IMO, this movie interests teens who are already interested in science, but for most teens, it may be uninteresting. This is more of an educational film. If you are looking for a good teen film, try this one.
Review of I Am My Own Wife by Manal H. , age 18Museum. Furniture. Man. This was the order in which Charlotte Von Mahlesdorf lived her life. Living through the harsh period of the Second World War, Mahlesdorf explained how each of these three subjects caused her to live through times of great joy and great tragedy. Disregarding the strict regime of the controlling Nazis and communists, Mahlesdorf continued to house antique furniture in her own private museum, as well as make the personal decision to dress as what she wanted by her own standards, and not by ones that had been branded through the ideal of western society.Nick DeSantis as Charlotte von Mahlsdorf in I Am My Own Wife. Photo by Matthew Durham.This play, I Am My Own Wife, was a brilliantly constructed one-man play in which the actor, Nick Desantis, was able to play as many as three characters all at once. Whatever particular role he played in however, he still kept on the attire of Charlotte Von Mahlesdorf: a dress that consisted of a black skirt running down to ankle length, and a black blouse, accentuating two protruding lumps (that could easily and skillfully be mistaken as breasts). She wore white pearls dangling around her neck, black shoes, and a black handkerchief wrapped around her head, a wardrobe that was able to remind the audience of how much Mahlesdorf not only shined through this play, but also into the period in which she once lived. She was in many respects a true Berlin original.Manal H.May 23rd, 2008Did you see this show? Leave a comment and tell everybody what you thought!
Review of All's Well That Ends Well by Emma M., age 14Seattle Shakespeare has taken on the daunting task of William Shakespeare’s play, All’s Well That Ends Well. It’s sometimes labeled as a “problem play” and it is an awkward story. But all’s well that ends well!Helena is an orphan living with the Countess of Rossillion and her son Bertram. Helena loves Bertram secretly. But when Bertram leaves for Paris to attend the king’s court, Helena devises a plan to follow Bertram and cure the dying king. The king is grateful to Helena and grants her request to wed the man of her choice. She, of course, picks Bertram. Bertram is outraged at being forced to marry this woman without his consent and decides to runaway to Italy, where the king is currently at war. He sends Helena a letter in which he tells her that he will not accept her as his wife until she has done two things, has his ring, and conceived his child. Helena follows Bertram to Italy, then things get crazy.Paul Morgan Stetler and Connor Toms in All's Well That Ends Well. Photo by Erik Stuhaug.The themes in this play are definitely adult since they deal with marriage, love and sex. There’s a scene at the beginning of the play about why one should keep or lose one’s virginity. There are no sex scenes, however.Directed by Seattle Shakespeare’s Artistic Director Stephanie Shine, this production interprets the play as being about love. Perhaps passion might have been a more accurate interpretation.This production interprets Helena as a heroine and Bertram as the one who does her wrong. But it’s not that Helena is a pure and brave hero and what she does is justified by her love. She is so infatuated with Bertram that she does crazy things to get him. Bertram does the same; he gets angry about being forced into marrying Helena and does crazy things. The characters could have been so silly about making these crazy choices that you end up liking them, but at the end of this production, I didn’t really like Bertram or Helena.One character I did like was Parolles played by Paul Morgan Stetler. Stetler was hilarious. Playing the fool is hard work and his character could have been really unlikable but Stetler did a great job in making sure you cared about the character.I also thought the performances from Michael Patten as the King of France and Marianne Owen as the Countess of Rossillion were fabulous too.Although this production falls short, the outstanding performances made it fun to watch. So I guess Shakespeare was right when he said, all’s well that ends well!Emma M.June 6th, 2008All's Well That Ends WellSeattle Shakespeare CompanyThrough June 29thhttp://www.seattleshakespeare.org/Ticket office: 206-733-8222Did you see this show? Leave a comment and tell everyone what you thought!
Review of Some Assembly Required by Bianca G., age 18Some Assembly Required is a documentary on six teams of tweens entering a toy design contest. The line “It’s OK to be smart!” is literally what results.This documentary tricks you into believing it will be great, like its counterpart Spellbound about kids competing in the National Spelling Bee. However, instead of quirky and charming kids, Some Assembly Required found very annoying kids at the peak of what is the most unpleasant time in life. Instead of Spellbound’s interesting adults with various motives surrounding their child in the spelling bee, the adults in this movie are a large cheerleading team. I fast forwarded through minutes of talking heads about how smart/creative/enthusiastic their children are, concluding that they think they have a pretty good chance in the competition. Because there are six teams, this happens six times. Then the benefits of giving children cognitive challenges are stated. For example, a teacher assures us that this is really a fabulous teamwork exercise. Then there are tangents of the unlikeable children playing lacrosse to bad pop music, as if this movie needs to fill time it doesn’t have. Not only are the kids uninteresting, but they’re also not cute. The movie climaxes with the competition results, which are complimented by a solid ten minutes of high-fiving footage. “They’re still winners in our minds,” says adult.Bianca G.Some Assembly RequiredSeattle International Film FestivalFriday, June 13th @ 4 p.m. @ SIFF CinemaSunday, June 15th @ 11 a.m. @ SIFF Cinemawww.siff.netDid you see this film? Leave a comment and tell everybody what you thought!
