Darren Aronofsky’s The Fountain is a film that has been long in the making. Bringing this existential epic from script to screen took more than six years and was a personal obsession for the director who launched his career with Pi at the Sundance Film Festival in 1998. Brad Pitt was so moved by the screenplay, he broke down and cried after getting to page 40 when he called Aronofsky to say that he was definitely “in.”

After scheduling conflicts and delays, Pitt was out and the movie in limbo. With the fate of the film unknown, Warner Bros. enticed the director with other projects to helm including Batman, but Aronofsky remained steadfast in his intention to make The Fountain. Once imagined as a nearly $100 million dollar epic spanning thousands of years, Aronofsky downsized the project to a modest $35 million dollar studio film to get it to the screen—Hugh Jackman came aboard to star alongside Aronofsky’s love in real-life Rachel Weisz and the film was a “go.” The kind of struggle to get a film as unclassifiable as this one to the screen always says something about the creative minds who will not give up on bringing their ideas into reality. And the reactions, as one might expect, have been mixed. (Read on, but be warned—SPOILER: You will die.)


...what is most interesting is not the “story” but the subtext...

Perhaps you’ve read reviews that have attempted to explain the movie’s plot describing it as “...three parallel stories about love, death, spirituality, and the fragility of existence as told through the odyssey taken on by one man in his thousand-year struggle to save the woman he loves.” Sure, it’s about that and much more. But taking a step back from the surface level story synopsis put forth by the studio marketing department, what is most interesting is not the “story” but the subtext and, more importantly, the reactions to the journey by viewers. Some say the film is difficult to understand as Aronofsky tells his non-linear story, sometimes bouncing between the three time periods within the same scene, but for me, it worked. It’s also the kind of movie that requires a second viewing to get the most out of it. The last movie that I felt required this attention was Eternal Sunshine of the Spotless Mind—a movie whose story unfolds backwards.


Aronofsky tells his non-linear story, sometimes bouncing between the three time periods within the same scene...

For myself, I was moved. Put simply, the film is about the acceptance of death and reaching a place where one can think of death as an act of creation, not destruction. Tomas/Tommy/Bald-Future-Yoga-Man (Hugh Jackman) will not accept death and works tirelessly in all three parallel stories to conquer it. Isabel/Izzi/Tree-Woman (Rachel Weisz) has come to terms with death as she accepts her own. We experience the film through the eyes of Tom as he finally learns to accept his own death, becoming one with the universe. It’s somber, odd, engaging, beautiful, and it’s the one film I’ve seen this year that moved me to tears. Call me a sap, but it wasn’t just the experience, but that so rarely does a film as unique as this one come along. But how could anyone be surprised coming from the director behind Pi and Requiem for a Dream?

And my interpretation of the film is the right one…for me. While we all have different reactions to movies based on our experiences, The Fountain is one of those rare movies that acts as a cinematic Rorschach test saying volumes about the individual based on their response. And the experience and each individuals’ reactions to it, no matter how vastly different, are all completely valid.


It's not about medical experiments, conquistadors, life-giving trees or monkeys.

When I discuss movies with friends and colleagues, there’s a consensus measurable on a scale of brilliant to crap, and there is generally agreement about where most films fall on this scale. But The Fountain transcends this as the reactions are so across the board, more than any other film in recent memory. Some say they “love it” while others say they “hate it.” I’m most interested in the opinions of those who disliked it. A good friend well-versed in film was captivated by the imagery but was confused by the subplot involving the use of experimental compounds on monkeys. That plot thread completely threw him off the underlying themes. He was as confounded as the character of Tommy in the film—so driven in his work-life that he fails to notice the importance of life’s moments in the present. And that reaction is completely valid. Having seen The Fountain more than four times now (yes, I get that way when I see a film I truly love) I imagine that my own feelings about it will alter as I see it differently based on where I’m at in my own spiritual growth.


Put simply, the film is about the acceptance of death...

So, I hope that others will be open to experiencing The Fountain multiple times as they struggle to unravel the message(s) they discover for themselves. The benefit is that, along the way, you may find yourself gaining more than just an understanding of a movie, but of yourself.

