Thursday, October 22, 2015

32. The Umbrellas of Cherbourg

The movie: The Umbrellas of Cherbourg (Jacques Demy, 1964)

Have I seen this movie before? No.

How I saw it: Vimeo.

The recommender: Lindsay McCullough

The rationale: My selection was born out of a failed attempt to show off my cinematic prowess by picking György Pálfi’s Taxidermia. Or perhaps the failure falls upon John for not doing his damnedest to find this Surrealist Hungarian body horror/comedy. [Editor’s Note: Nah.] Either way, it is a shame that Taxidermia was not feasible, as it is a film that has stuck with me. I’d rather not use a cliché, but it’s one of those “car crash” movies: visceral, grotesque, bizarre. And you Just. Can’t. Stop. But, despite the film’s oh-so-literally gut-wrenching scenes, Pálfi manages to keep you entranced the entire time with his beautiful directing and storytelling. In short, I’ve never experienced anything like it.

But I digress. I felt that my backup needed to be something as equally enchanting, so I went en chanson, a film in song. Les Parapluies de Cherbourg [Editor’s Note: This is the French title; we use ENGLISH on this blog] is a movie that happens to be entirely sung, making it entirely unforgettable like my disgusting Hungarian art piece. Since this is a French film, it is a film d’amour and achingly so. The somewhat banal plot line of doomed love is elevated by the mesmerizing score of Michel Legrand. There is no chance anyone can leave this movie not humming the refrain of “I Will Wait For You” that lilts throughout what Slant magazine called “the weepiest train farewell in history.”

While my original pick may have been that car crash, Les Parapluies de Cherbourg is more like watching a beating heart slowly come to a stop. V French. Amuse toi bien!

My familiarity with this movie: I know very little about this film, as is the case with the Hungarian film that I (thankfully) could not find. (It looks real gross, y’all.) This is a good thing! This blog is all about expanding my horizons and such. Although, as noted, I would prefer to expand my horizons toward fun French musicals and not weird Hungarian grotesquerie.

I have mixed feelings on the French. I like their fries, but I don’t care for their attitude. Also, I took one semester of French in college, but I did not remember the French word for “umbrellas.” Thanks a lot, GW/Obama.

Plot summary yoinked from Netflix: Beautiful umbrella-store clerk Genevieve and charming gas station attendant Guy fall in love in the rainy coastal town of Cherbourg, but their romance is cut short when Guy is drafted into the army in this singular cinematic classic.

What I thought of the movie: I liked it! I was not as bewitched by it as Lindsay was, but that’s not too much of a surprise. (The inevitable ravages of time and age have taken their toll on my capacity for bewitchment.) It was unique and memorable and made me want to walk around town singing in French, which I imagine is not something you see every day in Petworth.

Lindsay and I watched the film together, a decision that I’m sure she regretted about two minutes in, when I started repeating French words that I recognized aloud. Those FsOTB who have watched films/TV shows featuring foreign languages or unusual accents with me will know that this is something I do a lot, and that it is extremely charming. (Watching Friday Night Lights with me is particularly fun: “BIG TIM  RIGGINS, RESERVATIONS FOR SIX,” etc.)

So you’d have good reason to criticize me for the fact that it took me a while to get into this movie. I think that there are legitimate reasons for this, though. The fact that the entire movie is sung, most of it in the recitative style of an opera, is obviously a bit weird. This is especially true in this movie, in which the banality of the dialogue clashes with the drama inherent in… you know, singing things. “Where are you going?” “To the store.” “Oh OK cool.” Sing those things. It’s weird! (These are not direct translations of the lyrics, but you get the idea.)

The structure of the film is a little difficult, as well. We’re introduced to Guy and Genevieve, the two young lovers, and we don’t have much time to get to know them before Guy is drafted. The scene that Lindsay mentioned in her rationale is indeed heartbreaking, but it came a little too early in the film to have the impact that it could have.

But it gets better as it goes along. The characters’ separation allows them to develop more fully, and you get used to all of the movie’s idiosyncrasies (the singing, the Frenchness, etc). It’s quite a beautiful film, full of v colorful scenery and costumes, and while most of the songs aren’t catchy hits, they’re certainly quite nice to listen to.

