Review: 'Ballet 422'
The ballet world has always fascinated me. Growing up, I took tap dance lessons and every time I would pass the ballet practice room I would get caught up in the movement– how effortless and graceful they all looked, even at a young age. The same fluidity is captured here in director Jody Lee Lipes' documentary, Ballet 422, a backstage look at the pressures and pleasures of dance, specifically focusing on Justin Peck as he works his way through choreographing the New York City Ballet's 442nd original piece.
The New York City Ballet is one of the most prestigious dance companies in the world, and 25-year-old Peck has been given the opportunity to create an original piece in two month's time. He remains calm, cool, and collected throughout the audition process, the rehearsals, wardrobe fittings, tech run-throughs, and finally, opening night. His demeanor grounds the film; he is quiet, but do not mistake his quietness for being aloof. He is intensely focused on the task at hand, and his creative process is fascinating to watch play out on screen.
Anyone who has been a part of a staged production in one way or another will truly appreciate the dedication the film makes to each step along the way, not brushing over the more technical aspects of pre-production just to get to the dancing.
The stakes are high and the pressure is felt on the stage and on the screen, but the tension is not overbearing for the audience. We're not clenching in our seats, wondering if the dance will get completed on time; rather, we're drawn in to this crazy and unpredictable life of a performer. This subtlety of how director Jody Lee Lipes approaches the creative process captures the strength of both the dancers and the film. It's visually poetic and arresting without force. This is not a "talking heads" type of documentary either, Lipes takes the fly-on-the-wall approach as the quiet observer, which is exactly the right decision for the betterment of the film.
The look of the film has a high fashion/crispness to it- it's worth noting that Lipes is also the cinematographer, whose Director of Photography reel includes Martha Marcy May Marlene and Tiny Furniture. The boldness of the red curtain on stage juxtaposed with the buzzing overhead fluorescent lights in the practice room makes a visually stunning contrast that is equally met with the score of the film, which also happens to be the score of the ballet. The orchestral grandness gives the film an elitist feel, as we watch some of the worlds' most talented ballet dancers take to the stage and finally perform Peck's masterpiece.
Anyone who has been a part of a staged production in one way or another will truly appreciate the dedication the film makes to each step along the way, not brushing over the more technical aspects of pre-production just to get to the dancing. In fact, I actually would have enjoyed even more time spent on the dancers. Like I said, I become entranced very quickly. The audience I was surrounded by during the screening was not full of journalists; rather, they were ballet enthusiasts who were eagerly awaiting the prodigy Justin Peck's big screen debut. After the film was over, everyone left smiling, myself included. At its core, Ballet 422 is a unique and successfully executed documentary that is sure to leave you smiling too.
https://www.youtube.com/watch?v=b9s7wJ-PC70
Review: 'The Search For Michael Rockefeller'
Looking at a picture of Michael Rockefeller, he could easily pass as your average 23-year-old Silver Lake hipster: Tortoise-shell glasses, unkempt hair, and a wanderlust spirit shine through the only remaining photos of him. While his disappearance is still an unsolved mystery, his name remains in the front of our minds, especially in director Fraser C. Heston's, who uncovered a treasure trove of never before seen footage, shot by a man who set out to search for the young Rockefeller back in the sixties. Heston uses this footage and finishes the film that was never made, appropriately titling it, The Search For Michael Rockefeller.
It's one of the country's greatest mysteries- Just what happened to Michael Rockefeller, son of New York Governor Nelson Rockefeller and heir to the J.D. Rockefeller oil empire? During an expedition to New Guinea in 1961, as is last documented, Michael was traveling on a motor boat with a companion and some locals when it suddenly broke down, stalling in the middle of the Ocean. For years, many people have speculated that he had drowned at sea while trying to swim to the shore; others are convinced he was eaten by cannibals. Years later, in 1969, journalist Milt Machlin takes it upon himself to discover what happened to Rockefeller by bringing along a film crew to retrace the steps Michael would have walked. What's left is hours of black & white 16mm film that was never followed through by Machlin, but luckily enough, fell right into the hands of Heston, who creates a chilling and exceptionally mysterious documentary with the material he is given.
The last five of the film prove to be most interesting to me, and the woman next to me who audibly gasped- did we just catch a glimpse of Rockefeller?
