp4VcUw3oHcRNOCFeK-DaB-uzgT6BaSG/s1600-h/800_good_times_kidsubs.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhG6Kje7J7eNKT5_Uhpk2zglcfKQ-kQVLfXCBIl3QAvF5G8zNdfbh50oswF8I3PSE1b1xegZK7Yzs3KF2JYS9OTO4IhnSDrR2eztdHp4VcUw3oHcRNOCFeK-DaB-uzgT6BaSG/s400/800_good_times_kidsubs.jpg" alt="" id="BLOGGER_PHOTO_ID_5385790702546792146" border="0" /></a><br /><br /><span style="font-size:130%;">"I developed a real soft spot for this film - with my only complaint being that I wished it was longer.</span>" <a href="http://www.dvdbeaver.com/film2/DVDReviews47/the_goodtimeskid.htm">(read more)</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-17665936.post-51053569914574359342009-08-15T12:39:00.000-07:002009-08-15T12:41:12.587-07:00"This is not just the best disc released this week, but one of my favorite discoveries of the year so far. <em>The GoodTimesKid</em> is more than a breath of fresh air, it's an afternoon where you never look at your watch and throw your phone in the lake." - Jeffrey Wells, <span style="font-weight: bold;">Hollywood Elsewhere </span><a href="http://hollywood-elsewhere.com/arthouse/2009/08/disc-roundup-week-of-811.php">(read more)</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-70779169217502503092009-08-13T09:28:00.000-07:002009-08-13T09:33:33.531-07:00Screening Party tonite!Join us to celebrate the DVD release of The GoodTimesKid<br />tonite, Thursday, 8PM<br />at the <a href="http://www.downtownindependent.com/">DownTown Independent</a><br />(251 S. Main St., b/t W. Third & W. Second Sts., Downtown (213-617-1033)<br />David Orlando (of Punky Reggae) spinning after the filmUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-69991957666226646282009-08-11T16:16:00.000-07:002009-08-11T16:41:59.668-07:00more"Evoking Giulietta Masina in <em>Nights of Cabiria</em>, Chaplin's <a href="http://www.youtube.com/watch?v=xoKbDNY0Zwg">dinner roll dance</a> in <em>The Gold Rush</em>, and that staple of nouvelle vague coolness, <a href="http://www.youtube.com/watch?v=I6pOXjQLh7Y">The Madison</a> from Godard's <em>Band of Outsiders</em>, Diaz's whimsical solo in a chocolate-stained dress and black Converse is one of those rare moments of fleeting joy whose ephemerality is only enhanced by its capture on film." - Cullen Gallagher, L MAGAZINE <a href="http://www.thelmagazine.com/TheMeasure/archives/2009/08/11/hey-depresso-wanna-dance">(read more)</a><br /><br />"Today the good fellows at Benten Films release Azazel Jacobs' truly beguiling absurdist near-tragicomedy <span style="font-style: italic;">The GoodTimes Kid</span> in a thoroughly lovely DVD edition." - Glen Kenny SOME CAME RUNNING<a href="http://somecamerunning.typepad.com/some_came_running/dvd/"> (read more)</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-56817011717460407012009-08-11T11:22:00.000-07:002009-08-11T11:35:15.454-07:00Dvd out today - new reviews"Every moment consequently is a sheer delight, doing its best to shake up all those depresso filmmakers who have done it all before and all you depresso cinemagoers out there who have seen it all before, and maybe remind you what the joy of making films and the joy of watching films is all about." <span style="font-weight: bold;">DVD Times</span> <a href="http://www.dvdtimes.co.uk/content.php?contentid=71278">(read more)</a><br /><br />"Diaz is a camera lens’ sweetheart: a laconic fusion of Audrey Hepburn and a young Conrad Veidt, she trumps Shelley Duvall’s Olive Oyl" Michael Atkinson, <span style="font-weight: bold;">IFC</span> <a href="http://www.ifc.com/news/2009/08/the-resume-indie.php?page=2">(read more)</a><br /><h4 style="font-weight: bold;" class="by lucy-byline">"<strong><em>The GoodTimesKid</em></strong><span style="font-weight: normal; font-style: normal;"> (<a href="http://www.bentenfilms.com/" target="_blank"><em>Benten Films</em></a>) — The boys at <em>Benten Films</em> absolutely </span><em style="font-weight: normal;">crush</em><span style="font-style: normal; font-weight: normal;"> it out of the park for the long overdue home video release of Azazel Jacobs’ enchanting second feature. A deadpan noir breakup comedy involving mistaken identities, <em><strong>The GoodTimesKid</strong></em> feels like it was shot in an earlier, more innocent time" Michael Tully, <span style="font-weight: bold;">Hammer To Nail </span><a href="http://www.hammertonail.com/genre/comedy/new-dvd-releases-august-11-09/">(read more)</a></span></h4>"A film like <em>500 Days of Summer </em>bends over backwards to convince you it takes place in a world where cultural totems of disaffection still mean something. The GoodTimesKid actually creates and takes place in such a world, without strain." Karina Longworth, <span style="font-weight: bold;">SPOUT.com</span> <a href="http://blog.spout.com/2009/08/11/the-goodtimeskid-on-dvd/">(read more)</a><br /><br />"Before there was <em>Momma's Man</em> there was <em>The GoodTimesKid</em>. In Azazel Jacobs's second feature you can see his style beginning to take form, meshing a punk-rock attitude with cinema influences as wide ranging from Chaplin to Jarmusch." Jason Guerrasio,<span style="font-weight: bold;"> Filmaker Magazine </span><a href="http://filmmakermagazine.com/loadandplay/2009/08/goodtimeskid.php">(read more)</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-14643764400334509342009-08-06T15:46:00.000-07:002009-08-06T15:47:22.091-07:00Blog Critic"<i>The GoodTimesKid</i> is a film that has it all — deadpan simplicity, whimsical heartbreak, drawn-on mustaches." <a href="http://blogcritics.org/video/article/dvd-review-the-goodtimeskid/">(read more)</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-19114257646912021932009-07-31T20:50:00.000-07:002009-08-06T15:48:34.247-07:00GoodTimesKid DVD August 11thThe DVD by Benten Films of The GoodTimesKid is almost out. To celebrate there will be a screening at the <a href="http://www.downtownindependent.com/">Downtown Independent</a> in L.A. and party afterward, August 13th at 8pm. Please come. The DVD should be widely available, rent from <a href="http://www.netflix.com/Movie/The_Good_Times_Kid/70121310?trkid=1660">Netflix</a> or order directly from <a href="http://www.bentenfilms.com/Azazel-Jacobs-The-GoodTimesKid.shtml">Amazon</a>.<br /><div id="dvdTitleFeatures"><img src="http://www.bentenfilms.com/_media/images/dvd_title_features.gif" alt="Features" height="34" width="255" /> <p><strong>• Director commentary</strong> with contributions from co-stars Gerardo Naranjo and Diaz<br /> <br /> <strong>• <em>The Whirled</em> (1956-63)</strong>: A never before released short film by Ken Jacobs starring Jack Smith that helped inspire <em>The GoodTimesKid</em><br /> <br /> <strong>• <em>Let's Get Started</em></strong>: A short film by Azazel Jacobs<br /> <br /> <strong>•</strong> <strong>Deleted Scenes</strong><br /> <br /> <strong>• Photo Gallery</strong><br /> <br /> <strong>• Original Trailer</strong><br /> <br /> <strong>• PLUS: </strong>An all-new essay by film critic Glenn Kenny </p></div><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dz7Q43gsApWgShlW0UAXhMU5VOEYbgo5C7iSGxsAyvmBMJ9C9dMK1l0N2hUy0joYNfwBideHctP_CM' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-17665936.post-40509141991437529922009-03-10T19:49:00.000-07:002009-03-10T19:52:06.677-07:00Release announcement<h1>Benten Films and Watchmaker Films Announce International Partnership</h1>Both companies will continue to “support new and underrepresented filmmakers from around the world.” Benten is currently working on their first 2009 release, Azazel Jacobs’ “The GoodTimesKid,” which will be fully remastered from a 2K scan of the original negative, and preserved in an archival 4K scan. “It’s important to expand on the standard canon of great films and support up-and-coming filmmakers with state-of-the-art presentations in every format, from cinemas to DVD and beyond,” said Rance in a statement. <a href="http://www.indiewire.com/article/2009/03/10/benten_films_and_watchmaker_films_announce_international_partnership/">(read more)</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-63150854581805428772008-10-15T11:54:00.000-07:002008-10-15T11:58:28.036-07:00in Cleveland!The GoodTimesKid (along with Momma's Man) is screening at the Cleveland Cinematheque starting thursday the 16th of Oct- more info <a href="http://www.cia.edu/academicResources/cinematheque/filmSchedule.php?action=this">here<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-63548218092388689642008-07-13T19:51:00.001-07:002008-07-13T19:54:46.480-07:00<img src="http://www.bam.org/img/nav/blue_logo_bam.gif" alt="BAM : Brooklyn Academy of Music" height="86" width="400" /><br /><br /><div style="text-align: left;">Brooklyn, July 11, 2008—From August 11–15 BAMcinématek, the repertory film program at<br />BAM Rose Cinemas, presents The Films of Azazel Jacobs. Azazel Jacobs has spent the last few<br />years forging his cinematic vision—he is a unique independent filmmaker in an age when<br />American independent cinema is faced with a creative drought. This series gathers three features by Jacobs— son of famed avant-garde filmmaker Ken Jacobs—including his recent Sundance Film Festival hit Momma’s Man, along with two films selected by Jacobs. Momma’s Man will be released on August 22 by Kino International.<br /><br />The series starts on August 11 with Azazel Jacobs’ sophomore feature The GoodTimesKid<br />(2005). Described as “an unexpectedly beguiling romantic comedy” by The New York Times,<br /><span style="font-weight: bold;">The GoodTimesKid</span> is the story of three characters told with little dialogue: Rodolfo (played by Jacobs), his girlfriend Diaz (played by Jacobs’ real-life girlfriend, Sara Diaz), and a stranger<br />named Rodolfo (Gerardo Naranjo, director of Drama/Mex [2006], a close friend of Jacobs and<br />co-writer of the script). When Jacobs’ character is drafted for military service, he leaves his<br />girlfriend in Los Angeles and Naranjo’s character moves into Diaz’s life. “Minimalist to the<br />max, Azazel Jacobs’ second feature, The GoodTimesKid emerges as an absurdist and nearly<br />wordless urban dance between two men and a woman over 24 hours in Los Angeles,” writes<br />Variety.<br /></div><br />One of Jacobs’ selections and a source of inspiration for The GoodTimesKid (among Jacobs’ other films) <span style="font-weight: bold;">La Vie de bohème</span> (1992) by Finnish director Aki Kaurismäki follows on August 12. An adaptation of Henri Murger’s Scènes de la vie de bohème, which was also the basis of Puccini’s La Bohème, this black-and-white film version features performances by Jean-Pierre Léaud and Kaurismäki regular Matti Pellonpää, as well as appearances by filmmakers Samuel Fuller and Louis Malle. The film concerns three penniless artists in contemporary Paris:<br />Rodolfo, a painter, Marcel, a playwright, and Schaunard, a composer, as well as the barmaid with whom Rodolfo falls in love. “[A] slow-and-steady mood piece,” says The Washington Post. The film was the winner of the FIPRESCI prize at the Berlin International Film Festival.