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ausetkmt · 1 year

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Nov. 20, 2022Difficult GraceNYT Critic's Pick

The cellist Seth Parker Woods presented an evening-long, multimedia program titled “Difficult Grace” Saturday evening at the 92nd Street Y’s Kaufmann Concert Hall. It was the full staging’s world premiere, but, as Woods remarked, he had premiered a “nucleus version” in February 2020 in Seattle; the coronavirus lockdown gave him the opportunity to rework his concept into its current form.

Woods was already a cellist of prodigious technical gifts and sharp intellect. This program has stretched him even further into performing as a spoken word artist and singer as well as instrumentalist.

Aided by the choreographer and dancer Roderick George — a childhood friend from Houston — “Difficult Grace” was a feast for the ears, eyes and mind.

In one portion of Freida Abtan’s “My Heart Is a River,” the audience sees a prerecorded video projection of two dancers as Woods plays live in front of the screen. The dancing figures straddle a cello that they are reimagining as a boat. The performer in front — actually Woods himself, with dancer Tamzin O’Garro behind — is wielding the cello bow as an oar. It’s a marvelously apt metaphor: Woods is an artist rooted in classical music, but whose cello is a vehicle that takes him, and his concertgoers, on wide-ranging journeys.

The program included works by a large roster of composers, many of whom used electronic sound design as well as live acoustic cello: Fredrick Gifford, Monty Adkins, Nathalie Joachim, Abtan, Ted Hearne, Devonté Hynes and Pierre Alexandre Tremblay. (In addition to Coleridge-Taylor Perkinson, who died in 2004.)

Gifford’s piece “Difficult Grace,” which lent its name to the entire program, included projected artwork by Barbara Earl Thomas and was inspired by Dudley Randall’s poetry. Regrettably, it was difficult to discern from the auditorium seats much of what Woods was saying during long spoken-word stretches. (Projected supertitles would be a welcome addition.) The same was true during Hearne’s work with an unprintable title, with texts by the poet Kemi Alabi. Within the most riveting section of Hearne’s piece, Woods sang and played R&B-flavored harmonies atop hip hop-inspired electronic beats.

Each composer who used prerecorded cello and electronic sound design, sometimes with on-the-spot manipulations, did so to very different aesthetic ends. Woods performed two movements from Abtan’s piece (“Opening Out” and “Seeping In”), in which the electronics and the live cello swirled around each other in haunting, echoing duets. Adkins’s gentle, cinematographic “Winter Tendrils,’‘ accompanied by an equally warmhearted film by Zoë McLean, used electronics almost like an invisible string orchestra, framing Woods’s cello in lush, glowing harmonies.

The most overtly narrative work was Nathalie Joachim’s “The Race: 1915,” which used projected images from the artist Jacob Lawrence’s “Migration Series” and texts taken from The Chicago Defender, the Black newspaper that was founded in 1905 and urged Black Americans to move northward in what became the Great Migration. Joachim’s music alternated between busy, cyclical motion and periods of meditative, slow arcs.

The most traditionally “classical” piece during the evening was a technically demanding cello sonata written by Devonté Hynes, whom certain music-loving New Yorkers may recall from his recent stint opening for Harry Styles at Madison Square Garden.

The other fully acoustic work was the third movement from Perkinson’s “Lamentations: Black/Folk Song Suite for Solo Cello,” entitled “Calvary Ostinato.” Perkinson’s music evoked centuries of Black American music, between lavish pizzicato sections which called to mind the connections between the American banjo and West African plucked string instruments and bluesy slides from note to note.

The evening ended with a powerful duet between Woods and George dancing live onstage in Tremblay’s “asinglewordisnotenough 3 [invariant].” It’s a piece that crackles with nervous, coiled energy. Woods often attacked his strings with furious intensity, while George’s dancing combined solid muscularity and sinuous movements. Somehow, all of these emotional currents found a home inside Tremblay’s score.

Difficult Grace

Performed on Saturday at Kaufmann Concert Hall, Manhattan.