The style of the film is obviously dated–authentically dated–but dated nonetheless. I mention this because at times the film runs slowly, archival footage of photos with slow zooms in and out can only hold one's attention for so long. It's understandable that Heston only had so much material to work with, and it's not like he could plan any pick-up shoot days or control any cinematic aspect of the film whatsoever, but my resolution to the dragging would be to cut half of the voice-overs. Voice-over narration dominate the film, and each "character" "interviewed" speaks in a distinct accent that sounds like they took inspiration from Disneyland's The Jungle Cruise ride. A bit cheesy, especially since this is the format throughout the entire film.
Historically, The Search For Michael Rockefeller is a great accomplishment for Heston and a very interesting film for audiences. Unfortunately, though, there is no happy or even satisfying ending; in fact, we leave the theater with more questions than answers. The last five minutes of the film prove to be the most interesting to me, and the critic next to me who audibly gasped– did we just catch a glimpse of Rockefeller? The archival footage from 1969 ends on a shot of an Asmat tribe rowing in long boats– all are dark-skinned and wearing tribal jewelry and cloth pieces for clothing. But then there is this one man, shown only for a few frames, who stands in stark contrast with white complexion Upon closer examination and slow-motion, Heston plants a massive seed in our minds: this could very well be the missing the young Rockefeller. But we don't know or learn for sure, and probably never will.
Michael Rockefeller has clearly been a passion of Heston's, and this film is shining proof of that. While interesting for fans of historical documentaries, the average movie-goer may find the execution tired and, shall I say it, boring. I personally found it a little bit of both, but those last five minutes really made the film worth it for me. If this sounds interesting, The Search For Michael Rockefeller will be available to stream on Netflix starting February 1st.
http://vimeo.com/100940064
Review: 'The Duke of Burgundy'
You should never judge a book by its cover, or in this case, a film by its title. From the sound of it, The Duke of Burgundy initially comes across like a stiff, historical bore, with perhaps a hint of mystery based off of its unusual and artistic poster. It doesn't take long (in this case, just about five minutes) to come to the realization that this film is extremely provocative with nothing stiff about it, as we witness a relationship between two women engaging in private role-playing fantasies in this darkly sexual and artfully erotic film.
The film starts out with Cynthia (Sidse Babett Knudsen), a seemingly aristocratic woman, in her home surrounded by furniture made of dark wood, piles of worn books, and preserved butterflies. She is soon joined by Evelyn (Chiara D'Anna), a slightly younger woman whose role seems to be as one of Cynthia's assistant/maid/gardener/and sexual companion. Yes, this isn't a typical employer–employee relationship; rather, we are to discover this is a delicate and desired mistress–servant relationship. The sexual tension is quick to build, so we assume this isn't the ladies' first encounter, but we are left to wonder if this is a twisted, abusive relationship, or a giant role playing facade?
Over the course of the film, they incorporate lingerie, face-sitting, and bondage into their role-play, and the more physical it gets, the more we see Cynthia struggling with her relationship with Evelyn.
The existence of butterflies is a giant thread that runs throughout the film (the "Duke of Burgundy" quite literally being the name of a type of butterfly), the importance being that it is both ladies' passions and areas of study. The beautiful creatures are displayed by the hundreds in Cynthia's house- hung on thin pins in glass shadow boxes (one of Eveyln's "chores" is to dust the delicate collection). An obvious, but true, correlation is the similarity between Cynthia and these butterflies; Both are strong, independent and beautiful, yet extremely fragile. Despite her tough outward demeanor as a sado-masochistic leader, Cynthia shows weakness and uncertainty in her eyes as their relationship gets more intense. Over the course of the film, they incorporate lingerie, face-sitting, and bondage into their role-play, and the more physical it gets, the more we see Cynthia struggling with her relationship with Evelyn. She is not happy, but her unhappiness unfazes Evelyn, who seemingly gets off even more by Cynthia's nonchalance, ultimately leading to an emotional and physical breaking point.
Writer and director Peter Strickland certainly had a vision for The Duke of Burgundy, his keen eye towards building tension and holding suspense is successfully put to use here. Cinematically, the colors and texture of each scene act as a supporting character. It gives off a fantastically haunting vibe that mirror the characters on screen. The music, performed by Cat's Eyes, sounds like a daydream of multi-instrumental, atmospheric pop similar to my favorite rock outfit, Beach House. All of the above give this film a stylized look that Andy Warhol would have been a fan of.
