Austin animator Don Hertzfeldt’s phenomenal sci-fi short film “World of Tomorrow” is now available for rental on Vimeo.
The winner of the Grand Jury prize at Sundance, best animated short at SXSW, best animated short at the Omaha Film Festival, an audience award at Glasgow Short Film Festival and special jury mention at the Regard Short Film Festival, “World of Tomorrow” is a 16 minute wonder about a little girl named Emily
Emily — played by Hetzfeltdt’s then-four year old niece Winona — receives a very special message from a relative who takes Emily on a tour of our world several hundred years hence. (“You cannot direct a four year old,” Hertzfeldt wrote in an essay about the movie on his website bitterfilms.com. “You cannot even expect a four year old to recite lines back at you. You just sort of have to let the four year old happen.”)
British animator Julia Pott in her first acting role, plays the other character, also named Emily.
Hertzfeldt is an Oscar nominee whose animated films include “It’s Such a Beautiful Day,” “The Meaning of Life,” “Billy’s Balloon,” and “Rejected.” He is the only filmmaker to have won the overall Grand Jury Prize for Short Film twice. “Beautiful Day,” his first feature film, made it on to a mess of 2012 year-end lists.
Also shouted out: Woody Allen’s “Irrational Man,” starring Joaquin Phoenix and Emma Stone, Disney/Pixar’s amazing-looking “Inside Out,” George Miller’s amazing-looking-in-a-different-way “Mad Max: Fury Road,” starring Tom Hardy and Charlize Theron and Todd Haynes’ “Carol,” with Cate Blanchett and Rooney Mara.
The Paramount Theatre will host a free 80th anniversary screening of the Marx Brothers’ “A Night at the Opera” at 7:30 p.m. Wednesday, April 1.
As many of you know, “A Night” is considered to be one of the best Marx Brothers films, and its screening is part of a yearlong series of events being hosted by the Paramount to celebrate the theater’s 100th birthday.
The evening will be hosted by Austin comedian Mike MacRae, who will be a part of the Moontower Comedy & Oddity Festival.
Doors open at 6:30 p.m., with the film starting an hour later.
To Beach Boys guru Brian Wilson, “they were the ones with all the spirit and all the know-how.” To Nancy Sinatra, they were “unsung heroes,” to Herb Alpert, “an established groove machine.” And to celebrated songwriter Jimmy Webb, they were simply “stone cold rock and roll professionals.”
If the history of rock music means anything to you, you know the individuals in question could only be the Wrecking Crew, a legendary group of Los Angeles-based studio musicians, and though their story has taken decades to reach the screen, it has been worth the wait.
Do you ever wonder what would happen if you just let go? If you sought vengeance for the everyday slights and humiliations? If you finally went ballistic over injustice and crossed the line from civilization to barbarism? We see some examples of these kinds of reactions in what we call terrorism, usually involving religious and political fervor. But let’s focus on the everyday world instead — irritating drivers, unfaithful spouses, predatory car-towing companies.
“Wild Tales,” the Oscar-nominated movie from Argentine director Damián Szifron, plays like a series of short stories as it delves into characters who finally give in to their rage. As you might expect, it doesn’t always end well.
As much a tribute to the Coen brothers in general as a literal response to one of their movies, “Kumiko, the Treasure Hunter,” a cool and ambitious slice of weird from Austin’s own Zellner brothers, works best as pure fairy tale, a quest to find a fortune that the audiences knows doesn’t actually exist.
Will Ferrell has built his film career on being an everyman (“Old School”) or a naïf devoid of self-consciousness (“Elf,” “Anchorman,” “Talladega Nights,” this list goes on).
In Etan Cohen’s “Get Hard,” Ferrell goes with the latter, but adds a patina of ultra-rich entitlement as investment banker James King. King lives in a Bel Air mansion and is the sort who does naked stretches in front of the mortified help. In spite of an age difference that might make a few audience members mumble, “Wait, what?,” King is about to marry his boss’ rich-kid daughter (Alison Brie; her dad is Craig T. Nelson).