#Review: In ‘Difficult Grace #’ a Cellist Moves Beyond Classical Confines #Cello #Seth Parker Woods #NYC

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zef-zef · 2 years

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Monty Adkins - Residual Forms (Cronica, 2014)

#2010 #monty adkins #mathew adkins #electronic #abstract #ambient #experimental #deep electronics #space float #cronica #2014

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poulomidesai · 6 years

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My VLF recordings and artworks produced at the Heritage Quay Archive as part of my Leverhulme Fellowship, will be exhibited at the Electric Spring Festival in Huddersfield. The electromagnetic radio recordings will be heard as a composed and performed piece in the SPIRAL (Spatialisation and Interactive Research Lab) offering spatial, interactive music composition, production, and sensoral control over 25 channels (+ 4 subs) in a 3D ambisonic environment. I will also be exhibiting the photographic glass plates, video and the two silk saris based on the British Music Collection. The festival is organised by Monty Adkins and Aaron Cassidy, and features a coding lab symposium and international performers and composers. For the full line up during the week: www.electricspring.co.uk

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netflixmomma516 · 5 years

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Posting 13RW Imagines

I’m continuing Her Secrets Series. Plus so much more! Get ready!

#13 reasons why #13rw #13 reasons why gifs #13 reasons why imagine #13 reasons why imagines #jeff atkins #jeff adkins #jessica davis #jeff atkins imagine #jeff adkins imagine #clay jensen #Bryce Walker #scott reed #scott reed imagine #hannah baker #Tyler Down #montgomery de la cruz #monty de la cruz #monty de la cruz imagine

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desirelovell · 4 years

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For more info on the 2016 Chevrolet Tahoe: https://www.balechevrolet.com/VehicleDetails/used-2016-Chevrolet-Tahoe-4WD_LTZ-Little_Rock-AR/3494447333

TXT me for a TEST DRIVE 501-317-5442 (please send your name thank you)

LEAVE COMMENTS BELOW THANK YOU!

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Management: Charlie Hall Jesse Scott Tim Hall F&I: Seth Pinkerton John Howard Sales: A.J. Benetz Bobby Sliger Charles DeLoach Clay Benton David Fyne Jared Horton Josh Munson Kelton Wilson Stan McKenzie Toby Talley Desiree Lovell Outside Sales: Monty White Customer Relations: Tanya Smith Inventory: Beth Heath LaKeith Culclager Fleet: Kris Adkins Brett Calhoun Mark Hedrick

BALE CHEVROLET VISION We are Generations of Family helping Generations of Families Do Life! Dealership with tagline BALE CORE VALUES 1. Integrity - We will always do what is right; not what is easy, cheap, popular, or convenient. And we will do so without excuse, and regardless of cost.

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SHOP NEW or USED: http://www.getbale.com/inventory http://www.getbale.com/blog

Get approved before you BUY? https://www.balechevrolet.com/Finance... OWN a CHEVY: https://my.chevrolet.com/how-to-support https://www.chevrolet.com/safety https://www.chevrolet.com/owners/warr... https://www.chevrolet.com/owner-manuals https://www.chevrolet.com/how-to

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sisilafami · 5 years

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2018

same shit, different year.

Rap:

My RAOTY is 03 Greedo - God Level i guess, then

70th Street Carlos - youtubes & 777

BlocBoy JB - Simi

Blueface - Famous Cryp & Two Coccy

Chief Keef - Ottopsy, Mansion Musik & Back From The Dead 3

City Girls - PERIOD & Girl Code

Co Cash - Foolhardy

Daboii - Neva Lookin Back

Drego & Beno - Sorry for the Get Off

Earl Sweatshirt - Some Rap Songs

G Herbo - Swervo

Goonew - Goonrich Urkel

Gunna - Drip Season 3

JPEGMAFIA - Veteran

Kevin Gates - Luca Brasi 3

Kodak Black - HeartBreak Kodak & Dying To Live

Lil Dude & Goonew - Homicide Boyz

Lil Durk - Signed To The Streets 3

NBA YoungBoy - Until Death Call My Name

Playboi Carti - Die Lit

Saba - Care For Me

Sada Baby - youtubes

Smino - Noir

SOB X RBE - GANGIN II

Trouble - Edgewood

ZMONEY - Chiraq Mogul

HM :

