I love film festivals. The stars, the film-makers, the parties, but most of all, the movies. I've attended Sundance for the last ten years or so, and have always loved the excitement generated by that event.

Three years ago, I discovered CineVegas, another independent festival, this one located right in the heart of Sin City.

Immediately I was won over by the intimacy of this event. It was nice to be able to catch a great film and not have to arrive five hours early to secure a ticket.

While CineVegas is smaller in scale than Sundance, it is no less grand in terms of quality. This is not surprising given that festival Programmer Trevor Groth has also been involved with Sundance for quite sometime. He's done a great job lining up some truly remarkable talent as well some very interesting pictures.

In fact, CineVegas is still young, but it's attracted some major movie talent including new chairman Dennis Hopper (he received an award a couple of years back and instantly fell in love with the fest).

CineVegas 2004 boasts an impressive slate of films including Napoleon Dynamite, De-Lovely, The Notebook, Zatoichi, Luck, Riding Giants, and several others. The festival also prides itself on showcasing short films.

There was no shortage of awards presentations this year either, as the festival honored Sean Penn, Robin Wright Penn, Dean Stockwell, David Lynch and Jack Nicholson. They also presented a special seminar with author James Ellroy (L.A. Confidential).

This year, our intrepid music guru Kyle England joined in on the fun. Actually, before the start of the festival we took in a live performance by new rock act Velvet Revolver (you can read Kyle's scathing review on the music page). I had a fun time at the concert but Kyle was - how should we say - less than impressed. Thankfully, I think he had a fun enough time at CineVegas - hopefully the memory of Velvet Revolver will rapidly fade.

Here's a little report on what we've hit thus far:

LUCK (R)
Starring Luke Kirby, Sarah Polley and Jed Rees

As this festival takes place in Sin City, it's no surprise that a film about gambling has been included on the slate. Luck is a fantastically entertaining movie. It features Luke Kirby as Shane, a young Canadian man who, after unsuccessfully trying to convince the woman of his dreams to be with him rather than going on a vacation with her ex-boyfriend, gets bit by the gambling bug. Before long, he finds himself in enormous debt, and through the aid of his smart ass friends, comes across an interesting way to bail himself out of trouble (hopefully bail himself out of trouble anyway).

While this picture is essentially about gambling, it isn't Owning Mahowny (another terrific movie). Luck is more about the rush of this particular addiction, and there are some moments in this film that are incredibly intense (including a sequence in which Shane helplessly watches a hockey game that he bet big on.)

Luck is also very funny, most of the humor coming from the numerous scenes in which we see Shane hanging with his buddies. A lot of this stuff reminded me of Swingers as well as the little-seen Poolhall Junkies (which played this very festival a couple of years ago).

Director Peter Wellington has a great eye and he clearly has a love for the works of Scorsese (one sequence in particular is straight out of Goodfellas). Luck is lively and full of colorful dialogue and pretty good performances. Lead Luke Kirby does a good job convincing us that anyone can be seduced by the games of chance. The actor reminds me a little of Robby Benson. Sarah Polley gives an interesting turn as the young woman of Shane's affection. Many of her scenes with Kirby have a sort of David Mamet rhythm to them. I also enjoyed the hell out of Jed Rees. He plays one of Shane's wiseass buddies and supplies the film with most of the comic relief. This guy has a hilariously colorful personae that brings to mind Jack Black.

Luck was extremely entertaining. In addition to Swingers, it really reminded me of both The Cooler and Rounders in that it isn't just a film about taking chances with money. It's a film about taking chances in life.

Grade: B+

THE B0Y WITH GREEN HAIR (NOT RATED)
Starring Dean Stockwell and Pat O'Brien
Released by RKO Pictures

I must confess that I wasn't familiar with this film (it was quite good), but it sure was a thrill to listen to veteran actor Dean Stockwell (he was on hand to receive an award) discuss the making of the movie and give insight into his lengthy film career. Adding to the excitement was CineVegas Chairman Dennis Hopper. The two have been friends for many years, and shared similar career paths.

Hopper hit the stage and as he spoke about his friend Stockwell, he got quite choked up and I must say, the sincerity and genuine love he showed for his fellow actor was incredibly moving. Stockwell walked up to accept his award and then began to talk a bit about the film we were about to see.

The Boy With Green Hair is an anti-war picture that was actually released soon after the end of World War II. It features an extremely young Dean Stockwell in the title role, a war orphan who's head of bright green hair would go on to confuse the residents of his new home town. The green hair, of course, is essentially a metaphor, and presents a kind of anti-war theme, but the movie is also about tolerance.

This terrific picture came out in the 40's, and as a result of it's messages, director Joseph Losey actually had to flee the country as he was immediately blacklisted and deemed a communist (if anyone is interested in this McCarthy era nightmare, check out Irwin Winkler's underrated Guilty By Suspicion).

The Boy With the Green Hair is quite courageous and features some truly beautiful performances. Stockwell is wise beyond his years and I love the rapport that builds between he and his nurturing grandfather (splendidly played by Pat O'Brien). The film is also rich in imagery and features a poetic if slightly haunting scene in which Stockwell comes face-to-face with a group of War Orphans in the woods.

I've seen anti-war films that are certainly much more devastating, but the fact that this one came out so long ago is quite amazing. Keep in mind, this was a far different time. In fact Hopper and Stockwell made the observation that if Michael Moore would have been around back then, he would have been kicked out of the country. The Boy With Green Hair is subtle but it's message is loud and clear.

Following the film, Stockwell and Hopper engaged in a candid and most intimate Q & A in which they talked about everything from The Boy With Green Hair to their appearing together in David Lynch's brilliant Blue Velvet. They were both humble and clearly in love with their craft.

Stockwell even spoke about Quantum Leap which was met with a huge round of applause. He said that when he took on the role of Al in the cult hit TV series, Hopper joked that it would be the end of his career. And here's an interesting scoop. Stockwell said that a new Quantum Leap TV movie is being developed and would feature Sam Beckett's daughter as a new leaper. Stockwell said he too would be involved and hoped to get rolling on the movie sometime next year. I guess nothing is official, but there's a strong chance it is going to happen.

Again, it was incredibly thrilling to see Hopper and Stockwell up there on stage freely answering questions and not shying away from anything. These guys are the real deal.

Grade: B

DE-LOVELY
Starring Kevin Kline, Ashley Judd, and Jonathan Pryce
Released by

De-Lovely produced considerable buzz at the Cannes Film Festival. It's been a labor of love for all involved and being that Cole Porter is a legendary songwriter and Irwin Winkler is a terrific film maker (true, The Net sucked but I liked most of his other stuff), this was a union I didn't want to miss.

De-Lovely is the life story of Cole Porter and features Kevin Kline as the legendary songman and Ashley Judd as the woman who loved him.

There has been a slight bit of controversy surrounding the film for it's homosexual content. It seems there's been a lot of tumult surrounding films as of late (The Passion of the Christ anyone?). It's all pretty silly really. If you're looking for a reason to get pissed off, then most likely you'll find a reason. I usually don't concern myself with such business when I watch a film. It's either well made or it isn't. In the case of De-Lovely, it's pretty well made. And for the record, Mr. Porter never really hid the fact that he had a certain fondness for members of the same sex. The movie deals with this subject matter tastefully.

De-Lovely is structured quite a bit like Richard Attenborough's Chaplin. The film opens with Porter as an elderly man, and we are witness to his life through flashbacks.

The film is full of diverse renditions of popular Cole Porter songs performed by an onslaught of contemporary artists. Robbie Williams, Alanis Morrissette, Elvis Costello, Natalie Cole, Diana Krall (who has a hilarious moment following her big musical number) and a handful of others appear on screen paying homage to the songwriting legend.

There are also several dance numbers and while they lack the innovative creativity of the intricately choreographed sequences in Moulin Rouge and Chicago, I don't really think that Irwin Winkler was going for that.

At it's heart, De-Lovely is a love story, and through this film we can plainly see how many of Porter's greatest songs were inspired by the greatest love his life (or second greatest love--depending on how you look at it).

Kevin Kline is effective as Porter, bringing a lively quality to the role. I love how his singing voice is far from perfect. It adds to the overall effect of the story, because Porter was never really terribly fond of his own voice, and Kline plays that up.

As good as Kline is, Judd is the real revelation here. She's absolutely radiant and brings dramatic weight to this picture. It was so nice seeing her appear in a film where she isn't involved in a stupid, predictable murder case. Sometimes I forget she's capable of more (see Ruby in Paradise and Someone Like You). Judd is outstanding in one of the best performances of her career, and she and Kline generate real chemistry.

Another aspect I really want to touch on is the overall technical aspects of the picture. The art direction here is stunning. Tony Pierce-Roberts' cinematography is truly spectacular, and De-Lovely is gorgeously lit. The makeup is also quite effective, particularly Judd's who's aging effect is quite realistic. I watched the picture with a couple of friends and they suggested that the elderly Cole Porter looked a little too much like Carl Reiner.

Overall, I was impressed by De-Lovely. It was well shot, well acted and absolutely breathtaking to look it. The musical arrangements are terrific, and I suspect that the soundtrack is going to do pretty well. If I have any problem with the picture, it's the pacing. De-Lovely isn't without it's sluggish moments, but it's still a picture well worth checking out.