You can figure out some of the plot developments in advance, but the movie eventually builds to quite an affecting conclusion. It reminded me, in some ways, of Titanic. The fact that the plot isn’t the most intricate is actually helpful; it gives us something simple to latch onto while they challenge us in other ways (non-stop French singing in this film, large CGI shipwrecks in Titanic). And even for the non-Francophiles among us, I ultimately think the movie is worth that challenge. It’s essentially a longer, more emotional version of the Flight of the Conchords’ song “Foux du Fafa,” and if that’s not high praise, I don’t know what is.

Am I happy I took Lindsay’s recommendation? I am. Although, to directly quote a line from this movie, “maybe happiness makes me sad.” T FRANCAIS.

What’s next?

UPDATE: Brendan Hunt's recommendation of the John Leguizamo vehicle The Pest wins this week. I believe I recall him telling me that this is one of the worst movies he's ever seen. Fanks.

RECOMMENDATIONS
1. Trash (Pat Ambrosio)
2. Equilibrium (Steve Isaac)
3. The Worst Witch (Katie Hovanec)
4. Goodbye to Language (Micah Lubens)
5. Romy and Michele's High School Reunion (Kate Meroski)
6. Timer (John Goben)
7. Darkness Falls (Alexis Hipp)
8. Pokemon: The First Movie: Mewtwo Strikes Back (Evan Chiacchiaro)
9. The Pest (Brendan Hunt)
10. The Holy Mountain (Zach Gibson)
11. Jack Frost (Molly Brady)

Friday, October 16, 2015

31. Across the Universe

The movie: Across the Universe (Julie Taymor, 2007)

Have I seen this movie before? No.

How I saw it: DVD (via the DC Public Library).

The recommender: Meg Moran (previously recommended Blow-Up)

The rationale: I recommended this movie because I wanted you to watch/write about a musical, and I love this one. It's a random collection of high-production musical numbers performed by a bunch of young upstarts that you sort of recognize (that guy from that self-important thing about the British monarchy! that girl who was engaged to Marilyn Manson!) strung together by a thin storyline and punctuated by some pretty great celebrity cameos. (What's better than a sexy nurse Salma Hayek? Five sexy nurse Salma Hayeks, obvi.) At times cliche and/or silly, at others, heart-rendingly poignant. It's basically a 2-hour episode of Glee. What's not to love?  Also, at the risk of saying the unpopular thing, I'm going to go ahead and assert that a handful of these covers are actually improvements over the original (ahem, "Happiness is a Warm Gun" and "Dear Prudence"). I'm sincerely hoping it offers you a break from your steady diet of Movies People Hate and that you'll love it, or at least like it, too.

My familiarity with this movie: First of all, I should note that Meg has taken issue with the fact that I called her “one of the blog’s most vociferous critics,” which is fair. (This blog has so many vociferous critics it’s hard to keep track of who’s voicferousest.) Her criticism was reserved mainly for my post about The Guest, which I liked and she did not. It’s important to note that we welcome differences of opinion here at the blog, except on the issue of whether the blog is trash. (It is.)

Meg is also right to note that the blog has not yet covered a musical, which is a tragedy. I love musicals, and I love the Beatles. I would have seen this movie when it came out if I weren’t dissuaded from doing so by a close friend. He sent along this review of the film, which contained the best headline -- “Hey Dudes, You Made It Bad” -- and opening line -- “I saw a film today. Oh boy.” -- I’ve ever seen in a movie review. If I ever come up with anything half that good in my life, I’d be very surprised. (It’s also worth noting that Roger Ebert and The New York Times loved this movie. Gotta hear both sides.)

Plot summary yoinked from Netflix: “In this musical mix of live action and animation featuring songs by the Beatles, Liverpool dock worker Jude falls for Lucy on an excursion to America in the 1960s. But when Lucy's brother is drafted, Jude and Lucy take a stand as anti-war activists.”

What I thought of the movie: I was not a fan. (I’M SORRY, MEG.) I didn’t hate everything about it: the lead actors were convincing, and many of the musical performances were good, although I disagree with Meg’s assertion that any reach the level of the originals. (To be fair, I can honestly only think of two Beatles covers that I’d rather listen to than the originals. The problem with covering a Beatles song is that it was originally done by the Beatles.)

