Thursday, March 31, 2011

UtopiaLand Comic - Jet Crashes/ Libya FM Quits/ Artifact Excites Indiana Jones Community

Today in headlines, a US Jet crashes in Libya, Libyan foreign Minister Moussa Koussa gets the EFF out of town, and Gadhafi admits that this whole Libya thing is merely a rouse to up his ranking in search engines and give a boost to his fledgling acting and modeling career.

But first: British archeologists have gotten their panties in a bit of a kerffuffle over an ancient Biblical artifact which some say is more important than the discovery of  the dead sea scrolls. Yesterday, the Indiana Jones wannabees announced that 70 lead codices (or book pages) could be the key to the final days of Jesus' life. The archeologists have been approached by Steven Spielberg who wants geriatric Harrison Ford to reprise his role as the whip-cracking adventure seeker... But inside sources close to the group say that archeologists believe Spielberg to be the Anti-Christ, and are now traveling up a volcano with a bubbly blond to sacrifice the filmmaker in lava as the ancient codices have instructed them.

Back to our around the clock coverage of Libya, Moammar Gadhafi has got the rebels on the run, recapturing a strategic oil-town within mere shakes of a lambs-tail of big cities. In turn, Westerner forces have sent out the F-15s, only to have one crash in the volcano where archeologists have brought Steven Spielberg to sacrifice him to their ancient god. CIA operatives have been sent in to asses the damage, for according to the dead-sea scrolls, if Indiana Jones part 5 ever gets made, it could truly be the last sign of the apocalypse. That's all for the news, and let's all hope that we're all not going to die!

Wednesday, March 30, 2011

UtopiaLand Comic - Gadhafi's Son/ Donald Trump Birth Certificate Fake/ Clooney & Berlusconi

Yesterday, sources revealed that until the Libyan uprising, Khamis Gadhafi, Muamar Gadhafi's son was in the US on an internship. What was the lunatic dictator's son up to while on his internment? He was tralloping around Broadway, taking in shows of Mamma Mia... Oh- and learning from an engineering firm called AE-COM how to modernize Libya.

Since rushing home, Gadhafi Junior has played a key role in helping Daddy to smother the uprising of Mad-Max/ The Road Warrior-styled combatants from seeking freedom from captain-crazy cakes. Big Daddy Gadaffi, nor his despot-kimono could be reached for comment. In other news, Donald Trump, a self-proclaimed birther, was hoping for a quick swift kick to Barack Obama's nut-sack, when Trump publicly released his own birth certificate in order to prove how simple it would be for Obama to do so. The problem is, New York City officials say Trump's birth-certificate is junk. Or at the very least, it isn't official. It looks as though the birthers will have to add old Donny's name to their blacklist.

Tuesday, March 29, 2011

UtopiaLand Comic - Barack Obama's Libya Speech, Steven Tyler is the new Ellen DeGeneres

Barack Obama speech, Libyan Rebels-- Mummar Gadaffi's despot-kimono Steven Tyler the new Ellen DeGeneres of American Idol... Ellen DeGeneres in the unenviable position of attempting to be the new Steven Tyler of crazy old lesbians.... Plus, there is sure to be something about the news as well.

Tuesday, March 15, 2011

Deus ex Machina: A FILM REVIEW of "Little Gods" by Robert P. Young

Robert P. Young

I recall seeing a post from a Facebook friend regarding the ubiquitous Hitler meme culled from the gripping movie Der Untergang. This scene is in Hitler’s bunker, where all is lost, and Hitler’s generals are reluctantly telling him that the cavalry will not arrive. Hitler characteristically explodes and blames everyone and everything but himself for losing the war.

It is powerfully acted by Bruno Ganz, but when it is subverted for use as a meme, Hitler dutifully rants about everything from losing at Xbox to hating the controversial revamp of Star Trek to expressing disgust at LeBron James’ “decision.”

Technology now allows us to alter what was once sobering into something incongruously mundane.

What if soldiers—and I hope non-Axis ones—had iPhones back in the 1940’s? Despite the politics of the leaders, average soldiers are pretty similar. Young. Full of bravado. Ball-busting constantly. Fearful. Unintentionally poignant.

Gods’ lead character, Private Doss (Matthew Schlichter) is no John Wayne as a soldier. (Doubly so—Doss actually served.) Wide-eyed, youthful, it’s surprising that he’s married, rather than playing the field with girls his age. But then again, he’s in the military, a world in which men take on responsibility earlier than the average man-child Kay Hymowitz writes about.

