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DTSTAMP:20260406T080205
CREATED:20230301T030050Z
LAST-MODIFIED:20230301T030050Z
UID:16878-1677879000-1678305000@tonemadison.com
SUMMARY:RRR at Marcus Point Cinema
DESCRIPTION:Rama Raju (Ram Charan) and Komaram Bheem (NTR Jr.) smile while in the midst of a choreographed dance move. \nNo prior knowledge of Indian historical figures Alluri Sitarama Raju and Komaram Bheem is necessary to appreciate as S.S. Rajamouli’s bombastic action film RRR (2022). This three-hour epic reimagines the two real life anti-Raj activists Bheem (N.T. Rama Rao Jr.\, often referred to as NTR Jr.) and Rama Raju (Ram Charan) as near-superhuman strongmen\, an analogue to Goku and Vegeta for 1920s India. It’s returning to theaters for just shy of a week\, on the strength of an Oscar nomination for best song and Rajamouli’s hobnobbing with the likes of James Cameron and Steven Spielberg since the film’s initial release last year. \nRajamouli’s infectious enthusiasm for over-the-top action set pieces have led to RRR becoming a crossover hit with audiences who aren’t usually tuned in to Indian cinema\, both in America and worldwide. (Of course\, having the highest production budget of any Indian film to date surely has something to do with it.) \nThe plot in brief: Bheem hopes to rescue a kidnapped child from cartoonishly evil British Colonialists. Rama Raju works for the British police. Both go undercover\, and the men become best friends without ever realizing each other’s true identity. Tension dramatically comes to head after the requisite dance number. \nRajamouli is clearly having a blast staging CGI-heavy action. Among 2022 action movies\, only Top Gun: Maverick‘s plane scenes come anywhere close to RRR’s level of excitement\, and the Indian production didn’t have to utilize taxpayer-funded fighter jets to do it. (That is not to say RRR doesn’t have its own problematic implications.) But at the end of the day\, it’s a giant spectacle that highlights the strengths of the theatrical experience. So please take the chance to see this film big and loud. \n—Lewis Peterson \n \nThis preview was slightly modified and republished from last September for this special re-release event.
URL:https://tonemadison.com/event/rrr-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20230311T190000
DTEND;TZID=America/Chicago:20230311T233000
DTSTAMP:20260406T080205
CREATED:20230224T152827Z
LAST-MODIFIED:20230224T153041Z
UID:16861-1678561200-1678577400@tonemadison.com
SUMMARY:Four Star Video Subscriber Drive Celebration Party at Four Star Video
DESCRIPTION:Throughout February\, Madison movie-rental institution Four Star Video Rental has been calling on customers to sign up for subscription plans\, which enable customers to check out three or more titles at a time for a flat monthly rate. It’s a continuation of the good work co-owner Lewis Peterson has done to keep Four Star alive through multiple twists and turns\, including a move that happened just before the pandemic hit home. (Full disclosure\, Peterson writes for Tone Madison\, as do two of the DJs playing this event.) \nAnd Four Star—always Four Star Video Heaven in my heart\, though the “Heaven” dropped out of the official name when the store briefly became a cooperative—is not an endling in the streaming-fueled extinction of video stores. It survives because it’s dedicated to maintaining a deep selection of DVDs\, Blu-rays\, and even some VHS tapes\, embodying an infectious love for everything from prestige cinema to the most unhinged genre gems. \nIf the movie you were planning to watch suddenly vanished from one of your streaming services\, or was never available on streaming or VOD in the first place\, you can probably find it at Four Star. In the meantime\, you should probably go sign up and subscribe. \nOn Saturday\, March 11\, hang around after Four Star’s usual business hours as they wrap up the subscription drive with food\, music\, and movie conversation. A true home for local weirdos\, Four Star has brought in Madison DJs Destructo\, Emili Earhart\, Evan Woodward\, and Mu to spin throughout the evening. Their selections run from post-punk to techno to far-flung ambient. Whatever they play\, it’ll be a fitting sonic companion to an eclectic Four Star browsing experience. \n—Scott Gordon  \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/four-star-video-subscriber-drive-celebration-party-at-four-star-video/
LOCATION:Four Star Video Rental\, 459 West Gilman Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
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DTSTART;TZID=America/Chicago:20230315T190000
DTEND;TZID=America/Chicago:20230315T203000
DTSTAMP:20260406T080205
CREATED:20230310T175039Z
LAST-MODIFIED:20230622T231855Z
UID:16925-1678906800-1678912200@tonemadison.com
SUMMARY:Project Projection: Spring 2023 at Arts + Literature Laboratory