I imagine that this is a problem I would have with any jukebox musical (I think this is the first one of them that I’ve experienced), but my primary issue with the movie was how it used the Beatles’ songs. The characters in the movie get their names from Beatles songs (Jude, Lucy, Prudence, Sadie, etc.), and that’s fine. but I hated seeing the songs shoehorned in to fit the movie’s particular theme and plot and characters. For example, the movie’s version of “I Wanna Hold Your Hand,” the most ecstatic song I’ve ever heard, was a dour, downtempo dirge, sung by a lovesick cheerleader to the object of her unrequited affection.

Now maybe I’m being too precious about this stuff; maybe I’m too unwilling to see the Beatles’ music recontextualized like this. Again, this might be a jukebox musical problem and not just an Across the Universe problem, but the way that the movie overly literalized the lyrics of the songs drove me crazy. This was less of a problem for the Beatles’ early songs, as the film's renditions, with the notable exception of “I Wanna Hold Your Hand,” reflected the pure, unbridled joy of those songs. (A goofy take on “I’ve Just Seen a Face,” set in a bowling alley, was probably my favorite number in the movie. I’ll even excuse its similarity to that one trippy scene from The Big Lebowski.)

The late-period songs, however, were usually mined for any vague relationship they might have to Big Social Issues. We see “I Want You (She’s So Heavy)” menacingly sung by a cartoon Uncle Sam poster and an army of grotesquely masked soldiers to a group of reluctant draftees, who eventually carry the Statue of Liberty on their backs through the Vietnamese jungle. She’s so heavy, indeed. It’s a well-choreographed, intricate musical number that I found nearly unwatchable. That’s one of the more cryptic songs in the Beatles canon (both lyrically and musically), and the movie makes the fatal mistake of trying to interpret it. So many songs are like this: the subtext becomes text, and while it looks pretty enough, it doesn’t have any depth. It’s like reading something that’s been translated to another language and then back to English again.

The Beatles were kaleidoscopic in their range; their music speaks to us today as clearly as it did when it was written, if not more so. And the movie turns their songs into a Soundtrack to the Sixties. “Let It Be” as an emotional funeral song for a Vietnam soldier and a black youth killed in the Detroit riots, sung with the help of a gospel choir; “Revolution” as a scathing tell-off to a bunch of anti-war protesters. It's not that these are necessarily the wrong interpretations of the songs, it’s just reductive, and it implicitly argues that the Beatles were primarily a political band, when they weren't. The thought of this movie being some kid’s introduction to the Beatles is deeply troubling to me. (Especially when movies like A Hard Day’s Night and Help! exist.)

Minor things got my goat as well. Occasionally the movie will make cheeky nods at Beatles lyrics in the dialogue. These nods were fairly groan-inducing. An old man, to an ambitious young man who wants to leave his hometown: “I felt the same at your age. I thought to myself, when I’m sixty-four, I’ll be long gone from this place.” Did you guys hear that? He said the name of a Beatles song! Later, a female character comes in to an apartment through the bathroom window, immediately followed by this exchange: “Where’d she come from?” “She came in through the bathroom window.” SMH.

If nothing else, the movie is fun to look at, has a positive message, and depicts young love in an exciting, engaging way. Evan Rachel Wood and Jim Sturgess act well and sing well and look pretty together. And the choreography, as is to be expected from a Julie Taymor joint, is bright and wild and edgy.

But I think I feel about this movie the way I feel about song covers in general. Great song covers transform the source material; they sound distinct and urgent and essential. A good cover feels like it demands to have been made. At no point did Across the Universe feel essential, like it demanded to have been made. Honestly, it’s hard to imagine any version of this movie that I would have liked. Maybe that’s my fault, maybe that’s the movie’s fault. But I feel like it’s not entirely my fault.

Am I happy I took Meg’s recommendation? I’d have preferred The Guest. (SORRY AGAIN.)

What’s next?

UPDATE: The OHS English department's strangehold over the blog continues apace, as Lindsay McCullough's weird Hungarian film Taxidermia wins. (Unless I can't find it. Stay tuned.)

UPDATE TO THE UPDATE: Taxidermia was indeed unfindable. Per the blog rules, Lindsay has provided a backup recommendation, the French musical The Umbrellas of Cherbourg. Lindsay submitted this recommendation by using its original French title, Les Parapluies de Cherbourg, because she is v cultured.

