Volume 3, Issue 19
September 13 - September 26, 2001

MOVIES

SID FLY AND THE WHITE GUY

One concert, one camcorder, no excuses

Co-director Lyon first picked up an 8mm film camera from a veteran's thrift store when he was 12. After an approximate 30 year hiatus, Lyon began working at public access DCTV since 1992 and has focused on hip hop production since 1995. He said that he had been doing spoken word poetry performances when he saw performances on DCTV shows such as "Hip Hop Man's Freestyle Joint." Lyon was hooked. "I love hip hop," he said. "I think it's one of the most effective and practical modus for revolutionizing minds that's ever been."

Lyon met Sid during performances at the 15th Street Tavern. "[Sid] was always hanging out there and getting the conversation flowing," Lyon said. The pair collaborated on the video "Superstar Pollyking," a depiction of a day in the life of Sid Fly, which also culminates in a show at Herb's Hideout.

"I actually hit my head on the speaker and was bleeding for a while," Sid said of the performance. "So it shows that footage and how I just kept on doing the show."

Herb's is a center for underground hip hop in Denver. While there is a substantial amount of trepidation among club owners toward hip hop performances, especially in LoDo, Sid said that he is working to change that perception. "It's harder to get into some of the venues," he said. "At first owners are kind of scared, but you go in there and you do two or three shows and they're like, 'Wow, they're bringing as much money as all the rest of these groups, if not more, and it's not violent like we're thinking. '" Despite occasional bumps on the head, Sid and other hip hop acts have performed at the Gothic Theatre, the Soiled Dove and one of Sid's favorite stops, Colorado State University. "They always show love down there," he said.

"It came with a phone call ... Sid said he was doing the Flying Off The Handle Tour, and can I tape the grand finale of it at Herb's," Lyon said of his work on Sidependence Day. Using a handheld digital video Sony camcorder, Lyon shot footage of the crowd and performers primarily from one position outside at Herb's. The skits in the video were directed by Sid. They feature Sid, DJ arkiTECH and other acquaintances moving about the 16th Street Mall, Invesco Field and other Denver landmarks. The none-too-discreet backpack exchanges, purely for dramatic effect, that take place in these skits may or may not have anything to do with subsequent cameos by Denver's Finest. Some sequences are taken from within a car that is either following or being followed by a police patrol car. No arrests were apparent in the making of the video.

Sid's video productions and music seem to revolve around weed, or vice versa. Post-production work by Lyon, who uses Adobe digital video programs, boosts the overall effect. Blunts flair white hot with digital manipulation. Much of the movie has special effects such as blurring and smearing so as the concert audience appears to blend in form and tone. Toke enough and perhaps greater meaning manifests itself, and if not, the beats are still smooth and the rhymes skillful. Towards the end of the video, between various wipes, filter effects and blotting, it would be understandable to think Lyon is doing an inventory of every available special effect in Adobe manual. But overall, given this is a video shot from one camera with purely ambient lighting, it holds your attention. The sound for the video was recorded with the stock internal camcorder microphone. "The sound came through amazingly clear," Lyon said. This is true and Lyon speculated that the reason is probably because the venue was open air and not especially confined.

Productions like Sidependence Day prove the tools to make a decent video are available if there is commitment and skill on the part of the makers. In fact, there is little difference between the quality of footage in "Sidependence Day" and the Rob Zombie-directed clip for "More Human Than Human," which garnered MTV's award for Best Rock Video in 1995. Perhaps we have obtained the democratic ideal of good pot, tunes and production values for all. --Andrew Wells

"Sidependence Day" is now available at Independent Records, Twist and Shout, Wax Trax and the Hip Hop Shop.

A SHOT OF KARL ’S LIQUOR

Los Angeles. New York City. Vancouver. Denver? The first three cities would be stars on a map of film production in North America. Denver might get an asterisk. In many ways, filmmaking in Denver is a matter of faith; there are believers and agnostics. The team behind Karl's Liquor, a movie recently completed in Denver, has both.

"As far as I can tell, there really isn't a scene for film in Denver," said Garrett Evans, co-director, editor and director of photography of the comedy. "Everyone talks about how there's going to be film and blah, blah, blah. But there is no film here." "I would say I've heard a lot more about films in the last six months," said Joe Compton, Karl's Liquor's other co-director, writer and executive producer. "When I started this film, I thought I was the only one out there making them, to be honest."

Evans would seem to be the dynamo of professional expertise and pragmatism. He is a freelance avid editor by trade with a degree in photojournalism. The Home and Garden Network, ESPN, the Learning Channel and Animal Planet are some of channels where his work is featured. He talks fast, would like to work for HBO ("HBO is where filmmakers need to be," he said), and considers himself a drummer at the end of the day. He plays in a Cajun funk band called Gris-Gris. Evans has directed documentary-type media market material, "nothing too glitzy and nothing too boring," but Karl's Liquor was his first feature film. He liked the technical and the artistic opportunities it offered. "I wanted to exercise the ability to edit from a multi-camera standpoint instead of just one camera," Evans said. "I don't get to do a lot of fiction. This was an opportunity to do some fiction."

