Shred Flicks

Sherpas Cinema
Street: 09.25
The latest release from Sherpas Cinema, All.I.Can took the helm and controlled the audience’s emotions for the next hour.  Directed by the talents of Dave Mossop and Eric Crosland, this film goes beyond the traditional idea of a ski movie. The viewer is treated to dramatic time lapses and film sequences of natural phenomena around the world.  The contrast of industry and nature lead the audience into a new realm, and then, BANG, the powder starts flying and the music amps up.  Traveling to exotic locations like the Chilean Andes, Greenland and Morocco, the skiers tee off and begin to shred the gnar.  Fantastic fade-ins of terrain in the summer and winter alter your perception as the rider’s lines are gobbled up by another season.  The creative cinematography in this film captures the true essence of the sport.   Showcasing the talents of young guns Johnny Collinson and Kye Petersen, the movie also depicts where the future of skiing is headed.  In addition to the fine camera work, there is an underlying message of profound environmentalism.  The athletes admit that skiing is becoming less sustainable with the use of helicopters, snowmobiles and the expansion of mega resorts.  Although the message becomes a bit in-your-face and over-the-top by the end of the feature, it does serve as a potent reminder to snow sliders everywhere that our precious powder could be in jeopardy in the near future.  The film climaxes with a chapter titled “Revelation,” and it depicts the riders achieving their ultimate line from each journey.  A must see for those who love action, but also appreciate the finer aspects of natural beauty and cultural ambiance.
–Sean Zimmerman-Wall

The Art of Flight
Brain Farm Digital Cinema
Street: 09.08
After the success of That’s It, That’s All, some doubts began to surface as to whether Travis Rice and company’s second film, The Art of Flight, was going to live up to the hype. Rice, in an interview with SLUG, stated that one main function of this film was to bridge the gap between the core snowboarding community and the mainstream. “Bringing in a bit more of a layman approach, [we’re] trying to showcase what it is that we do, where we go and why,” said Rice. As for where they went, this time around the crew shot on location in Alaska, Jackson Hole, Chile, Patagonia, British Columbia, Aspen and Revelstoke. When asked which section of the film he was most proud of, Rice responded with Revelstoke, which seems fitting as it’s the last section of the film. “Revelstoke we really worked our asses off for. We were up there for almost two months. I think the big push behind this film was more towards progressive, big mountain freestyle riding. I really felt that the Revelstoke section of the film pushes it,” said Rice. The soundtrack was masterfully put together and the shots were perfectly centered on it, making it more of an experience than just a snowboard film. “So much of [the film] was centered around cinematography, our days revolved around catching two minutes of the right light in order to shoot. Everything we did we made a priority to hit during the right light,” said Rice, and after watching the film it’s clear that those aren’t just words. The Art of Flight features crisp, smooth heli shots from behind the Cineflex HD Camera System and incredible slow motion captured with the Phantom Flex camera. Couple this with Curt Morgan’s repute for perfection and talent behind the camera and you’ve got a snowboard film that covers all the angles, so to speak. –Chris Proctor

Defenders of Awesome/Ammo
Street: 09.02
On Friday, Sept. 2, the Post Theater at the University of Utah hosted the world premiere of Capita’s Defenders of Awesome and 32’s Ammo. 32’s Ammo, which features their AM team riders, was the first to be shown to all the eager tweens and teens that showed up. With about 30 minutes of fresh city spots and backcountry booters, people were stoked, especially with parts from local riders like Chris Brewster (with his 50/50 nollie to front board rail transfer) and Brandon Hobush (who has notoriously stylish front boards). Ammo was a good glimpse of the fresh new talent of some up-and-coming riders. After a few yells and lewd comments about drunken sisters, Defenders of Awesome began. Scott Stevens (Atcha Boi) had the first part, which was well deserved—with his signature skateboard-like, one-footed tricks, he takes snowboard creativity to the next level. Who else would board slide up a five-kink handrail? Local Cale Zima had a killer part as well, with bomb drops that would shatter the average person’s knees into shards of bone—like the 15-stair close-out rail gap that he casually floated over and ended with a smooth, flat landing—I guess that’s why the call him Kenny Chimps. Jess Kimura and Laura Hadar held it down for the ladies. Kimura’s part was one of the best female parts I have seen in a while, especially when she 5-0s a giant corrugated metal tube then throws a smooth backside 360 off it. Dan Brisse’s part is full of front boards off of a 30-foot cliff, front side 450s over the rail gardens double rail gap, and anything else that is big and ridiculous. The rest of the Defenders of Awesome riders included Brandon Cocard, TJ Schneider, Mike Rav, Andrew Burns, Dustin Craven and Phil Jacques. I wish I could tell you about everyone else’s part, but that would ruin the fun. Run to Milo or your local shred shop and pick up a copy of Capita’s Defenders of Awesome as well as 32’s Ammo, it will be well worth the cash and have you wishing it was winter time. –Jeremy Riley

Street: 09.25
Local ski manufacturer, 4FRNT, debuted its first full-length feature film and the reception was overwhelmingly positive.  Edited by Sam Peters, this film showcases a myriad of 4FRNT athletes slaying a dynamic mix of urban and big mountain lines.  “We wanted to give all our athletes a chance to display their skill in this film,” said Phil Herbert, the online brand manager for 4FRNT.  Local athletes Cody Barnhill and Wiley Miller prove their positions in the ski world with a collage of stunning performances.  Opening up with a tribute to Hot Dog … The Movie, the entire 4FRNT crew displays their hop-turning prowess and entices the audience with a quad-burning intro.  The film’s production values are surprisingly good for a first effort.  Closing with a tribute to the late, great C.R. Johnson, Loyalty shows the world who we are and why we ski. –Sean Zimmerman-Wall