Where does Doss come from? We see his family about halfway into the film. His wife is pleasant enough. But Doss’s blood relatives have the real spark—dysfunctional even as they send their video messages of love. His mother is overbearing, physically dominating the screen by standing too close to the camera. She casually embarrasses her older son, Danny, by claiming that her late husband would be proud only of the son in Afghanistan. Like a good suburban mother, her suspicions about why her thirty-five year old son “with a good job” still lives with a male “roommate” are only skin-deep. Did Doss join the military to get away from this dynamic, or because there weren’t other good jobs like his brother’s? The film doesn’t answer those questions, but having them in the back of my mind deepened my interest.

Back in Afghanistan, each of the soldiers gets a chance to mug for the camera, and it seems like this will be a spring break video in “camo” gear. Then we are reminded that this is war. Doss’s best friend, a smart-mouthed, resourceful black man nicknamed “Trench,” is ignominiously killed while defecating in the open air.

Immediately after, Doss’s traumatized eye fills the frame, unblinking, almost as if it is as dead as his friend’s. Though overused later, this is a strong choice.

Back in the barracks, the soldiers’ superior officer expresses his regret that not all of his men will return home. Trench’s sleeping bag is rolled up and his effects surround his cot. Seeing the space, for the first time without the man, was striking—it made me feel his death far more powerfully than seeing a corpse. The real pain of death is what you leave behind.

Doss descends into depression and anti-social behavior. The line readings, which previously played out as 100% spontaneous and improvisational, seemed a little less convincing after this turning point, a side-effect of what I suspect was the need to adhere somewhat more closely to the script. Despite this slight lessening of the fly-on-the-wall/ documentary feeling, it is not to the detriment of the film overall. In fact, Schlichter's charisma easily, as well as that of the entire cast overpowers any shortcomings in the shooting technique.

Spear’s unflinching choice to show the unpleasant side of the iPhone, a voyeuristic device at the most inappropriate times--especially when a maimed (and possibly dying) soldier pleads with Doss not to film him in his condition—is quite impressive. True, Doss is capturing a powerful moment, much like a photographer would have captured Pulitzer-prize winning images from 9/11 or Katrina, but it begs the question, where is your humanity, your decency, when you choose to film rather than to help?

The soldiers are fascinatingly vulnerable human beings. This is where I believe the film is most successful, in depicting our soldiers as people we would—and do—have a beer with, rather than as statistics, victims, or killers. Yet these ordinary men have volunteered to put themselves into extraordinary circumstances. They are demigods—little gods—with their courage.

When future generations look back at our generation’s wars, they will not be separated from their ancestors like we were with the barriers of black and white footage and stagecraft from the media and the government. They will have great gifts like Ms. Spear’s Little Gods, which will illustrate the unfiltered horrors of war along with the triumphs of survival. Little Gods will not only reduce you to tears, it will get your blood boiling. Little Gods is a triumph as a film, and doubtlessly it will do more for today's soldiers than any recruiting ad will.

Don’t ignore this iPhone call.

Film: "Little Gods"
Director: Elizabeth Spear
Film's website:
Screening at Reel Fest, March 15th, 2011

Review written by Robert P. Young III
Editor: Rod Webber
Published by Reel Zine
© Reel Zine 2011

Monday, March 14, 2011

FILM REVIEW: MODUS OPERANDI Uno, Dos, Trejo! By Joseph James Bellamy

Joseph Bellamy
Born in 1974, I missed the popular explosion of the so called ’Exploitation’ genre, having instead been part of the generation that made huge budget , FX laden action blockbusters the film of choice in Hollywood. Having seen Modus Operandi, I now miss what I didn’t know. 
Aiming to capture the romance and allure of these lower-budget, harder-boiled classics, Writer/Director Frankie Latina’s Modus hit’s the mark like a sniper shot, and makes it look as smooth and easy as uno, dos, Trejo! With a Porn-Star pedigree (Former Porn A-lister, Actress, and Independent Film Maven Sasha Grey touts a ‘Presented by:’ Credit on the film ) , bare bones, 8mm vision, life-is-as-cheap-as-bullets narrative and the casting of Hollywood’s hands-down scariest bad guy, Modus Operandi is an outstanding, cult-ready ready offering for the cerebral film-goer, and the booms-and-boobs audience alike!