The fiction comes from Compton, who pays his bills as a customer service representative at a financial printing company, but would like to be a writer and director full-time. Having written as a hobby for much of his life, Compton decided to finally go into production with Karl's Liquor, which he wrote in early 2000. He has a golly-gee congeniality and calls his production company Infinite Dream Films. He cites Jim Jarmusch, Ingmar Bergman and Woody Allen as influences. Kevin Smith was also a source of inspiration for Evans. "I started reading about his productions and how he put them together and it made a lot of sense to me," he said. Compton financed the movie on $26,000, some of it saved over two years and some on credit, the latter being Smith's fundraising technique for Clerks. The crew worked for experience. Actors were put under contract to be paid. "Except the extras," Compton said. "The extras just got food."

Most of the movie was shot at Avondale Liquors at 13th and Federal. "We shot on Sundays," Compton said. "Thank you Colorado." Using a Canon XL digital camcorder, scenes were shot both inside and outside the store over the course of 17 to 18 hour days. The crew used both a boom and a Lavalier mic and several supplemental lighting units. Of the lighting technique, Compton said, "We pretty much blew up the ceiling and that was about it." Filming was completed over three weeks last October, with the entire production process taking over seven months.

Compton based his script on the proprietor of an actual Karl's Liquor in Lakewood, which is now defunct. According to Evans, "Karl" never made eye contact when he made change and hardly ever moved from his spot behind the counter. He watched TV, neglected to restock the shelves, and, according to the owner of the

liquor store at the opposite end of the strip mall, Karl's establishment depressed real estate values. "I found him to be a charming and completely quirky type of person," said Compton. The story follows slacker Joe Davis as he mopes and smirks at home and work. Joe has inherited the liquor store owned by his uncle Karl, who dies on camera while filming a commercial. Less than a month after Karl's demise, the liquor store is about to follow suit under Joe's mismanagement. Joe also has to deal with an ex-girlfriend, rival liquor store owner/redneck Big Larry, a petty realtor/ ice queen and various local color, all while pining for hooker/college student, Candy.

The film has the requisite stripped-down look characteristic of many fledgling film projects and Clerks fans will recognize the coziness of Dante's hellhole behind the counter at Karl's. The camera angles and the staging are both excellent; a natural eye or professional expertise is apparent. But the script flounders, wanting in direction and originality. The cast, which displays some talent, lacks the means to propel the story forward. David Lee as Uncle Karl and Jason Coviello as skinhead Kyle gave the best and briefest performances in the film.

While the flick has yet to find a festival slot, both Compton and Evans view the project as a stepping stone. "You can never make your second film first," said Evans at the August 29 Karl's Liquor premiere at the Mercury Cafe. "You gotta do your push ups and your sit ups and that's what this film was." Evans said that he had wanted to commit to the project and finish it and had done so.

As for Compton, he has a full plate with a pair of short films, including a project he wrote called Devilwind. "It's about a twentysomething sociopath who kills his girlfriend and then gets visited by the devil who takes the form of the girl he just killed," Compton said. He has also been signed onto another feature about a housewife who aspires to be a rock star, for which he will exclusively direct.

So, is there a Denver Movie Scene sasquatch? It's hard to say, because while there is that home movie showing something stomping around in the backwoods, the footage is too amateur and shakey to be conclusive. Still, while it may not prove anything, that little film reel looks kind of cool. --Andrew Wells

Movie Review

THE MUSKETEER

It's amazing how much of an impact one movie can make on an entire genre of film. Ever since The Matrix was released with its eye popping special effects and highly choreographed fight scenes, moviegoers have raised the bar for action movies. And that's the way it should be. So how are studios going to market a film that is based on the very dead sport of fencing? Easy, mention how Hong Kong action choreographer Xin Xin Xiong designed all the fight scenes, and hope that audiences will flock to see a story they've seen a million times before.

Newcomer Justin Chambers is D'Artagnan, a young stud who makes a promise to himself that he will avenge his family's death, one he witnessed first hand as a child when baddie Febre (Tim Roth) kills his parents out of greed. As he learns the art of the sword, he decides to move to Paris and join The Musketeers (old school secret service for the King of England), who unfortunately are now considered vigilantes, since The Cardinal (Stephen Rea) has turned against them.

During his stay in Paris, he meets Francesca (Mena Suvari), a chambermaid who is related to the Queen in some ridiculous way, and they begin their odd love story (basically she's in the movie to be used as bait during the final battle scene). We learn Roth's character is secretly partnered with The Cardinal, and together they have devised a plan to rule Europe (or something along those lines), and this film comes to a boil when

D'Artagnan must save Francesca and the Queen from a castle guarded by Febre.

Most performances in this film are bland and cookie-cutter with the exception of Tim Roth and a few Musketeers. Roth makes a mention of killing someone in every single sequence he is in, even going as far as piercing a child's throat in a scene to get his way. Steven Spiers and Nick Moran play great drunk Musketeers (Moran previously played Sting's son in Lock Stock and Two Smoking Barrels), and are often used as comic relief in what would otherwise be a bore.