<br /><br />Jacobs’ first feature, <span style="font-weight: bold;">Nobody Needs to Know</span> (2003)—set in New York City and featuring a soundtrack comprises rap and reggae by Brooklyn-based bands—plays on August 13. Jacobs has cited diverse influences including Federico Fellini, The Clash, and Lenny Bruce, for this unconventional film. “[T]his black-and-white metafiction by Azazel Jacobs interweaves three story lines,” notes Chicago Reader, “an anonymous black guy peers into and then disappears behind the camera, his voice-over a mix of whimsical rap and omniscient narration; an aspiring actress suggestively named Iris (Tricia Vessey) ponders the meaning of her profession<br />while waiting for a callback about a movie role; meanwhile, a series of attractive women in slips audition for the same film by acting out death scenes for a director (Matt Boren) who becomes increasingly confused as to what he’s after.” The film had its world premiere at Rotterdam Film Festival, where Jacobs told the Daily Tiger (Rotterdam), “Nobody Needs to Know was more influenced by reggae music and The Clash than traditional<br />filmmaking, where a director shoots some scenes that he has rehearsed with the cast. Although there is one director I am really excited about—Finland’s Aki Kaurismäki.”<br /><br />On August 14 is the second of Jacobs’ picks in the series, British cult film <span style="font-weight: bold;">Rude Boy</span> (1980), directed by Jack Hazan and David Mingay. Rude Boy is part drama and part rockumentary, featuring performances by The Clash, a strong influence on Jacobs’ work, as it follows the perspective of protagonist Ray Gange, a fan and roadie for the band. “[S]tudded with electrifying concert footage,” notes Chicago Reader, while Channel 4 Film calls Rude<br />Boy “a must-see for anyone with an interest in The Clash.”<br /><br />The Films of Azazel Jacobs concludes on August 15 with a sneak preview of the director’s newest, much acclaimed <span style="font-weight: bold;">Momma’s Man</span> (2008) followed by a Q&A with Azazel Jacobs. Momma’s Man mixes fictional and autobiographical elements with his father, avant-garde filmmaker Ken Jacobs, and his mother, visual artist Flo Jacobs, starring as the bohemian parents of the protagonist, Mikey (Matt Boren). The film was shot in the Tribeca apartment where the director grew up and where his parents continue to live. Jacobs writes in his<br />director’s statement, “Momma’s Man began as a way of documenting the place where I grew up…I wound up casting my parents to play the parents—really because I couldn’t picture anyone else in their bed, in their kitchen, in their place.” He continues to comment on the casting choices: “I wrote the part of their son, Mikey, for Matt Boren, who I had worked with on my first feature Nobody Needs to Know. He was someone that I thought of from the first line on…For the rest of the roles I used either the real person it was based on, or actors<br />that brought with them their own particular styles, hoping to create a cross-section/mish-mash of realities where some interesting things could emerge.”<br /><br />In Momma’s Man, Mikey returns to his hometown of New York for a visit, and ends up staying longer than intended with his parents—neglecting his wife and child back home in Los Angeles. The New York Times comments, “[T]he film beautifully combines the idioms of independent fiction narrative with the personal expressiveness of the avant-garde for a work of surprising emotional and structural complexity. This is independent cinema defined.” The film will be released on August 22 by Kino International.<br /><br />Tickets are also available by phone at 718.777.FILM, or online at BAM.org. For more<br />information, call the BAMcinématek hotline at 718.636.4100 or visit BAM.org.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-62186698423294443842008-07-13T19:51:00.000-07:002008-07-13T19:52:54.159-07:00<img src="http://www.bam.org/img/nav/blue_logo_bam.gif" alt="BAM : Brooklyn Academy of Music" height="86" width="400" /><br /><br />Brooklyn, July 11, 2008—From August 11–15 BAMcinématek, the repertory film program at<br />BAM Rose Cinemas, presents The Films of Azazel Jacobs. Azazel Jacobs has spent the last few<br />years forging his cinematic vision—he is a unique independent filmmaker in an age when<br />American independent cinema is faced with a creative drought. This series gathers three features by Jacobs— son of famed avant-garde filmmaker Ken Jacobs—including his recent Sundance Film Festival hit Momma’s Man, along with two films selected by Jacobs. Momma’s Man will be released on August 22 by Kino International.<br /><br />The series starts on August 11 with Azazel Jacobs’ sophomore feature The GoodTimesKid<br />(2005). Described as “an unexpectedly beguiling romantic comedy” by The New York Times,<br /><span style="font-weight: bold;">The GoodTimesKid</span> is the story of three characters told with little dialogue: Rodolfo (played by Jacobs), his girlfriend Diaz (played by Jacobs’ real-life girlfriend, Sara Diaz), and a stranger<br />named Rodolfo (Gerardo Naranjo, director of Drama/Mex [2006], a close friend of Jacobs and<br />co-writer of the script). When Jacobs’ character is drafted for military service, he leaves his<br />girlfriend in Los Angeles and Naranjo’s character moves into Diaz’s life. “Minimalist to the<br />max, Azazel Jacobs’ second feature, The GoodTimesKid emerges as an absurdist and nearly<br />wordless urban dance between two men and a woman over 24 hours in Los Angeles,” writes<br />Variety.