Entertainment
What kind of movie premieres in a strip club? Harmony Korine's 'Aggro Dr1ft'
When “Aggro Dr1ft,” the latest provocation from auteur Harmony Korine, premiered at a string of prestigious film festivals last fall, it played at the Sala Grande in Venice, the Royal Alexandra Theatre in Toronto and Lincoln Center’s Walter Reade Theater in New York City.
For the Los Angeles premiere of “Aggro Dr1ft” on Wednesday night, it played at Crazy Girls, a strip club just off Sunset Blvd.
It says something about the cracked genius of Korine’s work that it feels equally suited to a conventional theatrical setting as it does to this most unconventional of venues. Crazy Girls had five large video screens flanking one wall, angled around a stage, plus two additional screens strapped to poles and three more screens attached to the ceiling. Given the reflective surfaces that covered much of the rest of the room, it at times felt like we watching a movie from inside a disco mirror ball.
The audience watches the Los Angeles premiere of director Harmony Korine’s experimental film, “Aggro Dr1ft,” held on many screens at Crazy Girls strip club in Hollywood.
(Genaro Molina / Los Angeles Times)
The event was also an immersion into the world of EDGLRD, the Miami-based multidisciplinary multimedia company that is now the home for Korine’s creative endeavors at the crossroads of film, technology and culture. Pop-up events like this one will be happening in a handful of other cities — Mexico City will be next — before the film eventually makes its way to a streaming platform yet to be named. There was exclusive EDGLRD merchandise for sale: skateboard decks, hats, T-shirts and sweatshirts that will only be available at these tour events.
Filmed with thermal-vision cameras before undergoing extensive post-production treatment, “Aggro Dr1ft” has a dreamy, blissed-out feel that is jolted by spasms of violence and nightmarish intensity. To the extent the film has a story, it follows a Miami hitman (Jordi Molla) who goes about his grim business while wanting only to get back to his wife and children.
There will be a second event at Crazy Girls tonight. The film will also be screening three times over Friday and Saturday at the American Cinematheque’s venue in Los Feliz. (All five local screenings sold out quickly.) But holding the premiere in such a nontraditional space feels particularly apt, given the film’s underworld milieu, including scenes set in a strip club. With female servers in bikini tops making their way around the room and dancers doing their thing before and after the screening, the evening did feel like steeping into the world of the film.
“If you call it an immersive experience, it doesn’t get at the essence of the kind of party vibe we’re going for,” said Eric Kohn, head of film strategy and development at EDGLRD. “There’s something more lively and dynamic about doing something that’s not where people expect to see a movie. It’s going the extra mile and turning it into something much more than a movie.”
A stripper dances while DJ AraabMuzik played a set after the Los Angeles premiere of director Harmony Korine’s film “Aggro Dr1ft” at Crazy Girls in Hollywood.
(Genaro Molina / Los Angeles Times)
Ahead of the screening, one EDGLRD staffer admitted that they weren’t sure if people would actually sit for the screening or mill around the room with a more party-like vibe. But the audience, which organizers estimated to be around 400 people, was rapt in their chairs through the whole running time, never seeming to uncouple from the events onscreen.
As a winged demon onscreen exhorted a group of women to “Dance, bitches!” anxious titters rippled through the audience, viewers seemingly unsure whether to laugh. When rapper Travis Scott appeared for his brief role in the film, a few excited whoops sprung from the crowd.
One of the club’s dancers, who gave her name as Asia, sat down next to her pole as the movie began, dollar bills spilled around her, and watched the entire movie. As the credits rolled, she stood up to prepare to get back to work and resume her dancing. A curious onlooker asked her what she thought.
“It was different,” Asia said with a quizzical smile.
Strippers dance for attendees while director Harmony Korine, off camera, DJs a set at his Los Angeles premiere.