Review of All Robbins by Kaitlin S., age 19Are football-playing, red meat-eating boys allowed to enjoy a ballet? Whoever answers, "no" to that question has probably never seen All Robbins.Jerome Robbins, who is most famous outside the ballet arena for his choreography in Broadway hits like Westside Story, Fiddler on the Roof, and The King and I, often used ordinary people as the subjects of his ballets. This seems to make them more accessible to a broader audience.Front to back, Pacific Northwest Ballet principal dancers Noelani Pantastico and Louise Nadeau with Pacific Northwest Ballet principal dancer Casey Herd, guest artist Rasta Thomas, Pacific Northwest Ballet principal dancer Jonathan Porretta, and guest artist Glenn Kawasaki (at bar) in Jerome Robbins' Fancy Free. Photo by Angela SterlingPacific Northwest Ballet’s regular patrons will most likely have had greater exposure to the works of George Balanchine than Jerome Robbins. Although Robbins and Balanchine worked together for the New York City Ballet and each respected the other’s work, their styles of choreography were drastically different. The quick and confident Balanchine often composed abstract, ethereal pieces, whereas the slow, self-doubting Robbins composed earthy pieces about real people. If George Balanchine was the Claude Monet of ballet, Jerome Robbins was the Norman Rockwell. The three works selected for All Robbins are quintessential examples of this.The first sketch, Fancy Free, portrays three sailors on shore leave in New York City on a hot summer night in 1944. Within the first few minutes of the sketch, it becomes obvious that they are good friends, but when only two pretty girls enter the scene, those bonds of friendship are quickly forgotten, and a massive attempt to impress the girls ensues.In the Night, the second sketch, depicts three relationships: young love, married and trusting, and fighting passion. A pas de deux (duet) is dedicated to the depiction of the private relationship of each, and at the end, the couples meet together to give the audience a glimpse into their more public interactions. The costumes and lighting subtly accent the amorous ideas Robbins portrays. In the Night is one of six pieces Robbins set to Chopin Music.When people daydream at a Chopin concert, what might they be thinking about? Jerome Robbins’ opinion of the answer to this question is given in All Robbins’ third and final sketch. This genuinely refreshingly original piece is another of Robbins’ six works set to Chopin music. Members of the audience are sure to laugh at this carefree, lighthearted piece.Since this ballet deals with everyday people, and because it is so well put together, it is sure to be a hit with a really broad audience.--Kaitlin S.May 29th, 2008
May 29th through June 8th More information and show times: www.pnb.orgTicket Office: 206-441-2424Pacific Northwest Ballet is located at 301 Mercer St. at the Seattle Center.
Review of Over the River and Through the Woods by Ari S., age 17Over the River and Through the Woods is, without a doubt, one of the best productions I have ever seen. While the play's premise is wonderfully simple, the concepts it brings into consideration are surprisingly affecting. And yet, to the great delight of any viewer, these serious issues are surrounded by a constant layer of laugh-out-loud humor.Kevin Brady, Gretchen Douma, Charity Parenzini, Bill Johns and Kim Morris in Joe DiPietro's Over the River and Through the Woods. Photo by Erik Stuhaug.Though the writing of the play is superb, it is of course the actors which make the real impact. Kevin Brady does exceptionally well at playing the conflicted-yet-modern grandson, while Charity Parenzini is an exemplary good-hearted blind date. However, it really is the four grandparents who steal the show. As Nunzio says at the family's first dinner, "We're old! We're adorable!" It couldn't be more true, with every best line, every best expression, and every best moment coming right out of their performances. And although these aging Italians had me in stitches throughout the entire show, it was also them who eventually moved me to tears.This allover stunning performance is what I have come to expect from Taproot Theatre. Just as I think it can't get any better, each new show amazes me even more. Over the River and Through the Woods is a must-see production, and I cannot recommend it highly enough.Ari S.May 16th, 2008Over the River and Through the WoodsTaproot TheatreThrough June 14thMore info and show times: www.taproottheatre.orgTaproot’s Ticket Office: 206-781-9707Ticket office hours: Tuesday – Saturday, Noon – show timeDid you see this show? Leave a comment and tell everybody what you thought!