Shot in a medium once relegated to the least respectable of film efforts, It’s a feast of vintage cinematic technique, glam-art sex appeal and contemporary indie style. Not the typical Hollywood roller-coaster, but rather a slow cruise through the darkest part of town, In an impossibly slick black sedan. The story, the chronicle of a burned-out hit-man’s quest for vengeance, is played out amidst a world of perverse secrets, professional lies and political murders. The action percolates and simmers, often boiling over with sex and violence, but never cheapens itself with an overtly gratuitous explosion. Instead, the blood and pyrotechnics are applied for impact, not mindless flash-effect.

First, we are inducted into the films world with a sepia-toned smoking advisory and title-card. We then meet our (anti) hero, Stanley Cashay, through flash backs and the voiced-over memories of his deceased wife. Cashay, a retired triggerman for the shadowy ‘Intelligencia’, is brought to a sort of spooky half-life by the gaunt look and smooth mannerisms of Randy Russell ("American Job"). His suit, shades and smokes all invoke to the uber-cool secret agent men of a hipper time. Cue the funky, retro credits, and you can almost hear the door to the slick black sedan click shut behind you. ’Modus’ is rolling, and you’re along for the ride.

In the step with the films deliberate pacing, We then bare witness to a deal gone dirty, and are introduced to our ‘bad-guys‘:. Squire Parks, An altogether too-smooth politician portrayed with oily aplomb by Michael Sottile ("Reservoir Dogs"), the crooked Copper Gore, played by Mark Metcalf, and his long haired associate Dallas Deacon played by noted independent film-maker Mark Borchardt ("American Movie.") Lest we think these miscreants aren‘t carrying enough criminal credentials, enter Danny Trejo as bad-ass boss-man Director Holiday. Trejo’s brand of gravel-voiced menace immediately fills the screen, and your consciousness, like the sight of a venomous snake coiled for the lunge.

The holy-grail of the story is also established, in the form of two much-sought after black briefcases. Cashay must track them down and bring them back to his former handlers in the Intelligencia. The assignment is made irresistible when the ‘good-guys’ offer Cashay the chance to avenge his wife’s murder.

What follows is a tension building skulk through an attractively gritty, sexy underworld of strippers and killers, that spans from the dark alleys of Milwaukee to the bright lights of Tokyo. It is a darkly fantastic landscape, made real with the use of period-appropriate props, and peopled with the genre-essential cast of supporting characters. There is the always cooperative privateer, Casey Thunderbird (Barry Polterman,) the deliciously sexy hit-woman, Black Licorice (Nicole Johnson,) and a whole host of agents, assassins, hit-girls and hotties. A series of hand-offs, coded conversations and doubles crosses move the story along smoothly, without every letting up the pressure that has been steadily re-doubling since the first turn of the projector.

The drama is expertly punctuated with shoot-outs, car chases and even a brief, but impacting homage to Hitchcock’s classic thriller North By North West. All the while, the viewers sense that they have been taken on a ride that is far more than they had bargained for sinks deeper into the psyche, which is cruising more and more comfortably with every passing 8 mm. frame.

Over the course of the film, we are shown several clips of what appears to be beta-cam recorded video of young women seemingly auditioning for porno. As the story progresses, we come to understand the true nature of the footage, how it ties the principals players together, and ultimately, what they, and it, convey to us about the true meaning of power. This last idea, the meaning of power, is driven home for the audience in a climactic encounter between Squire Parks and Director Holiday, where Trejo’s words and deeds can only be described as pure Vato Loco, HOMES!

All in all, Frankie Latina and Milwaukee-based Special Entertainment can be very proud of Modus Operandi. They have not only succeeded in bringing a spot-on homage to the hard-hitting , so-called exploitation genre to a modern audience, but they have managed to remind us that a good film is about transporting the audience.

Modus Operandi is sure winner that takes you through the shadows and into another world. Now that I know, I can tell you; between the cool tunes of the sound-track, the seemingly endless supply of Hot bodies and the cold, calculated style of Stanley Cashay, it’s a world in which you will be fully engrossed, and won’t ever want to leave.

