'Nobody Speak: Trials of the Free Press' Review: Hulk Hogan Takes on the Press
New on Netflix is a documentary that sent shockwaves through Park City when it premiered at the 2017 Sundance Film Festival.
Screening the film for a crowd made up of mostly journalists and other media/ industry folk, the now infamous Gawker Media case flipped the script on the way that controversial and boundary-pushing journalism was held accountable. When Gawker made an enemy out of Terry Bollea (aka Hulk Hogan) by publishing a clip of his sex tape, they inadvertently dug their own grave. In an eye-opening look at the power and consequences of wealth and free speech, director Brian Knappenberger’s documentary Nobody Speak: Trials of the Free Press is a terrifying exposé at how the media can be controlled by the right (rich) people and the true cost of preserving one’s integrity, for better or for worse.
There is no doubt that Hulk Hogan is regarded as one of the most popular wrestlers of all time. From action figures to having his own reality TV show on MTV, Hogan’s public persona has saturated pop culture for decades. It’s no surprise then, that when the online gossip tabloid Gawker posted a grainy black and white clip of an allegedly leaked sex tape in 2012, the public was devastated. This man who was seen as an American icon had now been caught not only sleeping with his best friend’s wife but spouting off racial insults. This revelation went against everything that made Hogan so likable, but the man who appears in the tape in Gawker’s possession wasn’t Hulk Hogan– at least, that was the response that came from his camp of powerful attorneys.
Hulk Hogan and Terry Bollea are not the same person. One is a flamboyant caricature of a man while the other is a private and sensitive individual. This difference is at the pinnacle of what ignited a fierce debate throughout the media, raising the question of where does one draw the line between privacy rights and the First Amendment?
It set a frightening precedent for journalists everywhere, can the First Amendment be thwarted if there is enough money involved?
What makes this case even stranger is what happened next. Silicon Valley venture capitalist and Donald Trump supporter Peter Thiel had been anonymously funding the legal fees for Bollea and had a very pointed agenda aimed at Gawker– to bankrupt them and shut the site down for good. Thiel had a longtime feud with Gawker and saw Bollea’s case as the perfect time to strike. Years earlier, Thiel had been outed by Gawker as being gay, and despite it being true, he considered the exploitation similar to an act of terrorism. It turns out that Gawker was no match for the power of a very vengeful and rich Peter Thiel, and in true David vs Goliath fashion, was forced to shut down. In this case, money was all it took to shut down independent journalism and set a frightening precedent for journalists everywhere, can the First Amendment be thwarted if there is enough money involved?
Nobody Speak: Trials of the Free Press uses Bollea’s case as the prime example of the exploitation of the First Amendment, but his is not the only case examined. The secretive purchase of the Las Vegas Review-Journal by the politically divisive billionaire Sheldon Adelson is told firsthand by the journalists who stood up for what they believed in, which ended up costing them their jobs because they did not want to play by Adelson’s rules. And there is no shortage of footage showing President Trump undermining and disrespecting journalists with every opportunity. Aside from ridiculous and repetitive claims of the media being “fake news,” his treatment of this American right and freedom is a very real threat to democracy and a terrible message to send to the American people.
'Nobody Speak: Trials of the Free Press' is not rated. 95 minutes. Now streaming on Netflix.
'Ingrid Goes West' Red Carpet with Aubrey Plaza and Director Matt Spicer [WATCH]
Last Thursday, the dark comedy that charmed critics at Sundance had the honor of being the closing night film at the LA Film Festival. It's fitting that Ingrid Goes West was selected as the bookend to another successful festival put on by Film Independent. The indie film, which has been acquired by NEON for an August 11th release date, is a hilarious parody of Los Angeles and the way social media drives an unrealistic need for superficial "perfection."
I had the opportunity to chat with Aubrey Plaza, who plays the titular character, Ingrid Thorburn, and director Matt Spicer on the red carpet minutes before the screening took place. Since this is a film centered around the impact of social media, I asked Aubrey what her personal favorite emoji is and had Matt settle the debate on whether or not dogs should have Instagrams.
