Photo Credit: Fox.

By Adriel Tjokrosaputro

Although found-footage films seem to be all the rage lately, it’s not a new genre to all of us, especially movie fanatics (like me). The first mainstream success of this film genre was recorded back in 1999, when a movie called The Blair Witch Project terrorized the whole nation to the next level. But found-footage films did not become very popular until the very successful 21^st century franchise came to the big screen, Paranormal Activity. Up until now, the franchise has created three different features. Together, the film series have grossed a total of $576,571,650 against a total production budget of $8,015,000. So what is up with all of these found-footage films in theatres lately? The answer is this: small budget, big gross, win-win situation.

Other than Paranormal Activity and The Blair Witch Project, horror movies like REC, Cloverfield, and The Devil Inside also used this method of filming. But recently, there were two new non-horror releases that used this method: the critically acclaimed Chronicle and the party-gone-wrong mockumentary Project X. Both features successfully applied found-footage into the production, hence expanding the possible usage of this particular filming method.

Chronicle tells the story of three high school friends who one night gains superpowers after making an incredible discovery. However, as they get more powerful as each day passes, they find their lives spinning out of control and their bond tested as they embrace their darker sides (IMDb).

Unlike other found-footage films recently released, Chronicle stands up on its own because it avoids the common clichés in this particular genre. The audience will right away notice that Chronicle is not just a science fiction. Strong characterization of its outstandingly talented young casts (Dane DeHaan, Alex Russell, and Michael B. Jordan) makes the audience able to engage easily with the characters in the movie. Dane DeHaan’s portrayal of a disturbed teenager named Andrew is particularly plausible, as it does not only become the center point of the movie, but also gives a lot of drama to the feature. I personally like the fact that the movie is a delight to watch in the first hour… and all of a sudden the audience is dragged into the very dark side of all characters in just a snap of a finger. Having this kind of transition is a very risky move. Thankfully, the production team did it very well, and the result was amazing.

The camera work in Chronicle gives an extra spice to the already-extraordinary feature, adding a more realistic feeling towards the cinematic experience. One particular scene takes the audience up into the sky as the characters flipping upside down, inside out in the clouds. At the time of the screening, there was no other response from the audience other than, “Oh my God… that is so cool.”

Project X tells the story of (again) three high school seniors who throw a birthday party to make a name for themselves. As the night progresses, things spiral out of control as word of the party spreads (IMDb).

Photo Credit: Warner Bros.

Project X is a more generic found-footage film that recently became a surprise hit in the movie theatre. Promoted as “SUPERBAD ON CRACK” and “PARENTS’ WORST NIGHTMARE,” the movie sure attracted mostly the attention of the young male demographic rather than the female counter partners. According to CinemaScore, the young males rated the movie an average of A, while the young females gave the movie a C. Why, you might ask? After watching the movie, you will find out why.

Unlike Chronicle’s smart blend of drama, characterization, action, science fiction, and superhero genres, Project X is a kind of “failed attempt” at making a found-footage film. Throughout the movie, audience can clearly see that editing is quite rough at some points that the transition between scenes feels disjointed. And plus, there is this unnecessary use of “background music,” which destroys the whole specialty of found-footage film.

Otherwise, characterization is not the subject here. It is all about the footage that is found in that catastrophic night. Party going out of control. Chaos everywhere. And basically all the audience does is just sit there, looking at these three characters doing crazy things in the party, and trying to find out how to deal with the mess afterwards. Young boys find it a lot of fun to watch each crazy thing uncovered one by one. The girls? Not so much. I asked one girl after the movie, “Do you like the movie?” and she replied, “It is so shallow…” Well, why yes… But I enjoyed the movie, to be honest with you guys. In the end, Project X is one of those movies that is a “guilty pleasure.” It is not a good movie, but it is fun to watch. And sure, you will have a good time if you like it.

Although both movies are only minor hits in the US, I suggest you choose Chronicle over Project X if you want to experience the unusual found-footage film experience.

