Author: Nick

Born in Illinois. Living in California. I contribute to this site, as well as Campus Circle.

BERBERIAN SOUND STUDIO – A Study Of Violence By Proxy

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By Nick Day

BERBERIAN SOUND STUDIO has made some significant waves on the festival circuit, and it won several awards during 2012’s British Independent Awards ceremony, beating out the other festival darling, SIGHTSEERS, in multiple categories. This weekend, you can check out the film in New York City and Los Angeles, or catch it at home on VOD.

The film concerns itself with the trials and tribulations of meek Gilderoy, a British sound engineer working on an ultra-violent Italian horror film, The Equestrian Vortex. Though the film’s narrative deals with the ideas of horror and exploitation cinema, I think it is unfair to label this a horror movie. It’s very much a psychological drama, having more in common with film noir than outright horror or the Italian giallo. Writer and director Peter Strickland has crafted a tightly wound story that blurs genres, with rich cinematography by Nicholas Knowland and a central performance by Toby Jones that is to be savored.

I had the opportunity to speak with Peter Strickland about BERBERIAN SOUND STUDIO.

The film is such an immersive experience, that I wondered if Strickland said all he wanted about the world of sound with this film, or was there something more to explore?

“Yeah, there’s definitely more to explore. Definitely. I mean, as soon as I finished, I’d just walk down the street and went, ‘Ah, we could have done this. We could have done that.’ There’s just a whole world of stuff to sift through. I might need to do one more attempt at this kind of thing, but it would be great if someone else came along and dipped their toe in this.

I wanted to try something reduced somehow because, especially in the last four or five years, you know, violence on screen has become incredibly flamboyant. I’m putting that politely. All these torture porn films; I just don’t see the point in going further and further and further. Why don’t we just go the other direction, still see if an audience can respond somehow?”

“I don’t know if you got this thing about the Balkan Wars, really unpleasant stuff. Ten years later I met someone who’d been through the whole thing. I think just listening to that person speaking about her experiences was much more disturbing. I think there is a danger of just seeing images again and again and again. You just become numb somehow.

I didn’t want to make a didactic film, and moralize. I love horror films. I think the problem is, when you find all the arguments about it, they’re usually in two extremes. One extreme is that these are terrible and these should be banned. Or, no, they don’t influence anyone. No, they don’t do any damage whatsoever.”

“I just thought we should acknowledge, at least, that the moving image is profoundly powerful. I’m not saying it can influence, but it’s something that you have to treat with caution. People sort of defend it by saying that film is just a series of images put together. I think that’s what Francesca [a character in the film] says at one point. I remember a famous actor saying that in defense of a violent film he was in. But actually it’s not. It’s so much more than that.”

Our conversation drifts to Werner Herzog’s GRIZZLY MAN, and I mention that the scariest, most mortifying part of that film is Herzog talking about the audio recording(which the audience never hears) of two people’s death during a grizzly attack.

“I remember that so clearly. I think all of us have been there, when we’ve heard something from a neighboring room. I remember when I was quite young, sometimes I wasn’t allowed to see films that my brother was watching. He’s older than me. But I’d just go by the door and have a listen and I think the sound could be a lot more disturbing when it’s compensating for what you’re not seeing.”

And really, that’s what BERBERIAN SOUND STUDIO is about. It speaks to the power of imagination, the influence of images, and the power of suggestion. There is a scene with a red hot – you know, I say it’s a scene with a red hot poker, but you never see the red hot poker. The Equestrian Vortex, the movie-within-the-movie, reminds me an awful lot of the shark in JAWS. You don’t really see it, and it’s more powerful because of it. There is a scene where Toby Jones’ character is firing up grease in order to simulate the sound of a red hot poker on flesh. You never see the image, but the picture you paint with your mind is going to be infinitely more vivid than whatever you could hope to come up with.

“Yeah, and we’d never want to show that. What’s very sad about that scene, very tragic about that scene is, he kind of thinks he’s saving this woman by refusing to squirt that thing. But the more he reviews it, the more she suffers again and again and again. We never actually see the water going on that pan, but you still hear that scream, all this suffering without seeing the mechanics of it. To me, that scene is the whole pivot of the film and I think at that point you kind of reached the tipping point. He’s kind of become used to deciding on violence by proxy, that he can harm people through a table of vegetables.”

BERBERIAN SOUND STUDIO is certainly deserving of the accolades it has gotten and will continue to get. If you’re a fan of slow burn thrillers or intense psychodrama, then I’d highly recommend catching this crackling, beautifully realized movie. It is a smoldering masterpiece of British noir.