(Genaro Molina / Los Angeles Times)
Folding chairs that had been set up around the room were hurriedly cleared away by staff. Soon the film’s composer, the DJ and producer known as AraabMuzik, began a set, keeping the woozy, disorienting vibes of the movie going. The audience crowded around the musician’s setup just in front of the stage, as people alternately took pictures and danced.
Korine, wearing a fluorescent mask that covered most of his head and face, made his way through the room. As people stopped him to talk or take pictures, he was eventually swallowed up by the crowd.
Once AraabMuzik’s set was finished, Korine came out for his own DJ set, his face covering now augmented with one of the horned 3-D-printed masks that he has frequently worn while promoting “Aggro Dr1ft.” He was flanked by a number of EDGLRD compatriots, who were also wearing 3-D-printed masks. Three women had ghostly makeup and bloodstained nightgowns, like the girl from “The Ring” gone to a rave. There were also men in distorted Halloween masks and ballcaps brandishing colorful toy guns.
Director Harmony Korine, second from left in mask, DJs at the premiere of his new film “Aggro Dr1ft.”
(Genaro Molina / Los Angeles Times)
Korine would sometimes pop onto the stage to dance along and exhort the crowd, acting as his own hype man. The music’s mix of reggaeton-influenced beats, thrash guitars, hyperpop and favela funk created a chaotic soundtrack as the dancing crowd seemed to be having a great time. As the evening wore on and the attendees began to thin, those who stayed got wilder and wilder, reaching a fever pitch for a version of Rammstein’s 1997 song “Du Hast.”
“We’re too precious about the way that we talk about how movies get out in the world,” said Kohn. “You don’t see this in the fine art world, you don’t see it in the fashion world, you don’t see it in the skateboard community — all the different industries that we’re playing in. I think there’s a lot more understanding that experimentation is key to what you do. We need more of that thinking for what this art form is.”
At one point a pair of women in tight black dresses were onstage dancing against a speaker. Judging by their confident moves, they seemed to belong there. At the back of the crowd, a member of the EDGLRD event team looked over at a Crazy Girls staffer and asked, “Are those your girls?” After assessing their grinding bodies for a moment, the employee replied, “No.” They then headed off to the side of the stage to have security get the women down.
Yet not long after, both dancers were up onstage again, where they stayed and became just another unexpected part of the party.
Movie Reviews
Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review
NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.
Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.
Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.
Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.
The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.
To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.
So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.
Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.
As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.
These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.
True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.
The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.
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Entertainment
Reiner family tragedy sheds light on pain of families grappling with addiction
When Greg heard about the deaths of Rob and Michele Reiner, and the alleged involvement of their son Nick, the news struck a painfully familiar chord.
It wasn’t the violence that resonated, but rather the heartache and desperation that comes with loving a family member who suffers from an illness that the best efforts and intentions alone can’t cure.
Greg has an adult child who, like Nick Reiner, has had a long and difficult struggle with addiction.
“It just rings close to home,” said Greg, chair of Families Anonymous, a national support program for friends and family members of people with addiction. (In keeping with the organization’s policy of anonymity for members, The Times is withholding Greg’s last name.)
“It’s just so horrible to be the parent or a loved one of somebody that struggles with [addiction], because you can’t make any sense of this,” he said. “You can’t find a way to help them.”
Every family’s experience is different, and the full picture is almost always more complicated than it appears from the outside. Public details about the Reiner family’s private struggles are relatively few.
But some parts of their story are likely recognizable to the millions of U.S. families affected by addiction.
“This is really bringing to light something that’s going on in homes across the country,” said Emily Feinstein, executive vice president of the nonprofit Partnership to End Addiction.
Over the years, Nick Reiner, 32, and his parents publicly discussed his years-long struggle with drug use, which included periods of homelessness and multiple rehab stints.
Most recently, he was living in a guesthouse on his parents’ Brentwood property. Family friends told The Times that Michele Singer Reiner had become increasingly concerned about Nick’s mental health in recent weeks.
