ZOO
ZOO, the controversial new documentary about stallions and the men who love them (and not in that Disney, MY FRIEND FLICKA sort of way) takes an unpalatable story and transforms it into a fable that is as pretty as it is boring.
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Thor Equities recently announced that the summer 2007 would be the last summer for Astroland, the amusement park located at Coney Island. Strange Duck is dedicated to documenting the park and Coney Island in its final season as part of a larger project. The following video is a series of rushes. Strange Duck looks forward to expanding its coverage of the park during its final season.
This week, Strange Duck was invited to be the guest blogger for the music blog of THIS AMERICAN LIFE.
Read Strange Duck's article here
THE TV SET
THE TV SET is yet another entertainment industry satire written and directed by yet another industry insider (in this case, Jake Kasdan, director of the beloved television show FREAKS AND GEEKS). But luckily for us, THE TV SET is more than just another addition to a genre that has grown staler than Sunday night’s episode of ENTOURAGE. It lands a solid triple axel: it is funny and touching without being precious.
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THE WIND THAT SHAKES THE BARLEY, winner of the Palme d’Or at the Cannes film festival, begins innocuously: a group of young men play field hockey, slapping each on the back after a good play. The familiar green hills of Ireland roll picturesquely in the background. Nothing in the opening scene portends the violence that will shape each of these young men into revolutionaries.
But this is 1920s Ireland, a place infested by violence, and before we have even had time to distinguish between the young men, one of them is already dead, killed by British soldiers in front of his grandmother, his mother and his sister for nothing more than refusing to say his name.
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HISTORY BOYS
Playwrights are luckier than screenwriters in at least one respect: their only limits are the limits of the audience’s imagination. How they must pity the poor screenwriter, who writes knowing that if he writes about an office, his story will look like an office. In the film adaptation of the wildly successful play HISTORY BOYS, Alan Bennett the screenwriter never quite figures out how to deal with the location selected by Alan Bennett the playwright.
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