Gore Range Brewery
Dress Attire: Casual
Location: 0105 Edwards Village Blvd, Building H, Edwards, CO 81632
Also located in Edwards. Beer and bar food.
Dress Attire: Casual
Location: 105 Edwards Village Blvd, Edwards, CO 81632
Also located in Edwards. High end fast food hamburgers
Summer movies are usually the best for the fact that they usually turn out to be blockbusters. The industry usually have an idea that they can make a lot more when movies come out around this season because everyone is out of school. Summer of 2010 really had some interesting movies to come out such as “Inception”, “Salt”, and “Vampires Suck” just to name a few.
Leonardo DiCaprio stars in “Inception” in which it’s based on a psychological factor in which DiCaprio’s character can go into people’s dreams and steal their ideas. Even expert hackers can’t get the information that his character can. Some people may find this movie roughly confusing, but it’s overall fantastic and amazing.
Salt is mainly another summer film starring Angelina Jolie in which her character is a CIA agent who’s basically out on the run. People confuse her into being a Russian assassin thinking she’s going to take out the U.S. President. It’s a good film if you’re into crime or mystery.
Vampires Suck, as you may can tell from the title, is basically a comedy film that spoofs such movies like the Twilight trilogies. It also relates to other teen romantic movies too. The character, Becca has to choose between two guys while also avoiding obstacles along the way.
I’ve just been reading a sketch of the upcoming major motion picture, Safehouse, a film being supported by Ira Riklis. I’m already on the edge of my seat, waiting to see how the story unfolds. Given Ira Riklis’ other films, like The Lemon Tree, I’ve no doubt it will be just as full of spell binding tension. The film is due for major release in 2010.
The story will focus on two women, one assigned to protect the other, living in a safe house in London until one of the two women recovers from radical plastic surgery financed by the Israeli Mossad. The other woman, the body guard, is trying to see this last assignment through before withdrawing into a normal life with her family after three years in Africa. The woman whose undergone the surgery is Lebanese and used to work for the affluent and the connected before suffering horrible burns.
Now, while recuperating, various agencies are at war around the safe house: the Mossad trying to protect their asset, the Arab secret service trying to find and eliminate the women, and the British MI5 trying to figure out what is going on under their noses. Pretty good, huh.
A well made film is a wonderful gift. For those gifts we should be grateful to the team behind their offering. This includes not only the actors, actresses, the directors and the film crew. This includes the producers, like Ira Riklis, who are responsible for an extraordinary amount of synthesis for the project to come off well.
Whether films illicit tears of laughter, rage or joy, they all evoke emotions. It’s what we expect from a film. It is why we go to see them, watch them on television or rent them from the video store. Yet making a film is an inexact science. As all of the participants, crews and backers work feverishly – hopefully not at cross purposes – to complete the project well, there is no sure way to know the results of their efforts beforehand.
When The Lemon Tree was being finished, I wonder if everyone involved knew how it would turn out or how it would be received. I wonder if they screened it before some test audiences first, the responses then providing guidance for further final tweaks. Perhaps even Ira Riklis offered some final comments or thoughts which were then incorporated into the film. We’ll probably never know, nor do we really need to. But that so much is invested into something without predictable results is, in part, what must make film making fascinating.
I don’t know if Ira Riklis likes sports films but he might like this one. Slap Shot (1977) has none of the redeeming qualities discussed in Field of Dreams but it’s still a great movie. If you haven’t seen Slap Shot, go rent it. Right away (but don’t watch it with the family).
Slap Shot is hysterically funny while presenting a good story with more than a bit of drama. It stars Paul Newman as the veteran and grizzled coach/player of a pathetic B league team trying to save itself from extinction. I’ve read somewhere that this movie is one of Newman’s personal favorites.
The film immortalizes the Hanson triplets who are complete goons on the ice while having adolescent (at best) minds otherwise. They wreak havoc on their opponents yet travel with suitcases full of toys. In their first opportunity to play they perform all kinds of open ice hits, knocking everyone off their feet, and then swipe by the opposing team’s box to lift a stick to smack every face sticking out over the wall, their jaws agape at what they’ve just witnessed.