Gore gone.

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and plans to see The Fountain again.

One wouldn’t think there would be much to discuss after seeing a raunchy comedy, but Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan is not your typical comedy. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan will not only leave viewers with stomach pain from laughter, but there are many social issues worthy of conversation, as well as a number of lessons to be learned by film’s the hype and inevitable success. (Hey, I get paid by the word, so each time I mention the title, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, that’s an extra 12 words that gets added to this story.)


Rather than hit you over the head with a diatribe about how Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan is effectively a fish-out-of-water tale mocking the ugly American, I’d just like to point out some observations you’re not likely to read in any other coverage of the movie.


Real People VS. Actors
There’s no better acting than reality in which no acting is involved. Borat’s original director Todd Phillips left the project when a shoot at a rodeo in Salem, VA ended in chaos that nearly turned violent. It was then that Borat actor-creator-star Sacha Baron Cohen chose to pair the film crew down to a miniscule level which further helped to sell the reality of the film’s story – a foreigner documenting his travels across America. The astonished reactions of the real people within the film transcend typical acting from comic actors where we know it’s fake. Lesson: Real is funnier.


Yakov Regrets Not Wrestling Men in the Nude
Russian comedian Yakov Smirnoff must really be wishing that he thought about wrestling a naked man 20 years ago. (It’s a scene that I won’t ruin, but it provides perhaps the biggest laughs in the movie.) You might remember Yakov as the guy who would say, “What a country?!” Or you might not. In fact, almost no one remembers, but the roots of Borat’s character are clearly influenced by the same type of comedy done by Yakov. Well, if you add racism and sexism done in a way that works. Lesson: Female nudity is sexy, but male nudity is funny.


Borat could have been unfunny like The Terminal
There was a Steven Spielberg film starring Tom Hanks released in 2004 called The Terminal which is painfully unfunny. Hanks stars as Viktor Navorski who is a foreigner with an accent much like Borat’s. Viktor is trapped at an airport when his fictional country of Krakozhia is overthrown. The comedy is forced and the humor is painful. This cliché by-the-numbers-tug-at-your-heart-strings picture excited, well, no one. Sacha Cohen learned a painful lesson when his Ali G character was forced into a traditional narrative feature script and like a square peg being jammed into a round hole, the result was ugly. And definitely not funny. For Borat, Coen went scriptless and the result is more true to the character. Lesson: Throw away the script. For some films, a script should come in outline form only.


Shoot the Sequel Yesterday
Sacha “Borat” Cohen’s recent whirlwind press tour and the release of the film itself will effectively kill any chance that there could ever be a Borat sequel. The comedy in the film is based on the innocent bystander’s ignorance that Borat is an actor playing a character and not a real foreigner promoting offensive beliefs. Now that everyone knows the gag, Cohen would have to travel to uncharted regions of America in order to find someone unaware of his movie. Lesson: If it looks like a hit, shoot the sequel before the first movie hits theaters.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and one day hopes to travel to Kazakhstan to meet Borat's sister.

I am sick of this motherfucking hype on this motherfucking internet!

If you’re like me, that’s what you were screaming every day back in June whenever Snakes on a Plane was mentioned. New Line Cinema’s Snakes (or SOAP for some of you web hipsters) barely made the number one spot with a disappointing $15 million in its first weekend of release. Only days before, industry experts were predicting an easy win with a $30 million dollar opening due to the colossal internet buzz. Now, I am personally not a fan of “boxoffice talk” – basing the merits of a film entirely on how much money it generates. I believe there are more important things to consider when evaluating the success of a movie. I can name plenty of truly awful films that were, “The number one movie at the boxoffice,” many of which you would not even remember. While a list of number-one-at-the-boxoffice-turds would be too large to compile here, some that come to mind include (I’m kidding, none of these came to mind, I had to do some research) Message in a Bottle, Hide and Seek, The Watcher, Just Like Heaven, Flubber, Driven, The Wedding Planner, Beverly Hills Ninja, and Patch Adams. Do any of these ring a bell? Do you recognize any great films among this group? C’mon, these are all number one movies… yeah.