1TakeJay x Rucci - The Winning Team

21 Savage - I Am > I Was

Bandhunta Izzy - Code Blue

BbyMutha - Muthaz Day 3

Black Fortune - Ossh Rock

Busdriver - Electricity Is On Our Side

Chris Crack - Being Woke Ain't Fun

Fmb Dz - The Gift 2

Hermit and the Recluse - Orpheus vs the Sirens

Husalah - H

Jayo Sama - Out On Bond

Jean Grae & Quelle Chris - Everything's Fine

Key Glock - Glockoma & Glock Bond

Koran Streets - Late 20’s

Lil Tre - Unexpected

LUCKI - DAYS B4 II

Maxo Kream - Punken

Meek Mill - Championships

MIKE - War in my Pen

Migos - Culture II

Payroll Giovanni - Big Bossin vol. 2

Rico Nasty - Nasty

Roc Marciano - RR2꞉ The Bitter Dose & Behold A Dark Horse

SahBabii - Squidtastic

Saweetie - High Maintenance

SD - Pay Attention

Sheck Wes - MUDBOY

Shy Glizzy - Fully Loaded

$ilkMoney - I hate My Life…

Starlito & Trapperman Dale - Trapstar

Tierra Whack - Whack World

Trippie Redd - A Love Letter To You 3

YG - Stay Dangerous

YNW Melly - I Am You

Young Nudy - SlimeBall 3

Vince Staples - FM!

R’n’B:

Jacquees - 4275

Mariah Carey - Caution

Ravyn Lenae - Crush

Tamia - Passion Like Fire

Brent Faiyaz - Lost

Digital Beats:

RP Boo - I'll Tell You What!

Byrell The Great - Chopped Cheese

Iglooghost - Clear Tamei & Steel Mogu

Martyn Bootyspoon - Silk Eternity

EQ Why - East 37Th Street & Footwork Tracks Vol.2

Proc Fiskal - Insula

Sinjin Hawke & Zora Jones - Vicious Circles

Sabiwa - Sabiwa

P. Adrix - Álbum Desconhecido

Crystallmess - Mere Noises

Stun Pool - STUN POOL

Various - Príncipe Mixtape (2018 Special Edition)

Contemporary Music:

Vanessa Rossetto & Matthew Revert - Everyone Needs A Plan

Lucio Capece & Marc Baron - My Trust in You

Graham Lambkin - No Better No Worse Vol 2

Lee Fraser - Cor Unvers

Thomas Ankersmit - Homage To Dick Raaijmakers

Christopher Fox - Topophony

Alistair MacDonald - Cabinets de curiosité

Arek Gulbenkoglu - A gift like a hollow vessel

Cassandra Miller - Just So & O Zomer

Etelin - Hui Terra

eRikm - Mistpouffers

Francisco Meirino - The Ruins

Kate Carr - I Ended Out Moving To Brixton

Monty Adkins & Paulina Sundin - Beyond Pythagoras

MP Hopkins - Aeroplanes & Puddles

Peter Blamey - Five Fertile Exchanges

Jamie Drouin & Lance Austin Olsen - Moon Watcher

Savvas Metaxas - Wetlands

Clara de Asís - Without

John Tilbury & Keith Rowe - Sissel

Masayuki Imanishi - Worn Tape

Graham Lambkin & Áine O'Dwyer - Green Ways

Hong Chulki & Will Guthrie - Mosquitoes and Crabs

Eli Keszler - Stadium

Simon Whetham - Open and Closed Circles

Exael - Collex

Matthew Atkins - Cryptic System

linda catlin smith - wanderer

Tonus - Intermediate Obscurities I+IV & Texture Point

Jörg Widmann - Drittes Labyrinth / Polyphone Schatten

Mathias Delplanque - Témoins

Pascal Battus, Anne-F Jacques & Tim Olive - Trois Conseillers

Data Dump:

Aclds - ['b7nb95c

Aclds - {Qa.-br.e

Aclds - 3øºEg-x-8xd

Aclds - Fuadain Liesmas Appendages

Dalglish - I'[]nf]c_T_

Scald - (Kyjch Uyr[st

Autechre - NTS Sessions

Post-Techno / Ante-House:

2814 - Pillar New Sun

Clouds - Heavy The Eclipse

De Leon - De Leon

Diptera - Antenna

DJ David Goblin - Ork Music

Dolo Percussion - Dolo 3

Facechain - Accensor

Galcher Lustwerk - 200% GALCHER

Hieroglyphic Being - The Red Notes

How Du - Landing

Kolorit - Workshop XXI

Loidis - A Parade, in the Place I Sit, the Floating World (& All Its Pleasures)

THUGWIDOW - DESIGNER VOID

Topdown Dialectic - Topdown Dialectic

Young Paint - Young Paint

Zuli - Trigger Finger

Robert Mallet-Stevens Music:

Nico Niquo - Timeless

Organ Tapes - Into One Name

Foodman - Moriyama & Aru Otoko No Densetsu

Aqueduct Ensemble - Improvisations on an Apricot

Motoko & Myers - Basis Key

Lolina - The Smoke

James Ferraro - Four Pieces For Mirai

Jon Hassell - Listening To Pictures

Gossiwor - Lighthouse

Oneohtrix Point Never - Age Of

New Old:

Carl Stone - Electronic Music from the Eighties and Nineties

Iannis Xenakis - Persepolis

Luc Ferrari - L’Escalier Des Aveugles

Pablo's Eye - Spring Break

Christian Zanési - Grand Bruit ⧸ Stop! l'horizon

#2018

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hugopaquete · 5 years

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@c Espaço, Pausa, Repetição Crónica 150~2019, Tape Release date: 7 May 2019 Pedro Tudela and Miguel Carvalhais have been working as @c since 2000, publishing several albums (some of which in Crónica), composing music for audiovisuals and theatre, performing extensively, and creating site-specific sound installations. Having been invited to develop a new work for the Exhibitions Pavilion of the Faculty of Fine Arts of the University of Porto, to be shown from March to June 2018, around the time of the 15th anniversary of Crónica, they decided to develop a piece that would involve and reflect the label and the artists with whom it works. Anotações Sonoras: Espaço, Pausa, Repetição (Sonic Annotations: Space, Pause, Repetition) was developed from sound objects provided by more than fifty artists and projects. The installation established an area for a multisensory immersive experience that incited a dialogue with the sound objects, the architectural space and its visitors. An infrastructure built from speakers, flooring, light, fragrance, and a hovering frame, set a stage for the creation of a nonlinear, generative and open algorithmic composition for computer and speakers. This area was a pivotal point for listening, but it also steered visitors to move, leaving the ideal listening point and exploring the exhibition space to discover how different perspectives over the sonic matter could be attained through its traversal. The installation was built from the exhibition space and from the idiosyncrasies and autonomy of the more than 300 sound objects that were collected, ranging in duration from under a second to more than an hour. From these, Tudela and Carvalhais developed in excess of one thousand individual sound objects and developed a physical and computational system that fuelled their anarchic autonomy, and stimulated several relationships: between different sound objects; between sound objects and space; between sound objects, space, and listeners. In this site-specific installation Tudela and Carvalhais developed music that was not projected into an environment, that was not about an environment but that rather was the environment. A music that created its own space, to which it then directed the attention of visitors, so that they were led to develop a holistic reading and interpretation of the work. They developed a music of metaphors, by using sound objects and their qualities to create new objects that serendipitously emerged during the running of the installation. Fleeting objects that could be heard by visitors or could be forever lost. The two pieces in this release were composed using the sound objects and the generative system from the installation. They are not intended as documentation of the installation, but rather aim at being listened to as new compositions created from, and after, the installation. The first piece, Espaço, Pausa (Space, Pause), is perhaps closer to the dynamics of the opening configuration of the installation, with clearly recognisable sound objects and a focus on their articulation and relationships. The second piece, Repetição (Repetition), is infused with texts in English and Portuguese that were inspired by two other spaces: Pierre Schaeffer’s monumental Le solfège de l’objet sonore (Music Theory of the Sound Object), and Pierre Henry’s House of Sounds, as documented in the photo-book by Geir Egil Bergjord (published by gilka.no). Poetically indexing sound objects, Repetição proposes their semantic reinterpretation, further extending the metaphorical constructs. Credits Composed by Miguel Carvalhais and Pedro Tudela with sound objects created for the installation Anotações Sonoras: Espaço, Pausa, Repetição by Alex FX, Alexander Rishaug, André Gonçalves, Andreas Trobollowitsch, Artificial Memory Trace, Arturas Bumšteinas, Attilio Novellino, Carlos Santos, Carlos Zíngaro, Cem Güney, Dan Powell, David Lee Myers, Diana Combo, Durán Vázquez, Emídio Buchinho, Emmanuel Mieville, Enrico Ascoli, Enrico Coniglio, Astrid & Ephraim Wegner, Haarvöl, Freiband, Gintas K, Graeme Truslove, Hugo Paquete, Ifs, James Eck Rippie, Janek Schaefer, Jazznoize, Jim Haynes, Jonathan Uliel Saldanha, Jörg Piringer, Jos Smolders, Lawrence English, Luca Forcucci, Maile Colbert, Marc Behrens, Martijn Tellinga, Mikel R. Nieto, Mise_en_Scene, Monty Adkins, Morten Riis, paL, Ran Slavin, Richard Eigner, Saverio Rosi, Simon Whetham, Sound Meccano, Stephen Vitiello, Sturqen,Tamtam, Tuulikki Bartosik, Ulrich Mitzlaff, Vitor Joaquim, Yiorgis Sakellariou. Cover image by Márcia Novais. Installation photos by Pedro Tudela. Special thanks to Lúcia Almeida Matos and Luís Pinto Nunes. Anotações Sonoras: Espaço, Pausa, Repetição (Sonic Annotations: Space, Pause, Repetition), an installation by Pedro Tudela and Miguel Carvalhais was commissioned by oMuseu and the Exhibitions Office of the Faculty of Fine Arts of the University of Porto for its Exhibitions Pavilion. March 24th to June 30th, 2018.