Film: "Modus Operandi"
Director: Frankie Latina
Film's website:
Screening at Reel Fest, March 14th, 2011

Review written by Joseph James Bellamy
Editor: Rod Webber
Published by Reel Zine
© Reel Zine 2011

Sunday, March 13, 2011

FILM REVIEW: THE WHY by Mike Groener

by Mike Groener

The Why” is the directorial debut of Austin’s Anthony Pedone, Eli Higgins, & Stephen Floyd and a screen adaptation of the similarly cryptic stage production. The film is centered on multiple characters and their experiences in what can only be classified as the castes of death. Trauma binds the main characters as they are each launched into the personifications of their own emotional despair. Whether it’s the overwhelming pain of guilt, or the loneliness of drug addiction, the characters fears are manifested through a juxtaposition of quirky dialogue and unlikely situations. Both alluring and jarring, “The Why” draws from the evil tones of early Polanski while shocking the viewer with gritty vignettes of Hooper-like violence. Although the inspired dialogue and linearity is more art house than horror, viewers are still caught in a metaphysical mélange that feels uncomfortably disorienting. “The Why” balances skillfully framed cinematography while also providing enough lens glare to make JJ Abrams blush. The resulting aesthetic however, causes the viewer to rub their eyes just to ensure they haven’t become wedged into the dream world too. “The Why” exploits its dreary and oddly dulcet worlds by pairing the strange scenes with equally ambient music. The combination is like listening to “Dark Side of the Moon” on headphones while watching “Suspiria” on an old VHS tape. This eerily fascinating world is laden with drug use and off tempo violence. Ultimately, viewers are left paranoid but idealistic, as the undertones of love are spread strategically through the film. In other words, even when faced with the unbearable pain of regret or resentment, we can still find the luminance of love in our darkest hours.....

Film: "The Why"
Directors: Anthony Pedone, Eli Higgins, Stephen Floyd
Film's website:
Screening at Reel Fest, March 13th, 2011 

Review written by Mike Groener

Saturday, March 12, 2011

FILM REVIEW: REAGAN RETURNS: Reagans, Al Qaeda and Beans…Oh My!

Joseph Bellamy
By Joseph James Bellamy

If you had told me yesterday that a smart political satire could also be a Super-heroic fantasy romp, I wouldn’t have believed you. Today I know better. This is, it turns out, only one of the unbelievable, and unbelievably entertaining elements to Reagan Returns,  the 36 min. short from Detroit-based independent film maker Robert P. Young that will be screening as part of the REEL FEST 3.

As the film opens, we meet the down-and-out but proud Fred (Emanuel Ward) and the fabulously frenetic Malcolm (Wilbert Berthaud), our homeless protagonists. The two quickly assume identities that give a wink and nod to a certain duo known for their dynamics. When the titular dead president (a spot-on pantomime by Charlie Murphy), whom Fred is convinced is his father, rises from his final resting place to strike the big-daddy of all dirty deals, it falls to Black-Man and Rushon to set things right.

What follows is a fun and funny race to save the world. The viewer, riding shotgun with the cracked-crusaders, is faced with the united evils of a weed-smoking, sex-crazed Osama bin Laden (Paul Drechsler-Martell and one HELL of a fake beard), a Ronald Reagan reanimated by magical stem-cell jelly beans, and the mysterious benefactor that brought them together. On their quest to save the day, Black-Man and Rushon are joined by the recently ousted G.W. Bush (Todd Tetreault) who was lured out of the presidency with a giant bag of cocaine. As they battle their way through Osama’s jelly bean jihadists to confront Reagan and his secret masters, it is revealed that the Teflon president had been revived by Mrs. Just-Say-No herself (Susan Lane), and her new lover, Agent Toombs (Nathan Turner), creator of the aforementioned techno-mystical morsels. The genre-splicing stew is liberally and lovingly flavored with plenty of well-executed kung-foolery, including a final throw-down show-down with the man behind it all (hint, his name rhymes with flawed ham from Spain), and a driving hip-hop score. The whole experiment is topped off with the very tasteful application of the few special effects the budget allowed.

As enjoyable as the two wannabe superheroes, the laughably inappropriate Arab stereotyping, and Mr. Murphy’s mastery of Reagan’s mannerisms are to watch, the film’s real gems are the pearls of humor that formed around grains of thoughtful observation. Whether it’s the moment Reagan is disgusted to find out he was resurrected using stem cells and magic (both of which offend his ‘family values’,) the discussion of how revealing Osama Bin Laden to be a woman will affect radical/fundamentalist Muslims the recognition of the threat posed by a mixed-race love-child to a conservative politician in the sixties, or the former first lady’s vanity-induced death by overdose of magic jelly-beans, Young has made sure that the fun and games serves a purpose. Regarding Osama being a woman… I’m not even getting into it, just SEE it.