Grade: B

NAPOLEON DYNAMITE (PG)
Starring Jon Heder, Tina Majorino, and Jon Gries
Released by Fox Searchlight and Paramount Pictures

I know I've posted a few reviews for this film on the site already, but I'm such a fan that I couldn't resist throwing the movie more publicity. I saw Napoleon Dynamite at Sundance earlier this year, but I have to say I enjoyed it more the second time. There were tiny little nuances I didn't catch during the first viewing. Jared Hess' direction is very observant. Even though Napoleon Dynamite doesn't unleash much of a plot, that hardly matters. Why? Because this look at teenage life in Preston Idaho, is hilarious. Jon Heder has created a character of iconic proportions. His Napoleon Dynamite is an absolute riot. His deadpan delivery is beyond hilarious. Even though it's a one note performance, it's a damn funny note. The rest of the cast--with all their wildly funny eccentricities-are also outstanding (most notably Jon Gries of Real Genius fame). It's also amazing to me that this film is edgy and funny and it features no bad language, no nudity and no sex. Not that I mind bad language, nudity and sex in a movie, but I admire Hess and his crew for making a film of this nature for a broader audience. And not only is Napoleon Dynamite consistently hilarious, it also has a sweet side. There's something really endearing about this movie, be it the dopey little romances or the idea that Napoleon will do nearly anything to help out a friend. Hess is already drawing comparisons to Wes Anderson (I can't wait for Life Aquatic) and Todd Solondz (OVERRATED), but in all fairness, this is a different breed of film. Like Alexander Payne (Election), Hess has a bit of animosity toward his hometown, but at the same time, he has a great fondess for it, and this shows in the "you'll-laugh-so-hard-you'll-piss-yourself" crowd pleaser, Napoleon Dynamite. This is the kind of film John Hughes would have made had he been from Idaho instead of Illinois.

Grade: B+

Well, that's it thus far. There's some really amazing things coming up later in the week including a screening of Eraserhead with David Lynch himself in attendance. I can't wait for that. The fest is also handing out awards to Sean and Robin Wright Penn and the legendary Jack Nicholson (it's safe to say that he won't be at a Laker game). Watch for another report.

Report # 2

NUMB
Starring Mallory Campell, and Bruce Goodchild

Shooting on a shoestring budget is no easy task. Shooting a sci-fi picture on a shoestring budget is damn near impossible. Taking a cue from George Lucas' THX 1138, and incorporating the style of Godard and the social commentary of Romero (Night of the Living Dead), director Michael Gibson has fashioned a haunting portrait of the near future.

Numb features a society plagued by disease. The cure; a super drug known only as "the Drip." A young woman seemingly immune to the disease searches amid the madness for an important man in her life. Her journey brings her face to face with a world gone crazy, and a nutty, militant individual gone even crazier.

Michael Gibson took a reported seven and a half years to complete this project, and while it is extremely low-budget, it isn't lacking in a striking visual sense or outstanding performances.

The film isn't told in a straight forward narrative, but the fashion in which the plot unfolds isn't at all confusing thanks to some truly impressive editing.

What's more, most of the picture is shot in black and white adding to an already moody and highly atmospheric film experience. My hat goes off to the cinematographers for their innovative creativity.

The performances here are exceptional. Mallory Campell is vulnerable but self assured in the lead. Her despair is completely apparent, and she's a knock-out to boot. Bruce Goodchild is also impressive as the man standing in Campell's way. He's energetic and quite terrifying as a man with a God complex.

I must admit, I did figure out where Numb was headed, and the actual plague that has taken over society, wasn't particularly surprising to me, but the journey is well worth taking and the special attention paid to the characters and their situations were both unexpected and fulfilling.

Michael Gibson shows potential for greatness with this effort. Numb has elements of last year's underrated Equilibrium as well as John Carpenter's little seen gem They Live, but a smaller budget has forced him (actually, I prefer the term allowed) to put an emphasis on character, and certainly, Numb moves at a much different pace. By the end of this movie, I felt for Campbell and her plight.

Numb is dark and moody but it does offer up a sense of hope. As for Michael Gibson, I'm reminded of a film maker named Darren Aronofsky who made the striking Pi under similar circumstances. I'm really looking forward to seeing what Gibson does next.

Grade: B+

ERASERHEAD
Starring Jack Nance

Eraserhead! Where to begin? Firstly, I had seen every one of David Lynch's pictures multiple times with exception of this one. For whatever reason, I never had an opportunity to see it. I was quite excited to learn that this first effort from the brilliant creator of Blue Velvet would appear at CineVegas 2004. And if the movie weren't grand enough, Lynch would be on hand to talk about this film and the rest of his interesting career.

Explaining this picture is no easy task, so I won't go into depth. I will say that it features actor Jack Nance in the title role, a sort of reclusive individual with a mean head of hair. Beyond that, I suppose you could call this film a slice of surreal life.

Lynch started this film as a project during his attendance at A.F.I., and it would take him nearly six years to complete the strangely unsettling movie.

