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Apollo 10½ is vintage Richard Linklater — a rotoscopic, wistful, Wonder Years/A Christmas Story slice-of-life set in a very specific time and place, and yet uncannily atemporal and universal (Bewitched, Get Smart, Batman, Gilligan, I Dream of Jeannie, The Addams Family, Hogan’s Heroes, etc., along with a few classic films and historically relevant newscasts, are briefly yet lovingly recreated). The Moon landing itself retains much of its impact even as a rerun; one of the relatively very few historical milestones that we can actually revisit as it happened because, as the movie points out, it “has been played out before our very eyes by this miracle that happily came along at the same time as man’s exploration of space — television.” Of course, nothing can compare to actually watching it live, and in that sense it might be a bit more difficult to connect emotionally, especially for those of us who hadn’t even been born at the time; on the other hand, the film is not about the landing so much as it is about the sense of awe surrounding it — an emotion that any human being who isn’t a hopeless cynic can identify with, and of which the movie has a seemingly endless supply, thanks to its arresting visuals and poignant dialogue. Speaking of visuals, few filmmakers have put rotoscopy to better use than Linklater, and Apollo 10½ is proof that this technology need not be confined to fantasy or science-fiction (the director himself had previously dabbled in the more fanciful possibilities of this aesthetic, with the surreal Waking Life and the dystopic A Scanner Darkly) — and indeed this film could reasonably be described as science-fact. Moreover, and in spite of its space age-mania theme, this is a grounded, down-to-earth story — and that’s precisely why the movie’s only faux pas is a half-baked subplot wherein the nine-year old hero is recruited by NASA to test out an accidentally undersized lunar module (hence the title). Linklater does hint that this could be a figment of the character’s imagination, but it nonetheless sticks out like a sore thumb among the sundry homespun vignettes of life in NASA-adjacent South Houston. The plot point is introduced at the very beginning, and even as the action quickly settles into a comforting pattern of pleasant everyday-ness that is equal parts small town and city of the future, you can’t bring yourself to completely enjoy the full extent of this sweet uneventfulness, dreading in the back of your mind the moment when the script picks up where it left off (admittedly, I’m splitting hairs).
Apollo 10½ is vintage Richard Linklater — a rotoscopic, wistful, Wonder Years/A Christmas Story slice-of-life set in a very specific time and place, and yet uncannily atemporal and universal (Bewitched, Get Smart, Batman, Gilligan, I Dream of Jeannie, The Addams Family, Hogan’s Heroes, etc., along with a few classic films and historically relevant newscasts, are briefly yet lovingly recreated). The Moon landing itself retains much of its impact even as a rerun; one of the relatively very few historical milestones that we can actually revisit as it happened because, as the movie points out, it “has been played out before our very eyes by this miracle that happily came along at the same time as man’s exploration of space — television.” Of course, nothing can compare to actually watching it live, and in that sense it might be a bit more difficult to connect emotionally, especially for those of us who hadn’t even been born at the time; on the other hand, the film is not about the landing so much as it is about the sense of awe surrounding it — an emotion that any human being who isn’t a hopeless cynic can identify with, and of which the movie has a seemingly endless supply, thanks to its arresting visuals and poignant dialogue. Speaking of visuals, few filmmakers have put rotoscopy to better use than Linklater, and Apollo 10½ is proof that this technology need not be confined to fantasy or science-fiction (the director himself had previously dabbled in the more fanciful possibilities of this aesthetic, with the surreal Waking Life and the dystopic A Scanner Darkly) — and indeed this film could reasonably be described as science-fact. Moreover, and in spite of its space age-mania theme, this is a grounded, down-to-earth story — and that’s precisely why the movie’s only faux pas is a half-baked subplot wherein the nine-year old hero is recruited by NASA to test out an accidentally undersized lunar module (hence the title). Linklater does hint that this could be a figment of the character’s imagination, but it nonetheless sticks out like a sore thumb among the sundry homespun vignettes of life in NASA-adjacent South Houston. The plot point is introduced at the very beginning, and even as the action quickly settles into a comforting pattern of pleasant everyday-ness that is equal parts small town and city of the future, you can’t bring yourself to completely enjoy the full extent of this sweet uneventfulness, dreading in the back of your mind the moment when the script picks up where it left off (admittedly, I’m splitting hairs).