Chronicle is rated PG-13, and Project X is rated R.

Review By: Nick Garcia
Photos By: Brian Nevins

“Music can’t die as long as someone’s making it fresh,” says Nas in the new film RE:GENERATION.  He is in the studio with DJ Premier, and they are recording a quick sixteen (a sixteen-bar rap verse) for Premier’s collaboration with the Berklee Symphony Orchestra.  The film, directed by Amir Bar-Lev, is the brainchild of the Grammys with support from Hyundai, and the concept, though simple, is certainly fresh: put five DJs/producers in studios with musicians specializing in genres entirely different to the ones they are familiar with, then have them write a song together and document the whole process.  The DJs selected were Derek Vincent Smith of Pretty Lights, Mark Ronson, Christopher Martin (aka DJ Premier), Sonny Moore (aka Skrillex), and Ken Jordan and Scott Kirkland, who collectively are The Crystal Method.  The soundtrack, which features every track produced plus remix contributions from Bonobo, Zedd, Static Scavenger, and Apathy, is available for free download from the RE:GENERATION website.

DJ Premier conducting the Berklee Symphony Orchestra.

One would think that each artist would be equally out of his element, but some were much farther removed from the roots of their sonic palette than others.  Skrillex takes on the rock genre and works with the remaining members of The Doors in Venice Beach, where their careers began.  It makes sense, considering that a good portion of his teen years Moore fronted the emo rock band From First To Last.  Despite the age difference and profound dissimilarities between The Doors and Sonny’s old group, he and the members of The Doors are definitely on a similar wavelength in the studio.  At one point, drummer John Densmore remarks, “Our singer (Jim Morrison) said, ‘In the future, maybe music would be made by one guy with machines,’ and I think you’re it.”  The final product, which is vigorous and really loud (and sounds a lot like every other Skrillex song), features melodic contributions from Ray Manzarek and Robby Krieger that sound like they were sampled from a Western film starring robots.

Derek Vincent Smith seems creatively feeble as he ventures to Nashville to record a country song with Dr. Ralph Stanley, an innovative banjo player and bluegrass legend.  “I was not excited, to say the least,” says Smith about his genre.  The first interactions between him and Stanley seem awkward and forced; Stanley is a stubborn old man set in his ways and Smith a workaholic (he has a recording studio in his tour bus and released seven albums in five years) with a strict method.  Smith decides to cover the American spiritual “Wayfaring Stranger,” and enlists LeAnn Rimes to assist on vocals. Unfortunately, the final product is a mess.  Not so much from a compositional standpoint, but it sounds like Smith gave the final mix to a mastering engineer who has never mastered electronic music.  From the very beginning a crackle that sounds like the product of over-compression is very apparent, and the drums don’t pop nearly as much as they do on Pretty Lights’ electro mix, the only remix on the soundtrack not contributed by a third party.  The remix sounds significantly better produced and Stanley’s vocals have been removed entirely.

Mark Ronson

Perhaps the most enjoyable collaboration to witness is that between Ronson, Zigaboo Modeliste, members of The Dap Kings, Erykah Badu, Trombone Shorty, and Mos Def, which took place in the French Quarter of New Orleans.  The genre assigned to Ronson is jazz, but the song produced by this ridiculous lineup is pure New Orleans second line.  Badu’s sweet voice makes comparisons between the diverse collaboration and gumbo, giving way to a supremely catchy horn line backed by one of Zig’s super dynamic drum grooves. (The tune’s horn line is so catchy it’s almost sickening; after leaving the theater I was humming it to myself for the next three days.) The product is the most dynamic song on the soundtrack, and Bonobo’s remix pushes it tastefully into the realm of electronic music without detracting from the soul of the arrangement.