#sound art #cronica #sound installation #noise #random #experimental art #nw media #music

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campfr · 5 years

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Second wave of artists announced at CAMP Mountain Music Festival! Lineup now: 9T Antiope / Alexandra Nilsson / apres anora / Arma Agharta / Aurélie Ferrière / Black Zone Myth Chant / Cheval Scintillantes / Core of the Coalman / Cru Servers / dj flugvel og geimskip / Elsa Hewitt / Eric Chenaux / Heather Leigh / Holzkopf / Kelly Jayne Jones / Kirk Barley / L'Ocelle Mare / Lafidki / Les Halles / Monty Adkins / Ossia / Pel Bonheur / Peter Rehberg / Philip Jeck / Rough Fields / Space Afrika / Teki Latex / Tim Shaw / WANDA GROUP / YTAC

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND March 22, 2019 - US

Of course, the big movie of the weekend is Jordan Peele’s US (Universal), his follow-up to his Oscar-winning mega-hit Get Out, this one starring Lupita Nyong’o and Winston Duke from Black Panther. Right now, from the reactions and rave reviews out of its SXSW premiere, Peele is not going to experience a sophomore slump and the world will continue to be his oyster. (As of this writing, I personally haven’t seen the movie yet, but I’ll be attending the New York premiere on Tuesday night and hope to have a review done and posted some time Wednesday.)

You can read what I think of the box office prospects for Jordan Peele’s Us over at The Beat, and here’s MY REVIEW OF US.

A24 is also expanding Sebastian Lelio’s GLORIA BELL, a drama starring Julianne Moore which I loved, into more theaters on Friday, and that could also make an entry into the top 10 as solid counter-programming to Peele’s movie.

But let’s get to what hopefully you’re reading this for… and that’s the other stuff in theaters this weekend.

LOCAL FESTIVALS

I’m gonna start with this section this week, because I’m so excited about something going on at the IFC Center -- not the first time and definitely won’t be the last -- as it’s the 2nd annual WHAT THE FEST?!, which I sadly missed last year. This year’s line-up is slammin’, opening on Wednesday night with the World Premiere of Larry (Habit) Fessendern’s new movie Depraved, his take on Mary Shelley’s Frankenstein. Later on Wednesday is the NYC Premiere of the Swedish film The Unthinkable and then on Thursday is the NYC Premiere of Pollyanna McIntosh’s Darlin’, a sequel to Jack Ketchum’s 2009 movie The Woman, which was in turn a sequel to Offspring.