Review of The Creation Project Showcase by Kelsey H., age 16The Creation Project Showcase is a presentation of the work and talent of six African American artists by the Central District Forum for Arts & Ideas. Among the artist include poets, a playwright, a singer, a dancer, and a minister. Of the six artists showcased, I had the pleasure of seeing Vania Bynum and her project Excerpts from the Soul of a Woman, Christa Bell and her project CoochieMagik, and Gin Hammond and her project Returning the Bones.Excerpts from Soul of a WomanWith a career in computer engineering most of Vania Bynum’s choreography is inspired by the exactness of math and science. Specific movements of her choreography are equal to a particular emotion, everyday action, or object. Her first dance features a video of interviews with women involved with the Iraq War, excerpts from a female soldier’s diary, and clips of life in Iraq intertwined with the movements of the dance. This dance rightly leaves the audience feeling the heartbreak of mothers with lost sons and the furious strength of women soldiers who are constantly in danger of being assaulted by their own commanders. With this dance, Bynum created a tragically beautiful piece. Her second dance becomes much more uplifting and joyful. Presented by a poem about the value and beauty of women, her solo piece and following trio piece become much more interpretive of the joys of being woman.Vania Bynum performs Excerpts from the Soul of a WomanCoochieMagikChrista Bell is an award winning performance artist and poet but for this performance declared herself a minister. Dedicating her performance to her grandmother who was never allowed to be a minister, Bell preaches her newfound religion SHEism: The Woman Worship Way. The message comically delivered ways for women to love themselves, embrace their bodies and experience their lives through their bodies. Her preaching was full of energy and very audience inclusive but at times became surprisingly introverted. Her attitude sometimes made the audience feel as though it was observing her happiness more than it was experiencing it with her.Returning the BonesGin Hammond delivers a stunning performance of an excerpt of the true story of Dr. Caroline Montier, Returning the Bones. In this one woman show, Hammond plays (at my count) seven different characters all with their own distinct voice, posture, and swagger. It was truly incredible to see one actor achieve all the different objectives of so many characters. Her talent and artistry causes the audiences imagination to fill her simple set with quaint country houses, bustling city streets, and the excitement of a college campus. I was impressed by this acting feat and the grace and poise with which she executed it.Kelsey H.May 16th, 2008Did you see this show? Leave a comment and tell everybody what you thought!
Review of Giselle by Kaitlin S., age 19The International Ballet Theatre’s (IBT) performance of Giselle cuts straight to the heart and clearly demonstrates why this ballet has been arguably the world’s most historically well loved ballet and objectively, the world’s oldest continuously-performed ballet since it’s release on June 18, 1841.Giselle’s plot follows a deadly love triangle involving the following characters: Giselle, a peasant girl; Albrecht, a charming prince; and Hilarion, a hunter. When Albrecht disguises himself as a peasant to seek the affections of Giselle, Hilarion, becomes incensed with jealousy. He snoops through the Prince’s possessions in search of “skeletons in his closet” and discovers Albrecht’s royal class. Hilarion shares the Prince’s true identity with Giselle, who, very shortly thereafter, also discovers that Albrecht had been engaged to a noblewoman throughout the duration of her relationship with him. As the story progresses, its setting shifts from our world into a mysterious, fairytale land of shadows and spirits. The ballet’s dark plot suits the way in which Adolphe Adams, a prominent, prolific composer wrote its score: quickly (over the course of one week) and almost entirely at night. Although the music used in IBT’s performance is not live, its quality is high enough not to distract from the performance. IBT’s choreography echoes the ballet’s original choreography by Jean Coralli and Jules Perrot for the Theatre de l’Academie Royale da Musique.Many elements of IBT’s version of the ballet, such as its sets and costumes, are very historically traditional. However, the ballet contains some surprises such as a massive live dog; a life-sized, stuffed deer; and a sea of fog that eerily billows over the stage and spills into the audience. The Meydenbauer Theater provides a venue for the ballet that is as personal as many high school auditoriums. The International Ballet Theater’s performance of Giselle may not appeal to some of Teen Tix’s younger patrons, due to the sheer length of “sitting-down-while-listening-to-classical-music time” it requires. However, it is well done, and those with mature artistic taste will fall in love with this romantic ballet.Kaitlin S.May 15th, 2008Did you see this show? Leave a comment and tell everybody what you thought!