The couple were found dead in their home Sunday afternoon. Los Angeles police officers arrested Nick hours later. On Tuesday, he was charged with their murder. He is currently being held without bail and has been placed under special supervision due to potential suicide risk, a law enforcement official told The Times.
Experts in substance use cautioned against drawing a direct line between addiction and violence.
“Addiction or mental health issues never excuse a horrific act of violence like this, and these sort of acts are not a direct result or a trait of addiction in general,” said Zac Jones, executive director of Beit T’Shuvah, a nonprofit Los Angeles-based addiction treatment center.
The circumstances around the Reiners’ highly publicized deaths are far from ordinary. The fact that addiction touched their family is not.
Nearly 1 in 5 people in the U.S. has personally experienced addiction, a 2023 poll from the Kaiser Family Foundation found.
Two-thirds of Americans have a family member with the disease, a proportion that is similar across rural, urban and suburban dwellers, and across Black, Latino and white respondents.
“Substance use disorders, addiction, do not discriminate,” Jones said. “It affects everyone from the highest of the high [socioeconomic status] to people that are experiencing homelessness on Skid Row. … There is no solution that can be bought.”
During interviews for the 2015 film “Becoming Charlie,” a semi-autobiographical film directed by Rob Reiner and co-written by Nick Reiner, the family told journalists that Nick, then in his early 20s, had been to rehab an estimated 18 times since his early teens. Nick Reiner has also spoken publicly about his use of heroin as a teenager.
Such cycles of rehab and relapse are common, experts said. One 2019 study found that it took an average of five recovery attempts to effectively stop using and maintain sobriety, though the authors noted that many respondents reported 10 or more attempts.
Many families empty their savings in search of a cure, Feinstein said. Even those with abundant resources often end up in a similarly despairing cycle.
“Unfortunately, the system that is set up to treat people is not addressing the complexity or the intensity of the illness, and in most cases, it’s very hard to find effective evidence-based treatment,” Feinstein said. “No matter how much money you have, it doesn’t guarantee a better outcome.”
Addiction is a complex disorder with intermingled roots in genetics, biology and environmental triggers.
Repeated drug use, particularly in adolescence and early adulthood when the brain is still developing, physically alters the circuitry that governs reward and motivation.
On top of that, co-occurring mental health conditions, traumas and other factors mean that no two cases of substance abuse disorders are exactly the same.
There are not enough quality rehabilitation programs to begin with, experts said, and even an effective program that one patient responds to successfully may not work at all for someone else.
“There is always the risk of relapse. That can be hard to process,” Greg said.
Families Anonymous counsels members to accept the “Three Cs” of a loved one’s addiction, Greg said: you didn’t cause it, you can’t cure it and you can’t control it.
“Good, loving families, people that care, deal with this problem just as much,” he said. “This is just so common out there, but people don’t really talk about it. Especially parents, for fear of being judged.”
After the killings, a family friend told The Times that they had “never known a family so dedicated to a child” as Rob and Michele Reiner, and that the couple “did everything for Nick. Every treatment program, therapy sessions and put aside their lives to save Nick’s repeatedly.”
But the painful fact is that devotion alone cannot cure a complex, chronic disease.
“If you could love someone into sobriety, into recovery, into remission from their psychiatric issues, then we’d have a lot fewer clients here,” Jones said. “Unfortunately, love isn’t enough. It’s certainly a part of the solution, but it isn’t enough.”
If you or someone you know is experiencing a mental health crisis, help is available. Call 988 to connect to trained mental health counselors or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Jake Reiner, Nick Reiner, Romy Reiner, Michele Singer Reiner and Rob Reiner attend Four Sixes Ranch Steakhouse’s pop-up grand opening at Wynn Las Vegas on Sept. 14, 2024.
(Denise Truscello / Getty Images for Wynn Las Vegas)
Movie Reviews
The Housemaid
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