I have seen a couple of the movies including Penny Lane’s doc Hail Satan?about the Satanic Temple’s fight against theocracies in the form of states trying to put statues of the Ten Commandments on government sites. It’s a movie that has humor as well as politics, and it’s part of the all-day Satan-themed Sunday that will include my buddy Grady Hendrix doing a presentation in conjunction with his novel We Sold Our Souls. Friday night is the New York premiere of Emma Tammi’s The Wind, an amazing Western horror film set in the desolate wasteland, starring Caitlin Gerrard (Insidious: The Last Key) and Julia Goldani Telles (Slenderman).

If there’s one movie you ABSOLUTELY MUST SEE, it’s Shinichiro Ueda’s horror-comedy One Cut of the Dead, which is very hard to describe without spoiling but imagine if a film crew making a zombie movie is attacked by real zombies… and then throw any conceptions you might have about the movie out the window. I have to thank my pal David Jaffee for recommending the movie so highly, as it’s a very clever take on zombies. (And honestly, at this point, I have no idea if and when it will get U.S. distribution.) I probably won’t have a chance to see Roxanne Benjamin’s Body at Brighton Rock but Magnolia is opening it in April so hopefully I’ll see it before then.

LIMITED RELEASES

Opening in New York and L.A. on Friday before a wide release on March 29 is HOTEL MUMBAI (Bleecker Street), the directorial debut by Anthony Maras, which looks at the 2008 terrorist attacks on the Taj Hotel. It stars Dev Patel, Armie Hammer and Jason Isaacs as part of the ensemble cast dealing with Muslim terrorists who attacked the hotel in order to take Western hostages for ransom. It’s a solid debut by Maras, one with a lot of moving parts but handled sensitively and tactfully due to the nature of the events. I definitely recommend the movie if you have a chance to see it. It’s not quite United 93 but still very good.

Oscar-winning Hungarian filmmaker Laszlo Nemes (Son of Saul) returns with his new movie SUNSET (Sony Pictures Classics), set in Budapest 1913, as it follows Irisz Leiter as she arrives there to work as a milliner (hat salesperson) at the popular hat store that belonged to her parents, though she’s sent away by the owner Oszkar Brill. When a man shows up looking for Irisz’s brother Kalman, she begins to look into her lost past. I have to be honest that I wasn’t much of a fan of the movie, maybe because it was very long, slow and confusing to the point where I really didn’t understand much of what was happening. Clearly, it’s not a film on par with Son of Saul, although I guess some people might like it more than I did. It probably will open in New York and L.A., as that’s the way Sony Classics usually does things.

Filmmaker S. Craig Zahler (Bone Tomahawk) returns with his latest genre film DRAGGED ACROSS CONCRETE (Summit/Lionsgate), a police thriller starring Mel Gibson and Vince Vaughn as disgraced police officers who decide to hijack an ambitious heist, stealing the bars of gold that were stolen by a group of robbers. It’s a decent movie if you’re into this sort of thing. Zahler keeps improving as a filmmaker and here, he makes a movie with the weight of Steve McQueen’s Widows, although I thought Tory Kittles was far more interesting than the two leads, even though they do have good chemistry together. This will open in select cities Friday.

Opening at the Film Forum on Wednesday is a wonderful doc by Dutch filmmaker Heddy Honnigmann called BUDDY, which looks at a number of people and their relationships with incredible service dogs who help them get through everything from blindness to PTSD. This really is a wonderful movie, especially if you’re a dog-lover because all of the dogs have personalities as interesting as their masters.

Also opening at Film Forum Friday and at the Lammle Monica Film Center is Nancy Schwartzman’s new documentary Roll Red Roll (Together Films) looks at a 2012 incident of high school sexual assault in Steubenville, Ohio where a young woman was raped by the football team. It’s a harrowing story but if you’re interested in the type of true crime docs that are all over Netflix, this one should interest you as well. (It’s particularly struggling for me to watch it, having one nephew in high school not too far away from where this happened.)