Review of The Space Between by Delaney M., age 16I went to see The Space Between which is a mixture between a circus with acrobatics and contortion and contemporary dance. The Space Between was created by the Circa Ensemble and performed by David Carberry, Darcy Grant, and Chelsea McGuffin. The Space Between is a part of the Seattle International Nights, and is playing at the Bagley Wright Theatre.The Space Between uses acrobatics, contortion, and dance to tell a story about the relationship between three people trapped in a love triangle. It tells the audience about having to choose between lovers, fighting over lovers and being dumped.The Space Between uses lots of interesting lighting techniques such as spot lights, and projections the bulge and pulse (if you are photosensitive, this is probably not the right thing for you). The Space Between is set to a unique mix of classic French music by Jacques Brel, and modern rave-ish music by DJ Shadow. The set is very minimalist with only black floors and background with a black trapeze in one corner.The performers worked amazingly well with each other. They had incredibly fluid moves that flowed from person to person across the stage. Each of the performers were highly skilled, Chelsea and Darcy are amazing acrobats and trapeze artists, while David is so flexible that he almost seems made out of play dough!The Bagley Wright Theatre is a cool old theatre with good views from pretty much every seat. The downstairs was full, so I sat up top, and think I might have had a better view then some of the bottom dwellers. Everyone seemed upbeat and energized before the performance and afterwards there was a buzz of talking and a few … “can you believe that?” statements spread throughout the excited audience. The Space Between is part of the Seattle International Nights, which is a section of the Seattle Children’s festival that is geared towards adults and teens. I know that the word children’s tends to put off some teens, but all of the programs were scouted from around the world and were not necessarily originally intended for children. So if you want to seem some cool international acts, the Seattle Children’s Festival is the right place for you, no matter how old you are.Delaney M.May 16th, 2008Did you see this show? Leave a comment and tell everybody what you thought!
Review of Leroy by Ruby A., age 18“Say ‘Little Nigger.’ I am still small,” quips the young Afro-German Leroy (Alain Morel) when his new girlfriend’s Nazi Party family ask what they should call him. When Leroy and Eva (Anna Hausburg) first meet everything seems like a basic romantic comedy, until Leroy finds out her parents are way right-wing and her five brothers are hardcore skinheads. Rather than surrender to her brother’s orders to, “Go back to Africa!” Leroy goes into overdrive with black culture. He discovers Malcolm X, Shaft, and the curious Blacula after walking into a Black Panther office.Directed and written by Armin Völckers, Leroy takes a humorous approach to racism in the post-World War II Germany with a cast of fresh faces (not just because they are German but for many of them, including Völckers, this is their first film). Völckers is able to successfully explore discrimination in a country where roughly 18% of the population is foreign without offending anyone, except maybe the skinheads, depending on how sensitive they are.The characters struggle with whether or not it is right to call someone a Jew (Jood rather, the entire movie is in German by the way) or Jewish. Except for Leroy’s highly sexual half-Greek sidekick with an affinity for hair-waxing, Dimitrios (Constantin von Jascheroff), who never makes the effort to be politically correct, and refers to Eva as a “Nazi cow.”While the entire film is hilarious through and through, it wouldn’t be possible without Morel as Leroy (sorry to sound like an acceptance speech). His combined awkwardness and effortless wit can only be compared to Michael Cera (Superbad, Juno) but it is his huge afro that takes his loveableness over the top. As far as foreign films go Leroy is the best of its kind and as far as film goes it does no wrong. It has sex, underage drinking, violence, Smart Cars, and German rap—it’s flawless.Ruby A.May 16th, 2008LeroySeattle International Film FestivalShow times:Thursday, June 12th @ 9:30 p.m. @ Pacific Place CinemaSaturday, June 14th @ 1:30 p.m. @ Pacific Place Cinemahttp://www.siff.net/Did you see this film? Leave a comment and tell everybody what you thought!
Review of Saving Luna by Nur L., age 17Saving Luna is a film that will resonate and tug at the heartstrings of all its audience. The breathtaking cinematography takes us deep into the heart of Nootka Sound, where the baby whale Luna suddenly emerges to greet the surrounding people. Luna's appearance in such shallow waters isn't something these people take lightly, and almost immediately two factions break out: those who want to save Luna by keeping him away from human interactions, and those who believe touch and love and even just eye-contact are both unavoidable and necessary for his wellbeing. But Luna's entry into what is essentially an entirely human part of the world brings up serious shades of grey; she crosses the line between humans and the natural environment, and no one quite knows what to do. Yes, everyone has theories, has the best of intentions, but no one really knows for sure what the right course of action is—and therein lies the problem.The mounting tension as Luna's situation grows even more precarious is poignantly shown from the unbiased lens of two journalists' camera. And finally, as we reach the climax of conflict, the journalists find that they must break away from their characteristic objective integrity and take a stand.In an amazing display of talent, each shot taken and each bit of narration brings us closer and closer to this majestic creature until we too, must make our own decisions about what's best for Luna. We grow so attached to this whale through bits of film that transgress any boundary there might be between man and animal, that it seems as though we might also break a boundary and reach out beyond the screen and touch him—and there lies the power of the film.All our preconceived notions about animals must be shattered when we see Luna's story—the story of a whale so desperately in need of interaction and the perilous situation that this places the people of the village in. We witness both the transcendent power of a whale, and the folly and imperfections of even the most well-meaning of people, and we cannot help but be drawn to such a tale.Saving Luna is not only a magnificent retelling of one whale's story, but also a reminder to all of us about humans' fallibility, and you cannot do wrong by seeing it.Nur L.May 14th, 2008Saving LunaSeattle International Film FestivalShow times:Saturday, June 7th @ 11:00 a.m. @ SIFF CinemaSunday, June 8th @ 1:30 p.m. @ SIFF Cinemawww.siff.netDid you see this movie? Leave a comment and tell everybody what you thought!