So, anyway, I seemed to be the only one who found it odd that there could be fans of a movie that had not yet been seen. Internet hype drove the perception that Snakes would go down as a “cult favorite.” And the studio bought into this by capitalizing on its strange cult status. So, in the aftermath of the Snakes web hype fizzle and boxoffice bomb, what have we learned? While I’ve heard many reasons for the supposed failure of Snakes, to me it's very clear: A “cult classic” cannot be created.

Cult films cannot be manufactured.
Cult films cannot be marketed.
Cult films cannot be hyped.
Cult films cannot be forced down audiences retinas.

By its very title, Snakes on a Plane was positioned as cult with a helping of kitsch. This is something you just can’t produce by slapping a quote on a poster that reads: “Destined to be a cult classic.” It comes off as contrived, which it was. The fickle movie-going public (which is not necessarily comprised of film fanatical web freaks) saw the film for what it was – a bad B-movie and nothing more. It was designed to be bad and it succeeded. And since there is such a thing as a “good” bad movie, on this level, Snakes fit the bill perfectly. I personally found Snakes to be a lot of fun. It’s the kind of cheesy flick you’d be perfectly satisfied to see on DVD, or for me, at the drive-in. But a Cult classic?

For a film to truly earn the moniker of “Cult” with a capital “C,” the following rules must apply:

- A Cult film must be discovered. This can happen at a film festival or at the drive-in or at an arthouse theater or at the video store or on a bootleg video or maybe even on the internet sometime soon, but generally not in wide release at a multiplex. Y’know, like Todd Haynes’ Superstar: The Karen Carpenter Story, which can only be obtained as a bootleg. (Or it can be seen here online.)

- A Cult film must shun mainstream audiences by avoiding the trappings of mass appeal. Y’know, like George A. Romero’s original Dawn of the Dead which was released unrated and was only seen at urban and porn theaters since regular theaters refused to screen it.

- A Cult film must create controversy with regard to ratings or, at the very least, it must cause some trouble. Y’know, like Terry Gilliam’s Brazil, which was recut by the studio and dumped with a limited release.

- A Cult film must be made by fearless filmmakers who are not afraid to offend the general public’s sensibilities. Y’know, like John Waters’ Pink Flamingos, in which drag queen Divine devours fresh poodle poop in one glorious, uninterrupted take. Or John Waters’ Female Trouble in which Divine attempts to kill her family on Christmas. Or John Waters’ Desperate Living in which lesbian wrestlers, well, you get the picture.

- A Cult film must have at least some of the following elements: blood, nudity, sex, bad acting, and bizarre violence rarely witnessed at the movies or even in the history of humanity. Y’know, like seeing a head ripped off, kicked into the street and then taken to a pawn shop, like in David Lynch’s Eraserhead.

- A Cult film must have quotable dialog. This is important since the quote can be used as a barometer to test the coolness of potential friends and lovers. In an everyday conversation, I might say something like, “Look at ‘em, ordinary fucking people, I hate ‘em.” If you know what movie I’m talking about, then we can definitely hang. (Hint: Harry Dean Stanton said this.)

- A Cult film must provide laughs in a non-traditional way and sometimes, unintentional way. Y’know, like Harold and Maude in which suicide attempts become a laugh riot. Or like Showgirls where the unintentional hilarity stems from the earnestness of the story.

- A Cult film must be bad in a good way. Y’know, like Ed Wood’s Plan 9 from Outer Space.

- A Cult film must be initially hated by critics and then hailed by critics who change their minds years later when they finally admit that they “get it.” Y’know, like the 1932 version of Freaks by Tod Browning.

- A Cult film must be difficult to sell, to classify or sometimes even difficult to describe. Y’know like The Big Lebowski, which is about this weird guy and he has a rug and these other guys pee on it and he goes bowling with his friends and he smokes some pot and then, uh… never mind.

- A Cult film must endure the test of time and find its audience years after its original release. If you see it on the shelf at a video store more than 10 years after it first came out and it still seems like a cool movie worth seeing, then that film's Cult status has been earned. Y’know, like The Warriors from 1979, which was recently immortalized as a video game.

- And, most importantly, a Cult film must be considered a failure upon its initial release. Y’know, like Repo Man.