DJ Premier’s genre is classical and, of all the DJs, probably the most distanced from his home base of hip-hop.  The cameras follow Premier as he meets with a professor of music composition and it quickly becomes apparent that he lacks formal music training.  He remarks that his only experience with classical music has been when he is looking for something to sample, saying, “I’m trying to get something that grabs me emotionally without knowing what [it] is.”  Despite his dearth of music theory knowledge, Premier wouldn’t have achieved his success without a fantastic ear.  He catches on quickly and soon becomes enthralled with the idea of composing and conducting his own classical piece.  The product is an interesting combination of contemporary hip-hop production techniques and classical orchestration.  Premier doesn’t actually write any notes; he samples varying pieces from an array of musical eras, creates a beat, and then has the piece scored and re-recorded with the Berklee Symphony Orchestra.  He is a great sport in the studio, cracking jokes about his floundering baton technique.  Back in Premier’s studio, Nas contributes a verse that brings the track home, adding elements of that signature New York sound that Premier helped craft.

The Crystal Method

The Crystal Method are assigned R&B and jet off to Detroit to work with Martha Reeves and the Funk Brothers.  Reeves is an R&B hero whose group The Vandellas were one of Motown’s most successful signees, and the Funk Brothers were the label’s studio band until it relocated to Los Angeles in 1972.  Needless to say, the big beat pioneers had their work cut out for them. They soon recognize that Reeves “needs to be comfortable with what she sings,” and some tensions become apparent in the studio.  After going over some idea, The Crystal Method and Reeves decide to write a song about the deterioration of Detroit from its golden era, when the American automotive industry was still booming and Motown was the sound.  The track is driving, powerful, and, of all the songs on the soundtrack, fuses the defining characteristics of both collaborators the most effectively.

RE:GENERATION is ultimately an extension of the continuing proliferation of electronic dance music into mainstream culture, riding the wave that EDM monoliths like Deadmau5, David Guetta, and Skrillex helped put into motion.  A concept like this probably wouldn’t have been able to achieve corporate support before the recent American dance music boom.  That is not to say that its importance should be disregarded, but it makes perfect sense that it would happen at this point in the history of music. RE:GENERATION has a very clean aspect about it; the music and creative processes do not seem like they’re being influenced by anything except what the artists are bringing to the table.  No producer is telling the artists how to perform, because half the creative team is the producer.  Whether there is something to be gleaned from the film is unclear, but it is an entertaining account of what happens when two powerful creative forces with contrasting visions meet, and witnessing geniuses at work in real time is always inspiring.  It is an organic moment for electronic dance music in a mainstream musical climate that has adopted a saturated idea of what it should sound like.

By: Adriel Tjokrosaputro

Today’s advanced technology makes it compulsory for big-budgeted films to have bombastic, over-the-top visual effects, editing, production design, and more. But in 2011, a movie from France took the world’s and critics’ attention by storm. THE ARTIST, directed and written by Michel Hazanavicius, has become the front-runner of the year since its victory in many major film awards, film society awards, and critics’ top accolades. Unlike other movies that were released recently, THE ARTIST decided to go against the modern trend of film production, focusing instead on its acting and simple aspects. It is because of this unusual simplicity that the film won the audience’s hearts and took the film further up in the box office charts.

Some people were turned off immediately when they found out that THE ARTIST is a black-and-white film. During sneak preview screenings, walkouts were reported across the country for two main reasons: “We do not watch black-and-white films,” and “I cannot watch silent films.” Audience members who stayed, however, had many positive things to say about THE ARTIST. Some talked about the acting, some talked about the music, and others discussed the overall production. Whatever they talked about though, this only means one thing: Hazanavicius took a great risk making this feature, and it paid off in a huge way.

THE ARTIST tells the story of a Hollywoodland actor named George Valentin (Jean Dujardin). In 1927, after celebrating the successful premiere of his latest feature, The Russian Affair, Valentin meets a young actress, Peppy Miller (Bérénice Bejo), who accidentally bumps into him on the red carpet. The encounter makes it to the headline of many print media, and later became the launching pad for Miller’s acting career. The increasing popularity of talking pictures flips Valentin’s world upside down, as the movie studio where he works is looking for new faces to star in their talking pictures. Miller, who takes the role, became a major superstar, while Valentin, who declined and thought talking pictures are just a fad, hits the rock bottom of his career. Miller tries her best to help Valentin, who she feels has done so much for her career. Eventually, Valentin’s ego and pride make him have to decide whether he should follow his notion or follow the Hollywood trend.