The Ordinary Skier
Oakley and 1242 Production
Street: 10.03
The world of extreme skiing has its share of notable athletes, but few have the cult following of Seth Morrison.  In director Constantine Papanicolaou’s (CP) latest flick, the rise of one of the planet’s most prolific skiers is documented in a real and dramatic fashion.  Growing up in the ’burbs of Chi-city, Morrison learned to ski on man-made hills with primitive gear.  Abandoned by his father at age six, Morrison moved to Colorado with his mother and sister to start a new life.  As a ski racer, Morrison never fit the mold of the typical high-level competitor.  Although he had a strong inner drive, he was more interested in free skiing around the mountain than practicing.  By the time he graduated high school, his motives to become a professional skier were clear.  His punk rock purple hair and lack of regard for personal safety set him apart from other skiers of the era, but his style was met with limited enthusiasm.  It took many years and a lot of slammed doors before he finally received a paycheck for doing something he loved.  Partnering with Oakley Optics in his early twenties allowed him to pursue his goals and expand the free ski discipline. His prowess in epic terrain has led him around the world and kept him in the company of skiing legends.  From Alaska to Chile, he has set the bar for big mountain riding. Travelling to film in the Chamonix Valley, he is joined by the talents of Kye Petersen, JP Auclair, and the infamous Glen Plake.  Along with their tenacious guide, Pete, the curious quintet explores the untamed wilderness of the Alps. With intermittent bouts of overwhelming terror, the crew shows the audience how the sport has evolved. –Sean Zimmerman-Wall

Sweetgrass Productions
Street: 10.01
In an age of fast paced, high energy action sports films, it is refreshing to see a production company take a step back and return to the roots of skiing.  Directed by Nick Waggoner, this film brings audiences an authentic backcountry skiing experience that stimulates the senses and the spirit.  The film opens with stunning sunrises illuminating the vast expanses of windswept loneliness across the South American continent.  As the camera pans out, an ominous Spanish voice cuts across the landscape, and the film’s narration becomes an adaptation of Joseph Conrad’s The Heart of Darkness. As Conrad’s words flow across the screen, the natural beauty of the terrain captures the viewer’s imagination.  The uniqueness of the film stems from the exotic locations, original score, and overall character of the cast.  Solitaire portrays what it is like to place man (or woman) in an unfamiliar environment and have them adapt to their surroundings.  Entirely under their own power, riders like Johnny Collinson and Jesse Hoffman scale huge mountainsides in search of the perfect turn. Sleeping in tents, caverns, and various primitive shelters, the riders and photographers are treated to incredible rainstorms, furious wind, and general misery.  However, when the clouds part and the warmth betrays the darkness, it is more glorious than any other sight on the planet.  Blankets of fresh snow cover the towering peaks of the Andean wilderness and the team lets loose on the epic powder.  Threading the thin line between slope and sky, the riders consecrate their marriage to the mountains in a profound and beautiful style that transcends the limits of the sport.  By the end of the film, viewers have a sense of why people go to great lengths to pursue a passion and live in the midst of the incomprehensible. –Sean Zimmerman-Wall

Standing Sideways   
Street: 10.05
When you're the Yankees of the snowboarding world, you have the cash flow to buy yourself a dream team stacked with the best jibbers, pow slashers and half-pipe slayers. And that's exactly what Burton did. The diversity of talent on the Burton team is really what makes Standing Sideways shine among this season's releases. In a market that is saturated with films that cater to either the street shredder or the backcountry fanatic, that diversity is incredibly refreshing. Standing Sideways opens with Kazu Kokubo's part hitting you like an icy face shot early in the morning and doesn't stop until after the credits have rolled. Kokubo is known for slaying the half pipe but his part proves he holds it down just as well on pillow lines. His interesting choice of lines confirms his all-mountain prowess and stokes the hunger for face shots and cliff drops.  Jeremy Jones proves that this isn't football—over 35 doesn't equal retired. Wallride redirect 540 shove it? Yeah, he does it. And it looks sick as fuck—definitely the best use of a shove it I've ever seen. Jones may already be a legend in the snowboarding history books but this part says we should probably leave him a few more blank pages. If you're not drooling yet, the jib-heavy middle segment will get that saliva flowing. Zak Hale, Alex Andrews and Ethan Deiss may be the rookies of the Burton team but you wouldn't know it from their parts. The movie finishes with some serious mountain lovin' from Terje Haakonsen and Jussi Oksanen. Standing Sideways reminds us that whether we're old or young, jibber or pow shredder, we all stand sideways. –Katie Panzer

Street: 10.22
The Forum team makes my panties wet. I'm still not sure if it's because Nic Sauve's intro was so funny I peed a little or because Jake Welch's buttery 180s made me lady-jizz my pants. Either way, I was a little moist for the whole 40-minute movie. Vacation is packed with tons of awesome shred footy, but also shows how much fun the guys have along the way. If I could spend a weekend in Vegas with one snowboard team, it would definitely be these guys—they have shenanigans on lock. When they're not causing mayhem, these guys are hunting down the raddest street spots out there. The Forum team has enough style and creativity they don't need to rely on double corks to make a great movie. While there are plenty of double corks thrown down, they're not the stand-out parts of the film. Simple tricks done creatively and executed with polished style will always capture my attention more than who can huck themselves the farthest. Though the riding in Vacation is top notch, the cinematography left something to be desired. Filming at night is great for being sneaky—not so great if you forget the flood lights. Surely a team like Forum has plenty of room in the budget for some lights, yet some shots were so dark you could barely see the rider. Technical issues aside, Vacation is an awesome fucking movie—just make sure you have an extra pair of undies on hand. –Katie Panzer