What makes The Duke of Burgundy so great is that the entire movie is a slow reveal; no piece of information is given away too quickly. We learn more about Cynthia and Evelyn as the film develops, making it extremely engaging and which keeps us excitedly guessing as to what will happen next. It is an erotic mystery drama, a genre that I believe Strickland created himself, and which he executes well. With the upcoming release of 50 Shades of Grey, audiences are becoming more open to the idea of seeing such a taboo subject on screen, but unlike 50 Shades, this outrageous S&M material is about two women disguised as proper and sophisticated lepidopterists whose groundbreaking and exploratory relationship makes for an unconventional piece of genre-bending film.
The Duke of Burgundy opens at Landmark’s Nuart Theatre in West LA and IFC Center in New York on Friday.
https://www.youtube.com/watch?v=P-xIMBnclyA
Review: 'Appropriate Behavior'
Desiree Akhavan is a name to remember. In the breakthrough queer cinema movie Appropriate Behavior, Akhavan plays Shirin, a socially awkward, bi-sexual, twenty-something, haplessly wandering through life as she deals with a broken heart. After being forced to move out of the one-bedroom Brooklyn apartment she shared with her girlfriend Maxine (Rebecca Henderson), Shirin makes it her mission to get over her former flame, while simultaneously plotting revenge through encounters she thinks will make her ex jealous. When that fails, because ultimately, all revenge plots do, Shirin is left in her own head in this deadpan comedy, and her existential crisis is fully realized for our enjoyment.
The lead actress is also the director and screenwriter, and while balancing three of the film's most demanding roles may seem certainly taxing, Akhavan sure does a good job of making it look easy. Cinematically, Appropriate Behavior is not a demanding watch, and on the same coin, the script reads like witty banter Akhavan might have with her friends, making this film seem like the perfect territory to showcase her talents.
I say that only in the highest of regard, Akhavan is making a name for herself on her own by creating content that appeals to the cool kids and the outsiders, the freaks and the geeks, all wrapped up in this contemporary film Appropriate Behavior, just as [Lena] Dunham has done in the past...
Shirin's behavior throughout the film is anything but appropriate, giving this title a play on words and an instant laugh. There are many awkward family situations she finds herself in, especially since she has yet to come out to her parents, claiming that the apartment and bed she and Maxine shared was a new "European" trend to save money. Further discomfortingly funny behavior is seen when Shirin is invited over for a three-way by a man she meets at a bar. While not really into guys, she does her best to give him random pecks on the chest, but with his girlfriend, she can't help herself from being too passionate. Things get awkward when the man finally catches on to the situation, making this one of the film's more cringeworthy, but memorable, scenes.
Everyone (e.g.: Vulture) is saying that Akhavan is the Persian equivalent of Lena Dunham (It was announced that Desiree will be joining season 4 of Girls with a reoccurring role). I would have to agree, and I say that only in the highest of regard, Akhavan is making a name for herself on her own by creating content that appeals to the cool kids and the outsiders, the freaks and the geeks, all wrapped up in this contemporary film Appropriate Behavior, just as Dunham has done in the past (with her feature Tiny Furniture, and now Girls). The large tattoo that covers her arm a lá Lena (which I would hope is just a coincidence) is the typical trademark of a New York hipster, which Shirin definitely is. Her fast-talking nature, her self-critical demeanor, and her all around quirkiness plays a bit familiar on-screen, but there is no denying that she can capture the audience's attention and keep it.
As a filmmaker, Akhavan understands the genre and culture of today's DIY society and plays to that audience. This quirky, lesbian comedy isn't just a nod to LGBT, there is also a lot of talk about being Persian. Sometimes, too much. Sprinkled throughout the cunning dialogue between her ex, her bubbly and flamboyant best friend Crystal (Halley Feiffer) and even her semi-employer, full-time stoner friend Ken (Scott Adsit), the "I'm so different, I'm Persian" card is played one too many times. The first time, it's genuinely funny, but the sixth time, not as much. But overall, this film is not only a great achievement for Akhavan, it is a thoroughly entertaining and genuinely funny film that is just the beginning of great things for her career, as a writer, director, and actor.
https://www.youtube.com/watch?v=NdfcKGKNa04
Review: 'Pump'
I've never been happier to stop at the gas station recently. Gas for under $3 a gallon? These prices make planning a spontaneous road trip that much more tangible. I never really stopped to think about how or why gas prices change, and after watching the documentary Pump, I have a better, although not entirely clear, understanding. One thing was made clear to me, we have a right to choose how we fuel our cars and that right is not being acknowledged by the government or big oil companies, which means the responsibility for change lays solely on us.