<br /><br />One of Jacobs’ selections and a source of inspiration for The GoodTimesKid (among Jacobs’ other films) <span style="font-weight: bold;">La Vie de bohème</span> (1992) by Finnish director Aki Kaurismäki follows on August 12. An adaptation of Henri Murger’s Scènes de la vie de bohème, which was also the basis of Puccini’s La Bohème, this black-and-white film version features performances by Jean-Pierre Léaud and Kaurismäki regular Matti Pellonpää, as well as appearances by filmmakers Samuel Fuller and Louis Malle. The film concerns three penniless artists in contemporary Paris:<br />Rodolfo, a painter, Marcel, a playwright, and Schaunard, a composer, as well as the barmaid with whom Rodolfo falls in love. “[A] slow-and-steady mood piece,” says The Washington Post. The film was the winner of the FIPRESCI prize at the Berlin International Film Festival.<br /><br />Jacobs’ first feature, <span style="font-weight: bold;">Nobody Needs to Know</span> (2003)—set in New York City and featuring a soundtrack comprises rap and reggae by Brooklyn-based bands—plays on August 13. Jacobs has cited diverse influences including Federico Fellini, The Clash, and Lenny Bruce, for this unconventional film. “[T]his black-and-white metafiction by Azazel Jacobs interweaves three story lines,” notes Chicago Reader, “an anonymous black guy peers into and then disappears behind the camera, his voice-over a mix of whimsical rap and omniscient narration; an aspiring actress suggestively named Iris (Tricia Vessey) ponders the meaning of her profession<br />while waiting for a callback about a movie role; meanwhile, a series of attractive women in slips audition for the same film by acting out death scenes for a director (Matt Boren) who becomes increasingly confused as to what he’s after.” The film had its world premiere at Rotterdam Film Festival, where Jacobs told the Daily Tiger (Rotterdam), “Nobody Needs to Know was more influenced by reggae music and The Clash than traditional<br />filmmaking, where a director shoots some scenes that he has rehearsed with the cast. Although there is one director I am really excited about—Finland’s Aki Kaurismäki.”<br /><br />On August 14 is the second of Jacobs’ picks in the series, British cult film <span style="font-weight: bold;">Rude Boy</span> (1980), directed by Jack Hazan and David Mingay. Rude Boy is part drama and part rockumentary, featuring performances by The Clash, a strong influence on Jacobs’ work, as it follows the perspective of protagonist Ray Gange, a fan and roadie for the band. “[S]tudded with electrifying concert footage,” notes Chicago Reader, while Channel 4 Film calls Rude<br />Boy “a must-see for anyone with an interest in The Clash.”<br /><br />The Films of Azazel Jacobs concludes on August 15 with a sneak preview of the director’s newest, much acclaimed <span style="font-weight: bold;">Momma’s Man</span> (2008) followed by a Q&A with Azazel Jacobs. Momma’s Man mixes fictional and autobiographical elements with his father, avant-garde filmmaker Ken Jacobs, and his mother, visual artist Flo Jacobs, starring as the bohemian parents of the protagonist, Mikey (Matt Boren). The film was shot in the Tribeca apartment where the director grew up and where his parents continue to live. Jacobs writes in his<br />director’s statement, “Momma’s Man began as a way of documenting the place where I grew up…I wound up casting my parents to play the parents—really because I couldn’t picture anyone else in their bed, in their kitchen, in their place.” He continues to comment on the casting choices: “I wrote the part of their son, Mikey, for Matt Boren, who I had worked with on my first feature Nobody Needs to Know. He was someone that I thought of from the first line on…For the rest of the roles I used either the real person it was based on, or actors<br />that brought with them their own particular styles, hoping to create a cross-section/mish-mash of realities where some interesting things could emerge.”<br /><br />In Momma’s Man, Mikey returns to his hometown of New York for a visit, and ends up staying longer than intended with his parents—neglecting his wife and child back home in Los Angeles. The New York Times comments, “[T]he film beautifully combines the idioms of independent fiction narrative with the personal expressiveness of the avant-garde for a work of surprising emotional and structural complexity. This is independent cinema defined.” The film will be released on August 22 by Kino International.<br /><br /> Tickets are also available by phone at 718.777.FILM, or online at BAM.org. For more<br />information, call the BAMcinématek hotline at 718.636.4100 or visit BAM.org.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-48601110944742289112008-03-29T06:40:00.001-07:002008-03-29T06:41:40.863-07:00VirginiaThe GoodTimesKid will screen in 35 at the James River Film Festival in Virginia April 5th! More info <a href="http://washingtonactorsguide.blogspot.com/2008/03/vpa-15th-james-river-film-festival.html">here</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-17665936.post-72453718282605567852008-02-11T14:35:00.000-08:002008-02-11T14:36:18.817-08:00<a href="http://mommasman.com">momma's man.com</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-84095259622967300802008-01-15T11:39:00.000-08:002008-01-15T11:45:51.797-08:00Victoria Film festivalin Canada-<br />screening in 35 MM at<br />Sunday February 3rd at 12 PM<br />Monday February 4th at 9 PM<br /><p>"Normally, stealing from Hollywood is just a bad idea for any independent filmmaker. But for director Azazel Jacobs, stealing film from a Hollywood blockbuster’s truck to make a movie about stolen identities and stolen hearts, couldn’t have been a more perfect allegory for <i>The Goodtimeskid.