RECOMMENDATIONS
1. The Babadook (Alexis Hipp)
2. Goodbye to Language (Micah Lubens)
3. Stay (John Frascella)
4. The Eiger Sanction (Carson Miller)
5. A Funny Thing Happened on the Way to the Forum (Zehava Robbins)
6. Beasts of No Nation (Pat Ambrosio)
7. Equilibrium (Steve Isaac)
8. Taxidermia The Umbrellas of Cherbourg (Lindsay McCullough)
9. The Worst Witch (Katie Hovanec)
10. The Holy Mountain (Zach Gibson)
11. Oldboy (Molly Brady)
12. The Pest (Brendan Hunt)
13. Pokemon: The First Movie: Mewtwo Strikes Back (Evan Chiacchiaro)

Friday, October 9, 2015

30. About Time

The movie: About Time (Richard Curtis, 2013)

Have I seen this movie before? No.

How I saw it: DVD (via Netflix)

The recommender: Leah Isaac.

The rationale: I trudged through this movie with a friend when it was on HBO. When I saw my Dad the next day, he said, "I watched a really bad movie yesterday," and I knew he was referring to About Time. The writers of this movie weren't sure what genre they were going for, so they throw in relationships they don't establish enough for you to care about and supremely lax time-travel rules. Also Rachel McAdams as a self-conscious manic pixie dream girl is a BOLD choice, as she's the most perfect. It's definitely not the worst movie ever, but you'll spend most of it going, "...Wait, what? Why would he do that? What is happening?"

My familiarity with this movie: This is the second TMQ movie with a lazy, time-related title. “What is this movie gonna be about? Time? Boom, title.”

I feel like I’ve seen this movie before, in that I have seen The Time Traveler’s Wife. I’m sure that the two movies are actually quite different, but they both feature Rachel McAdams as the significant other of a time traveler. That’s so bizarre. Maybe this is a hidden trend in all of her movies. Maybe Aaron Samuels was a time traveler, too, and that’s why he didn’t know what day it was. (SPOILER ALERT: It was October 3rd.)

Speaking of bizarre: I famously watched The Time Traveler’s Wife for my former blog with Steve Isaac, Leah’s brother and the man who recommended both Dunston Checks In and The Stupids for this blog. (Steve and I are no longer on speaking terms.) Before watching that film, Steve and I tried to figure out the IMDb plot summary:



Heres hoping this movie is considerably more scrutable.

Plot summary yoinked from Netflix: “A young man who comes from a family of time-travelers changes history for the better in this romantic comedy from director Richard Curtis. During one of his trips to the past, he falls for a woman played by Rachel McAdams.”

What I thought of the movie: It was... fine. It was reasonably amusing, the main actors (McAdams and new Star Wars dude Domhnall Gleeson) are quite good, and it didn’t make me continuously angry. That is the bar for this blog now: “not continuously angry.”

The most annoying thing about the movie, as Leah points out, is that the time travel rules are v v lax. Devotees of the blog will no doubt be aware of my love for rules, especially time travel rules. This movie might have the worst (or at least the most inconsistently applied) set of ‘em that I can recall. It establishes the rules at the beginning, and they're kind of charming in their simplicity -- only the men in the family can travel through time (Ban Men), they can’t do it for monetary gain (because the movie didn’t want to deal with a whole sports almanac subplot), and they can only travel to their own past (but then they can go back to where they were when they first went back, apparently). The movie kind of follows these rules, but also adds new ones pretty much whenever it wants to. 

For example: At one point, it seems like Domhnall Gleeson can only travel back in time once per event, creating an actual conflict, but then he does it multiple times to fix things that went wrong, which made me yell, “WHY DIDN’T YOU DO THIS EARLIER, YOU IDIOT” alone in my house. I got caught between saying to myself, “oh forget it, it’s a light romantic comedy, don’t get mad,” and “yes yes but what the hell is going on and why did they just mention this one very important thing RIGHT NOW instead of MUCH EARLIER when it would have been more helpful, these are the most haphazard time travelers ever.”

It just feels very much like Richard Curtis was making this up as he went along, and that all the curveballs he throws at us are so thrown entirely to make this movie a better romantic comedy. I’d criticize it for being unrealistic, but then I’d recall that Richard Curtis made one of the most unrealistic, outlandish movies I’ve ever seen, and that was a movie that was literally just about how we should all love each other. And this movie is about TIME TRAVEL. As with The Stupids, I only have myself to blame here.