Each gag reminds us of the need for vigilance and decency in the way we govern our nation and ourselves. Young, (who wrote, produced, and directed) also takes a moment to give us a glimpse at hope in the form of a speech given by Tetreault’s G.W. Bush that was far more inspiring and intelligible than anything ever said by ‘Dubbya’ himself.

In terms of the technical execution of the film, what small stumbling blocks the production encounters are vastly outweighed by the sheer enjoyment of the project as a whole. I see this film as Young’s attempt, a successful one at that, to get the viewer’s head in the geo-political game by placing his tongue in his cheek and broaching some potentially ugly subjects with a smiling face. Yesterday, I thought the very idea of this film was unbelievable. Today, I believe that Robert Young is among the freshest voices in independent film, and you'll believe it too, when Reagan Returns!

Film: "Reagan Returns"
Director: Robert P. Young
Film's Website:

Review written by Joseph James Bellamy
Editor: Rod Webber
Published by Reel Zine
© Reel Zine 2011

Friday, March 11, 2011


Crosby Tatum
Boston-based filmmaker and songwriter, Rod Webber, and Producer Joseph James Bellamy, bring to life a visually violent and realistic film on modern-day American racism in this unique and compelling social piece, My America.
Mad now? My America shows us just how mad you really could be.

My America follows the life of Maynard Brayboy (Bellamy), a struggling, yet angry, “Afro-European” teacher who was recently fired from his job at a predominantly white public school on the one-year anniversary of his wife’s death from a violent hate crime. With no job or family to truly comfort his angst, Maynard sits at home, drinking beer, while observing a Tea Party rally on television, that features various citizens sprouting off various racist and anti-social remarks toward the government, and black people, including the remarks of an ignorant red-neck named EJ Winston (Webber), a gun-toting, racist family man who has the things that Maynard doesn’t have presently – a wife, a child, and a job.

As Maynard goes searching for a new job, he comes across EJ who apparently calls Maynard a racist remark; thus setting Maynard down a sociopathic path that sees him assaulting EJ, then kidnapping him, grabbing his gun, and placing him under lock and key, inside the basement of his own home, tied up and no where to go.

With a lesson plan, a gun, and a tied up EJ in tow, Maynard brings him into a secluded section of the backwoods where he grew up at, where the two both share in heated, sometimes physical discussions on topics ranging from the current American government, to the Constitution, and Pop Culture in relations to their racial upbringings. The film takes on a much darker tone as Maynard plans to take EJ’s life, setting the stage for an ending that will shock you, and leave you speechless in the end.

My America is a film that compels you to feel the dormant issues that plague American society come alive within the first five minutes of this feature. Emotions of anger, racism, political unrest, and ignorance are easily played out throughout this film, along with cinematic visuals that are both disturbing, and at times uncomfortable to watch, but serve a purpose of exhibiting what true hatred does, when manifested physically, instead of mentally. This film greatly takes into account the various issues surrounding our country today, whether its issues of Healthcare, The Tea Party, The Obama Administration, the Economy, as well as even the Wu-Tang Clan.

Nothing was off-limits as My America intended to wrap over 200 years of American History between two people of different ethnicities and backgrounds, in a confrontation that some ‘wish’ would happen, but would not be done so. This film is not for the weak at heart. But this film is for those who can overlook a straightforward production style, and appreciate the ability to focus on a subject matter that very few people would approach, and approach successfully at that. If My America is the truth, then honestly, the truth (or My America) should set you free. A must see.

Film: "My America"
Director: Rod Webber
Film's website:
Screening at Reel Fest, March 11th to 15th, 2011 

Review written by Crosby Tatum
Editor: N/A
Published by Reel Zine
© Reel Zine 2011


