This documentary, The Barkley Marathons, on the most bizarre race in the US is very good. To sign up you have to give the race organizer with that $1.60, a license plate from your home state, and an essay about why you should be allowed to join the race. That essay helps the organizer pick one person he is sure will lose. The whole situation just keeps getting stranger and more brutally demanding of the people who compete in this rally for over a hundred miles through dense woods as they climb the equivalent of Mt. Everest’s elevation twice. Highly recommended. It’s streaming on Netflix right now, or you can buy it through a bunch of other services.
The race can begin any time between midnight and noon on the closest Saturday to April Fools’ Day, always exactly one hour after a conch is blown. Runners are not given a map of the course, which is unmarked and largely off-trail, until the afternoon before. They must rely on compasses and the race’s obscure official directions to find their way. GPS is forbidden.
Runners must locate thirteen books in each loop and tear out a page corresponding to their race number. This year’s batch includes Unravelled, Lost and Found, and There Is Nothing Wrong With You: Going Beyond Self-Hate. After each loop, the pages are counted and each runner is given a new number. There are no aid stations, just two unmanned water drops that are often frozen solid. Those unable to finish are serenaded by the Barkley’s official bugler playing a discordant rendition of “Taps.”
Phil Alden Robinson’s Sneakers might just be the most undervalued movie of all time. It’s a political thriller, a caper, “tech-noir,” a little like Three Days of the Condor reimagined as a buddy film. Sneakers is awash in shades of blue, as if its story takes place in the shadows, or in the glow of an old computer screen. James Horner’s score features strings, a choir, and Branford Marsalis on soprano saxophone — it’s a wintry, whimsical, haunting thing. Sneakers is the creation of Phil Alden Robinson, Lawrence Lasker, and Walter F. Parkes, who sought to make a movie they would want to see. It took 10 years to write, ultimately becoming an excuse for these guys to hang out.
Back when DVDs were still a thing you would own and want to collect, I’d give out copies of this movie to my friends who I am sure never watched it. Sneakers is fantastic, but when you roughly try to explain to someone that it’s a movie about hacking they think Hackers and immediately tune out because that is going to be a goofy, unrealistic, bad time. Sneakers is unrealistic, but the relationships in it are incredibly relatable.
As Priscilla points out, this is also a movie that is not really high-tech. All of the 90’s and early 2000’s movies about hacking realized that people sitting at a computer typing is boring as shit to watch. So many of the crew’s solutions in Sneakers are about personal interactions and introduced concepts like social engineering that I didn’t know about when I saw the film.
The first trailer for Blade Runner 2049 looks pretty good. Here’s the official description:
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
There are not many people I trust to make recommendations about funding another crowdfunding campaign from people who have already failed to ship a documentary once, but you should read the full argument from Jason Scott. Here’s just a part:
Way back in 2012, I posted something, talking about how worried I was that a documentary that looked and sounded great seemed to have disappeared. I’d looked far and wide to contact the filmmakers, and nothing. But I wanted to at least put my voice out there, in case they wanted to talk to me. Unlike people who talked big about what they wanted to do, the small amount of footage I’d seen from the documentary looked so fantastic that I very nearly quit doing documentaries.
Like a lot of people, I’d pre-ordered the blu-ray edition for the forthcoming film, and I’d waited. And waited, and then nothing came of it, websites went down, and I squirreled away the trailer and other footage I’d seen, sad beyond belief such a promising work seemed to be doomed, destined for the shadows of promises and wishes.
Then, in 2014, I got contacted by one of the creators. Yes, they were alive. Yes, they had a lot of pieces of the movie. And yes, they’d run into incredible financial problems, gone bankrupt, lost homes, had massive layoffs… yes, as expected, there had been some incredible shitshow and the production company was essentially gone. They’d had to go into other directions, and put the project into a box and refund whatever they could afford to refund, and make a living.