Former gang members try to stop the violence on the streets of Chicago in THE INTERRUPTERS
THE INTERRUPTERS (Steve James, 2011)
Symphony Space, Leonard Nimoy Thalia
2537 Broadway at 95th St.
Sunday, January 29, $13, 4:45
212-864-5400
www.symphonyspace.org
www.interrupters.kartemquin.com
For The Interrupters, director, producer, and editor Steve James (Hoop Dreams, At the Death House Door) teamed up with journalist Alex Kotlowitz (There Are No Children Here) to hit the dangerous inner-city streets of Chicago with the men and women of CeaseFire, a grass-roots organization of former gang members who are now trying to stop the violence. Inspired by Kotlowitz’s New York Times Magazine article, the two men concentrate on three primary stories. Ameena Matthews, the Muslim daughter of notorious gang leader Jeff Fort, is working with a deeply troubled young woman who’d rather fight than flee, even if it means being sent back to prison. Cobe Williams has his hands full with the angry, recently released Flamo, who thinks the whole world is against him. And Eddie Bocanegra is attempting to come to grips with a cold-blooded revenge murder he committed when he was a teenager by visiting schools and talking about turning his life around. One of the most poignant moments of the film occurs when Williams brings Lil Mikey back to the barbershop he and several of his cohorts robbed at gunpoint as he again faces some of his victims. Matthews, Williams, and Bocanegra are paid employees of CeaseFire, which was founded by Dr. Gary Slutkin, an epidemiologist who believes that violence is a disease that can be treated in similar ways, and is run by Tio Hardman, who handles his extremely tough task with intelligence and dignity as he deals with what he calls “the madness.” But in a society in which “words’ll get you killed,” as Matthews says early on, these tireless violence interrupters put their own lives on the line every day, battling a sickness that seems to have no end in sight. The award-winning film, a hit at numerous film festivals, felt a bit long at its original 144 minutes, but James edited it down to a more streamlined 124 minutes for its recent theatrical release. The Interrupters is screening January 29 at 4:45 as part of Symphony Space’s “Thalia Film Sundays” series, which continues in February with Patrick Takaya Solomon’s Finding Joe and Philipp Stölzl’s Young Goethe in Love.
Shortly after suicidal sharpshooter John Ottway (Liam Neeson) decides to kill a big grey instead of himself, the desperate man is fighting for his life, leading a small group of men who have survived a horrific plane crash only to find themselves right smack in wolf territory — and the wolves are none too happy that their territory has been intruded upon. Based on the short story “Ghost Walker” by Ian Mackenzie Jeffers, who wrote the taut screenplay with director Joe Carnahan (Narc,) The Grey is an intense, gripping thriller set in the vast Alaskan wilderness. In the middle of nowhere, a gang of societal outcasts — Ottway, Diaz (Frank Grillo), Talget (Dermot Mulroney), Henrick (Dallas Roberts), Flannery (Joe Anderson), Burke (Nonso Anozie), Hernandez (Ben Bray), and Lewenden (James Badge Dale), who all work at an oil refinery at the end of the earth, since no one else will have them — must band together if they want to survive, something that is a whole lot easier said than done with this collection of miscreants. As the men battle the increasingly dangerous elements, the wolves hover just on the periphery, seemingly always at the ready to attack, especially at night. Meanwhile, Ottway has tender memories of being in bed with his wife (Anne Openshaw), who has left him, the flashbacks helping him focus on his natural survival instincts. But even the skilled hunter might have finally met his match with these fierce, vengeful wolves. Beautifully photographed by Masanobu Takayanagi, The Grey expertly mixes action-adventure with horror, filled with thrills and chills galore. Evoking Sigourney Weaver in the Alien series, Neeson lends class to the film with his sensitive portrayal of the severely damaged Ottway, a good man who is more than a little down on his luck. Carnahan rarely settles for the lowest common denominator, instead telling the primal story of Ottway’s inner and outer journeys with wit and intelligence — and plenty of scares. The new year is less than a month old, but The Grey is destined to be one of the best films of 2012. (And be sure to stick around for the end of the credits for a brief bonus.)