Review of Emmanuel Jal: War Child by Emma K., age 16“I want to fly an airplane…I want a day that I can just live. My heart wants to learn how to fly an airplane.” These are the words of Emmanuel Jal, a Sudanese boy. He is speaking to a documentary crew who is shooting footage at a children’s refugee camp in Ethiopia. They had asked him what his hopes and ambitions were. As the camera follows him, his face is beaming with hope and joy, yet his eyes show deep fear and sorrow. Shortly before he had fled his home because of the turmoil; his mother had drowned when the ship they were on sank due to overcrowding. Only fifty of the hundreds of people on the boat survived. Emmanuel was one of them. Now, many years later Emanuel is an international hip-hop star. He spreads his message of peace through music and tells his story – one of heartbreak and inspiration. War Child, C. Karim Chrobog’s directorial debut, follows the former Lost Boy of Sudan as he performs, speaks about his past, and returns to his homeland for the first time in eighteen years.Emmanuel was one of many boys who were taken from their refugee camps and recruited to fight for the rebel forces during Sudan’s civil conflict of the 1980s and ‘90s. Their plight was horrific: often given cocaine to keep their energy up, the boys were taught to shoot and kill at a moments notice. Although some – including Emmanuel – escaped the army, they wandered the open country and frequently died of starvation. Emmanuel was one of the lucky ones; he was smuggled to Kenya by a kind British activist and later attended a top African school on scholarship. It was there that he discovered his passion for music.This film is a well edited and crafted tapestry; it intertwines Emmanuel’s story with current information about Sudan, and unpretentiously inspires the audience to take action. Emmanuel himself is honest, modest, and humorous even after all he has undergone – his wonderment at how the Americans are able to make fun of George W. Bush without being killed is at first laughable but then thought provoking and even saddening. All he says has this same understated quality, and it does make the audience think.War Child can be difficult to watch – footage of the war in Sudan is devastating, and some moments are simply gut wrenching (when Emmanuel’s sister talks about the abuse she endured, and when he is confronted by a young student asking whether or not he has ever killed anyone). Nevertheless, this is an important film for people to see; for many people Sudan is just a place on the map or a story in the news. This film makes those ‘stories’ real.Emmanuel’s music is his outlet and what helped him psychologically move past depression and wishes for revenge. As he says, “I put my fight into music.” His songs are more like autobiographical poetry – one talks to his mother is heaven; another questions what would have happened if he had not been rescued. His talent is untainted by ambition; he simply speaks from his heart and in doing so leaves an impression on ours. This film is the same way.After he has visited Sudan for the first time since his escape, Emmanuel stands at the rural airport. His face is full of glee as he snaps pictures of the countryside, does a happy-dance, and talks about his plans for building a school in Leera. Finally, he boards the airplane and flies away, having left us with but a snapshot of his life; yet it is enough to inspire.Emma K.May 12th, 2008Emmanuel Jal: War ChildSeattle International Film FestivalShow times:Wednesday, May 28th @ 7:15 p.m. @ SIFF CinemaSaturday, June 14th @ 9:30 p.m. @ SIFF Cinemawww.siff.netDid you see this movie? Leave a comment and tell everybody what you thought!
Review of Alone in Four Walls by Sophia B., age 16
Alone in Four Walls begins with a close-up of a head being shaved. The head belongs to a small boy with a remarkably childlike face and a plethora of tattoos. This unusual and disturbing montage is only one of equally unique moments in the chilling documentary. Alone in Four Walls, named after one of the boy's tattoos, studies the crimes and prison conditions of juvenile delinquents. It focuses on surprising details, and while some scenes feel too drawn out, images such as that of a former thief carefully making his bed are heartrending in a way that no conventional film would reproduce.Most people associate documentaries with school. The general stereotype is a series of people talking, with pictures interspersed and a monotone voice narrating. Fortunately, there are no stereotypes to be seen in Alone in Four Walls. There are certainly interviews, but not of the expected stammering elderly. Some interviewees are fraught with trembling and sobs, while others lightheartedly recount theft. Over their words are juxtaposed poignant scenes: empty hallways, rows of skinny boys forced to exercise, a window covered in bars.There is no preaching; the children and their victims speak for themselves. At the same time, many scenes are disorienting or downright bewildering. Due to issues with the DVD, I could not finish Alone in Four Walls. However, what I did see was expertly made and touching without trying too hard. I would wholeheartedly recommend this to anyone interested not just in underage crimes but in basic human nature.This documentary is in Russian with English subtitles. Since I don't know Russian, I can't speak for the accuracy of the subtitles, but they are coherent and without spelling errors. Anyone who has watched foreign films will know how rare that is.Sophia B.May 14th, 2008Alone in Four WallsSeattle International Film FestivalShowtimes:Sunday, June 8th @ 4:00 @ Pacific Place CinemaMonday, June 9th @ 7:00 @ Pacific Place Cinemahttp://www.siff.net/Did you see this movie? Leave a comment and tell everybody what you thought!