DESCRIPTION:Alex T. Jacobs colorfully modifies the halo of a streetlamp (with outward-moving reds\, greens\, yellows\, and blues) on a snowy night in the short “snow light” (2023). \nThe Mills Folly Microcinema series returns this week at Arts + Literature Laboratory for 2023’s first installment of Project Projection\, its wide-ranging\, seasonal showcase of film and video shorts by Madison-based filmmakers. This program’s 14 films fall roughly into two categories; the first of these is music videos\, and any fan of Madison music will find something to love in the selections’ diversity of musical genres and visual styles. ViBRATiONLAND’s video for “Stabacab” (dir. Eric J. Nelson) may take the cake for most ingenious of the bunch\, using everyday objects like a CPAP tube and silly putty to make an alternately adorable and horrifying piece of stop-motion creature horror. \nMoving further into pure abstraction\, B. Hayes’ video for “Ovation” (dir. Max Wasinger and Peregrine Balas) is similarly visually voracious\, with its collaged and datamoshed black-and-white footage smearing into gorgeous swirls. The only non-contemporary piece on the program\, Gretta Wing Miller’s Man In Space (1981) splits the difference between the musical pieces and the rest of the video work\, editing spacewalk footage to Beatles songs and reveling in nostalgia for the late ’60s. \nFor the other half of the works\, experimental video like David Boffa’s A Due Remembrance Of Wolves (2021) takes the mantle. This minimalist nature doc trains its eye on two wolves at their leisure for most of its runtime; a narrator reads 19th century texts on the danger of the animal\, usually offering bounties for hunters to exterminate the “vermin.” This penchant for appropriated text is shared by another standout of the program\, Chloë Simmons’ Passing Through (2020)\, with its short GIF-like loops that are littered with digital detritus as scrolling words recite the textbook definitions of broad concepts like cause and effect\, truth\, and signs. Simmons’ piece is  dense and heady\, but also one that skillfully explores its title’s double entendres with a thoughtful reflection on queer identity. \nSome other videos are more abstract\, content to explore an aesthetic for its own sake like in Alex T. Jacobs’ serene snow light (2023). As ambient-treated piano rolls underneath the eight-minute shot of a streetlight under snowfall\, Jacobs manipulates the footage so that the light’s halo expands into a dazzling pixelated rainbows. It’s one of the simplest works on the program\, but one that ties it all together in highlighting both the natural beauty and artistic skill that can be found in Madison. \n—Maxwell Courtright
URL:https://tonemadison.com/event/project-projection-spring-2023-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Culture,Film
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DTSTART;TZID=America/Chicago:20230317T190000
DTEND;TZID=America/Chicago:20230317T202500
DTSTAMP:20260406T080205
CREATED:20230309T063401Z
LAST-MODIFIED:20230622T231839Z
UID:16920-1679079600-1679084700@tonemadison.com
SUMMARY:Invaders From Mars (1953) at UW Cinematheque
DESCRIPTION:The amphibious-looking Martians cradle an incapacitated David (back left) and Dr. Patricia Blake (center). \nInvaders From Mars (1953) follows one of the biggest trends of 1950s horror films\, reflecting the fears of Communist invasions and rampant McCarthyism of the era. Directed by William Cameron Menzies and distributed by Twentieth Century Fox\, it clocks in at just under 80 minutes\, which is a beautifully approachable length for a B-movie. \nPredating even The Twilight Zone series\, the film opens with narration over footage of the cosmos\, which declares that\, thanks to science\, we know more about the other planets in our solar system. Science is still breeding curiosity about the likelihood of other forms of life. \nFollowing this\, the camera follows young David (Jimmy Hunt) after he sees a flying saucer crash in a sandpit. The nameless town’s residents\, including his parents and classmates\, start acting strangely when they investigate the crash site. They all soon begin disappearing into a mysterious butthole in the sand. The multicolored backdrops here in the shots of the elusive sandpit evoke similar images of scenes of the Yellow Brick Road in The Wizard Of Oz\, while other sets use exaggerated proportions\, stark symmetry\, and geometric framing ripped from German Expressionism. Filmed with Eastmancolor stock\, initial prints of the film used SuperCinecolor\, which is showcased towards the end when the townies eventually explore underneath the sandpit. \nAfter David’s parents fall under the influence of the invaders\, David gets taken in by two scientists as his surrogate parents (Dr. Stuart Kelson and Dr. Patricia Blake\, played by Arthur Franz and Helena Carter)\, the only two adults who believe something funny is happening in their town. One of the scientists gets the U.S. Army on the horn and convinces them to send in the troops. \nDuring the climax of the film\, David and Dr. Blake plummet through one of the sand’s many buttholes and into the arms of the Martians\, whose costumes look more like frogs than creatures from another world\, only adding to the tonal whimsy. Luce Potter\, the actor playing the Martian inside the glass (as seen gracing the front cover of the latest paper edition of the spring Cinematheque calendar)\, had previously played a Munchkin in The Wizard Of Oz\, which perhaps implies the similarities to the classic film were intentional. \nSeeing the new restored 4K version of this film with all its vivacious colors and practical effects on the big screen is guaranteed to be a delight! \n—C Nelson-Lifson
URL:https://tonemadison.com/event/invaders-from-mars-1953-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20230323T190000
DTEND;TZID=America/Chicago:20230325T221500
DTSTAMP:20260406T080205
CREATED:20230317T181455Z
LAST-MODIFIED:20230622T231826Z
UID:16971-1679598000-1679782500@tonemadison.com
SUMMARY:"Animation Is Film!" Festival at Union South Marquee