Guess I’m a Linklater fan now, I’ve adored all of his features I’ve seen and this is no exception. Kinda ironic that the “10½” part is the weakest aspect of this, the rest of it is such a beautiful and intimate portrait of childhood. Such an intense sense of warmth and memory that I rarely see conjured in film, couldn’t help but be charmed by it. Beautiful movie.
An orphaned boy in a post-apocalyptic world, meets a grieving woman who is trying to find her lost daughter. Their journey leads them face-to-face with a despot who may have the daughter held captive.
This film is a tribute to a humiliated and destroyed nation. "As Long as the Grass Grows" is an alternative, ancient and humble creation story, where man is not the crown of the creation, but the weakest of all creatures. The film takes us back to the beginning of time, where Old Man begins to create the world out of a handful of mud. Everything he creates is new and nameless, and affects the rest of the world. Even feelings and desires are unknown and when they emerge, the world becomes more and more complicated.
During the summer of 1955, seventeen-year-old Eric Hansen embarks on a journey in his new town, a journey which will change his life forever.
Every 7 years, a darkened world holds its breath the night before the sun will finally rise. Leo, a nervous young teenager, is just as excited to see the sun as anyone else. But after a fumbled attempt to ask out his crush and a disastrous car accident with his friends will bring to light Leo's illusions about his world, his friendships, and most importantly - himself.
Boys On Film comes of age with uplifting and powerful tales recounting the lives of everyday heroes striving for their own identities and fighting for the right for us all to be ourselves. Volume 18: Heroes includes ten complete films: Dean Loxton's "Dániel" starring Csémy Balázs, Hilda Péter, and Henry Garrett… Niels Bourgonje's "Buddy" starring Daniel Cornelissen and Tobias Nierop… Tamara Shogaolu's animated "Half A Life"… Victor Lindgren's "Undress Me" starring Jana Bringlöv Ekspong and Björn Elgerd… Sam Ashby's "The Colour Of His Hair" starring Sean Hart and Josh O'Connor… Hope Dickson Leach's "Silly Girl" starring Ciara Baxendale, Mollie Lambert, and Jason Barker… Søren Green's "An Evening" starring Jacob Ottensten and Ulrik Windfeldt-Schmidt… Alejandro Medina's documentary "AIDS: Doctors And Nurses Tell Their Stories"… Kai Stänicke's "It's Consuming Me" with Volkmar Leif Gilbert… and Mikael Bundsen's "Mother Knows Best" starring Alexander Gustavsson and Hanna Ullerstam.
At a 1962 College, Dean Vernon Wormer is determined to expel the entire Delta Tau Chi Fraternity, but those troublemakers have other plans for him.
A seven-mile-wide space rock is hurtling toward Earth, threatening to obliterate the planet. Now, it's up to the president of the United States to save the world. He appoints a tough-as-nails veteran astronaut to lead a joint American-Russian crew into space to destroy the comet before impact. Meanwhile, an enterprising reporter uses her smarts to uncover the scoop of the century.
Emme, a 12-years-old girl, is surviving alone in a post-apocalyptic world, where plants and animals have gone through a monstruous mutation. She's starting to mutate herself and is desperate for a cure.
While his mother is in rehab and his father is on a 'business trip' with his assistant, 14-year-old outsider Maik is spending the summer holidays bored and alone at his parents' villa, when rebellious teenager Tschick appears. Tschick, a Russian immigrant and an outcast, steals a car and decides to set off on a journey away from Berlin with Maik tagging along for the ride. So begins a wild adventure where the two experience the trip of a lifetime and share a summer that they will never forget.
An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.
A criminal produces an uncontrollable laughter to the population and Mortadelo and Filemón will have to stop him.