Review of Camille by Ian S., age 17And his dead bride said, "Silas." And I looked, and behold a blue horse: and its rider's name was Camille, and Love followed with her.But only that love which exists in the most contrived way. That love which is conveyed through a man saying to a woman, "I love you," and the woman says back to the man, "I love you too." That love which conquers all, including the death of the bride an hour into the honeymoon.Camille begins with a wedding between a very hesitant Silas (James Franco) and the titular overly enthusiastic Camille (Sienna Miller). Camille is killed in a motorcycle accident early in the film, only to be resurrected by her love for Silas (or something). The exact cause of her resurrection is never explained, but it doesn't seem to matter either, because, despite being the apparent main plot of the film, it doesn't change anything. Somehow, the death of half the couple notwithstanding, their relationship remains trapped in static.After a decent enough start, the film morphs into a horrifically clichéd romantic dramedy/road movie. The turning point is at about the same time Camille is resurrected. It's as if the filmmakers decided that having an undead bride was original enough to make up for the rest of the film's blandness. Unfortunately, the undead bride gimmick was the only original thing that they could think of. Franco's entire character is lifted from a Lifetime Movie.David Carradine (Kill Bill, Kung Fu) shows up as Cowboy Bob, ostensibly to deliver some good old cowboy wisdom, but no such wisdom is delivered. Cowboy Bob is a stock character, but he is only the cutout—nothing has been pasted onto it. Sure, maybe he paints his horses various colors, but that doesn't make him any more interesting as a character; it's only an unexplainedquirk.Perhaps most frustrating is the constant feeling that this could be slightly better, if it just weren't for the syrupy muzak-style soundtrack. The actors do the best they can with the poorly written dialogue they've been given, and it could almost be believable, but then the sickeningly sweetbackground music drops in, utterly ruining the mood instead of enhancing it.The film is guilty not only of using unrealistic dialogue to display Silas and Camille's love for one another, but also cheap camerawork. As Silas and Camille kiss, the camera twirls around them, pulling in and out, see how much they love each other. And then it begins to rain, but look! They remain kissing in the rain, because they *love* each other. At one point, Camille's sheriff father even tells Silas that he's not afraid to take the law into his own hands—the law of love.After finally pulling the cheapest trick out of the bag—sappiness—the film closes with a magical rain of rice. This corresponds to a line spoken earlier by Camille, distressed by the lack of rice, which they need, she says, for luck. I'd wish it good luck finding an audience, but I believe in Cinematic Darwinism, and Camille is not fit to survive.Ian S.May 12th, 2008CamilleSeattle International Film FestivalShowtimes:Sunday, May 25 @ 9:30 @ Uptown CinemaWednesday, May 28th @ 4:00 @ Uptown Cinemawww.siff.netDid you see this film? Leave a comment and tell everybody what you thought!
Review of Fighter by Delaney M., age 16I watched the SIFF film Fighter which was produced in 2007 in Copenhagen. Fighter was written and directed by Natasha Arthy and stars Xian Gao as the cryptic but wise kung fu master. The female lead in Fighter is played by the spunky and strong Semra Turan.Fighter details a young Turkish girl’s struggle against her parents’ values and traditions in her fight to become a kung fu champion. After Aicha’s brother announces his advantageous engagement, Aicha’s parents forbid her from practicing kung fu, in order to preserve their family honor and force the engagement to continue. However, Aicha decides that instead of quitting kung fu, she wants to step up her game, so she joins a competitive kung fu club behind her parents’ backs. A battle of wills and traditions ensues with many twists and turns in the plot.Fighter takes place in a poor area of urban Copenhagen; it showcases differences in cultures that occur in many European cities. Fighter uses a cool mixture of kung fu fighting and wire supported acrobatics, (although not to the extreme of Crouching Tiger Hidden Dragon.) The costumes in the movie contrast casual Danish clothes with traditional Muslim clothes and functional kung fu Gis.All of the actors are skillfully cast and work together to make the audience feel a part of the story. Semra Turan, (who plays Aicha) brings joy and excitement to the movie. Xian Gao, (who you might recognize from Crouching Tiger Hidden Dragon) plays the enigmatic but always caring kung fu instructor. The kung fu doubles have awe inspiring skill and transform Fighter into an action flick.Fighter is a fantastic movie that is truly unique and inspiring. I would highly recommend this movie to people of all ages. Fighter combines a drama and an action movie so it is also very entertaining for both men and women.Delaney M.Reviewed at home, Sunday May 11, 2008FighterSeattle International Film FestivalShowtimes:Sunday, June 1st @ 1:30 p.m @ Uptown CinemaTuesday, June 3rd @ 7:00 @ Pacific Place Cinemahttp://www.siff.net/Did you see this movie? Leave a comment and tell everybody what you thought!