A movie that I saw and reviewed out of the Tribeca Film Festival last year was Robert Budreau’s STOCKHOLM, which reunites him with Ethan Hawke from Born to Blue, this time playing a bank robber who robs a bank in Sweden with his partner (Mark Strong) and takes a bank manager (Noomi Rapace) hostage before she falls for him … leading to the term “Stockholm Syndrome.” No, I’m not making that up. I don’t remember hating or loving this but just thought it was okay, probably elevated by the presence of the cast.

Patricia Clarkson, Jacki Weaver, James Caan and Toby Jones star in Carol Morley’s thriller OUT OF BLUE (IFC Films) about a New Orleans detective (Clarkson) searching for the killer of a renowned astrophysicist (played by Mamie Gummer), who was shot to death in her observatory. I’ll try to watch this and write more about it soon.

John Travolta and Toby Sebastian star in Karzan Kader’s Trading Paint (Saban Films/Lionsgate), playing a fat her and son racing duo who have a falling out, something that a rival racing company uses to drive a wedge further into the relationship. The movie has been on Ultra VOD for the last month but it will open in select theaters and regular VOD Friday.

Following a one-night theatrical release in 150 theaters on Tuesday, Jesse V. Johnson’s action-thriller Triple Threat (Well GO USA), starring Tony Jaa (Ong-Bak) and Iko Uwais (The Raid) will be available in select theaters and VOD. They are part of a team of mercenaries sent to stop a group of assassins from killing a billionaire’s daughter. It also stars Scott Adkins, Tiger Chen, Michael Jai White and more.

Joel Proykus’ video game comedy Relaxer (Oscilloscope) stars Josh Burge (who previously starred in Proykus’ Ape) as Abbie who is trying to beat the impossible 256thlevel of Pac-Man with no food or water and a bunch of friends and acquaintances showing up. The comedy also stars David Dastmalchian (Ant-Man) and it opens in select cities.

Eric Khoo’s Ramen Shop (Strand Releasing) also opens in New York at the IFC Center and Landmark at 57 West. It follows a young Ramen chef named Masato who leaves Japan to go on a culinary journey through Singapore where he discovers family secrets and new recipes. It will expand to L.A. and other cities on April 5.

As far as streaming, we get our third Western in three weeks with Scott Martin’s Big Kill (Cinedigm), starring Christoph Sander, Jason Patric and more. It involves a Philadelphia accountant who travels West to join the family business who meets up with two rogues who have been run out of Mexico. It’s on VOD now.

REPERTORY

METROGRAPH (NYC):

Harmony Korine will be on-hand Friday for the start of a special seriesshowing his films, including 2012’s Spring Breakers, as well as showing 1995’s Kids, which he wrote. (It’s all to prepare for the release of Korine’s latest film The Beach Bum, starring Matthew McConaughey, which will screen for members only.) Film Society of Lincoln Center director Kent Jones ventures downtown to promote his new movie Diane with a “Dream Double Feature” of Westerns The Shooting (1966) and Rio Bravo (1959) on Saturday afternoon. Late Nites at Metrograph will show Catherine Reillat’s Fat Girlon Wednesday night and then Masahiro Shinoda’s 1969 film Double Suicide on Friday and Saturday nights. This week’s Playtime: Family Matinees is Ken Kwapis’ 1996 monkey comedy Dunston Checks In, starring Jason Alexander from Seinfeld.

THE NEW BEVERLY (L.A.):

Weds. afternoon shows a singular screening of The Three Faces of Eve (1957) starring Joanne Woodward. This week’s double features are John Ford’s Fort Apache (1948), starring John Wayne, with Robert Aldrich’s Ulzana’s Raid (1972) on Weds. and Thurs, the comedy double feature of Monty Python and the Holy Grail (1975)and Monty Python’s The Meaning of Life (1983) on Friday and Saturday, and then the Paul Wendkos double feature of The Mephisto Waltz (1971) and Special Delivery (1976) on Sunday and Monday. This weekend’s midnight movies are Tarantino’s Kill Bill Vol. 2 on Friday night and Woody Allen’s Everything You Always Wanted to Know about Sex But Were Afraid to Ask on Saturday. The weekend’s KIDDEE MATINE is Clarence Brown’s 1944 National Velvet, starring Mickey Rooney and Elizabeth Taylor. On Monday, the Bev shows the amazing Parker Posey breakthrough film Party Girl (1995) with director Daisy von Scherler Mayer in person, then Tuesday’s GRINDHOUSE double feature is two from Hong Kong, The Tattoo Connection (1978) and another “Bruce Li” movie Exit the Dragon, Enter the Tiger, also from 1978.