I alluded to this earlier, but the actual, non-trivial problem here is that the movie has no stakes whatsoever. (SEMI-SPOILER ALERT:) After they get together, the central couple is in no danger of ever breaking up, which I actually dont mind, necessarily. Too many movies throw silly obstacles at couples that we know are going to end up together, and so the fact that this movie doesn’t do that is actually kind of refreshing. But the conflicts that take the place of “will they live happily ever after?” are either insubstantial, or blunted by the capriciousness of the time travel rules, or both. There are ample opportunities for more conflict, too: for example, at no point does Gleeson tell McAdams that he can time travel (or, if he does, we never see it). That is MIND-BOGGLING, when you think about it. And so there aren't any stakes, which means we’re never really invested in the movie. We just kind of watch it go by, and we smile every now and again, and then it’s over.

But that’s kind of enough, I guess? Its a not-unpleasant experience. Richard Curtis makes all his characters talk the same, and as with Woody Allen or Aaron Sorkin (although not nearly on that same level), I don’t really mind all that much, because they’re fun to listen to. Gleeson is really terrific, and McAdams, as always, is great despite her character being unbelievable. It’s a trifle, and it know it’s a trifle, and I am trying not to judge it too harshly for that reason. I’m trying to be better about this stuff.

Am I happy I took Leah’s recommendation? Even though she made me watch this because she didn’t like it, Leah is still tied atop the Isaac family power rankings. (Every Isaac other than Steve is tied for first. Steve is in last.)

What’s next?

UPDATE: Meg Moran, one of the blog's most vociferous critics for its trashness (criticism, I should add, that is v much warranted), secures her second recommendation, Across the Universe. Will my praise of the film flow out like endless rain into a paper cup? STAY TUNED.

RECOMMENDATIONS
1. Goodbye to Language (Micah Lubens)
2. The Houses October Built (Alexis Hipp)
3. Baby Geniuses (Kate Meroski)
4. The Holy Mountain (Zach Gibson)
5. The Tree of Life (Amanda Uhme)
6. Across the Universe (Meg Moran)
7. Burn After Reading (Maggie LeGendre)
8. A Serious Man (Steve Isaac)
9. The Drop (John Frascella)
10. The Worst Witch (Katie Hovanec)

Friday, October 2, 2015

29. The Stupids

The movie: The Stupids (John Landis, 1996)

Have I seen this movie before? No.


The recommender: Steve Isaac (previously recommended Dunston Checks In)

The rationale: For some reason, with the exception of myself and perhaps Mr. Foox (I hope Hypercube is next), people seem to want John to watch movies that they either like or at least want to talk about. It’s a great way to engage your community! “Pick something you love and I will watch it and then we can explore that shared experience.” My motivation is to torture John. It's not that I don't like The Stupids. I LOVE The Stupids. I just think John will hate it so much. It is meaningless and inane and strange for no reason. It is a movie about a stupid family named Stupid and, likely because of this, it is a stupid movie. It isn't poorly made or poorly cast. The writing is fair. But it is stupid and I want John to have to sit through it.

My familiarity with this movie: I don’t want to talk about this for one second longer than I have to.

Plot summary yoinked from Netflix: “Obsessed with who's ‘stealing’ his garbage each week, Stanley, the patriarch of the Stupids, inadvertently bumbles onto a covert military plan involving arms shipments to terrorists, and is soon targeted for assassination.”

What I thought of the movie: On Wednesday evening, I went over to Steve’s apartment to watch the film with him, before FsOTB Micah Lubens and Lorna Mulvaney arrived to watch Survivor. (Say what you will about Steve’s recommendations, and Lord knows I have, but at least he’s been willing to subject himself to both of his own choices. Also, Steve loves Survivor. I’ve decided to find it charming.)

I had so many questions for Steve before we started the film. These questions included: Why was he doing this to me? What had I done to deserve this? Was our friendship actually just an elaborate piece of performance art, not unlike the plot of Neil LaBute’s The Shape of Things? I finally just asked: “Why is the family’s last name Stupid?” “Why indeed, John,” he replied, sagely. “Why indeed.”

We watched the first twenty minutes or so. It was bad. Deliberately bad. The bit is that they’re stupid, you see, and due to their stupidity, they do stupid things. You’re supposed to laugh at how silly and stupid they are. I did not laugh once. Steve, who would go on to contradict his own rationale and describe the movie as “pretty unwatchable,” did not laugh once. After a few terrible bits, I looked over to him, with real pain and sorrow in my eyes, and said, “Why, Steve? Why?” So it was going well.