This is a very good in depth review.
agreed.
An interview with the Chorus members Jon Hill, Guy Adkins, and Ben Gonio, of The Cure at Troy, by Ruby A., age 18Jon, Guy, and Ben have one very important thing in common: their first names are made of three letters, and that is an amazing feat in and of itself. But more importantly, depending on who you talk to, they also star as Chorus members in the play The Cure at Troy. The following is an interview with the three-lettered phenoms and all the magic, at Troy.RA: So I was able to see the play a couple of weeks ago and I found it was very different from what I was expecting. What originally drew you to work on this show?JH: It wasn’t so much the play so much for me as it was the director. I’ve worked with her once before but she is known to be excellent and finds what’s important about a play and that speaks to all of us.RA: And have you worked with her [Tina Landau] before?JH: Yeah, once before in Atlanta, but this guy [Guy Adkins] has worked with her a lot.RA: So you’re familiar with The Viewpoints she uses? I’m not quite sure what to call them, other than yoga. But you all created that?GA: Oh the movement?RA: YeahGA: Yeah, pretty much with Tina’s guidance we do this sort of Viewpoint technique of hers that she developed… and it’s like a movement vocabulary. And the three of us worked extensively with her on that and once we sort of had the vocabulary down she would just sort of send us off into a room and we’d make stuff up, movement-wise, based on gesture work, based on you know what we thought maybe Greek warriors posed like, or what--she said make up a couple of pieces of movement that you think have to do with this play.Ben Gonio, Guy Adkins and Jon Hill are the Chorus in The Cure at Troy at Seattle Rep, seen here looking very serious. Photo by Chris Bennion.RA: So to me this movement looks like yoga, how do you see it working with The Cure at Troy and what do you hope it says to the audience?GA: The movement?RA: Yeah, the movement.GA: Well I don’t know what I hope it says to the audience, but I know what it means to me.BG: The hope, well, a lot of this is really is really, well in simplest terms, trying to find a symbolic way of expressing the poetry.GA: And to use the chorus you know… they sort of provide an accessibility to the language, I think, for the audience through song and movement and that was always sort of the Greek chorus’ job and so that's Tina’s idea of how we use movement and music.BG: We’re like the portal or the guide, we’re like the middle-way…so here is the audience and here is the chorus and this is the action. So we set this thing up and we narrate what’s happening and then we become part of the play and then pull out of it. So that it’s a way of getting the audience involved in the story.RA: I noticed that Philoctetes did quite a bit of spitting on stage, and I know that’s probably pretty widespread in the theatre world but how do you get used to that?BG: Did he?RA: Yeah! Like that for me would be hard to work with. Like if you were working a regular office job and your co-workers kept spitting on you, that’s tough.BG: I think he, Boris, and that you know, these guys would agree with me, he is really just in touch with the vowels and that’s a lot of it, you know. Just really trying to get the words out, physicalizing those words, and it’s the nature of the role too. You know, I think, here is this guy who is practically part of the earth… and well what do you guys think?JH: Yeah I can’t help it sometimes…you have to get the words all the way to the back of the house to make it clear and not just make it sound like vowels.RA: Was there ever a time, like when you first started acting, when you were like, “Oh man I just spit!”?GA: I wasn’t aware of it, I mean I’m not aware of when I’m doing as much as I am when I’m in the audience. I remember my favorite actor that I used to see a lot-especially doing Shakespeare-and he was a serious spitter. I remember thinking, “Now that’s excessive”. But when you’re doing language plays you’re aware of words, like poetry, like Shakespeare, or this-- it’s really hard to make it accessible for the audienceJH: it’s not as prevalent in smaller houses or more naturalistic contemporary plays. I remember the first time, when I was in college, the first play I saw had a spitter, and I hadn’t seen much professional theatre and I remember wanting to be like that guy. And I was like someday, I’m gonna be a spitter.RA: The set is made up with real mud and rocks; did you ever find yourself nervous as the other actors tossed the rocks around the stage?GA: Well the rocks are all tied or bolted down except for a couple that Boris plays with and one that Seth picks up. I’m more concerned about stumbling on rocks or falling through the crevices or falling off the back of the set. Those are the only things that concern me.RA: Yeah because in the beginning you guys just have flashlights.GA: Yeah I mean, I think it’s pretty treacherous but I’m--we’re getting sort used to it, where the rocks are and the set itself. For me, you know how there are those