The action scenes are not as "Hong Kong" as advertised, but Xin Xin Xiong does deserve credit for originality. Don't come late because the first fight scene occurs within five minutes showcasing a quick peek of D'Artagnan's skill as he fends off a handful of grunts while balancing on barrels, amongst other things. The best scenes are still in the end, especially one involving a room full of ladders that seem to "see-saw" throughout the battle.

For a film that's been done to death, The Musketeer surprisingly keeps audiences oohing and aahing as well as laughing in their seats (even if it is at the actors' accents). In the end it always comes down to if the story is good, and Dumas' original Three Musketeers is a classic. So is this film going to be the next film to set the bar for action films? No way. But it does add life to a dormant sport that could use a boost before the next Olympic games. C+ --Neal James

Movie Review

MONTY PYTHON AND THE HOLY GRAIL

Monty Python and the Holy Grail, like almost everything associated with the British comedy troupe, has a following. There are devoted fans out there who will flock to the re-release like so many unlaiden swallows, quoting their favorite scenes all the while. Even among the less fanatic population, most people have seen or at least know of Holy Grail, and know whether or not they like it. For that majority, not much is needed in the way of a review. For those who have yet to be exposed to this movie, read on; everyone else can skip ahead a bit.

Holy Grail is exactly what the title implies a retelling of the classic Arthurian legends by Monty Python. The plot is extremely episodic, barely retaining any coherence or continuity, and really has little bearing on the action of the movie. For once, that's a good thing. These are sketch comedians, and they do their most memorable work in short segments. While the characters are more consistent here, this is still basically a series of sketches loosely tied together by a medieval theme. The cast works well in their multiple roles, the writing is very funny, and just about everything about the movie works.

So yes, it's an excellent comedy, a wonderful exercise in irreverence, and one of the best comedies out there. It's been all of those things for more than 25 years though; why should you go see it in a theatre when your local video store probably has a copy?

It could be argued that any good movie is worth seeing projected onto a large screen in a dark theatre, but there are a few other bonuses here. For one, the picture and sound quality have been incredibly improved, making it look and sound much cleaner than ever before. Throughout the film, but especially in Terry Gilliam's animations, the colors are brighter, the picture is sharper, and the audio is has more depth. And unlike some other re-releases of classic films, they didn't go overboard. It's the same great movie, just in a shiner package.

The biggest change almost seems like a playful jab at "special editions" of movies containing scenes that ended up on the cutting room floor for a reason. As the publicity proudly announces, this edition of Holy Grail is 24 seconds longer. One joke that was originally cut is back in here, and while quite funny, it doesn't really affect the movie as a whole. This was quite literally a throw-away joke, and if the way it was filmed didn't prove otherwise, I would wonder if they had shot it specifically for the re-release.

So all in all, fans of Monty Python will enjoy seeing this classic as much as ever, maybe more so. And anyone who hasn't seen it yet should consider checking it out. It really is one of the funniest movies I have ever come across. A --Chris Ward

DVD REPORT

TIME AND TIDE

If I could get away with it, my entire review of Time and Tide would read, "Wow." Because I can't, I'll say I've never been gladder that a film didn't star Jean-Claude Van Damme. Two years since the double disasters that were Double Team and Knock Off (and four years since his last Van Dammeless film), Tsui Hark returns to directing films in Hong Kong. And boy howdy does he return. Time and Tide is a stylistic tour de force. Tsui has taken pages from the books of Wong Kar Wai, Luc Besson, and John Woo, added his trademark storytelling and gorgeous cinematography and produced a movie constantly in motion, full of both people and cameras that can defy gravity.

Tyler (Nicholas Tse, a lot more endearing here than in Gen-X Cops) is a bartender with a problem. He got a young woman drunk and then pregnant. And she's an undercover cop. And she has a lesbian lover, who is also a cop. To rectify this situation to some degree Tyler takes a job as an unlicensed bodyguard and gives the money to the woman. If only his employers would give him a real gun, he'd be all set.

Jack (Wu Bai) also has a problem. His wife is pregnant, and some of his old mercenary buddies from Brazil have stolen a lot of money from the Brazilian army and want his help to launder it in Hong Kong. Jack refuses, mainly because the leader of the mercenaries, Miguel, wants Jack to assassinate his wife's father. Tyler briefly befriends Jack, but an escalating game of cat and mouse between Jack and the Miguel threatens his life.

The plot here isn't anything special, and the script feels like Wong Kar Wai on speed. But the action scenes are some of the best I've seen. Jack and Miguel could give Spider-Man a run for his money, especially in the awe-inspiring shoot-out in an apartment complex in Kowloon.

This may not be the most realistic action movie ever made, but it will make your jaw drop, simply because it is so audacious. Welcome back, Tsui.

The main extra is a commentary by Tsui Hark. His English is not perfect, but he's a lot easier to listen to than John Woo. True to his producer roots Tsui spends a lot of time giving credit where credit is due, and he talks a lot about the cost cutting methods they used. His discussion also covers the technical aspects of the film, though not quite as heavily as I would have liked. Towards the end Tsui lapses into narrating the action, but overall it's a worthwhile track. A --Scott Hamilton