There are odd films, then there are the works of David Lynch. What can I tell you? Lynch is one of those film makers capable of making a movie that, even if you're not sure what the hell is going on, grabs you and won't let go. Eraserhead is certainly no exception.

As I watched it, I thought I had a grasp on what it was all about, but then Lynch would knock me for loop, making me question my perception of just exactly what he was trying to say. I'm still convinced that this is essentially a movie about the early stages of a relationship and parenthood, but beyond that, I'm not really equipped with the intelligence to give you more insight. I'm sure there's a much deeper meaning, and the real beauty is, I have absolutely no doubt that Eraserhead is one of those films that becomes something entirely different with each viewing.

It should also be duly noted that Lynch's use of sound remains unmatched. Sound is it's own story in this picture, and the devices the film maker uses to assault our sense are both unsettling and exhilarating. And don't get me started on the special effects, most of which Lynch created himself. The "baby" is one of the most disturbing creations ever brought to the screen.

With elements of Kubrick (I constantly thought of 2001 as I watched it), Eraserhead is all at once a homage to numerous genres, but a new style all it's own. As Dennis Hopper said before introducing Mr. Lynch to the stage; "David Lynch is the first surreal film maker." That about sums this extraordinary talent up. His Eraserhead is scary, beautiful and compulsively watchable.

After the film was over, the audience was treated to a candid discussion with David Lynch, Dennis Hopper and Dean Stockwell conducted by a wired Elvis Mitchell (it was very "Inside the Actor's Studio." The three performers reflected on their careers, but the bulk of the discussion revolved around Lynch. While he was evasive in certain areas (he wouldn't mention other actors he had in mind for certain pictures nor would he discuss films that he turned down through the years), he was mostly candid and extremely gracious. He was even open enough to admit that Dune was a failure (although there are many out there that quite like that film), and he was also quick to suggest to all film makers that if you don't have final cut, then you really don't have anything.

Sadly, I didn't get to talk to Mr. Lynch because there were hoards of people wanting to get there picture taking with him. I did, however, bump into him in the urinal later on. How's that for surreal. I considered glancing in the trash for a severed body part, but resisted. Mr. Lynch, I salute you. You are one of the cinematic greats!

Grade: A

GOZU

Gozu completed a perfect triple feature of films. I saw Numb, Eraserhead and Gozu back to back to back. All three complimented each other in their own strange way, and I have to admit, Gozu was the perfect capper to a wacked out day of totally bizarro movies.

Gozu is the new film from prolific Asian film maker Mike Takashi . Just to give quick insight and a taste of just how weird this movie is, the English translation for Gozu is "cow head." This film is so off-the-wall, I don't even know quite where to begin.

I guess it's a Yakuza film, but unlike any you've ever seen. Now I'm not really well versed in the world of Asian cinema. I've seen a fair share but not nearly enough to tell you the best of the best. I will say that Gozu has the same sort of affect on the audience that movies like Dead Alive and Evil Dead 2 do. This is to say, there were moments in this picture that I still can't believe I saw, and the audience (myself included) ate it up.

Gozu follows two brothers of a Yakuza family. Following a horrible incident, one of the brothers must embark on a life of his own, but strange happenings suggest that things are not what they seem. To give away anymore would be completely unfair as this movie has to be seen to be believed.

Let me just say this. Gozu features a guy who has to shove a ladle up his ass to get aroused-- a lactating woman with enough milk to supply a multi-kegger party-- a bit of incest (sort of)-- and, of course, a half man half cow (which reminded me of that crazy old man with a pig head in Motel Hell's nutty horror flick from the 80's) as the title suggests. But that's only scratching the surface. Director Mile Takashi is known for his unforgettable opening sequences, and the one here is very funny, but the beginning of Gozu has nothing on the ending. A sequence so foul, so unbelievably audacious, so absolutely repulsive, that I still can't believe I was witness to it. Did I like it? HELL YES I DID! This movie has a sick tone from beginning to end and that gives the film maker license to pretty much do whatever the hell he wants, so he does. I won't spoil the outrageous climax, but it did remind a bit of a sequence in this 80's sci-fi/horror flick called Xtro.

In all fairness, Gozu is too long. With a two hour and ten minute running time, there are slow patches in between the money shots, but the pay-offs make the movie worth it, and the very end of the film has a kind of sweetness to it. It's perverse but strangely perfect. Should this movie open near you, I would recommend it if you have a strong stomach and are not easily offended.

Takashi was on hand with an interpreter to answer questions. He was asked pretty standard questions such as who his favorite film makers were. He mentioned David Lynch but he also brought up Paul Verhoeven. I asked him about U.S. distribution, to which he replied it would get a release. Jokingly, I said; "but it won't get released in Utah, right?" He seemed to get a kick out of that as did the audience.

Gozu was the perfect ending to a perfectly crazy film day at CineVegas 2004.

Grade: B