Particularly unknown in the US, it is a surprise that Jean Dujardin and Bérénice Bejo became such critical darlings in 2011 for their performances. In THE ARTIST, both actors were not allowed to share their voices to the audience, of course, because it is a silent film. It is all up to the audience’s imagination what the actors’ timbres sound like, which becomes the most entertaining aspect of the movie. Dujardin’s and Bejo’s performances in THE ARTIST are definitely career highs for both actors. With only their facial expressions, body gestures, and perfect mix of naturalism and melodramatic exaggeration, they were able to impress the audience and receive top accolades from the critics.

As a silent film, not only conversation is absent. Sound effects are absent too, at least for most of the film. The other way THE ARTIST engages its plot with the audience is through its playful and joyous original score. Composer Ludovic Bource created such a powerful and beautiful score that the music itself speaks as the dialogue in the film. The music speaks for the setting of the movie, the emotions that the characters employ, as well as all of the different situations happening in the feature. One should take a listen to Bource’s music to recognize the importance of using music as a form of expression in movie, particularly in silent films, where it has to be done in a more espressivo manner. Much like A. R. Rahman’s hypnotic score from Slumdog Millionaire, Bource’s score is bound to launch his career further.

Visually striking and powered by fantastic performances of its cast ensemble, THE ARTIST is a movie not to be missed. It is a cinematic experience that reminisces the past of the industry, and it’s done in such an elegant and old-fashioned way. With the Academy Awards coming on February 26^th, I am very sure that THE ARTIST will become the big winner of the night. [Editor’s Note: This review was written in advance of the 2012 Academy Awards. Clearly our film critic has great instincts, because The Artist was indeed the biggest winner of the night! Good call, Adriel!]

Review By: Adriel Tjokrosaputro

Having been known as the master of modern crime and violent films, Martin Scorcese invited the public to see his other side in his latest film, HUGO. Unlike any of his previous films, HUGO is directed towards all ages and is shot in 3D. As a supporter of old films preservation and restoration, HUGO definitely reflects what Martin Scorcese has always dreamed to tell the public, hence making it his most personal production to date. Released in Thanksgiving Week, HUGO is arguably the most aesthetically pleasing movie of the year, filled with dazzling visual, enchanting music, and innocence that has been missing in any other recent movies.

HUGO is a story of an orphan (Asa Butterfield from “The Boy in the Striped Pajamas”) who lives in the walls of Gare Montparnasse of Paris in the 1930s. He takes care of the station’s clocks and other gadgets, as he learned from his father (Jude Law), who died in a fire, and his uncle (Ray Winstone), who disappeared after taking him to live in the station with him. Every day, Hugo steals mechanical parts from the owner of a toyshop, Georges Méliès (Ben Kingsley), to repair a broken automaton – a mechanical man who is supposed to write with a pen – that was left by his father. However, Georges caught him and takes away Hugo’s blueprints for the automaton. With only one missing part, a heart-shaped key, and believing that the automaton contains a secret message from his father, Hugo embarked on adventure to find this key. Along the way, he met Isabelle (Chloë Grace Moretz), Georges’ goddaughter. Hugo discovers that his father, Georges, and the automaton share a surprising connection towards each other. And slowly, the toyshop owner regains back his memory of his past and his contribution towards the world of filmmaking.

What I found wonderful about HUGO is its ability to “wow” its audience with its technical excellence. From the very first scene, for example, the camera falls down the sky and swooshes through a crowded station – the main setting of the film – and finally goes up to Hugo’s very own eyes peering down the scene below. Robert Richardson’s cinematography definitely enchants its audience with its dynamic and virtuoso moves. And that is not all. This is further enhanced by the state-of-the-art visual effects, which are used throughout the movie. Robert Legato (whose previous work includes TITANIC), Joss Williams, Ben Grossmann, and Alex Henning successfully created an enchanting imaginary world of HUGO. The technical excellence of the film makes HUGO a visually pleasing movie to watch.