DESCRIPTION:In the black-and-white “Persepolis” (2007)\, a young Marjane Satrapi is reprimanded by two lanky Islamic fundamentalists for wearing a jacket emblazoned with the words “Punk is not ded.” \nAs a festival title\, “Animation Is Film!” reads like a resounding call to action. There’s an urgency embedded into its exclamatory nature\, as if the organizers are fighting an uphill battle for the medium to gain respect and recognition. They shouldn’t have to\, but the hierarchical structure of the film world continuously suggests—especially at the most visible levels—that animation isn’t worthy of the respect afforded to “traditional” film. Fortunately\, for the sake of discerning viewers everywhere\, events like Animation Is Film actively combat depressingly regressive viewpoints. \nFrom March 23 to March 25\, WUD Film will host five free screenings at Union South\, featuring modern or established animated classics. Leading things off on March 23 at 7 p.m. will be Don Hertzfeldt’s recent World Of Tomorrow trilogy\, which stands apart as both an existential masterpiece and one of the greatest short film runs in cinematic history. On March 24\, Brad Bird’s debut feature The Iron Giant will screen at 6:30 p.m. The Iron Giant‘s legacy\, impact\, and influence still resonates across today’s animation\, nearly 25 years after its release. Directly following The Iron Giant will be Fantastic Planet\, René Laloux’s experimental—and occasionally brutal—sci-fi parable for respectful coexistence. The film is also celebrating its 50th anniversary in 2023\, and its central plea for societal peace still carries weight. \nAnimation Is Film will close on the 25th with another double-feature\, starting at 6:30 p.m.: Marjane Satrapi’s Persepolis and Satoshi Kon’s Perfect Blue. Both features are united by way of adaptation: Perfect Blue‘s source material is the novel Perfect Blue: Complete Metamorphosis while Persepolis has Satrapi adapting her original graphic memoir of the same name (alongside co-director Vincent Parronaud). Both films share other commonalities but are visually and thematically distinct. Persepolis‘ wars are both literal and figurative\, while Perfect Blue‘s are cultural and internal. Each remains essential viewing more than a decade after their respective releases (Perfect Blue in ’97\, Persepolis in ’07). \nAll five films feature protagonists who undergo a coming-of-age—or\, in the case of World Of Tomorrow\, coming-to-age—and learn extraordinarily harsh lessons about the nature of their surrounding world. Through their trials\, an element of profound humanity emerges even in the most fantastical circumstances. Above all\, these are films about hope\, about perseverance\, and\, importantly\, about animation’s transcendental power. All of the screenings will impart instrumental lessons about what can be accomplished within the medium. It’s up to us to continue to champion and celebrate those accomplishments\, and Animation Is Film is a perfect means to do just that. \n—Steven Spoerl
URL:https://tonemadison.com/event/animation-is-film-festival-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20230325T190000
DTEND;TZID=America/Chicago:20230325T220000
DTSTAMP:20260406T080205
CREATED:20230315T201517Z
LAST-MODIFIED:20230622T231740Z
UID:16959-1679770800-1679781600@tonemadison.com
SUMMARY:The Godfather at UW Cinematheque
DESCRIPTION:The Corleones pose for a photographer at the wedding of Constanzia “Connie” Corleone (Talia Shire) and Carlo Rizzi (Gianni Russo). Don Vito (Marlon Brando) stands in the middle. \nReviving cinematic magic is one of the many things UW Cinematheque does best. Not only do they bring rare screenings to our increasingly small film market\, but they present unique opportunities to see classics on the big screen—like Francis Ford Coppola’s seminal epic\, The Godfather (1972)\, screening here in a new 4K digital restoration. \nA cherubic Al Pacino stars as Michael Corleone\, the youngest son of the Corleone mafia in New York City in the mid-1940s. Having just returned home from WWII as a decorated vet\, Michael has rebuffed a great deal of his father Don Vito’s (the brilliant Marlon Brando) guidance through the years and never really considered himself the type to take over the family business. His oldest brother Sonny (James Caan) is next in line\, or so he believes\, to take over. But after an attempt on the Don’s life\, Michael is forced to show his gall and mettle\, and has a chance to run things his way for the extended crime family. \nCoppola adapts the essence of the Mario Puzo novel\, with its prevalent themes of loyalty\, love\, sibling rivalry\, and unfiltered violence. Watching Pacino struggle internally between his personal and family values demonstrates what Coppola saw in him after his daring performance in The Panic In Needle Park (1971). \nThe Godfather ended up garnering numerous nominations for its cast and crew\, and won Oscars for Best Actor\, Best Screenplay\, and Best Picture. Consistently in top-10 lists for the greatest films of all-time\, The Godfather is a masterstroke in the categories of writing\, editing\, acting\, and production. The film remains one of the most influential of the “gangster” genre\, spanning over 50 years. Once Upon A Time In America (1984)\, Goodfellas (1990)\, and The Sopranos (1999-2007) all imitated its exploration of how the business of la cosa nostra and big business in America are often two sides of the same coin. \n—Edwanike Harbour
URL:https://tonemadison.com/event/the-godfather-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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