Jason Bateman, typically known for his comedic roles, takes a serious approach as he lends his voice as the narrator of the film. His presence is a highly appreciated one that makes the narrative easier to comprehend and breakdown. Pump is not an easy film to digest, and definitely not one that you can watch while multitasking. Statistics, numbers, and political jargon make up most of the film and although it is interesting, it is difficult to keep the viewer's attention throughout its non-aggressive 88-minute runtime.
The message Pump presents, once you get past the numbers game, is simple: American made replacement fuels will equal more jobs, a healthier environment, and a stimulated, growing economy.
The unpredictable cost of fuel, coupled with the damaging effects to our environment and our dependency to over-seas oil rigs is a scary future that we find ourselves looking at today. We are forced into limited choices at the pump, which only creates a stronger foreign dependency and a wealthier fuel monopoly. The message Pump presents, once you get past the numbers game, is simple: American-made replacement fuels will equal more jobs, a healthier environment, and a stimulated, growing economy.
Addiction of any kind is hard to break, and our addiction to foreign oil is no different. Pump takes us on an educated journey through the early days of cars, starting with the transformation of electrical trolleys in 1887 to oil-guzzling buses in the 1960s. We come away with a better understanding of Rockefeller, Tesla, and other influential people who have since changed the oil game. Interviews with top oil executives, journalists, and authors round out this piece of social commentary.
The bottom line is, we can't rely on the government to make the necessary changes for a better quality of life- at least according to Pump. There is no hiding the fact that directors Joshua and Rebecca Harrell Tickell feel very strongly about our right to choose how we fuel our cars, yet the weight of their message doesn't fully hit home- it gets lost among countless facts, numbers and percentages that results in more confusion than clarification. The power of choice is important, and it is this privilege that makes us Americans, but unfortunately, the social impact of this film will be much less than what was hoped for.
Pump is available on iTunes today.
https://www.youtube.com/watch?v=btgHUu45H_4
Review: 'Beautiful Noise'
Those who are going to Coachella this year, listen up: before you grab your flower crowns and face paint, make sure you check out the documentary Beautiful Noise. It's obvious this film was made by a guy who loves music, especially the early underground music scene. Director Eric Green's knowledge of the "shoegaze" genre, the lovely sound of blended and layered guitars mixed with unique vocals, is an inspiring audible journey for music fans, but if you're looking for any sort of storyline, you won't find one here.
The film is devoid of any narrative; rather, it is divided into chapter-like segments with each band getting almost a solid ten minutes of the spotlight intermixed with interviews from other legendary musicians. This trance-like sound first hit the scene with the English band the Cocteau Twins, whose shimmering guitar melodies coupled with singer Elizabeth Fraser's unique voice was dubbed the next big thing in rock & roll.
Billy Corgan of The Smashing Pumpkins, The Cure's Robert Smith and Wayne Coyne of The Flaming Lips all give insightful interviews about their first impressions of these bands, and there's no denying that the musical inspiration here is endless
The Jesus and Mary Chain, bushy haired boys back in 1984, are also profiled. Decked out in grungy plaid button-ups, leather jackets, and Ray-Bans, their hit Just Like Honey plays as the members are interviewed in present day, as they reminisce about the band's early days of figuring out just how they were going to fit- or rather, intentionally not fit- into society's idea of "rock music."
After an hour of highlighting different bands, from My Bloody Valentine to modern acts like M83 and Wild Nothing, the film focuses solely on interviews, which are a bit underwhelming after listening to practically an hour of straight music. This sub-genre has been described as ethereally beautiful and harmonic with a hard time fitting into a specific genre and based without definition. The same can be said about this documentary. While its focus on the bands are intense, Beautiful Noise ultimately lacks any sort of story and plays like an extended old school 90s MTV program.