</i> </p><p> Filled with some of the most endearing deadpan humour since Peter Sellers and Buster Keaton, this is the story of two Rodolfo Canos. One Rodolfo Cano lives alone on a sailboat by the docks and the other lives with his soon-to-be-estranged girlfriend. Neither knew the other existed until one day the army misdelivers a Call-for-Service letter for Rodolfo-with-a-girlfriend to Rodolfo-with-a-boat. Thinking he only needs to explain the mistake to the office, Rodolfo-with-a-boat accidentally crosses paths with an oblivious Rodolfo-with-a girlfriend at the recruitment office. Intrigued and confused, he follows his unknowing namesake back home, only to stumble awkwardly into the lovelorn life of a woman that’s about to be left behind. </p><p> Leave your conceptions behind about what a comedy can be and <i>The Goodtimeskid</i> will deliver. Its characters are deep and complicated without ever needing to over-explain them. Its setups are sometimes so perfect you never see a laugh-out-loud moment coming until you’ve already spilled your popcorn on your date."</p><p>buy tickets <a href="http://victoria.bside.com/2008/?_view=_filmdetails&filmId=45710181">here</a><br /></p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-17665936.post-91141354163085955322008-01-09T20:28:00.000-08:002008-01-09T20:32:46.782-08:00IFC's Top ten at Sundance<dl><dt><img src="http://ifc.com/static/img/news/sundance08/ttl_performances.jpg" alt="IFC's Top 10 Most-Anticipated Performances" /><a href="http://ad.doubleclick.net/clk;174564649;11791819;w?http://www.acura.com/tlp/TLP_tl001.html"><img src="http://ifc.com/static/img/news/sundance08/ttl_categories_logo.jpg" alt="Presented by ACURA" border="0" /></a></dt><dd> <h2><span style="font-size:100%;">Sam Rockwell - "Choke"</span></h2> <p><span style="font-size:100%;">Sam Rockwell gave great performances in two films at last year's festival — "Joshua" and "Snow Angels" — and we can't imagine he's going to be any less memorable playing a sex-addicted con-man in this adaptation of a novel from Chuck Palahniuk, the writer behind "Fight Club."</span></p> </dd><dd> <h2><span style="font-size:100%;">Amy Adams - "Sunshine Cleaning"</span></h2> <p><span style="font-size:100%;">The premise of this one -- a young mother and her flaky sister start a biohazard removal/crime scene clean-up service -- sound awfully quirky-cute, but the Oscar-nominated Amy Adams has proven she can brighten just about any film.</span></p> </dd><dd> <h2><span style="font-size:100%;">Colin Farrell - "In Bruges" </span></h2> <p><span style="font-size:100%;">How often to you get to see Colin Farrell do comedy or speak in his actual accent? In Martin McDonagh's opening night film, he plays a hitman with a heart who ends up hiding out in a picturesque Belgian town after a job goes wrong.</span></p> </dd><dd> <h2><span style="font-size:100%;">Seu Jorge - "The Escapist"</span></h2> <p><span style="font-size:100%;">The Brazilian pop star who played Knockout Ned in "City of God" and sang Bowie covers in Portuguese in "The Life Aquatic" returns to the screen in this film about a jail breakout that also stars Brian Cox and Joseph Fiennes.</span></p> </dd><dd> <h2><span style="font-size:100%;">Kelly Macdonald - "The Merry Gentleman"</span></h2> <p><span style="font-size:100%;">In "No Country For Old Men," Scottish actress Kelly Macdonald impressed, and not just because of she flawlessly passed herself off as Texan. Here she plays a woman fleeing an abusive relationship and befriending a depressed hit man (apparently a theme of this year's festival).</span></p> </dd><dd> <h2><span style="font-size:100%;">Peter Sarsgaard - "The Mysteries of Pittsburgh"</span></h2> <p><span style="font-size:100%;">Who wouldn't want to see sensitive indie darling Peter Sarsgaard playing a biker with a big personality? Plus, this film is an adaptation of a novel from Pulitzer Prize-winner Michael Chabon, so the dialog is all but guaranteed to be above par.</span></p> </dd><dd> <h2><span style="font-size:100%;">Winona Ryder - "The Last Word"</span></h2> <p><span style="font-size:100%;">The last few years have been tough on Winona Ryder, but she was game as a woman who had an affair with a ventriloquist's dummy in last year's "The Ten," so we're looking forward to seeing her opposite another off-the-radar actor, Wes Bentley, in this rom-com about a professional writer of suicide notes.</span></p> </dd><dd> <h2><span style="font-size:100%;">Summer Bishil - "Towelhead"</span></h2> <p><span style="font-size:100%;">"Six Feet Under" creator Alan Ball's directorial debut was one of the most talked-about and controversial films at the Toronto Film Festival. Suffice to say, 19-year-old star Summer Bishil, in her first big-screen role, is also set to get plenty of attention.</span></p> </dd><dd> <h2><span style="font-size:100%;">Ken Jacobs - "Momma's Man"</span></h2> <p><span style="font-size:100%;">Famed experimental filmmaker Ken Jacobs plays "Dad" while his wife Flo plays "Mom" in this second film from their son Azazel Jacobs (whose debut was the acclaimed "The GoodTimesKid"). Is your family this hip?</span></p> </dd><dd> <h2><span style="font-size:100%;">Naomi Watts - "Funny Games"</span></h2> <p><span style="font-size:100%;">Naomi Watts plays the suffering poster child for director Michael Haneke's remake of his own extremely disturbing 1997 film, in which two polite young men torture a family for no particular reason.