By fulfilling most of these terms, Snakes on a Plane could indeed become a real Cult classic. But only time (and maybe DVD sales) will tell.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and is hoping his own film, My Big Fat Independent Movie, becomes a Cult classic.

We're so spoiled now. We’re all just one click of a mouse away from viewing a bevy of beautiful babes on our computers. (Especially here on Suicide Girls!) But imagine a time when skirts were long, skin was hidden and catching even a glimpse of the forbidden female form was nearly impossible. There’s always a certain amount of struggle involved in a young boy’s pursuit to see a naked woman for the first time. In the 1950s it was really tough since there was no such thing as cable TV or Internet or easily attainable dime store girlie rags. But there was Bridget Bardot.


...actress, sex kitten, and international icon, Bardot was also a savior.

And this girl aimed to please. She was not only an alluring accomplished actress, sex kitten, and international icon, Bardot was also a savior. Her bigger than life performances in films like “The Night Heaven Fell,” were a lifesaver to boys growing up in the 1950s.

Bardot was one of the very first women to bare all in mainstream films. Well, foreign films anyway. She is nude in several scenes in "Night" providing more than enough masturbation material for even the most demanding young male. I admire the boys who went to great lengths to see an arthouse movie in the fifties, just to see a naked Brigitte Bardot. Think of what these boys had to go through in their quest to cast their eyes upon Bardot’s holy naked visage. The sacrifices made by these kids who had to suffer through love scenes, subtitles and melodrama just to see that rare glimpse of nudity is admirable. These boys also had to work very hard to imprint this image in their mind so when they were alone, that totally nude Bardot dancing in their brain paved the way for a perfect evening. Bardot’s image burned into their memory became their salvation in times of need. “The Night Heaven Fell” is a reminder that kids in those days had it rough.


...she simply oozed sex.

Bardot became an international star with the 1956 worldwide release of “…And God Created Woman” in which she simply oozed sex. “The Night Heaven Fell” was her third collaboration with then-husband Roger Vadim. “Heaven” is campy melodrama in prime form. Bardot’s character Ursula may seem innocent, but she’s just as sexy as her turn as a bed-hopping bachelorette in “God.” The 1958 film featured a soap opera plot like many films of the period. Bardot falls madly in love with the exotic Spaniard Lamberto (Stephen Boyd) who tragically murders her uncle. In a strangely dramatic, though not surprising turn of events, Bardot’s aunt (Alida Valli) also confesses her love for Lamberto. And what’s a great melodrama without a pet pig? When the two lovers live on the lam in the town’s surrounding caves, Bardot pleads for the life of her precious little piggy when Lamberto endeavors to eat the swine. “Heaven” is textbook melodrama, as entertaining as it is unbelievable. And even worse for those unaccustomed to foreign films, the movie is in French with English subtitles. All this adds up to a film that would appeal to young boys about as much as taking a bath or using soap for mouthwash. “Heaven’s” saving grace is Bardot’s breasts. Well and her bare back, behind, long legs, tight tummy, the whole package! There is something nostalgic about seeing Bardot in all her splendor without a stitch of clothing. It’s reminiscent of a time when a naked back or thigh was considered taboo. And that rare sight was enough to drive a young boy into a frenzy. Or at least prop him up on his bed like a bicycle with a kickstand.


Happy B-Day BB! September 28th, 72 years young.

I really do wish I could erase the sight of all the naked beauties I’ve seen in my time. Delete all those erotic movie moments from my mind if only to experience the thrill of the first time my eyes gazed upon a bare-breasted Bardot. Seeing films like “Heaven” again is a simple reminder that the first time is truly the best. And I’m glad I had my first with Bardot. Well, at least in the not-so-innocence of my overactive boyhood imagination.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and would some day like to visit a nude beach.