FILM FORUM (NYC):

The ongoing Bob & Wray: A Hollywood Love Story series continues this week with the Fay Wray double feature of The Clairvoyant (1935) and Black Moon (1934) on Weds, the Bill Riskin-penned Mister 880 (1950) and Broadway Will (1934) Thursday, then even more Frank Capra with American Madness (1932) and The Miracle Woman (1931)on Friday (and again, next Tuesday). The weekend sees a 35mm print of King Kongshown as part of Film Forum Jr., as well as in a double feature with The Most Dangerous Game (1932) on Saturday and again on Monday. Also showing this weekend is The Four Feathers ( 1929) – with live piano accompaniment--on Saturday and Magic Town (1947) and Capra’s Meet John Doe (1941) on Sunday. Also Sunday is a single-showing horror double feature of The Mystery of the Wax Museum and The Vampire Bat, both from 1933 and both starring Wray.

EGYPTIAN THEATRE (LA):

Before coming to New York’s Metrograph, Harmony Korine will be here in person for a Thursday screening of Trash Humpers and Spring Breakers, plus “Bruno Ganz Remembered” continues as the Egyptian also shows Wim Wenders’ Wings of Desire on Sunday. (At one point, the theater was also showing a double feature of Nosferatu, The Vampire and The American Friend, too.) Old movie fans might also be interested in “The Musketeers of Pig Alley” and More Films of 1912, which a series of shorts by D.W. Griffith that run on Saturday and Sunday.

IFC CENTER (NYC)

Waverly Midnights: The Feds wraps up with Steven Spielberg’s 2002 movie Catch Me If You Can, starring Tom Hanks and Leonardo DiCaprio. Weekend Classics: Early Godard also concludes this weekend with Pierrot Le Fou (1965) while this weekend’s Late Night Favorites is David Lynch’s Mulholland Drive.

MOMA (NYC):

MOMA continues the series Modern Matinees: B is for Bacall with the 1953 filmHow to Marry a Millionaireon Wednesday, Vincente Minelli’s 1955 film The CobwebThursday and Jonathan Glazer’s more recentBirth (2004) on Friday.

BAM CINEMATEK (NYC):

For whatever reason, BAM is screening Michaelangelo Antonioni’s 1970 “classic” Zabriskie Point on Friday night – I’m not really a fan -- as part of BAM and Triple Canopy: On Resentment, but already sold out is Mathieu Kassovitz’s 1995 film La Haine, starring Vincent Cassel, and other interesting films in the series, like Steve McQueen’s Hunger, starring Michael Fassbender.

MUSEUM OF THE MOVING IMAGE (NYC):

The museum’s Tribute to Bruno Ganz will screen Wim Wenders’ Wings of Desire on Sunday, and it’s showing this year’s Oscar-Nominated Animated Shorts as part of its ongoing family program.

LANDMARK THEATRES NUART (LA):

The Nuart’s Friday midnight offering isJohn Waters’ Polyester (1981)starring the late Divine.

QUAD CINEMA (NYC):

The quad continues its Bertrand Blier series with the 40thanniversary restoration of his 1978 film Get Out Your Handkerchiefs.

AERO (LA):

The AERO is booked up this week with the West Coast version of the Canada Now!Series.

STREAMING AND CABLE

This Friday’s big Netflix streaming debut is Jeff (Bad Grandpa)Tremaine’s Motley Crue biopic THE DIRT, starring Douglas Booth, Iwan Rheon (Ramsay Bolton from Game of Thrones) and more. I haven’t seen it yet but I’ll probably watch it sometime this weekend.

That’s it for this week, but next week, we’ll get Tim Burton’s Dumboand more.

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