From the Rialto's website: MILK opens at RIALTO on Friday, December 12th! There will be a special premier showing on Thursday, December 11th at 8pm. Tickets for this show are $10.00 each, with proceeds going to the LGBT Center of Raleigh. Tickets for this show will go on sale at 6:30pm the day of the show at the Rialto box office. Remember, the Rialto is cash only!
Center organizers are in early stages, looking to grow. They have a rudimentary website up with a mission statement that's copied below.
More than four years ago, Indy critic Godfrey Cheshire began work on his documentary Moving Midway, a chronicle of the relocation of his ancestral Wake County home and a meditation on the changing South. The film, which opens in the Triangle this Friday, has been garnering excellent notices. Among them are:
New York Times critic A.O. Scott:
At the heart of “Moving Midway” is the desire to preserve that warm, respectful sense of tradition and continuity while at the same time looking clearly at the less noble realities of history and making some attempt to rectify them.
Entertainment Weekly's Lisa Schwarzbaum:
With his deep cinematic knowledge and vivid visual references, Cheshire analyzes the romantic notion of ''the plantation'' and offers a compassionate meditation on Southern race relations.
And, our favorite, from Village Voice's Ella Taylor:
But Cheshire—a gifted, frequently cranky New York–based film critic and, as it turns out, an equally accomplished social historian—sees way beyond the nostalgia that the move stirs in his extended family.
Subscribers of the News & Observer, and more than 70 other newspapers across the country, found a DVD inserted into their papers this morning. The film is a documentary called Obsession: Radical Islam's War Against the West. The film itself is two years old, and it is now receiving its second major push. The last time this film—and its South African director Wayne Kopping—appeared in the media was two years ago, on the eve of the 2006 election.
Now the movie—an inflammatory but otherwise unoriginal hash of Middle Eastern news footage of jihadists and interviews with right-wing talking heads like Alan Dershowitz and Daniel Pipes—is in our faces again. Over at the N&O, the editorial staff seems none too happy about the paper's decision to accept the ad placement from a group called The Clarion Fund. See today's front-pager by Yonat Shimron to see more about the paper's efforts to identify the motives and people behind The Clarion Fund.
The N&O's publisher isn't bothered by the fuss, however.
In a statement, N&O Publisher Orage Quarles III wrote: "As a newspaper we tend to shy away from censorship. In cases of controversial topics, if we err, we tend to do so on the side of freedom of speech."
But some questioned whether this is a censorship issue.
"If there was a 30-minute DVD warning people against the danger of blacks or Jews, would the N&O distribute it?" asked Safi.
For those who don't get the print edition of the N&O, no worries: You can watch it free on Google Videos right here.
Two years ago, the film was broadcast on Fox News. Here is an interview from that time with Kopping, which was broadcast on Fox's Fox and Friends morning show.
The first hurdle for any film looking for attention at a major festival like the Toronto Film Festival is a good review in the trades. By that measure, Winston-Salem native Ramin Bahrani's Goodbye Solo is off to a flying start. Variety's Ronnie Scheib calls the film, which was shot on location in Winston-Salem, "brilliant" and "engrossing."
Goodbye Solo is set in the world of African cab drivers, and it seems to be a continuation of Bahrani's Iranian-style aesthetic. Scheib writes:
... Bahrani has charted out a singular environment in the film's surprisingly funky Winston-Salem locale. The town, once seen as entirely insular, now claims a heterogeneous population that feels more comfortable among its dwindling tobacco fields than do curmudgeonly old-timers like William. If Solo reintroduces William to the seamier side of the city, William will inevitably lead Solo to his chosen termination point, Blowing Rock National Park, where it snows upside down and a branch thrown from the summit will return with the wind.
Pitch-perfect, charismatic thesping draws the viewer along unhesitatingly, with Michael Simmonds' raw, immediate lensing minimizing distinctions between inside and out.