</span></p></dd><dt><a href="http://blog.ifctv.com/sundance2008/top10.html">http://blog.ifctv.com/sundance2008/top10.html</a><br /></dt></dl>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-17665936.post-68619048551119338922008-01-06T21:09:00.000-08:002008-01-06T21:15:23.233-08:00another Best Of 2007this from Kevyn Knox at <a href="http://www.thecinematheque.com/2007bestof.html">The Cinematheque</a><br />also, site for the new film is up: <a href="http://mommasman.com/">Momma's Man</a><br /><span style="font-family:Verdana, Arial, Helvetica, sans-serif;font-size:100%;"><b><br />#9</b></span><br /><span style="font-family:Verdana, Arial, Helvetica, sans-serif;font-size:180%;"><span style="color:#0033ff;"><b><i>The GoodTimesKid</i></b></span></span><br /><span style="font-family:Verdana, Arial, Helvetica, sans-serif;font-size:100%;"><b>Directed by Azazel Jacobs</b></span><br /><span style="font-family:Verdana, Arial, Helvetica, sans-serif;font-size:85%;"> </span><p align="justify"> <span style="font-family:Verdana, Arial, Helvetica, sans-serif;font-size:85%;">When your daddy is one of the lynchpins of experimental cinema in the United States - and the world - your future has got to be a bright one, for you too can become one of the most underrated, underexposed, unheard of by most, avant-gardist auteurs in the history of cinema. With <i>TheGoodTimesKid</i>, Azazel Jacobs, son of legendary, if not quite a household name, Ken Jacobs, the man responsible for the brilliantly deceptive 1969 experimental bon mot <i>Tom, Tom, the Piper's Son</i> and the découpage juggernaut, 40 years in the making, <i>Star Spangled to Death</i>, gives us (and by us I mean myself, J. Hoberman and about three other film geeks from the East Village) one of the sweetest, funniest romances of the year. A melange of his paternally encrusted experimental roots, an obvious lust for the early French New Wave, live action Fleischer Brother quirkiness, Jim Jarmusch's brain in a jar, indie-pop licks and a screwball heart, all glazed over with a sort of low-def Boho Lubitsch touch, Jacobs' film - which played for exactly seven days in January of 2007 at the Anthology Archives in New York and has still not seen the shiny side of a dvd - is the one film of 2007 most in need of watching - mainly because so many have not. </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-16742348927763618002007-12-30T08:18:00.000-08:002007-12-30T08:42:36.766-08:00NY POST Dec 30, 2007<div style="text-align: right;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDosi9sPw5UsjLpPsm_GbYDDUijDv_Er1Okne__VPCa242NAiL39MmxeNrTm0bf0tXEt3b52a-9kVP7riQlmHw29MD217cqFrctQsw0frdqQg0fPkOhJtTEKg4F5u0MRf04aoI/s1600-h/AND+THE+BEST+FILMS+OF+2007+ARE+.+.+.jpg"><br /></a><div id="headline"> <h1>AND THE BEST FILMS OF 2007 ARE . . .</h1> </div> <div style="float: right; width: 244px; margin-top: 9px;"> <script language="JavaScript1.2" src="http://www.nypost.com/jscript/slideshow.js" type="text/javascript"></script> <script language="JavaScript1.2"> SLIDES = new slideshow("SLIDES"); SLIDES.timeout = 5000; SLIDES.prefetch = -1; SLIDES.repeat = true; s = new slide(); s.src = "/seven/12302007/photos/ent059.jpg"; s.text = unescape("A provocative scene from “Glass Lips.”"); s.link = "/seven/12302007/photos/ent059.jpg"; s.target = ""; s.attr = ""; s.filter = ""; SLIDES.add_slide(s); s = new slide(); s.src = "/seven/12302007/photos/ent059a.jpg"; s.text = unescape("Christina and those panties."); s.link = "/seven/12302007/photos/ent059a.jpg"; s.target = ""; s.attr = ""; s.filter = ""; SLIDES.add_slide(s); if (false) SLIDES.shuffle(); </script><div id="sslideshow"> <div id="slideshow"> <div id="SLIDESIMAGE"> <a href="javascript:SLIDES.hotlink()"><img name="SLIDESIMG" src="http://www.nypost.com/seven/12302007/photos/ent059.jpg" style="" alt="A provocative scene from “Glass Lips.”" border="0" width="223" /></a> </div> <div id="SLIDESTEXT">A provocative scene from “Glass Lips.”</div> <div id="slideshownav"> <a href="javascript:previousclick()"><img src="http://www.nypost.com/img/slideshow/slideshow_controls_previous.gif" alt="Previous" /></a><a href="javascript:pauseplayclick()"><img name="pauseplay" src="http://www.nypost.com/img/slideshow/slideshow_controls_play.gif" alt="Pause" /></a><a href="javascript:nextclick()"><img src="http://www.nypost.com/img/slideshow/slideshow_controls_next.gif" alt="Next" /></a> </div> </div> <script type="text/javascript"> <!-- var pauseplay pauseplay = 'paused'; 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MUSETTO" style="padding: 0pt 0px 5px 0pt; margin-top: 3px;" width="150" /></p><p>December 30, 2007 -- CRITICS' end-of-the-year lists of the best movies fall into two general categories. </p><p> Most prevalent are the lists dominated by high-profile movies released in the year's final months. </p><p> Other critics, including this one, choose their movies more democratically. </p><p> They realize that a movie released early in the year with little fanfare can be just as worthy as, say, <b>"No Country for Old </b><b>Men"</b> or <b>"The Orphan</b><b>age."</b> (I recommend both, but can't in good conscience count them among the 10 best.) </p><p> And now, without further ado, Cine File's favorite films of 2007, in order of preference: </p><p> <b>1. "12:08 East of Bucha</b><b>rest,"</b> a hilarious satire from Romanian helmer Corneliu Perumboiu. And the fact that I am quoted on the cover of the DVD has no bearing on my decision. </p><p> <b>2. "The Host,"</b> South Korean director Bong Joon-ho's delightful mixture of horror and black comedy. A creature emerges from a river in Seoul. Officials have no idea what to do, so it falls to a middle-class family to save the world. </p><p> <b>3.</b> <b>"Exiled,"</b> a bloody gangster yarn inspired by spaghetti Westerns and directed by Hong Kong cult star Johnnie To. The final shootout is a classic of its kind. Go, Johnnie, go! </p><p> <b>4.