A.T. Sayre
The very first film I ever made was in the first month of my college career. Everyone in my film production class was given an old, but sturdy super 8 camera, one three minute roll of film, and instructed to go make a movie. The only guidelines we had were that one, there would be no cutting or splicing of our little movies- all the edits would be 'in camera',
which is to say the only way to change the shot was to stop filming, move the camera, and start filming again, and two, you only get one three minute super 8 cartridge. The first time any of us would even get to see what we shot would be in class the next week. So if you screwed up, not only would you not be able to do anything about it, you might not even know you did till the everyone else did too. Yeah, that was a fun class.
Making a film with these parameters can be nerve- wrecking- on top of how filmmaking is already nerve- wracking. Having experienced back in those salad days of mine this kind of work first hand, I was really keen to check out John Hartman's 'Super 8 Extreme Shorts', a collection of short films shot on super 8 film using very similar guidelines.
I know from experience how carefully a film like this has to be planned out. My own try at this format was two whole days in planning, for something that literally took about ten minutes to shoot. And it was fairly simple- two shots, about a minute and half each. Nothing fancy.
Which is why it feels so impressive what Hartman has done here- because each of these films is infinitely more sophisticated than what I did. There are many camera shots, short ones, long ones, back and forth 'cutting', just like you would see in a regular film, but all done on the spot! It is so very impressive how Hartman manages to keep a good pacing as he went; something normally only possible in the editing room he manages to do as he is shooting. Especially in Feud Angel, which has a fairly extensive action sequence, something hard enough to manage let alone in this situation.
I have always had a fondness for the look of super 8 film. Call it nostalgia if you like, but there is something about the quality of picture that can be so appealing. The short Petrified is so perfectly reminiscent of golden age silent cinema, its sepia tonal qualities and style make it feel almost akin to The Cabinet of Dr. Caligari. Emily's Bridge and Pinky Rejection also have a nice contrast in black and white. Not to mention the color shorts (I never got to use color super 8 film stock, dammit) will surprise you in how wonderful they look. The colors in Tower Princess and especially Feud Angel look so rich and warm. Even the more washed out Mud Liberator and Hearts and Daggers, though not as pretty as the other color films, have a pleasant home movies feel to them.
All in all these are a pretty impressive set of short films, that are far more pleasing to the eye and entertaining than you might at first assume they would be. Hopefully Hartman will continue to make these shorts in this format, as I am sure as he gains more and more experience, what he puts out will get even better.

Film Series: "Super-8 Extreme"
Series Director: John Hartman
Screening at Reel Fest, March 11th to 15th, 2011 

Review written by A.T. Sayre
Editor: Rod Webber
Published by Reel Zine
© Reel Zine 2011

ReelFest Boston: REEL FEST 3 March 11th - 15th 2011

ReelFest 3 has concluded. Full list of past Reel Fests coming soon!

Sunday, March 6, 2011

ReelFest in the Press

The Boston Globe, 3.6.2011:
Great review of Reel Fest in the Boston Globe.
Featured photos: Rod Webber (left) Experimentally Ill group (right)

Time-Out Boston, 3.7.2011:
Nice write-up in Time Out Boston
Featured in photo: Joseph James Bellamy and Rod Webber

The Boston Globe, 5.28.2010:
Ty Burr (Head Film writer at The Boston Globe) raves about Reel Fest 2 and it's featured feature "Northern Comfort" starring Greta Gerwig (No Strings Attached, Arthur, Greenberg
Featured in photo: Greta Gerwig

The Boston Globe, 5.28.2010:
Another plug for Reel Fest from the Boston Globe!! Thanks Guys!!!
Featured in photo: Rod Webber, 5.26.2010:
Featured in photo: Rod Webber
May 26th 2010: A plug for Reel Fest from!!

The Weekly Dig, 5.28.2010:
Featured in photo: Rod Webber & Greta Gerwig Ty's Movie Picks, 5.28.2010:
Another brief mention for Reel Fest from Ty Burr in his movie blog. Thanks Ty!, 6.2.2010:
Okay-- Technically this isn't press for Reel Fest, but coming from the Boston Globe who are notoriously tough in their reviews, we can't help but point out that Northern Comfort (which was playing at Reel Fest tied The City of Your Final Destination as the highest rated film for the weekend, beating out ALL of the other films at the box-office that weekend.

The Boston Herald, 7.5.2009:
A nice write-up by Tenley Woodman of "A Man Among Giants" at Reel Fest 1.
Photo top left: Doug 'Tiny' Tunstall.   Photo top right: Rod Webber
Bottom photo:  Rod Webber, Matthew D. Ferrel, Doug 'Tiny' Tunstall, David T. Grophear

The Boston Globe, 7.12.2009:
Linda Matchan writes about Reel Fest 1 (Originally called "Reel Movement")
Featured in photo: Rod Webber 

The Boston Globe, 7.9.2009: 
Joel Brown reviews "A Man Among Giants" at Reel Fest 1. Thanks Joel!!
Featured in photo: Rod Webber & Doug 'Tiny' Tunstall