I have given up on trying to catch all the films getting rave reviews coming off the festival circuit. The waste of time and money this year was ridiculous. I spent the week between Christmas and New Years Eve catching up on films that have been littering End of Year Awards lists and have not liked most of them. I can be vicious about certain films but I’ll save that for when I get around to opening a Twitter account which will get me in trouble as my sarcastic wit is appreciated by select well-rounded individuals who don’t live or die on box office tallies.
What’s new for APAP as the 2018 annual conference approaches starts with the name of the organization, which as of September has changed (and meanwhile in a way stayed the same). While the acronym APAP remains, it now stands for Association of Performing Arts Professionals – whereas previously it denoted Association of Performing Arts Presenters – and the switch reflects a desire on the part of membership, consequent to a vote held at the 2017 conference last January, to convey an expansion of the mission of APAP as well as a new initiative to include more arts professionals in its membership. This has been the third name change in the 60-plus year history of APAP – it began as the Association of College and University Concert Managers (ACUCM) in 1957, became the Association of College, University and Community Arts Administrators (ACUCAA) in 1973, and since 1988 has been known as the Association of Performing Arts Presenters.
WORLDS APART is a small sort of film from Greece with big scope and ambition. The film tells three distinct narratives dealing with three love stories of sort, each representing a distinct generation, and each story involving a Greek National and a foreigner. These three stories are partially unified with recurring motifs. They also overlap with other devices that will not be reviled in this review so not to give away major plot reveals. This structure recalls another film from 2016 which I much enjoyed CERTAIN WOMEN. The use of a love story with universal appeal with its healing powers echoes the early films by Francois Truffaut, a filmmaker I greatly admire.
We have to reach into the world of hip hop to come up with an analysis of the films theatrically released in 2016. As Public Enemy would say “Don’t believe the hype.” At every major film festival, any many of the minor ones, a buzz starts about the “hot film” that’s a must see and a guaranteed award winner come end of the year. Everyone gets hot and bothered and starts repeating this statement which most likely originated with the publicist or sales agent. (I have been both and write mean ad copy for lazy journalists.)
I began my career with the investment banking firm JP Morgan, beating the thousands of applicants for a coveted slot and a life of three-piece suits and the dreaded power tie. One plus one equals two, it’s not that hard. When someone offers to double your salary, you take the bait and jump ship. From JP I joined up with an old school brokerage house, soon to be gobbled up by a financial services firm looking to emulate Sandy Weill and Citigroup. I watched the banking industry consolidate, followed by the brokerage industry and, later in my career, the advertising agencies and then the cable stations. But I’m getting a little ahead of myself.
It was a strangely quiet morning on 23rd Street, I was sleeping in, recuperating from a late night session of photo editing when the phone rang. It was David Craig Ellis. “Paul, I have the angle for your new piece, it’s David Craig Ellis Shits His Pants.” I said “ok,” slowly realizing what I was agreeing to. “We’ll talk it over in the studio this afternoon.” I hung up thinking, this can’t be good.
In an excellent piece of storytelling, ADMIRAL brings to life Michiel de Ruyter (1607-1676), brilliant naval strategist, creator of the Dutch Marines, family man and stabilizing citizen of the recently created Republic of the Netherlands. With political and familial ties between the great houses of Europe threatening to tear apart the young Republic, Michiel de Ruyter (Frank Lammers) is asked to take over after Admiral Maarten Tromp (Rutger Hauer) is killed in battle by the English forces under King Charles II (Charles Dance). What pulls at de Ruyter is his neglected family, his desire to see his beloved Holland not be torn apart in a civil war between the Republicans and the Orangists under Prince Willem III (Egbert Jan Weeber) and to modernize the naval fleet to protect his homeland and their merchant fleet.
VAXXED: FROM COVER-UP TO CATASTROPHE is not an anti-vaccine film, but surprisingly, not a single mainstream newspaper, television or radio show will say that. The film actually supports true science that uses control groups and what studies have shown – that single dose vaccines are safer than combined vaccines. This has been the consistent view of its director Dr. Wakefield, and his expressed goal in the film to make vaccines better by doing more studies.
Many of us well remember those dry, pithy sketches from Monty Python’s Flying Circus on tv and film from the late 60’s to early 70’s. An easier and more accessible wit is woven through BOOM BUST BOOM, co-directed by former Python Terry Jones with his son Bill and Ben Timlett. Here an important message underscores the humor. Jones displays intent concern at how economics is taught and applied today as he walks through centuries of Boom and Bust scenarios examining how it all went down. Literally.
For 2016 the APAP (Association of Performing Arts Presenters) Conference offered a broad array of performers and entertainment to behold, not only for those members of the organization looking to fill out their calendars for the upcoming year – at arts facilities, festivals, colleges and universities and the like – but for aficionados of the performing arts in general. As the world’s largest networking forum and marketplace for performing arts professionals, APAP features more than 3,600 presenters, artists, managers, agents and emerging arts leaders from all 50 US states and more than 30 countries convening in one place at one time to both celebrate the disciplines they have dedicated their professional lives to, as well as discuss in many forums and panels the issues which impact the production and presentation of culture, both in the US and globally. While the Conference program unfolded over January 15-19 at the New York Hilton Hotel, the showcase performances which energize and thrill both members and general audiences alike took place over a longer period, from January 12-21 (with some showcasing performers in residencies extending for a week or more beyond), and could be seen at a great number of sites around New York in addition to the Hilton.