Billy Corgan of The Smashing Pumpkins, The Cure's Robert Smith and Wayne Coyne of The Flaming Lips all give insightful interviews about their first impressions of these bands, and there's no denying that the musical inspiration here is endless. The effortless, romantic sounds leave the viewer immersed in a synth-like dream, which is welcomed 100%. The music is so impactful, that even Robert Smith admits to playing the Cocteau Twins record alone as he was getting dressed on his wedding day.
Just like the music itself, Beautiful Noise is clearly a DIY passion project. While not the sharpest looking documentary, Green gets his message across with intimate interviews. The artwork for the film is amateur looking, which unfortunately may throw some people off upon first glance at the poster- but past its seemingly naive disposition, Beautiful Noise is a rough and tumble film that truly deserves to be seen.
https://www.youtube.com/watch?v=pFy84s2wchk
Composer Alex Ebert on 'A Most Violent Year'
He is best known for being the lead singer of the band Edward Sharpe and the Magnetic Zeros, and Alex Ebert proves his creativity knows no bounds as he brings the dreamy folk-scape composition to the big screen in A Most Violent Year. This is Ebert's second collaboration with director J.C. Chandor, as he previously composed the score for last year's All Is Lost starring Robert Redford, creating one of the most beautiful ending credit songs, "Amen". Here, Ebert talks to an intimate audience during a special screening and Q&A of Year, and talks about his free-jazz inspiration, working with Chandor, and the process of writing the film's only lyrical song (and one I can't stop playing), "America For Me." He begins:
SO, FILM NUMBER TWO WITH J.C.- THIS TIME AROUND, WAS IT AN EASIER PROCESS?
Well, I knew that I would have a long leash, maybe too long in this instance- I threw a little too much spaggetti on the wall. At first after reading the script, I thought this could be a free jazz score, and so I threw a lot of that at J.C. At first I overdid it, intentionally. I tried everything straight jazz. Some of it did stay, there are still a lot of horns in the score, but yeah it is a reductive process. You don't always just hit the mark and walk away. I wish, but no.
DID YOU LEARN ANYTHING FROM WORKING ON ALL IS LOST THAT HELPED YOU HERE?
I did learn so much from All is Lost, just the idea that music can end when it wants to, is entirely of service as opposed to pop music being a service to you. It is the same predicament as All Is Lost in A Most Violent Year, in a sense- "What does this scene want," "What does this character want."
To me, this is a character study- this is about Abel and his singular, meditative, capitalist trance and as J.C. pointed out to me, the entire movie his eyes are half closed. He is extremely focused, almost sort of sleepwalking, towards his aim. Eventually I realized the strongest thing to do is to try to bring everyone into that atmosphere with him.
For our review of A Most Violent Year, click here.
THERE IS A CUE EARLY ON IN THE FILM THAT SORT OF SUGGESTS THIS "DOOM" LIKE SOMETHING BAD IS ABOUT TO HAPPEN, BUT THEN THIS BASS FLUTE COMES IN LIKE A SENSE OF ASPIRATION.
Abel is a doomful figure to me, and I think the end of the movie translates that graphically. His ambition is like a double edge sword.
WAS THERE A PARTICULAR MELODY THAT WAS THE STARTING POINT?
Yes, Abel's theme. I realized it after the fact, but it's basically Dracula's theme.
[Laughter]
YOU GET TO LET LOOSE DURING THE CHASE SCENE.
It was my first chase scene, I was a little nervous about that because I knew you need percussion... I didn't go study any chase scenes I just started with the basics. I started playing it myself, and the first pass at recording just worked. I think I might've gotten a bit lucky with that.
WHAT TYPES OF INSTRUMENTS DID YOU BRING IN?
Percussive instruments like the piano I found to be a little intrusive, so it was more about things like the flute, the synth, bass. It was one of those movies you had to keep paring back, because it was a slow burn.
YOUR BAND, EDWARD SHARPE AND THE MAGNETIC ZEROS, WAS VERY ACTIVE IN THE LAST YEAR, RECORDING AND TOURING, HOW DID YOU FIND TIME FOR THIS?
You just make the time I guess, it's exhausting for sure, but it's rewarding. Especially when you do get that free reign, you have this canvas and you get asked to make music to imagery and I think the combination of music to imagery is very exciting, it's very different than just writing music, it's special. A lot of people are going to be in a dark room and witness this really profound combination of visual and auditory sound, and you get to contribute to part of that. With that carrot in front of my face, I just made the time somehow.