two stairs in front of the black part?RA: MhmmGA: In between that is this drop to the floor and that, that freaks me out.BG: One of our cast members was walking out and almost fell. So it’s a tricky set.RA: In the beginning of the play you guys are sitting on stools. Is that something you do for every show? What is it you are doing there? Are you reading something from the script?GA: Yeah, there is stuff in the books.JH: We can’t tell, it’s out secret.GA: We shouldn’t tell you what we’re reading. But Tina, our director, puts some things in there, and they’re hidden…and sometimes I’ll find something that I didn’t know was there.BG: And some of it is very moving, some poetry and such.RA: Are there any jokes in there?JH: No, but there are some mysteries that are kind of like jokes.RA: What drew you to becoming an actor, specifically in theatre?JH: I wrote a play that my elementary school produced…and I don’t know--watching the actors inspired me…and there is just something about live theatre where anything can happen kind of, and people getting together to believe in something and it’s just really really great. That’s why I got into it.RA: You must have to do a lot of traveling, is that hard on your social lives?JH: I am living in New York right now, I, right now where I’m at in my life…I love going to a new city and learning about people…it’s like an adventure. Right now, I just love it.RA: Were you all theatre geeks in high school?JH: Yeah I was an every kind of geek.GA: I was too. Music...I was always involved in music but I never thought I could do it professionally until I was in high school and I had a teacher tell me that I should and that really opened my eyes.Jon, Guy, and Ben, again, here looking slightly less serious.JH: Same thing happened, where I had an instructor who believed in me. Tell your teachers that!RA: And lastly, could you each give me a reason why people should go and see The Cure at Troy?BG: There are some cool people in it.GA: Some bald sexy men, taking their shirts off. I think it’s innovative and I think it’s unlike anything you’re ever seen before and it’s not safe—I don’t mean unsafe, I just don’t think its safe theatre.RA: It’s dangerous!GA: I mean it could be a danger to my life.RA: Yeah watch out for those rocks.JH: I think it deals with one of the most important things in our society, which is compassion.Ruby A.April 18th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdhttp://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times:
yay!!, im sad i missed the last class :-( so it is critical (haha CRITICal) that a reuniun must take place.
Congratulations to the first ever graduating class of the Young Critics Workshop! Here, for your enjoyment, are a few choice selections of the young critics' work:"So I didn't enjoy my lobster as much as I thought I would. So what? At least I got to have one for free. At least I got to try this delicacy. At least I got to feel like a manly man, yanking its shell apart with my bare hands and staring down at…its excretory tract filled with a large vile-looking green gob of lobster waste. Yum!" - Review of a clam bake by Ian S."In a summary the play sounds like a classic episode of 7th Heaven but these guidelines are quickly forgotten in the place of the freshest comedy since Tina Fey’s 30 Rock. Kevin manages to make it all work using dachshunds, cocktail wieners, and hairy legs and leaving out sexual entendres and dirty words." - Review of How? How? Why? Why? Why? at Seattle Rep by Ruby A."The illustrations are wonderful, the information is breathtaking, and the price…well that’s the best part! It’s free at any Washington State Department of Licensing Center. So don’t just take one. Take ten of them! In fact, impress your friends by getting one for each of them too!" - Review of The Washington State Driver's Guide by Manal H.YCW 07-08: Ian S, Leah M, Manal H, Elsa W, Professor Kiley, Paulina P, Ruby A, Kirsten O, Josie O and (down front) Queen of Teen Tix Holly A. Missing from this picture (but not from our hearts): Bianca G, Terry G, and Ashraf H."The dining room was the only place that was perfectly clean. It was clean because we weren’t allowed to go in there, and we weren’t allowed to go in there because it was clean." - Review of Thanksgiving dinner by Bianca G."Instead of giving you some bland facts about Duchamp and his mediocre work of art, PDL not only puts you inside the painting, spinning like the spirals that give it its name, but they add their own humor to it too, exaggerating the dizzy noises and screams to a point that in which it all seems silly, which is exactly what they wanted. PDL not only makes works like “Spirals” memorable to those who would never have taken a second look at it, but also delivers an important message to the high and mighty cultural aristocrats of the city: relax, its just art." - Review of PDL's Unauthorized Tour of Seattle Art Museum by Ashraf H.The Young Critics Workshop is an elite writing seminar for 11th and 12th graders who are interested in critical journalism. Applications for next year's YCW will be available in July, 2008.