The heart of the entertainment business is in Los Angeles where movie-going is not just a habit, but a religion. Today’s movie theaters are facing perhaps their greatest threat ever – your living room. As big screen HD TVs and surround sound systems become more common combined with DVDs of major releases hitting shelves within months of their theatrical runs, seeing a movie at home makes sense. In fact, a home theater is something even the average family can realistically afford. However, no 5.1 sound system or theater-buttered popcorn or authentic theater seats can replace a wildly enthusiastic (yet respectful) audience. It is the audience itself that makes the difference – sharing the thrills, the cheers and the tears with hundreds of strangers in a communal experience that is totally unique.
It should surprise no one that LA and its surrounding areas are home to some of the best movie theaters in the country.

The following recommendations provide not only state of the art projection and sound, but an undefinable mystique that make them the best places to go see a movie in Los Angeles, for both locals and visitors.

1. Arclight Hollywood
6360 Sunset Blvd, Hollywood, CA 90028. Call 323-464-4226
The ArcLight is a church where film fanatics come to worship. This theater may have been designed for film snobs, but it comes without the film elitism one would expect, just higher ticket prices to keep out the riff raff. ($14 bucks, which isn’t that bad.) And if you get your ArcLight card, your loyalty will earn free tickets and popcorn, balancing out the higher prices. The ArcLight is home to the Cinerama Dome, one of the largest screens in the city. In addition to superior projection and sound, the seating is assigned which means you can show up one minute before the lights dim and still have the best seat in the house even on a crowded Saturday night. I recommend showing up early, buying your tickets in advance, then grabbing drinks, dinner or appetizers in the restaurant located in the theater – your waiter will even take note of your screening time and get you to the movie without missing the trailers. Best yet, look for films playing at the “Black Box” theater – this screen is over 21 and features a full bar so you can see your favorites with your favorite adult beverage without having to sneak in the liquor. The ArcLight store contains the best of pop culture kitsch from books, t-shirts, magazines and plenty of unnecessaries to complete your gift-giving list. Across from indoor store you’ll see prop or costume displays for films currently playing, so you can marvel at original costumes and weaponry right up close. This is also the theater where filmmakers and celebrities of all kinds come to see films, their own and their peers. On a busy weekend, you’ll see stars not just on the screen, but probably in the seat next to you, so if you care about celebrity spotting, this is your place. The architecture is breathtaking and upon entering the lobby you’ll discover the best part – the vibe. You’ll feel as if you’ve gotten behind the velvet ropes of the hottest club and entered movie paradise. It’s that cool.

2. Mann's Chinese Theater
6925 Hollywood Blvd., Hollywood, CA 90028. Call 323-464-8111
The Chinese is a classic venue that is firmly a part of Hollywood history. Not just a movie theater, but a major tourist attraction with the hands and feet of major stars forever preserved in cement outside the venue. Where else can you compare your shoe size to that of Jack Nicholson or Darth Vader? The screen for the main theater is enormous and considering that films like Star Wars opened there on May 25th, 1977, it’s no wonder that the Chinese has become something of a pilgrimage for movie maniacs all over the world.
And don’t forget, that the Mann Chinese 6, a notable multiplex, located just upstairs from the classic.

3. Pacific Vineland Drive-In
443 North Vineland, City of Industry, CA 91715. Call 626-9619262
It’s like tailgating with movies! The only drive-in left in southern California boasts four screens of entertainment showing two movies each. Best yet, it’s very affordable as tickets are only $7 each, and that’s for two films. (Kids under 12 are free.) On weekends each screen has three showings, repeating the first film in the third slot (for example, shows are 8 PM, 10 PM and midnight), so if you’re smart, you can see three films for dirt cheap! Bring in your own refreshments and save a bundle, and you can fill that cooler with whatever you want. (I like beer myself. Uh, light beer.) For old times sake, sneak a friend in for free as he hides in the trunk. Make it a party by bringing all your tailgating supplies and don’t forget the lawn chairs with those convenient cup holders. The drive-in experience is quickly becoming lost to a generation, so you owe it to yourself to visit the Vineland.

4. Laemmle’s Sunset 5
8000 Sunset Blvd., Los Angeles, CA 90046. Call 323-848-3500
This arthouse venue screens films you would not see at any other theater. Films in limited release or hot off the festival circuit find a home at the Sunset 5. The filmmakers themselves will often attend the screenings, engaging in impromptu question and answer sessions. Once the film is over, you can enjoy all that Sunset Boulevard has to offer, and best yet, your parking is already validated.