</b> <b>"Away From Her,"</b> in which Julie Christie breaks hearts as a woman afflicted with Alzheimer's. An auspicious feature-directing debut by sweet and talented Canadian actress Sarah Polley. </p><p> <b>5.</b> <b>"Rescue Dawn," </b>Werner Herzog's unfairly forgotten drama in which Christian Bale leads an escape from a guerrilla prison camp in 1966 Laos. </p><p> <b>6. "Glass Lips,"</b> a hypnotic and often shocking beauty from Polish-American filmmaker Lech Majewski. </p><p> <b>7. "Flanders,"</b> French director Bruno Dumont's anti-war shocker. Not for everyone. </p><p> <b>8. "The Band's Visit,"</b> a comedy about eight musicians from Egypt who travel to Israel for a concert and immediately gets lost. The feature debut for Israeli director/writer Eran Kolirin. </p><p> <b>9. "The Wayward </b><b>Cloud,"</b> Taiwanese favorite Tsai Ming-liang's ode to watermelon as a sex toy. </p><p> <b>10. "The GoodTimes</b><b>Kid,"</b> a minimalist, micro-budget oddity about a woman (Sara Diaz) and two men of the same first name. Directed by Azazel Jacobs, offspring of avant-garde ace Ken Jacobs. In case you're wondering, it unspooled for a week in January at the Anthology. </p><p> <i>V.A. Musetto is film </i><i>editor of The Post</i></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-4109072208692046762007-12-01T18:01:00.000-08:002007-12-01T18:04:55.016-08:00Total Loveexcerpt from Julien Temple's Joe Strummer The Future Is Unwritten:<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxpLmk5AZnE0Nkbk9KQEhhmNBNX_YiikytfokLcTqHg8nck_ZQK4SRLYe2JLbCQcLwpT-XZzq3VdCM' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-20539603127086322152007-11-05T08:31:00.000-08:002007-11-05T08:40:23.721-08:00A young man's film with an old soul<p><strong>"THE GOOD TIMES KID</strong>. Over 48 hours, Rodolfo Cano, an aimless and melancholy man who lives on a boat, finds his life intertwining with that of Rodolfo Cano, a younger and comically inept punk-rock dude. Rodolfo 1, whose psychotic girlfriend has split, befriends Rodolfo 2's girlfriend, whom the latter seems ambivalently intent on leaving. Azazel Jacobs' wonderful debut is a romantic comedy <em>a la</em> Jim Jarmusch and Aki Kaurismäki: naturalistically quirky, funny, sparse on dialogue and long on visual style and heart. Jacobs (who plays punk Rodolfo) delivers a young man's film with an old soul, precisely lyrical and hopefully bittersweet. <em>5:15 p.m. Sat., Nov. 3, and 7 p.m. Tue., Nov. 6. Harris (BO)</em><br /><img src="http://www.pittsburghcitypaper.ws/webImages/threeandhalffilm.jpg" alt="" /></p><p><a href="http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A37793">Pittsburgh City Paper</a><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-86647790682906688092007-10-17T10:39:00.000-07:002007-10-17T10:44:46.022-07:00PittsburghThe Goodtimeskid will screen at <a href="http://www.3rff.com/">The Three Rivers Film Festival</a><br /><table border="0" width="180"><tbody><tr><td style="font-weight: bold;">Sat 11/3</td> <td style="font-weight: bold;">Tue 11/6</td> </tr> <tr> <td style="font-weight: bold;">5:15</td> <td style="font-weight: bold;">7:00</td> </tr> <tr style="font-weight: bold;"> <td colspan="2">Harris Theater</td> </tr> <tr style="font-weight: bold;"> <td colspan="2">$8</td></tr></tbody></table><span style="font-style: italic;">Azazel Jacobs, son of experimental filmmaker Ken Jacobs, calls his second feature film “a story about stolen love and stolen identities shot on stolen film.” A quirky, charming story, Kid has a wonderful sense of rhythm that recalls early Jim Jarmusch, as well as some of his dad’s anarchic spirit. The premise is modern romance -- two guys are named Rodolfo, one of whom gets renamed Depresso by the girlfriend of the other – and it’s a tribute to Jacobs’s skill that this is enough. An indie that’s low-budget and proud of it, the effect is magical: intimate close-ups capturing every flicker across the actors’ effortlessly expressive faces. Could be the sleeper hit of the film festival. (Azazel Jacobs; USA; 2007; 77 min)</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-38377253608968274932007-09-01T13:06:00.000-07:002007-09-01T13:10:09.935-07:00Raindance<span class="titleFest">London Screenings:</span><br /> Weds 26 Sept 9:15pm<br />The Rex<br /><br />Sat 29 September 9pm<br />Cineworld<br /><br /><a href="http://www.raindance.co.uk/site/index.php">FESTIVAL</a><br /><br /><p>"Mistaken identities, stolen hearts and self-discovery lie at the heart of Azazel Jacobs’ breathtaking sophomore feature. When two men sharing the name Rodolfo Cano turn up at the same army recruitment office, their lives take a whirlwind turn across the next 24 hours in Los Angeles. One is a middle-aged depressive trying to escape his own life, the other a highly-strung punk rocker whose tempestuous relationship with girlfriend Diaz has reached its breaking point. When the first Rodolfo follows the second home, only to find the angry punk storming out, he and Diaz find friendship in each other in the hope of finding meaning in their own lives. Throughout the course of the night, all three characters intertwine as they wander through the city.</p> <p>The beauty of the film lies not in its plot but in the masterful manner in which cinematic and musical styles blend seamlessly together. Shades of Chaplin, early Godard and Tati are met with Gang of Four. Jacobs’ love of silent cinema is evident as the film contains little dialogue, however he merely demonstrates how sometimes it’s just not needed.</p> <p>Shot on 35mm film stolen from a big-budget feature, The GoodTimesKid is a perfect example of what indie cinema should be: defiant, insightful, and above all a sheer joy to watch. You won’t see anything else like it this year."