Suki Waterhouse and Ana Lily Amirpour of 'The Bad Batch' Talk Venice Beach and 'My Breast'
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When I meet Suki Waterhouse and Ana Lily Amirpour at the London Hotel in West Hollywood, they greeted me as if I was a long-lost friend.
Instantly, we vibed and for the duration of our 15-minute interview, I was living out my fantasy of being a part of their badass girl tribe. After our interview wrapped and I had to slowly come down from cloud 9, the most amazing thing happened. Suki and Ana both said our interview was the best one they've had. Was it because we shared crazy Venice Beach stories? Read on to see...
What was your first job? Did that in any way impact your passion for filmmaking/acting?
Ana Lily Amirpour: I worked at a coffee shop as a barista in Santa Barbara. I made cappuccinos and stuff.
Suki Waterhouse: I had a couple of jobs where I dressed up as Powerpuff Girls...
ALA: What's a Powerpuff Girl?
SW: A Powerpuff Girl is a cartoon! I really didn't want to go to school, I just wanted to dress up. I was about 8 years old. I told my mom I wanted to dress up so we would find websites where you can hire people to come out [in costume]. My first proper job was working on a phone line, answering calls for people who wanted breast implants. The place was called My Breast. So I'd be like, "Hello, this is My Breast."
Laughter
ALA: Aww, my answer was like, "I work in a coffee shop."
They're like, "How weird you are inspires us." I'm just like, "Woah, you're saying that to me?" -Ana
I kept picturing Arlen as a badass Dorthy Gale from "The Wizard of OZ"...
SW: Oh my God, I was Dorthy in the "Wizard of Oz!"
No way! I must've picked up on that. Arlen's on her own trying to find her way back home and runs into a cast of characters that help her, in a way, get home. Who are the people in your life that you feel most comfortable around, or the people that inspire your creativity?
SW: I'm not really in one place ever, so sometimes I write down in my phone people's name so I remember [who to reach out to]. I like people who are similar, not ever in one place. They have lots of stories to tell me.
ALA: For me, I feel led my the film and story I'm telling into really intimate, meaningful connections with people. It's like a density of intimacy for a duration, and then life changes and you go into the next thing.
SW: It's so hard not to fall in love with everyone when you're making a movie because you get to see everyone's humanity. You're hanging out with everyone all the time, how can you not fall in love with them?
ALA: One thing that's happened to me lately, now that I'm putting out this movie and the stage of where I'm at with things, I've developed a few friendships with other filmmakers that have been really helpful for me as a filmmaker. I'm just so grateful that they are there. They're like, "How weird you are inspires us." I'm just like, "Woah, you're saying that to me?" Everybody needs someone to tell them to just keep going.
We got into this conversation and he said, "I'm trying not to be such a loser, I want to be a finder. A finder finds things, a loser loses things." -Ana
What was on your mood board when you were thinking of "The Bad Batch" world?
ALA: My whole office was covered in images of the desert, women porn, lots of books about American Desert Badlands that had fallen to crust.
SW: Hugh Hefner.
ALA: Hugh Hefner! Burning Man, the boombox obviously. The Dark Side album really inspired me. Francis Harris, Jim Phillips skateboard graphics from the 70's and 80's, Skid Row, Venice Beach...
SW: Ana took me to Venice Beach for the first time.
ALA: I had been hanging out in Venice a lot and was thinking about Comfort. One day I started talking to these very young, hippie street kids and this guy came up to me– he was very spaced out, tripping on something. We got into this conversation and he said, "I'm trying not to be such a loser, I want to be a finder. A finder finds things, a loser loses things."
SW: No!
Woah...
ALA: That's why The Screamer (Giovanni Ribisi) says that in the film. Yeah, Venice is weird, you're in the "city" but so disconnected from everything in the city.
SW: I went down there recently and saw people cleaning up a guy who had died. It's hardcore down there.
ALA: Hardcore as shit.
"It's melted cauliflower with loads of cheese that you put bread crumbs on and bake. It's incredible." -Suki
Ana, did you feel any pressure coming off of your last film, "A Girl Walks Home Alone at Night?"
ALA: I wrote "Bad Batch" when I was editing "Girl," and I didn't know how, when, if "Girl" would come out, so [no]. I never wait for external circumstances to put me in a position to tell a story. The most terrifying thing for me is the well drying up and not knowing what you want to make. I've already started writing a third one. As long as I have a place to disappear to with my imaginary friends, I feel like I'm ok. The pressure I can handle.
Ok, weird question. Say you were stuck in the desert a lá "The Bad Batch." What food would you not mind eating every day for the rest of your life?
ALA: Peanut butter and jelly sandwiches.
SW: Oh yes! That's the shit. I'd say cauliflower cheese.
Laughter
ALA: What the fuck is that?!
SW: It's melted cauliflower with loads of cheese that you put bread crumbs on and bake. It's incredible.
Oh yeah, that sounds good.
ALA: But you would eat that for the rest of your desert days?
SW: Yeah. I mean, I'd like to share some of your peanut butter and jelly sandwiches.
'The Bad Batch' Review: A Bizarro Burning Man Take on the Border Crisis
Bringing "Bad" back to the big screen for her highly anticipated sophomore film is Ana Lily Amirpour, the visionary who made black and white Vampire Spaghetti Westerns a thing.
Amirpour trades the streets of Bad City for the barren desert of Texas in The Bad Batch, a meditative and highly audacious cannibal film that makes Burning Man look like your grandmother's tea party. Check back tomorrow for our exclusive interview with Amirpour and actress Suki Waterhouse.
Our heroine is Arlen (Suki Waterhouse), a young woman who has been dumped in the desert after spending an undisclosed amount of time in a detention facility. Disoriented and penniless, her stamina is no match for unrelenting sun as she decides to let her guard down for a quick nap in a conveniently abandoned car. It's not long until a group of ragtag cannibal misfits find Arlen and take her to their base camp. Her desperation to escape literally costs Arlen an arm and a leg as she quickly learns that it's every man, or in this case, woman, for herself in the Bad Batch.
Elements of what made Amirpour's first film, A Girl Walks Home Alone at Night, so successful are replicated here– strong female protagonist, gritty skate culture and trendy soundtrack, including songs from Die Antwoord and Culture Club, and all-around cool vibes. Perhaps too cool at times, but how can it not be coming from distributors like Vice, NEON, and Annapurna?
Ana Lily Amirpour's moody, high-style horror flick is an unconventional watch, but for as tough and tireless as the premise is, the cinematic style of the film itself is quite idyllic.
Arlen encounters many characters as she wanders through the barren landscape, including the big and burly Miami Man (Jason Momoa), his quiet yet independent daughter, Honey (Jayda Fink) and The Dream (Keanu Reeves), the idolized patriarch of the desert camp called Comfort. The subsidiary cast of kooks like Hermit (Jim Carrey) and The Screamer (Giovanni Ribisi) are unexpected but welcomed additions that further round out Arlen's reality. Like a badass Dorothy Gale from The Wizard of Oz, Arlen just wants to go home and uses these characters she meets along the way to help her get there.
The audience isn't given the luxury of knowing Arlen's backstory, or how she wound up in the Bad Batch in the first place, but character development clearly wasn't the focus here. We are dropped into a dystopian desert without knowing how we got there or where we're going, but we blindly buckle up for the ride. By default, we root for Arlen's success because the odds are against her, plus she is fighting to survive with a missing left arm and leg, I'd venture to guess, however, that a backstory would have made the audience further emotionally invested.
Ana Lily Amirpour's moody, high-style horror flick is an unconventional watch, but for as tough and tireless as the premise is, the cinematic style of the film itself is quite idyllic. Minimal dialogue and long, sweeping shots of the vast wasteland makes for a meditative watch despite the blood, guts, and gore. Lingering shots of barren desert-living mixed with the effortlessly cool and all-around badass Suki Waterhouse makes The Bad Batch an artistic vision, or dare I say... dream?