5. Pacific Theatres at The Grove
189 The Grove Dr., Los Angeles, CA 90036. Call 323-692-0829
A gorgeous theater with stadium seating throughout located in a trendy outdoor shopping mall that even has a Mac store. Grab a bite at any of the fine restaurants before catching a film and you might even get to enjoy a free concert in the courtyard just outside the theater. The Grove also has something unique: self serve refreshments making lines move faster--and you can fill up your drinks as much as you’d like.

6. Mann Village Theatre
961 Broxton Ave., Los Angeles, CA 90024. Call 310-208-5576
The Village is set to become a future piece of entertainment industry history as the venue plays host to some of the biggest red carpet premieres in Hollywood. (However, this theater is technically located in Westwood.) A Saturday night screening at the Village attracts a dedicated audience of film freaks, so much so that the studios will use the venue as a place to test out reactions to new movie trailers. The enormous screen will have you looking for a seat in the balcony just to take it all in.

7. El Capitan
6838 Hollywood Blvd., Los Angeles CA 90028. Call 323-467-7674
Owned by Disney, you’ll see all the latest releases here from the Mouse presented in a classic movie theater setting. Ticket prices are a little higher here, but worth it for the pre-show organ extravaganza – be sure to show up early so you don’t miss this musical treat. And no theater in LA has a curtain that opens quite as fabulously as this one –those sparkles will blind you. Many props from the film are on display as this is where Disney holds all of their red carpet premieres. Afterwards you can visit the Disney store there for the latest hard-to-find merchandise. Some films are even accompanied by interactive displays designed for kids to experience aspects of the film they’ve just seen live. These are hosted right next door and sometimes require a separate admission fee.

8. Egyptian Theatre
6712 Hollywood Boulevard, Hollywood, CA 90028. Call 323-466-3456
This completely restored classic theater from old Hollywood is home to the American Cinematheque, a program of unique independent films, foreign cinema and the best from film festivals. Many of the programs include conversations with world renowned filmmakers themselves, even George Lucas spoke there. The venue feels as if one has entered a palace from another time adding a magical ambience one won’t find anywhere.

9. Laemmle’s Playhouse 7
673 East Colorado Boulevard, Pasadena, CA 91101. Call 626-844-6500
Arthouse film buffs have seven screens to choose from offering the latest in highbrow cinema. Grab a coffee in the lobby and prepare to see films that are hard to find at any other theater. Located on Colorado Boulevard in Pasadena, it’s a brisk walk to old town to experience the nightlife there with some of the best bars and restaurants just outside of LA.

10. Vista
4473 Sunset Boulevard, Los Angeles, CA 90027. Call 323-660-6639
Another classic theater that, while in need of restoration, retains all its former glory in remaining unchanged. This is how they used to screen films in that golden age of movies and you can experience it today, just as audience’s did back then. Located in the Los Feliz area, the Vista is a short walk to bars and restaurants like the famous Dresden Room, seen in the film Swingers with Jon Favreau.

Arthouses in LA Worth Checkin' Out

Nuart Theatre
11272 Santa Monica Blvd., Los Angeles, CA 90025. Call 310-281-8223
This old standby has healthy treats along with the best from the festival circuit.

Rialto
1023 Fair Oaks Ave., South Pasadena, CA 91030. Call 626-388-2122
Keep an eye on the schedule for an impressive retrospective program and midnight movies like the original Planet of the Apes.

Regent Showcase
614 North LaBrea, Los Angeles, CA 90036. Call 323-934-2944
This single screen venue focuses on the basics – bringing the best of the arthouse circuit to an appreciative audience.

Chris Gore’s Garage
By invitation only.
Yes, I have an amazing set up in my garage. But tickets come at a steep price – you have to be a friend of mine.

Okay, so now it's your turn. Tell me about your favorite movie theaters in your neck of the woods. Post 'em in the comments and then I'll know where to see flicks when I travel to your town.

Gore gone!

Chris_Gore is an author, a filmmaker, the creator of Film Threat, and in his spare time, protects the city of Los Angeles as a crime-fighting masked vigilante.