Don’t be startled if you see an inordinate number of film crews racing around town this weekend. The 48 Hour Film Project returns to Albuquerque this Friday, July 10. Ours is one of more than 80 cities around the world hosting an initial leg of the two-day filmmaking competition. Handpicked crews of writers, directors, cinematographers, editors, actors and more will gather at Imbibe (3101 Central NE) at 6 p.m. on Friday. There, organizers will inform the crews of the line, prop, character and genre each must incorporate into their films. They’ll have just 48 hours—start to finish—to complete their efforts. There will be a wrap-up party on Sunday, July 12, back at Imbibe with drink specials and snacks. A grand total of 43 local film crews are signed up to participate, making this the busiest year since Albuquerque signed on to host the 48 Hour Film Project. The Premiere Screening for all the Albuquerque films takes place Wednesday, July 15, from 6:45 to 9:15 p.m. at the KiMo Theatre in Downtown Albuquerque. Tickets for this event are $9 at the door. The top film at Wednesday’s screening will go on to compete against all the winning films from around the globe. Log on to 48hourfilm.com/albuquerque for more info.
In a year that’s featured the likes of Transformers: Revenge of the Fallen (ugh), Terminator Salvation (meh) and Star Trek (eh ... ), it’s becoming increasingly difficult to find a science-fiction film you can proudly call science fiction. Happily, Moon—the intriguing directing debut by Duncan Jones—fits the bill. Filled with profound sadness, deep humanism and aching beauty, Moon would fit comfortably on the DVD shelf alongside such tonally similar sci-fi hallmarks as 2001: A Space Odyssey, Solaris and Silent Running.
Not to cast aspersions against either Michael Mann’s obvious manliness or his well-established filmmaking skills, but I bet he spent his childhood playing with dolls. From the new-wave Nazi chic of The Keep to the infamous peppermint-striped suits of “Miami Vice” to Daniel Day-Lewis’ slo-mo buckskin fringe in The Last of the Mohicans, Mann has made decisions that often seem more sartorial than directorial. Not that there’s anything wrong with that. Mann’s obsessive attention to visual accoutrement—James Caan’s badass welding goggles in Thief, Dennis Farina’s perfect fedora in “Crime Story,” Tom Cruise’s disconcertingly frosted tips in Collateral—has given the director a distinctive and successful style.
For a couple of decades now, Michael Ian Black and Michael Showalter have been comedic collaborators in a variety of sketch comedy troupes (starting at NYU in 1988), TV shows (“The State,” “Stella”) and movies (Wet Hot American Summer, The Baxter). Obviously inseparable for extended periods, the Michaels have joined forces once again for Comedy Central’s self-referential new skitcom “Michael & Michael Have Issues.”