Newman, the veteran way too old to be playing hockey, marvels at the goonish spectacle and the fans sucking it in. He converts the team to follow the Hanson brother’s lead and the movie unfolds from there. If Ira Riklis hasn’t seen it yet, I predict he’ll love it.
It’s not a film with deep resonate meaning, but the value of its humor is priceless. By the way, in case you’re interested, the Hanson brothers have a book out about the film, its making, and their hockey careers before and after the film (yes, the really did have hockey careers.)
Guilt free movies are like low calorie desserts. No harm done. Some satisfaction, a bit of laughter, that’s about it. They’re like pop music. They somehow drill into our sub-conscious awareness and dig out a spot for themselves in which to dwell.
There are pop songs from youth which I could still sing along to, every single word. I wouldn’t be surprised if there are similar songs which illicit the same kind of response from Ira Riklis.
Silliness aside, isn’t this perfectly fine and normal? Shouldn’t we all be granted a bit of nostalgic glee from our past lives. These are the bits, as fragmented as they might be, from which we construct an understanding of ourselves and the trajectory of our life.
I think Ira Riklis would agree, we are all due our bit of indulgence just as sometimes an ice cream sundae really benefits from a bit of whipped cream and a cherry.
Simple sweetness sometimes define the best in life. The trick, as I’m sure Ira Riklis knows, is to see them and taste them as they are. Certainly there’s no harm done and, maybe, if we can pay attention to these small sweetness’s in life, we might all view it with a bit more of a smile, a bit more laughter.
Ok. Let’s talk baseball. There are more than a few good films out there about baseball. Perhaps two of the best known are, and most notoriously representive, in recent years by Field of Dreams and Bull Durham.
Of the two, I’ve always preferred Field of Dreams but I wonder which film Ira Riklis would prefer. Arguably, Bull Durham is more about baseball and all of its idiosyncrasies: the players, the fans, the groupies, the superstitions. All perfectly entertaining.
Field of Dreams, on the other hand, seems to illuminate a different dimension of baseball: its capacity to bring us together. At no point is this clearer than in the final moments of the film when Ray asks his returned father if he wants to ‘have a catch’. It’s worth noting here that there was a vociferous debate during the film’s making over whether the proper phrase should be ‘play catch’ or ‘have a catch’. Ultimately the latter was decided, probably for the better of the film.
There’s a big difference, ‘having a catch’ is a shared moment; ‘playing catch’ turns the event into a noun.
So, a father and son are reunited by a catch with a baseball, a bitter, idealistic writer is restored by ghosts and cornhusks, and a disbelieving banker suddenly leaps for preserving the absurd. Perfect. I’d bet Ira Riklis would agree.
We all have a field of dreams, though it might have nothing to do with baseball. In other words, there are things we each wish to reconcile with, believe in or be restored by. These are the dreams for which we each have a field. Some days we even get to play upon them.
You might have seen them, those particular comedians capable of simulating a kung fu movie dubbed from Japanese into English. The performer speaks a line in English yet his lips look like they are trembling from centrifugal force on a carnival ride. It is extraordinarily funny to watch. You can’t help but wonder how the performer accomplishes the feat.
Then, somewhere in the routine, the comedian speaks a very long phrase in Japanese which then translates into three or four words in English. Yes, it is funny.
But there is something else at work here which has little to do with the quality of kung fu movies or their translations. I wouldn’t know if Ira Riklis is a fan of kung fu movies, but I’d be willing to at least bet that he’s seen one.
What they have going for them, not unlike an Elvis Presley movie on a Sunday afternoon, is they are comfortably entertaining. Not much risked, or gained, in their watching. They are like comfort food. Some movies exist solely for this purpose. They fill dead time on the networks (or one of the 131 other cable stations) with little expense to either provider or viewer. Life should be so simple all of the time.
Does Ira Riklis like comfort food films? I’ve no idea. But let’s be honest, at some point at time, who doesn’t? They don’t have to be stupid funny, or sticky nostalgic, they just need to be entertaining, to allow us not to feel too guilty over how we just let the past two hours slip by with little, or nothing, to show for it.