'The Bad Batch' is rated R for violence, language, some drug content, and brief nudity. 118 minutes. Opening this Friday at ArcLight Hollywood and On Demand, Amazon and iTunes.
'Out of State' Review: Hula Heals Convicted Criminals
Competing for the title of Best Documentary at the festival this year is "Out of State," a story about personal change and second chances.
Director Ciara Lacy follows two inmates as they learn about their rich cultural heritage while locked up behind bars, and the transition from a life of controlled routine to total freedom back on the beautiful island of Hawaii. Exposing the wisdom and hardships they gained throughout their turbulent journey, "Out of State" is a film worth rooting for.
Since the mid-1990s, Hawaii has sent most of their male prisoners to for-profit prisons in the United States, due to overcrowding. The men profiled, David and Hale, had been locked up at the Saguaro Correctional Center in Eloy, Arizona, a unit specifically built for men who committed crimes in Hawaii. Being held thousands of miles away from home, the men grow to see their incarcerated peers as brothers. They learn ancient Hawaiian traditions behind bars, including dance routines, chants, and other rituals that they had previously disregarded for a life of crime and substance abuse.
They learn ancient Hawaiian traditions behind bars, including dance routines, chants, and other rituals that they had previously disregarded for a life of crime and substance abuse.
Only about the first quarter of the film is dedicated to the prison system (personally, I would have loved to explore that a bit more), but the true test lies in how the men act once released. David's release seems promising, turning towards spirituality and keeping the traditions he learned close. He is wise when talking about his "second chance" and his appreciation for the friends and family that love him unconditionally.
Ciara Lacy is a native Hawaiian and her approach in humanizing and sympathizing with convicted criminals is a testament to her directorial skills. The film itself is a straightforward character-driven documentary, but what makes it special is the common thread of personal growth and the universal desire to better oneself.
“Out of State” premiered at the 2017 LA Film Festival on June 18.
'Funeral Parade of Roses' Review: New 4K Restoration is Still Erotically Charged
Cinelicious Pics and The Cinefamily have breathed new life into the 1969 black and white experimental film, Funeral Parade of Roses.
The new wave Japanese film, from director Toshio Matsumoto, had been banned from American theaters for years, but since its recent 4K restoration, this work will now celebrate its re-release with a special screening at The Cinefamily beginning this Friday.
Drawing inspiration from the subversive world of underground drag queen bars and the mischief that surrounds them, Funeral Parade of Roses is an intoxicating watch from start to finish. The protagonist, Eddie (Pîtâ), a young, doe-eyed hostess at Bar Genet, becomes entangled in a violent love triangle with club owner Gonda (Yoshio Tsuchiya) and the reigning drag queen Leda (Osamu Ogasawara). Amongst the sex and violence, Eddie worries for her safety but that doesn't stop her from participating in both drugs, booze, and naked dance parties that are overtly present in the Tokyo night scene. The further the film develops, the wilder the ride becomes, including an inadvertent "Oedipus Rex" moment that is so shocking it may be tempting to cover (or try to poke out) your eyes.
Influenced by many, but still the reigning champion of boundary-pushing movies.
Funeral Parade of Roses has become a legendary film in its own right- influencing Stanley Kubrick's A Clockwork Orange and portraying the tone of the counterculture trans scene of Tokyo in the 60s. Chaotic edits that blend documentary interviews– questioning characters about their decision to "become gay"– with avant-garde performance art, and film-within-a-film moments, "Funeral Parade of Roses" is most definitely not a straightforward watch.
This queer, art-house cinematic masterpiece was ahead of its time in 1969, and the argument could be made that it remains that way, even today. While the normalization and societal acceptance of trans people are becoming more mainstream, the technique and way in which Matsumoto created this buzzy, gritty, and subversive world have still gone unmatched in modern cinema. Influenced by many, but still the reigning champion of boundary-pushing movies, Funeral Parade of Roses includes a line of dialogue towards the end that provides the most accurate summary - "Such a unique film with cruelty and laughter."
