Grouper Film

Ellen Grant
• Wednesday, 16 December, 2020
• 15 min read

Edit Cast overview, first billed only: Nicole Dam bro ... Meg Peter Mayer-Klepchick ... Brad Cameron Puckett ... Dylan Jesse Puddles ... Orin Brian Ioakimedes ... Talkie Max Reed III ... Frank Travis Stan berry ... Hank Terrance Went ... Durant Marcus Obesity ... Tex Edward Jackson ... Omar Travis Lee Elder ... Professor Cooper Mike Cyrano ... Bartender Laurence Scott Murphy ...

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Homeless Man (as Scott Murphy) Robin S. Roth ... Dylan's Grandma (as Robin Roth) Adam Manley ... High School Bully 1 View production, box office, & company info. Edit A grad student kidnaps two homophobic high-school bullies to use as her subjects in an experiment performed at the bottom of an empty swimming pool.

Preview the first scene of Groupers leading up to the title and opening credits. This question is introduced by Meg (Nicole Dam bro of The Axiom), a ballsy and acrid grad student, trying to prove or disprove this scientific thesis.

The opening scene navigates the compacted and crowded interior of a soiled bar, gracefully swaying the camera around until landing on two young jocks, Brad (Peter Mayer-Klepchick of The Girl on the Train) and Dylan (Cameron Puckett of Second born), and an attractive young woman named Meg. She impairs them with booze and promises them a wild night, only to guide them to her white van, drug them and restrain them in an empty pool in a void neighborhood.

One little ring and this experiment concludes, and the homophobic jocks get to prove their theory they hold so dearly: homosexuality is indeed a choice. But you also soon realize Meg isn’t solely trying to complete her college thesis, she’s out for some “light” vengeance.

Meg’s ardor for the research is kindled from the abuse of her gay brother, Orin (Jesse Puddles), implemented by none other than Brad and Dylan. A myriad of tests will expose their secrets, all while the study is being live-streamed, and Orin is determined to exploit the experiment in its entirety.

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The idea of a woman drugging two homophobic jocks and strapping them up, with their penises ensnared in a Chinese finger-cuff, all for some kind of vengeful experiment, is hard to swallow. Despite what the concept suggests, it’s not torture porn; it leans more toward black comedy, with social subtexts about the causes of homophobia and the corollaries of bullying.

The majority of the first half highlights the acting chops of Mayer-Klepchick, Puckett and Dam bro, who deftly bounce quips off one another. Peter Mayer-Klepchick portrays Brad, the levelheaded and quick thinking jock, who tries to undermine Orin’s abuse (“Normal high school stuff.

Nicole Dam bro is a fierce, implacable and arresting presence, allowing Meg to roam in sordid territory while still being slightly likable. The stellar performances from Mayer-Klepchick, Puckett and Dam bro are interrupted by gang members and a vindictive Orin (who’s racked up with drugs).

The destination takes a turn when new characters surface, and fruitless dialogue saturates the screen (but without the Tarantino spark, and without prompting any genuine laughs or insights). As well-aware viewers, we know Meg’s actions aren’t vindicated, and the experiment is meant to be wantonly kooky and juvenile.

These topics have been explored before, more effectively for that matter (from the blood-soaked tale of Carrie to the voracious style of Heather's), but what keeps Conan’s feature from collapsing during its bloated middle portion is a tempting self-awareness. Not only is the cast aware of their characters’ amplified traits, but Milan Janice ‘s cinematography wonderfully compiles close-up shots that are as judgmental as they are fluid.

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As gang members infiltrate the scene, Meg is forced off-screen, which also means the one character who kept everything together, is now gone for the bulk of the second half. Hank (Travis Stan berry) and Frank (Max Reed III) enter as half witted gangsters, and their long-winded conversations lead nowhere (tonally and literally).

Grouper begins and ends strong, whereas the middle is essentially a series of conversations and dick jokes that wear thin. “It’s like when the victim becomes the bully, and then they relish in it way too much…” Conan’s execution isn’t subtle, nor is it always neat or vital, but it’s strangely engrossing.

Like a stage skit, it starts fairly simple and exaggerates characters and situations knowingly, while still faintly staying in the realm of reality. The middle section is a critical miscalculation (with too many characters, humdrum exchanges and tonal shifts), but it wins back the viewer’s interest at the end.

In sharp contrast to the brazenly violent “Cocaine Cowboys” of the 1980s, Miami's marijuana smugglers were cooler, calmer, and typically nonviolent. Due to the region's 5,000 miles of coast and coastal waterways and proximity to the Caribbean and Latin America, South Florida was a pot smuggler's paradise.

Square Grouper : The Godfathers of Ganja is a colorful portrait of Miami's pot smuggling scene of the 1970s, populated with redneck pirates, a ganja-smoking church, and the longest serving marijuana prisoner in American history. The Church started a massive marijuana export operation and expanded throughout the 1970s, eventually becoming the largest employers and landowners in the struggling Caribbean nation.

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Ultimately, a 1979 60 Minutes piece featuring footage of young children puffing large spliffs of marijuana caused public outrage and compelled the government to finally put an end to the Coptic's. At the same time, the Drug Enforcement Administration were facing budget crises and possible dissolution and the film makes the claim that they used Plats horn and Master as their targets to justify their continued existence.

They executed two large, highly publicized raids in 1983 and 1984, leading to the arrest of nearly 80% of the adult male population of Everglades City. Peter Gawain, a striking man made slightly more intimidating by an eye patch he sports after losing an eye playing hockey in his youth, is the subject of Billy Corben's (Square Grouper) warts-and-all documentary Limelight, produced in part by Gawain's daughter Jen.

Gawain masterminded several famous nightclubs, though the doc takes a look at Limelight, built on the site of a former Episcopal Church of the Holy Communion. The founder overlooked the introduction of new musical styles into the mainstream and the rise of the club kids, one who happened to be Michael Align.

Align's murder of Andre Melendez cast media attention on the club and certainly aided its final shuttering, one of several attempts to close down the spot in the 1990s. Read more... See full article at JustPressPlay Billy Corbel, best known for directing the Miami drug documentary Cocaine Cowboys, is enamored with the region.

In refreshing objectivity, both sides of the criminal activity recall their fascinating true-life tales, a rarity for the “pot doc” sub-genre where a scroll through Netflix reveals a batch of half-baked legalization defenses. His latest, Limelight, chronicles the astronomic rise and fall of New York nightclub kingpin Peter Gawain.

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The man who leads us on this journey is Peter Gawain, a one-eyed club impresario from Canada who moved to the US and started opening upscale discos all along the Eastern seaboard. See full article at Quick Stop Netflix has revolutionized the home movie experience for fans of film with its instant streaming technology.

Synopsis: After transferring to a new high school, beautiful June (Léa Seymour) starts dating fellow student Otto (Gregory Leprince-Ringuet), but she soon finds herself falling for Memoirs (Louis Barrel), an Italian teacher already entangled in secret affairs with a pupil and colleague. Synopsis: Director Margot Benacerraf offers this acclaimed 1959 film that chronicles the harsh existence of Venezuelan laborers who manually recover salt from the tropical marshes in Ara ya, an ancient salt-producing region in that country.

See full article at WeAreMovieGeeks.com DVD Playhouse: May 2011Blow Out (Criterion) Brian De Palma ’s greatest Hitchcock homage, with a dash of Antonio thrown in for good measure. John Travolta gives one of his best turns as a sound-effects engineer who unwittingly records a political assassination, then finds himself hunted by a ruthless hitman (John Lithgow, a memorably creepy psycho) after saving the life of the kindly, albeit dim-witted call-girl (Nancy Allen, excellent) who was with the deceased.

Terrific blend of suspense and very black humor, perhaps DE Palma’s finest hour as an auteur. KES (Criterion) Ken Coach ’s landmark 1970 film is both a heart-rending portrait of adolescence, and a pointed sociopolitical commentary on life in the North of England.

Limelight sends us tripping on a relentless 100-minute roll. The man who leads us on this journey is Peter Gawain, a one-eyed club impresario from Canada who moved to the US and started opening upscale discos all along the Eastern seaboard. The Cocaine Cowboys director premiered his marijuana doc Square Grouper : The Godfathers of Ganja at SSW (where we reviewed it and interviewed him).

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He has Dawg Fight coming later in the year, and he recently debuted Limelight at the Tribe ca Film Festival. The doc follows Ontario-born Peter Gawain on his rise and fall as the King of New York Clubs.” Taking an exhilarating Goodfellas-esque approach on the fame, money, and lifestyle that came with opening the four biggest clubs in NYC, Corbel introduces a set of real-life eclectic characters that could easily be found in Scorsese’s masterpiece.

Director Billy Corbel calls Square Grouper a prequel to his Cocaine Cowboys documentaries (soon to be reinvented on HBO), but these so-called criminals are far from Scarface wannabes. Since the magnificent Cocaine Cowboys,” Billy Corbel has become the go-to guy for documentaries about illicit substances on and off the coast of Florida.

The film divides the local business into three big personalities: the Zion Coptic's, the Black Tuna Gang and Everglades City. With footage from “60 Minutes” dating back to 1979, Corbel introduces the ganja-smoking Zion Coptic's who set up a cult-like camp around cannabis and built an expansive empire inclusive of farms, boats, cars, buses and Cadillacs.

See full article at Moving Pictures Magazine Reviewed by Elliot V. Noted (from the 2011 South by Southwest Film Festival) Since the magnificent Cocaine Cowboys,” Billy Corbel has become the go-to guy for documentaries about illicit substances on and off the coast of Florida.

The film divides the local business into three big personalities: the Zion Coptic's, the Black Tuna Gang and Everglades City. With footage from “60 Minutes” dating back to 1979, Corbel introduces the ganja-smoking Zion Coptic's who set up a cult-like camp around cannabis and built an expansive empire inclusive of farms, boats, cars, buses and Cadillacs.

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See full article at Moving Pictures Network South By Southwest is largely awesome as a condition of place. There is a large display of strong work including the festival’s Lone Star States showcase.

Corbel's new film, “Square Grouper : The Godfathers of Ganja,” takes a similar approach to South Florida's pot smuggling trade of the same period. “Cowboys” weaved a massive tapestry of crime and vice across two continents, but Square Grouper is a small-scale anthology, three different stories of high times in the Florida lowlands.

We're just two weeks away from the kick-off of South by Southwest 2011 -- and while I'm prepping for our big Spirit Awards weekend, I'm also trying to really dig into this year's SSW schedule. The newest documentary from the directors of Gunner Palace is the story of what a baseball fan like me would describe as the “minor leagues” of Mixed Martial Arts: the training ground where young fighters are made or destroyed.

MMA is a huge part of the modern sports scene but it's been almost completely unexamined from a documentary perspective, so I'm really looking forward to seeing this. Edit Cast overview, first billed only: Clive Owen ... Jack Manfred Nick Reading ... Giles Remorse Nicholas Ball ... Jack SNR.

Car Dealer Gina McKee ... Marion Nell John Radcliffe ... Barber Sheila Whitfield ... Manicurist David Hamilton ... Casino Supervisor Carol Davis ... Table Supervisor Eddie OSI ... West Indian Punter Domremy Vernon ... Woman I Claudine Carter ... Woman II Ursula Albert's ... Madame Claude Neville Phillips ... White Haired Man View production, box office, & company info. To make ends meet, and against his better judgement, he takes a job as a croupier.

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Jane is down on her luck; under pressure from her creditors she approaches Jack, asking him to be the inside man for a planned heist at the casino. Plot Summary | Add Synopsized Trivia Alex Kingston was not considered for a BAFTA nomination for her performance in the film as Jane.

Background informationBirth name Elizabeth Anne Harris Born (1980-07-15) July 15, 1980 (age 40) West Marin, California, U.S. Origin Astoria, Oregon Occupation(s)Musician, singer-songwriter, producerYears active2005–presentLabelsYELLOWELECTRIC, Root Strata, West 25th, Peak Oil, Cranky Associated acts Mirroring, Slow Walkers, RAM, Xiu, Ilya Ahmed, Inca Ore, Roy Montgomery, Helen, Niche Grouper is the solo project of American musician, artist and producer Liz Harris (born July 15, 1980). Grouper released the critically acclaimed Dragging a Dead Deer Up a Hill in 2008, followed by five more records, including a two-part album, A A, and the piano-led album Ruins.

Harris was born July 15, 1980, in Northern California and grew up around the San Francisco Bay Area. She grew up in a Fourth Way commune there which was inspired by the philosophy of George Gurdjieff.

The community was known as “The Group”, which would later serve as some inspiration for the moniker Grouper. According to Harris, the kids called each other and the parents 'groupers' sort of as a defiance.

After finishing college, Harris briefly moved to Los Angeles, where she worked with Mayo Thompson at Patrick Painter. Harris’ first album was 2005 ’s Grouper, a self-released full-length CD-R, followed later that year by Way Their Crept on Free Porcupine (re-released in 2007 on Type Records).

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Harris made available new material steadily through the years, and continued to collaborate with various artists such as Roy Montgomery and Bela. In 2008, she released Dragging a Dead Deer Up a Hill.

An Music reviewer Heather Shares praised the album for showing more musical range than Harris' previous work and for “letting more melody, more structured songs, and even a few phrases emerge from the ether.” Pitchfork gave it 8.2 stars calling the work “an arresting album of pastoral psychedelic pop”.

Early in 2012, Grouper performed Violet Replacement in the UK and Europe, a pair of long form tape collage pieces which originally took shape for commissioned performances in New York and Berkeley. Besides, she collaborated with Jess Fortin of Tiny Vipers to release an album Foreign Body under their common moniker Mirroring.

At Berlin's Club Transmediale festival in early February 2012 Harris performed Circular Veil in collaboration with Were Cantu-Ledesma. Somewhere between an installation and a performance, it found her extending her more concise music outward into eight hours of music, designed to mimic one full sleep cycle.

Grouper's studio album titled Ruins was released on October 31, 2014. The album is relatively stripped-down; piano, voice and field recordings.

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The majority of the album was recorded in Alter, Portugal in 2011, while Harris was on a residency set up by Valeria He dos Boys. That same year she appeared on The Bug'album providing vocals for the track “Void”.

Her curated program included films La Double Vie DE Véronique by Krzysztof Kielowski and Lighthouse by Paul Clip son and music performances from artists Marisa Anderson, William Basin ski, Marcia Bassett & Samara Labels duo, Boltzmann/Leigh, Skin Film, Meiji Having, Roy Montgomery, Coby SEY, Tiny Vipers, Wolfgang Vogt and Richard Young's. During her days as a part of a Fourth Way commune, Harris' primary sources for discovering music were limited.

With a little help from her parents, whose musical tastes were eccentric and divergent, she discovered Eastern European folk and American avant-pop. Through her father, who himself was a composer, she would later discover contemporary classical and early music.

In 2008, when she released Dragging a Dead Deer Up a Hill, Pitchfork compared it to classic ethereal releases from the British label 4AD, drawing comparisons to Cocteau Twins and early His Name Is Alive. The Portland Mercury described some songs from the album, such as “Wind and Snow” and “Stuck”, sonically reminiscent of the Renaissance period composers Geraldo and Monteverdi.

Collaboration with Jorge Behring er under the artist name “Flashlights" (2006) Visitor,, 10" vinyl. Collaboration with Ilya Ahmed (2011) Foreign Body, vinyl and CD.

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Collaboration with Tiny Vipers under the artist name “Mirroring” (2012) Slow Walkers, vinyl. Collaboration with Lawrence English under the artist name “Slow Walkers” (2013) The Event of Your Leaving, vinyl.

Collaboration with Were Cantu-Ledesma under the artist name “RAM" (2013) Felt This Way/Dying All The Time, 7" Vinyl. Collaboration with Jed Lineman and Scott Simmons under the artist name “Helen” (2013) Void and Black Wasp (taken from Angels and Devils and Exit EP), vinyl.

^ Harris revealed her birthdate in a post via her official Instagram account, which reads: “Two months I squealed my way into the world on Ian Curtis birthday” (Curtis was born July 15, 1956). Grouper's Liz Harris Explains the Art of the Paradox and the Beauty of Mistakes”.

“Mt St Helen 40 years ago today. Two months later I squealed my way into the world on Ian Curtis' birthday, who died two weeks after the eruption”.

^ “Listening & Playing Alone: The Strange World Of Grouper ". ^ “Interview: Grouper and Paul Clip son discuss 'Hypnosis Display “.

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^ “Explore Grouper's curated program for Le Guess Who? Edit Credited cast: Yukijirô Howard ... Idea Aurora Lusaka Iberia ... Kama Sashimi Kai REI Matsubara Yuma Nakamura View production, box office, & company info.

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