</p> <p><strong>James Merchant</strong></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-37243925793739216362007-08-31T16:14:00.000-07:002007-09-01T08:33:44.639-07:00Love Letter<p class="copy"> <span class="subtitle">THE GOODTIMESKID</span></p> <p class="copy">Indie comedy <i>The GoodTimesKid</i> is the second feature from director Azazel Jacobs, son of avant-garde filmmaker Ken Jacobs. Taking a more mainstream tack than his noted ancestor, the interestingly named Azazel constructs a gentle, good-hearted if slightly inconsequential tale of romantic estrangement around three disillusioned thirtysomethings crossing paths over 24 hours in LA.</p> <p class="copy">Shot in fourteen days with a crew of six, on film stock lifted from a major Hollywood studio, the film is low-budget and proud of it. Taking its cues from early Jarmusch, Hal Hartley and classic Chaplin, the film develops almost wordlessly. The minimal narrative centres around two men, both called Rodolfo Cano, and their helpless attraction to an unnamed girl, charmingly played by the director’s girlfriend Sara Diaz. Indeed, the entire film could be seen as something of a love letter to Diaz, as the two Rodolfos find themselves in orbit around this unpredictable creature. </p> <p class="copy">There are scenes of real beauty in <i>The GoodTimesKid</i>: a central sequence of tentative romance on a houseboat unfolds almost flawlessly, opening up these taciturn characters, drawing us into their world. The camera is used to magical effect, intimate close-ups capturing every flicker across the actors’ effortlessly expressive faces. There are a few indie clichés on display here: hints of artful dispassion; helpless, existentially traumatised men; a free-spirited woman who expresses her independence by dancing to old jazz records. But the film is perfectly constructed, strikingly photographed and never less than involving. The enduring impression is of a sweet, transitory experience, as slight as a backward glance but just as intriguing.</p> <p class="copy"><b><i>Tom Huddleston</i></b></p><p class="copy"><a href="http://www.electricsheepmagazine.co.uk/features/2007/08/31/15th-raindance-film-festival/">Electric Sheep Magazine</a><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-71198130373531384412007-08-28T08:44:00.000-07:002007-08-28T08:46:37.691-07:00semi-weekly film recommendation"As the now-redundant mumblecore movement has the press of the print world a-twitter this week, just as they have enthralled the film blog world for a few years, I thought I’d point out a film that, for no reason I know of, slipped under most people’s radars. As someone in his 20s, I connected more with what <em>The GoodTimesKid</em> had to say about young life and love than with whatever the followers of Mr. Bujalski seem to be mumbling on about. I’m not intending to knock <em>Funny Ha-Ha</em> (2002) or <em>Mutual Appreciation </em>(2005). Those films accomplished a great deal and with very little, making a strong statement about this generation. But beyond that, I’m ready for what was once a humble core of filmmakers to get over their ineloquence. Speak up! or shut up. For the most part, Mr. Jacobs refrains from flapping his gums, letting the characters’ action and inaction do the talking. Made the same year as <em>Mutual Appreciation</em> and ’shot on stolen film’, <em>The GoodTimesKid </em>goes deeper than the rambling nature of the ‘talkies’. <em>The GoodTimesKid</em> sends-up, at the same time it effectively deals with identity-crisis - two charcters share the same name, and something more than just hilarity ensues. What’s more, the reality of today’s world - war, albeit a war fought ‘over there’, but war, nonetheless - lurks in the background, threatening to intersect with the lives of the characters. This, coupled with the emotional late night bus ride of two hearts competing for the attention of another, leads to one of those rare, soul-stirring moments that only film can achieve, causing this audience-member to hold his breath. The need an audience has for a protagonist to root for - Viva Depresso! - is as cinematically timeless as it is universal. <em>The GoodTimesKid </em>provides three such protagonists with whom to identify. Whether you root for one or all of them is up to you. Just as Jacobs is not interested in clearly revealing characters’ intentions, he not going to dictate how to feel about them.<em> </em>And yet, he is making a singular cinematic statement. With a few Godardian audio cuts and more than a few Jarmuschian tableaus, Jacobs takes cues from these predecessors in order to fit his take on the current moment into a larger picture, one that I predict will last longer than the aging-prone mumblecorers. At the heart of it, the new DIY movement makes a well-intentioned clarion<em> </em>call - anyone can pick up a camera and tell a story. And that’s all fine and good, and they may make some Bujalski rip-off with ease, but <em>The GoodTimesKid </em>is not just a statement about the current generation of twentysomethings that anyone could have made. It is a film that only Azazel Jacobs could and did make."<br /><a href="http://cinemastubble.wordpress.com/2007/08/25/lookin-for-a-good-time/#comment-7">Cinema Stubble</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-17665936.post-59420541884985265252007-08-21T16:59:00.000-07:002007-08-21T17:01:59.156-07:00My Guitar Hero!Mick Jones is gonna be forced to watch our movie!!!!!<br /><a href="http://www.nme.com/news/iggy-pop/30165">http://www.nme.com/news/iggy-pop/30165</a>Unknownnoreply@blogger.com0