"Funeral Parade of Roses" is not rated. 107 minutes. Opening this Friday at The Cinefamily with additional cities to follow.
The 6 Things We’re Looking Forward To Most at This Year’s LA Film Festival
The 2017 LA Film Festival kicks off this Wednesday, and we here at Cinemacy can’t wait to return to the fest filled with promising screenings, conversations, red carpet events, and much more (free yoga on the festival lawn!).
Running through next Thursday, the 22nd annual LAFF showcases 48 feature films, 51 short films, 15 high school short films, and 10 short episodic works- representing 32 countries. In anticipation of the event, Cinemacy’s staff writers have made a list of the six things we’re most looking forward to. If you can’t make it out, be sure to follow Cinemacy as we cover the festival from start to finish on Instagram , Twitter , and Facebook!
Bryce Dallas Howard: Coffee Talks Actors at 2015 LA Film Festival
Morgan’s pick: Coffee Talks
One of the most alluring events that the festival offers aren’t even the movies– but rather, the conversations with some of the industry’s inspiring talents. Taking place at the Kirk Douglas Theatre on 6/18, the Coffee Talks are a series of one-hour conversations with a panel of different people working in the industry, including directors, actors, screenwriters, and composers. These events have always been a highlight for us, and this year we couldn’t be more excited to sip our latte with director Justin Simien (Dear White People), Zal Batmanglij (The OA, The East), and more to be announced.
Still from G-Funk
Ryan’s pick: G-Funk
While I admit that I’m not the most well-versed fan of hip-hop music, I, like most people, grew to see another side of the rap music scene in 2015’s summer breakout hit, Straight Outta Compton, which cinematized an untold story about this pivotal moment in art, culture, politics, and music. One of the major artists of this late ‘80s–early ‘90s era LA rap scene was Warren G. The documentary G-Funk chronicles the music’s rise and friendship between Warren, Nate Dogg, and Snoop Dogg as they create the essential style of West Coast hip hop. What’s more– the film was directed, shot, and edited by Chapman University graduates (of which Cinemacy’s staff writers hail from). G-Funk screens at the Theatre at the Ace Hotel on 6/16, to be followed by a live performance by none other than Warren G himself.
Monkey Business
Nelson’s pick: Monkey Business: The Adventures of Curious George’s Creators
Dare I say I’m curious to see how this film is? Unbeknownst to me, the creators of the timeless children’s storybook character “Curious George” escaped Nazi Germany in order to bring their character to light. Monkey Business is a multimedia documentary, and hopefully, my enthusiasm for the wave of recent boundary-pushing non-fiction films (Nuts!, Tower) carries over to this unique film, playing on 6/17. Further assuring that Monkey Business is something of quality, the film has already been picked up for distribution by indie favorite The Orchard.
Royalty Hightower
Morgan’s pick: And Then I Go
Twelve-year-old actress Royalty Hightower first hit the film scene in the 2016 film The Fits, where she gave a tour de force performance as the protagonist, Toni. In my review of the film, I stated, “Remember her name, Royalty Hightower is just getting started,” and I’m happy to say that I was right: In And Then I Go, playing on 6/16, Hightower appears alongside Melanie Lynskey, Justin Long, and more in the drama about the hardships of adolescence and the powerful bonds of friendship.
Still from Patti Cake$
Ryan’s pick: Patti Cake$
It seems like I’m looking forward to a hip-hop themed festival. Following G-Funk, the fictional movie on my must-see list is one that I missed when it made its premiere at the Sundance Film Festival. Patti Cake$, which screens on 6/19, tells the story of an unlikely rapper who finds her voice as a one-of-a-kind hip hop legend. This looks like a confident, brash, and entertaining film, which is always fun to watch with an audience.
