vitaminbee
Joined Jul 2007
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges2
To learn how to earn badges, go to the badges help page.
Reviews3
vitaminbee's rating
If you're looking for a standard plot line or narrative, or a biopic of Allen Ginsberg, HOWL is definitely not for you. Written and directed by Oscar-winning documentary filmmakers Rob Epstein and Jeffrey Friedman, HOWL is a thought-provoking narrative film that explores the impact of Allen Ginsberg's legendary work of poetry on American culture. Instead of a standard beginning-middle-end storyline, Epstein and Friedman embrace the idiosyncratic rhythm and imagery of Ginsberg's poem, and instead weave together a hypnotic film out of several different storytelling threads.
The music threaded throughout the film is gorgeous free form jazz, and it's entirely appropriate, as the film feels like an improvisational jazz piece. Instead of individual instruments, we get those disparate storytelling threads. They include a masterful recitation of Ginsberg's poem by actor James Franco; a mesmerizing visualization of Ginsberg's words through animation inspired by Ginsberg's own drawings; Franco's recreation of an actual audio interview from Ginsberg that clues us into Ginsberg's back story and literary motivations; and compelling drama from the obscenity trial that publisher Lawrence Ferlinghetti faced when he released HOWL in America. Some might be thrown off by the veering ways in which all of these threads weave in and out of each other, but I found it fascinating and riveting. A friend I saw the film with said I was so focused on the movie, she thought I was reading it right off the screen. I appreciate Epstein and Friedman for giving me such a compelling movie-going experience.
The music threaded throughout the film is gorgeous free form jazz, and it's entirely appropriate, as the film feels like an improvisational jazz piece. Instead of individual instruments, we get those disparate storytelling threads. They include a masterful recitation of Ginsberg's poem by actor James Franco; a mesmerizing visualization of Ginsberg's words through animation inspired by Ginsberg's own drawings; Franco's recreation of an actual audio interview from Ginsberg that clues us into Ginsberg's back story and literary motivations; and compelling drama from the obscenity trial that publisher Lawrence Ferlinghetti faced when he released HOWL in America. Some might be thrown off by the veering ways in which all of these threads weave in and out of each other, but I found it fascinating and riveting. A friend I saw the film with said I was so focused on the movie, she thought I was reading it right off the screen. I appreciate Epstein and Friedman for giving me such a compelling movie-going experience.
This flick screened at Outfest in Los Angeles two nights ago to a completely sold out audience. Many standing in line were even turned away. They were the lucky ones.
The storyline, in a nutshell: When his boyfriend leaves town, architect and restorer Rusty quickly hooks up with a sexy drifter named Denny. Rusty's already unsettled life is set on its ear when he discovers that Denny is a crystal meth-addicted hustler.
Beginning about 20-30 minutes into the film, audience members started walking out in droves. I'm not sure of their reasons, but I would have left had I not been stuck in the middle of a crowded row of people involved with the film. I would have just felt bad disturbing their experience.
Why would I have left? I found both the storyline and the characters unbelievable and unlikeable. Rusty is described as a success, but I couldn't figure out why anyone would use that word to describe him. Unable to make a decision or take a stand, he lets himself get pushed around professionally and emotionally throughout the film. Had there been some kind of hook or insight in either the writing of the character or the actor's performance, I might have wanted to root for the guy, but he just kept going back for more and never earned my respect as an audience member.
The two lead actors are gorgeous, so that was what largely what made the film semi-bearable for me. And Dale Dymkowski, who plays the hustler Denny, did the best he could with what he was given, so he's pretty much what earned the two stars in my rating.
Technically the film is kind of creaky as well. The color was terrible in the print I saw, and the sound was extremely tinny.
Recommended for home viewing only, where you have the fast forward option and the ability to give up on it easily if you're so inclined.
The storyline, in a nutshell: When his boyfriend leaves town, architect and restorer Rusty quickly hooks up with a sexy drifter named Denny. Rusty's already unsettled life is set on its ear when he discovers that Denny is a crystal meth-addicted hustler.
Beginning about 20-30 minutes into the film, audience members started walking out in droves. I'm not sure of their reasons, but I would have left had I not been stuck in the middle of a crowded row of people involved with the film. I would have just felt bad disturbing their experience.
Why would I have left? I found both the storyline and the characters unbelievable and unlikeable. Rusty is described as a success, but I couldn't figure out why anyone would use that word to describe him. Unable to make a decision or take a stand, he lets himself get pushed around professionally and emotionally throughout the film. Had there been some kind of hook or insight in either the writing of the character or the actor's performance, I might have wanted to root for the guy, but he just kept going back for more and never earned my respect as an audience member.
The two lead actors are gorgeous, so that was what largely what made the film semi-bearable for me. And Dale Dymkowski, who plays the hustler Denny, did the best he could with what he was given, so he's pretty much what earned the two stars in my rating.
Technically the film is kind of creaky as well. The color was terrible in the print I saw, and the sound was extremely tinny.
Recommended for home viewing only, where you have the fast forward option and the ability to give up on it easily if you're so inclined.