When I write or perform something that is really great, and to me I feel the same way about "Amen" and I don't feel this way about most of my stuff, something happens that's uncontrollable where I don't feel like I did it.
IN ALL IS LOST, J.C. BROUGHT YOU ON TO DO THE SCORE AND YOU PROVIDED "AMEN," THE WONDERFUL SONG THAT CLOSES THAT FILM, DID THEY WANT A SONG AT THE END OF THIS FILM TOO?
Similar to last time, they gave me a few nudges and winks, but nothing so direct. I didn't think I was actually going to make a song for this. Originally, I wanted to make music that was reactive, a band called Suicide came to mind- a very early punk-synth operation from New York around 1978. I wasn't really able to incorporate that into the score but at the end of the movie, then I felt like, ok, it's time to bring in the noise. I had this 70's beat machine and just laid that down and then I just started free-styling; sort of thinking about Julian's character and without writing lyrics down I just started to record. So [the finished song] was basically the first pass.
DO YOU HAVE THE LUXARY OF LISTENING TO A PIECE OF MUSIC, FOR EXAMPLE, "AMEN," AND BE ABLE TO STEP BACK AND RECOGNIZE THE BEAUTY OF THE MUSIC?
When I write or perform something that is really great, and to me I feel the same way about "Amen" and I don't feel this way about most of my stuff, something happens that's uncontrollable where I don't feel like I did it. I'm in awe of it and I don't know who did it and I'm amazed at how good it is. I'm in awe at the fact that I was apart of it, and that happened to me with "Amen" and when that happens it's a pretty special feeling.
A Most Violent Year is in select cities now.
Review: 'The Joe Show'
The infamous Joe Arpaio may not be a household name (yet), but after watching director Randy Murray's telling documentary The Joe Show, Arpaio's name will be hard to forget. Making headline news from controversial political antics to his self-professed "media-hound" actions, Arpaio is quite the character. You either love him or hate him- there is really no in-between here. What starts out as an homage to the Maricopa County Sheriff quickly turns into an unabashed look into the Sheriff's reign as a political figure that is sure to leave audiences speechless in this documentary.
The Joe Show profiles Arpaio's 20-year career, with a slightly biased approach in which he is seen in a negative light. We are first introduced to Arpaio, the now 82-year-old staunch Republican, as he is singing the Frank Sinatra hit, "My Way." Standing in front of a plain backdrop and staring into the camera, he belts out the lyrics, "But through it all, when there was doubt, I ate it up and spit it out, I faced it all and I stood tall, And did it my way." To those who know Arpaio, or know of him, these lyrics hit close to home. Dubbed "America's Toughest Sheriff," Arpaio has become a globally recognized name for his strict reign as Sheriff in Maricopa County, Arizona.
I can't help but feel like we're feeding the monster with the release of The Joe Show; yes it is an insightful look behind the curtain of the infamous Sheriff, but this attention is most gratifying to Arpaio himself, not the audience.
Enforcing such unorthodox punishments like making prisoners in the jail system to wear pink underwear and decidedly ignoring reported sex crimes to focus excessively on immigration are just a few of the polarizing actions Arpaio has made while Sheriff. The film interviews his friends, family members, and staff to get a semi-balanced portrayal of a man so publicly perceived as controversial. His statements have made him quite a few enemies, he is a man with no filter, which does make for an enjoyable film. Yes, this is the same man who brought up the conspiracy theory that President Obama's Hawaiian birth certificate was fake, with the hopes to disqualify him from the Presidential election. The Joe Show does make one thing extremely clear: politics is a dirty, dirty game.
Overall, there is no denying that Joe Arpaio is an entertaining character. I may be singing a different tune if he was Sheriff of my town, but being removed from the situation through this documentary, we are given the chance to laugh with, and at, him. His publicity stunts are purely to gain attention, and the fact that this film has been made at all is a testament to Arpaio's conscious and even subconscious control of the media. However, I can't help but feel like we're feeding the monster with the release of The Joe Show; yes it is an insightful look behind the curtain of the infamous Sheriff, but this attention is most gratifying to Arpaio himself, not the audience.
The Joe Show is now available on iTunes, Amazon Instant Video, GooglePlay, Xbox, Playstation, and Vudu.
https://www.youtube.com/watch?v=bSB3EDpayjQ