DJ party at the 2016 LA Film Festival. Courtesy of Film Independent
Nelson’s pick: Anything (which takes on a double meaning)
First, the Mark Ruffalo produced drama, Anything, which features longtime character actor John Carroll Lynch (The Founder, Fargo) in a rare leading role. Lynch’s protagonist, named Early Landry of all things, moves in with his sister after losing his wife and finds himself attracted to her neighbor, Freda. While we can imagine what sort of complications can arise from this synopsis, I’m sure that there’s much more ahead for this film, playing on 6/17.
The second part of "Anything" is the festival itself. LAFF is an amazing event for discovering hidden gems. I saw my favorite film of 2015, Victoria, by complete chance without knowing anything beforehand and it is still a film I frequently mention today. This atmosphere of unknown excitement is what attracts me more than any specific title. You’ll be in good hands with almost "Anything" you see, so take this as a chance to seek out new, independent films!
To see all the latest lineup announcements, including pass, ticket and event information, visit tickets.lafilmfestival.com.
'Opening Night' Review: This Musical Comedy is Worth a Standing Ovation
This review originally ran on June 7th, 2016 during the LA Film Festival
Birdman meets 30 Rock in director Isaac Rentz's feature film Opening Night, an ensemble musical comedy with heart, soul, and a bunch of dick jokes.
We spend one hilariously chaotic night backstage of the Broadway production 'One-Hit-Wonderland,' a musical journey through the poppy hits of yesterday, led by NSYNC's JC Chasez (as himself). It is high stakes all around as the outcome of the night's show will determine whether or not the production will continue its planned run or shut down for good. For production manager Nick (Topher Grace), the Broadway stage has become a long forgotten dream as he now resorts to working behind the velvet curtain, comically tackling all of a producer's worst nightmares.
A wonderfully frenetic Topher Grace hilariously navigates his way through the endless cyclones of disaster. His calm, cool, and collected demeanor is pushed to the limit by his flamboyant friend and backup dancer Malcolm (Taye Diggs), drugged-up diva Brooke (Anne Heche), insecure assistant Alex Bean (Lauren Lapkus), clueless prop assistant Ron (Paul Scheer), and overbearing manager Mr. Goldmeyer (Rob Riggle), among others. However, all of their problems are background noise to Nick as he attempts to uncover the relationship between JC and his ex-girlfriend, Chloe (Alona Tal). As his actions threaten to destroy the show and ruin his relationship with Chloe for good, Nick must learn to face his troubled past if he is ever going to move on.
The fluidity of the film's pacing and timed comedic beats, coupled with a solid cast of outstanding performances, makes 'Opening Night' worth a standing ovation.
Opening Night enlists some of comedy's most talented actors, and with a finely tuned script bringing out the best in everyone, the result is a non-stop joyride of quotable one-liners and belly laughs. JC plays an over-exaggerated version of himself with NSYNC memorabilia plastered all over his dressing room walls and a life-sized and shirtless cardboard cutout in the corner. He is both goofy and earnest, poking fun at his boy band past much to the enjoyment of the audience. Rob Riggle as the larger-than-life, insult hurling manager steals the scene every time. Not only do his cartoonish facial expressions get a laugh, the stressed delivery of his lines adds to the frantic nature of the situation and pushes Nick to the brink.
The musical numbers are another perfectly executed piece of this film's total package (full disclosure, I am a fan of musicals, however, one definitely doesn't need to be fond of theater to want an encore of Opening Night). If you're familiar with the television show "Crazy Ex-Girlfriend" (if you're not, get to watching!) the original, and many times vulgar, songs are the main source of unexpected hilarity. Same thing here, while the songs are all versions of one-hit wonders, the spin the cast takes on them is completely unique.
For any director, the jump from the music video environment to a feature-length film, and a musical no less, would seem like a tall order, but Isaac Rentz is able to seamlessly make this transition to roaring applause. The fluidity of the film's pacing and timed comedic beats, coupled with a solid cast of outstanding performances, makes Opening Night worth a standing ovation.
'Opening Night' is not rated. 90 minutes. Opening in select theaters this Friday, available on Netflix August 1st.