And then Steve went to the window, looked down at the street below, and said, “Dude, I think someone hit your car.”

I’d parked directly in front of Steve’s building, and when I looked down from Steve’s fifth-floor window, I couldn’t really tell, but I knew something was up: a few cars, including a police car, were stopped in the road, really close to where I'd parked. We ran downstairs and, sure enough, there’d been a crash involving two other cars and I’d been sideswiped. (Everyone was unhurt in the crash, and my car had just a scratch, BTW.) But by the time I’d exchanged my information with all the involved parties, Micah and Lorna had arrived, and it was time to watch Survivor. The remainder of The Stupids would have to be put on hold until Thursday, and I’d be watching it on my own.

I am not a good enough writer to express to all of you how hard it was for me to continue watching this movie the day after I'd started it. I honestly don't know how I did it. It took every ounce of willpower I have to not just pretend that I'd seen the rest of it. But I did it. I picked up right where Steve and I had left off and I watched the rest of it.

My favorite show on TV at the moment is Review. It stars Andy Daly as Forrest MacNeil, a reviewer of life experiences who, despite a host of setbacks, maintains a fanatical, never-fully-explained commitment to his job. The character is, essentially, a prisoner to his own idea, and the show is willing to go to incredibly dark places to illustrate just how mad the whole enterprise is. It's an unbelievable show, and those of you who watch it will fully understand just how troubling what I'm about to say is: I’ve started to relate to Forrest MacNeil.

Anyway. I might as well tell you that the "plot” involves a father, mother, son, and daughter bumbling their collective way through life, not understanding basic concepts like trash removal and elevators, and somehow emerging unscathed at the end. It’s a one-joke film, and the joke isn’t even a joke. (I guess it’s meant to be aimed at kids, but the thought that kids might actually enjoy it makes me not want to have kids.) And it contains some completely inexplicable elements, like an anthropomorphic claymation cat and dog that appear for about one minute each, for no discernible reason, and aliens that appear for about thirty seconds as part of one, tiny, throwaway bit. If the writers of this movie were not on drugs when they wrote it, I sincerely hope they’ve since been locked away for good.

Earlier this week, I watched The Last Waltz, one of the great concert films of all time. It documents the final concert of The Band, a concert that featured several legendary musical guests, including Bob Dylan, Van Morrison, and Joni Mitchell. The Last Waltz includes my favorite musical performance ever captured on film, this version of “The Weight."



Last night, I watched Tom Arnold sing a song called “I’m My Own Grandpa.”



(It’s important to note that that song is, without question, the best part of the movie.)

Look, I’ve tried to avoid saying this word so far, but I just can’t avoid it any longer: this movie is so stupid. So, so, so stupid. It's soul-crushingly, mind-numbingly, nearly-intolerably stupid. And perhaps the most infuriating thing of all time is that the movie has a built-in defense against this criticism: it’s in the title. You knew it was gonna be stupid going into it, so now who's the stupid one? It is the movie equivalent of “I know you are, but what am I?”

I really don’t know what else to say. I believe I am a worse person for having watched The Stupids. It was a singularly depressing experience that has made me reconsider both the mission of this blog and my relationship with Steve, who has been a close friend of mine for eight years. Someone hit my car while I was watching the movie, and I wasn't even that upset: I was relieved that we had to stop the movie to deal with it. This movie made me feel relieved that someone hit my car.

Am I happy I took Steve’s recommendation? Let me repeat that: This movie made me feel relieved that someone hit my car.

What’s next?

UPDATE: The Isaac train rolls on, as Steve's twin sister Leah's suggestion of About Time wins. Note from Leah's comment that she, like her brother, chose this movie to torture me. The Isaac family has a vendetta against me. I am now very worried about my fantasy football matchup against Steve's father this weekend.

RECOMMENDATIONS

1. Goodbye to Language (Micah Lubens)
2. One Direction: Where We Are - The Concert Film (Lindsay Filardo)
3. Stay (John Frascella)
4. Cube 2: Hypercube (Jon Foox)
5. Drumline (Pat Ambrosio)
6. The Holy Mountain (Zach Gibson)
7. Creep (Tony Krizel)
8. The Cat in the Hat (Katie Ross)
9. About Time (Leah Isaac)
10. Cube 2: Hypercube (Steve Isaac)
11. Across the Universe (Meg Moran)