Have I mentioned the artistry? From the art direction, to the costume design, to the makeup, every single little detail counts in making HUGO the most Oscar-nominated film of the year. But what is so special in this particular field is its original score. Once again, Howard Shore (Berklee ’68) receives an Oscar nomination for Best Original Score, after previously winning three Oscars, two Golden Globes, and four Grammy Awards. Shore’s music defines Hugo’s desperate measure to find the hidden message from his father in the city of Paris. The track “Coeur Volant,” featuring singer Zaz, summarizes the whole film with hypnotizing accordion track and French music influence.

HUGO is not just a movie. It is a message to the public and the film society of the world so that they support film preservation, a very personal interest of Martin Scorcese himself. It is a celebration of the cinema development and the appreciation that we should embrace in today’s film industry. With its successful application of both artistic and technical factors, ensembles, and important message, HUGO is definitely one of the best movies of 2011. It is truly a masterpiece that will live in many cinephiles’ hearts for a long time.

Review By: Jorge Oliveres

Too many movies today ignore substance and focus only on easy laughs (e.g. “Your Highness” and its pointlessly profane kin) or they are too self-indulgent to provide any form of entertainment (e.g. artsy fartsy movies in foreign languages very few people watch and even fewer understand). When a movie like “Win Win” comes around and manages to be deep, moving, and funny at the same time, it is a welcomed reminder of how sophisticated and entertaining movies can be.

“Win Win”, written and directed by Thomas McCarthy (you may remember his previous movie, “The Station Agent”), tells the story of Mike Flaherty (played flawlessly by the king of looking frustrated, Mr. Paul Giamatti), a lawyer and a devoted father who also coaches the wrestling team at the local high school. When we meet Mike everything from the tree in his front yard to his financial situation is falling apart. Looking to make some extra cash Mike becomes the legal guardian of Leo (Michael Young), one of his clients who is in the early stages of dementia and has not spoken to his only daughter in over 20 years. Things get complicated when, Kyle (Michael Shaffer), the teenage grandson Leo never knew he had shows up at his door with a bruise on his face, a cigarette in his hand, and not the most charming of dispositions. Leo is too senile to take care of him, so Mike and his wife Jackie (a concerned Amy Ryan) decide to look after Kyle until they can get in touch with his mother who is in a rehab clinic in Ohio. Underneath Kyle’s mop of bleached blonde hair there turns out to be a good-hearted kid and an innately talented wrestler. Kyle joins Mike’s pinned wrestling team and turns it around. His talent and skill take the team to the regional championship and bring a new sense of purpose to Mike’s life.

One of the reasons why “Win Win” is such a good movie is that its story is relevant to our times (it all unfolds because Mike is struggling to make ends meet), but the themes of the story are universal (the need for a sense of purpose in life, how much one is willing to do for his family and for others, how the unexpected changes our lives, etc.). The film does not only raise moral questions, but also manages to have many light and funny moments. When a film weaves together elements of comedy and drama as seamlessly as this one does, watching it is fulfilling on many levels; a win win situation, if you will.

By Jehad Choate
Staff Writer

It is easy to juxtapose names Rick Rubin or George Martin with timeless works of art and legendary artists. If I said the name Arif Mardin to you, what would you think about? Chances are my readers will probably think he is a long lost relative of mine.  But this Berklee graduate had eleven Grammy Awards, and worked with artists like Aretha Franklin, Bette Midler, Chaka Kahn, Norah Jones, and Phil Collins, to say the least.  To know more about this Turkish-American musical genius, you need not look further than your friendly neighborhood Berklee Performing Arts Center, on November 17 at 7:00PM for free, where a documentary titled “The Greatest Ears In Town: The Arif Mardin Story” will be provided by our friends in the office of Institutional Advancement.

