- Bill Gates on the first steps toward saving millions from treatable diseases.
- It’s not that some conservatives think there’s going to be a disaster, it’s that they want a disaster.
- Baltimore defeats the great libertarian hopeful.
- No Kiss camera, no fans; the creepy silence at Camden.
- Reasons not to put an NHL team (or any other team, really) in Las Vegas.
- The Society for Creative Anachronism close up.
- Here’s what the Wall Street Journal Interactive online edition looked like in 1996.
- Print and read: If there’s a Fortune 500 company headquartered in Ferguson, why was the city using fines from (mostly) black citizens to pay its bills?
Every so often in Baltimore, swarms of teenagers and twentysomethings will come swarming through an intersection, doing paralysis-defying tricks on their bikes or four-wheelers. They’re called “12 O’Clock Boys,” and they’re the subject of an interesting new documentary about hope (or the lack of it) and fantasy in the inner cities.
12 O’Clock Boys opens in limited release this week after playing the festival doc circuit. My review is at Film Journal International:
…Their name comes from a signature move where a rider pops a wheelie so high that the front wheel goes straight up like an hour hand on a clock pointing to twelve. It supplies phenomenal footage for local news shows, confuses many of the drivers and pedestrians they’re swarming past, thrills some bystanders, and infuriates others. “What are we doing about these little scumbags?” shouts a talk-radio caller. Over the three years that director Lofty Nathan follows his young protagonist, Pug, his enraptured camera witnesses one all-consuming emotion: Pug wants nothing more than to be a 12 O’Clock Boy. The film feeds off his enthusiasm…
Here’s the trailer:
Being that it’s Halloween time, movie theaters should be packed with scary movies. But this year, the fright-fest seems a little light, with the fourth Paranormal Activity and Sinister being about all there is. It’s a positive development, with studios having finally moved away from the endless slasher sequels, 1970s remakes, and torture-porn trash that typified horror films for so many years. The trend now, and it’s a good one, seems to be towards found-footage frights of the post-Blair Witch variety and amped-up variations on the old haunted house stories. Then you’ve got your zombie movies.
Now there’s The Bay, something of a genre-stew that comes courtesy of Paranormal Activity producer Jason Blum and, oddly enough, director Barry Levinson. Better known for Baltimore-set character studies and Homicide, Levinson this time helms a conspiracy- and ecological horror-tinged story (supposedly told via found footage confiscated by the federal government and then leaked) about mysterious events in an idyllic Maryland oceanside town. Flesh-eating somethings, zombies, and plague quarantines look to be just part of the queasy, blood-spattered mayhem.
You can see the trailer below; just wait for the scene with the man holding a fish by the mouth: