![]() Some of the innuendo comes with nudges heavy enough to earn ''Hybrid'' assault charges. The peculiarities of Beeghly's pursuit are made clear when the physiological phenomenon of corn is explained in openly sexual terms. ''Hybrid'' takes on a fuller resonance because of the current fears about the harm that might be done by genetically engineered crops. McCollum thought there was a film in his grandfather's life. Their presence in the film alone explains why Mr. The television spots starring this titan of the field - crude black-and-white treasures in which he sold the world on his brave new world of crops - deserve to be preserved in the Museum of Television and Radio. But you come through ''Hybrid'' feeling as if you've gained an insight into one man's obsession and into the filmmaker's own feelings about his family and, eventually, about movies. The drive of Beeghly - the filmmaker's farmer grandfather, who recently died at the age of 102 - to mix and match strains of corn to create the best new type is one of the most unlikely subjects for a film. McCollum's jagged ruminations and you will, too, since ''Hybrid'' is like a fever dream that's both discursive and digressive it takes us inside the director's head as it incorporates time-lapse photography, interviews and found film on Beeghly's life and achievements. The film won the grand prize for best feature at the 2001 Slamdance Film Festival, where the jury obviously responded to the director's melding of texture and technique. as part of the New Directors/ New Films series at the Museum of Modern Art, vibrates with sensitivity to the material. ''Hybrid,'' which is being shown tonight at 9 and tomorrow at 6 p.m. It's a film that rejects storytelling convention and delivers a precise look at its subject, a rough-hewn farmer named Milford Beeghly and his determination to cross-breed varieties of corn. Movie reviews by Sean McBride, “The Movie Guy,” are published each week by Orange Newsmedia and seen weekly on KFDM and Fox4.Monteith McCollum's documentary feature ''Hybrid'' is an acquired taste but worth the effort. “Nope” turns out to be the weakest of his three films so far, but one that’s so-overstuffed with ideas that I’m happy to give “Nope” a qualified “Yep.” ![]() It’s a lofty goal, but the filmmaker’s not there yet. Who knows, maybe one day he will be universally acclaimed as the best horror film director of all time. Mix that work ethic in with his original point of view and you have a recipe for a filmmaker who will be with us for a very long time. Perhaps most-importantly, “Nope” has some genuinely creepy moments, and there’s a real sense Peele has been studying old movies and incorporated the best lessons into his own work. I did enjoy the film’s cinematography and creepy score. It’s a shotgun blast of a movie that is still very effective, even while the individual ideas don’t coalesce into one killer movie. The problem is by the time the story kicks into high gear, Peele has given us so many incidental ideas and motifs that the film never finds its focus. It starts off with some subtle comic moments and pop culture references before settling into its main narrative thrust. Kaluuya makes for an appealing everyman hero, while Palmer brings her infectious brand of energy to the story to make sure your interest never wanes. It’s a lot of fun tagging along with these appealing characters. Suffice it to say that “Nope” introduces us to two Hollywood horse wranglers, a brother and sister team (Daniel Kalyuua and Keke Palmer) who decide to try and photography the mysterious flying objects that keep buzzing over their ranch.Ī former TV star turned Old West theme park empresario (Steven Yeun) and an electronics store employee (Brandon Perea) sign up for the mission to document the UFOs. “Nope” is a difficult film to describe, partially because I don’t want to reveal any spoilers, but also because the film is so over-stuffed with ideas that it becomes impossible to succinctly sum everything up.
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