The documentary (Co-directed By Berklee Graduate and Son Joe Mardin) celebrates the life of Mr. Mardin and his final recording project called ‘All My Friends Are Here” which is a collaboration with all his famous protégés. It’s a cinematic journey guaranteed to inspire our population of budding musical geniuses, as well as interest even the most overzealous musicphile. If ever there was a doubt in your mind the Music School isn’t guiding you to greener pastures (which happens to me often), take a long good look at this man and the life he lived, and apply yourself to what you love to do.

The Berklee Performing Arts Center is located on 136 Massachusetts Avenue, Boston MA, 02215. Tickets are free, but the experience is priceless.  I hope to see you all there!

By Mike Maleson
Contributing Writer

Roy Hargrove at Jazz Alley Photo by Claire Scarbeary.

On Thursday, April 1, Icons Among Us: Jazz in the Present Tense had two screenings at Berklee, sponsored by the Office of Cultural Diversity.  Afterwards there was a panel discussion with producer B. Dahlia, Cinematographer/Co-Director Lars Larson and musicians Anat Cohen. (Berklee alumnus ’98) and Greg Osby (Berklee Professor).

The movie is visually beautiful, mixing the media of super 16 film as well as digital formats.  The music is also abundant and well presented.  Much of the live concert content comes from footage of concerts in Seattle, and there is also film from the Newport Jazz Festival (featuring Esperanza Spalding), a studio session of Ravi Coltrane, as well as a lovely scene of Donald Harrison fixing his house, teaching kids and making music in New Orleans.

Icons Among Us serves as a reaction to the box into which Ken Burns places jazz in his documentary series.  To that end, it begins with questioning the word “jazz” itself.  There are many notable artists who make claims as to what jazz is and is not.  The variety of musicians interviewed in the film all add to the discussion, proving that jazz is, above all else, an art form that inspires ideas. The 93 minute film was originally presented as a four part (4 hour) series on the Documentary Channel.

Icons Among Us is not for everybody, but those who love jazz, study music and have experience with music documentaries will love the film.  It’s a must-have for very library and music school.

By Zac Taylor
Managing Editor

Scorcese and Leo are back together in the uber creepy genre film Shutter Island. Based on the novel by Dennis Lehane (author of Mystic River, Gone Baby Gone), rest assured that there will be no rest in the dire and tragic nature of this compelling mystery. Set on an island on the Massachusetts’ coast, the film welcomes you with Federal Marshall Teddy Daniels (DiCaprio) vomiting in a closet-sized washroom on a boat en route to Shutter Island, accompanied by new partner Chuck Aule (Mark Ruffalo), to investigate the mysterious disappearance of a very dangerous patient. After finding out that the premises is nothing more than an asylum for the criminally insane consisting of three buildings: one for men, one for women, and one extra scary one for the most vicious of inmates…er…patients, an aggressive storm overtakes the island, and a Jurassic Park-like scenario breaks out; the power lines go down, insane criminals run amok, and it rains like hell.

 Throughout the film, Teddy is not well. He suffers from migraines, has dreams about his deceased wife, and is often overwhelmed by his hunch that he is being lied to by the entire staff of the asylum, especially head physician Dr. Cawley (Ben Kingsley). With all of these factors weighing on his brain, he begins to wonder who he can trust: his partner, the patients who know about his past, or even himself.

Why did he have to surrender his gun when we got to the island? How did the serial killer patient disappear through the steel door? Why is everyone so uneasy around him? What goes on inside of the guarded lighthouse? Prepare yourself for some sharp left turns.

The film is not so much scary as it is creepy. Scorcese’s masterful direction and Laeta Kalogridis’ screenplay adaptation of the novel have a merciless grab on the hollow in your chest. While some creative liberties were taken, and some of the action became droning, rainstorm after rainstorm, the film is nonetheless consistently compelling. Excellent performances by DeCaprio, Ruffalo, and Kingsley will make you glad it’s over when it is, but also want to see it again after the many sleight-of-hands.