Following a launch party for her book about how she and two fellow Mossad agents in 1964 captured and killed Max Reiner (Edgar Selge), the notorious “Surgeon of Birkenau,” Rachel Brener (Gila Almagor) immediately learns that there is an old man in a Ukrainian nursing home claiming that he is in fact the doctor who performed horrific experiments on Jewish men, women, and children in the German concentration camp during World War II. Rachel is reunited with Zvi (Alex Peleg) and Ehud (Oded Teomi), who come up with a plan to eliminate the doctor once again to protect a secret that has been haunting them for forty years. But they’re no longer the brash, finely chiseled spies they were when they were young, leading to crises of conscience and other physical and psychological dilemmas. Nominated for four Israeli Academy Awards, The Debt is a tense thriller from director Assaf Bernstein, who cowrote the screenplay with Ido Rosenblum. The story weaves back and forth between the present day, as Rachel meets Ehud in Ukraine and they hash out their plan, neither one having done anything like this in decades, and 1964, when Rachel (Neta Garty), Zvi (Itay Tiran), and Ehud (Yehezkel Lazarov) were younger and more idealistic. The scenes in which the young Rachel visits the doctor, who has become a gynecologist, and pretends she is trying to conceive a child are particularly gripping, setting up a powerful conclusion. The Debt, which was recently remade in English by John Madden with Helen Mirren, Ciarán Hinds, Sam Worthington, Jessica Chastain, and Tom Wilkinson and evokes such films as The Wild Geese, The Boys from Brazil, and QB VII, will open the Brooklyn Israel Film Festival on Thursday night at the Kane Street Synagogue in Cobble Hill, followed on Saturday night by Yossi Madmony’s Restoration, which was named Best Feature at the 2011 Jerusalem Film Festival, and Dolphin Boy on Sunday night, which will be followed by a Q&A with codirector Dani Menkin and producer Judith Manassen-Ramon.
In 1961, Barry Mann and Gerry Goffin wrote, “I’d like to thank the guy / who wrote the song / that made my baby / fall in love with me.” The title of that be-bop song, “Who Put the Bomp,” inspired one of music’s first fanzines and later the punk record label Bomp! Records. In their 1999 song “Deceptacon,” the riot grrrl group Le Tigre flipped that question around, asking, “Who took the bomp from the bompalompalomp? / Who took the ram from the ramalamadingdong?” In the song they also dare, “Let me hear you depoliticise my rhyme.” Formed in 1998 by former Bikini Kill leader Kathleen Hanna, zine writer Johanna Fateman, and visual artist Sadie Benning, who was replaced in 2000 by DJ and projectionist JD Samson, Le Tigre challenged the male-dominated world of rock and punk, championing individuality and sexual freedom while redefining gender roles. In 2004, Hanna, Fateman, and Samson set out on a world tour in support of their third and final album, This Island, and asked their lighting designer, Carmine Covelli, to capture it all on film. The result is the engaging Who Took the Bomp? Le Tigre on Tour, in which Covelli and director Kerthy Fix go onstage, backstage, and behind the scenes as the influential trio heads across four continents and ten countries, playing exciting live shows, meeting the media, taking pictures with Slipknot, revealing what they pack in their luggage, exercising in the gym, and talking about facial hair. They also discuss more serious issues such as gender identity, lesbianism, and their DIY mentality, which flew in the face of the music industry. The seventy-two-minute film, which features live multimedia performances of such songs as “Hot Topic,” “Keep on Livin’,” “Viz,” and “Deceptacon,” is screening on January 25 at 9:00 at the Nitehawk Cinema in Brooklyn and will be followed by a Q&A with members of the band.