BERBERIAN SOUND STUDIO opens June 14 at the IFC Center in New York, and in Los Angeles at the Arena Cinema in Hollywood, Downtown Independent in Downtown LA. If you can’t make it to one of those, it is also available on VOD.

Overall Rating: 5 out of 5 stars

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BLANCANIEVES – The Review

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By Nick Day

An orchestra quickly tunes up, and then brief silence before the music begins. The film opens with the image of a closed red curtain, some nameless theater, a bit of symbolism that signifies that this particular theater is in fact all theaters, as this film is meant for any and all audiences familiar with the tale of Snow White. Director and writer Pablo Berger is, by way of mis-en-scene, giving you a proper invitation to his particular world, and it would be a shame to pass it up.

BLANCANIEVES is a stunner, at times alarmingly beautiful. It retains enough of the Grimm tale to feel familiar, but finds an altogether original way to interpret the material. Heartfelt and heartbreaking, this film is a celebration of cinema, of Spain, and of the human spirit.

And so, the red curtain opens and BLANCANIEVES begins.

It is important to note that the film is dialogue-free, though it is not quite homage to the silent era, as THE ARTIST clearly was, but more of a logical extension of that early discipline. This isn’t tongue in cheek, or a clever wink to the audience. Berger has really tried to make a bit of pure cinema, and while your enjoyment of this film will likely be predicated to the mileage you get out the silent flavor of film, I’d argue that the execution is a complete success, personal tastes be damned.

Sparse intertitles are as close to dialogue as you will get, but while the film lacks spoken words; it has a feast of a score, courtesy of Alfonso de Vilallonga. He peppers his music with choices that reflect the era and the culture of 1920s Seville, but careful listeners will hear the inspiration of many an early film composer. The title music, to my ears, recalls the work of the great Franz Waxman, the composer best known for his work on THE BRIDE OF FRANKENSTEIN and REBECCA.

Also of note is the really wonderful editing by Fernando Franco. He finds a way to splice, smash and bleed together Berger’s sublime compositions to create transitions and images that speak as loudly and as clearly as the finest dialogue, as expressive and revealing as any actor’s body language.

The story is borne out of the Brothers Grimm tale, but Berger makes it his own by planting the characters in 1920s Seville. His Snow White (Macarena Garcia) is no idle waif singing to creatures of the forest, but is instead a bullfighter of uncanny skill. The wicked stepmother (Maribel Verdu) isn’t just an evil queen jealous of a younger and prettier girl, but a perverse caretaker that exploits her husband’s weakness to slowly leach his fortune. And Prince Charming is… well, you should really see the movie. Berger is smart enough to play BLANCANIEVES pretty close to the source material, and by doing so appeal to the widest audience. But he is savvy enough to make changes that not only distinguish itself from the recent glut of Snow White-related retreads, but markedly improve upon what is a relatively slight folk tale. I think Jacob and Wilhelm Grimm would approve. I certainly do, and I think you will too.

Overall Rating: 5 out of 5 stars

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BEYOND THE BLACK RAINBOW – The Review

BEYOND THE BLACK RAINBOW is a feast for the ears and the eyes. It is a science-fiction film that wears its inspirations on its sleeve, but at the same time it is quite unlike anything that you’ve likely seen before. The fact that this is a first-time feature from director Panos Cosmatos is nothing short of stunning. Veteran directors do not often create films with such a self-assured sense of style and control. Of course, it can be argued that a lot of directors eschew those trappings in order to appeal to the most broad audience possible, the lowest common denominator, if you will. Cosmatos doesn’t have that kind of aspiration. His is a singular vision. It may not be everyone’s fancy, but for those of you who enjoy challenging cinema, BEYOND THE BLACK RAINBOW is full of rewards.

The film takes place in the year 1983 and much of the action is confined to the Arboria Institute, a scientific research facility that looks more like a Kubrick-inspired nightmare than a proper learning environment. The narrative deals with a young female patient with budding telekinetic abilities and the interactions with her unhinged and supremely creepy doctor, who may be something of a telepath  himself. Their frequent tête-à-têtes hint at something disturbingly sexual and obsessive, and the reasons for this are explored in a flashback that is itself a highly stylized piece of cinema, nearly its own mini-movie, and openly inspired by E. Elias Merhige’s BEGOTTEN.

The two leads are played by Michael Rogers and Eva Allan. They are both effective in their roles, with Allen as the nearly mute patient and Rogers as her malevolent doctor. Rogers has the meatier role, as villains often do, and he obviously is having a blast with the character.

Special mention needs to go to sound, particularly the phenomenal score, and to cinematography. There are marriages of music and image that will linger in your mind for days, the kinds of sights you know you will want to see again. I expect Jeremy Schmidt to be much sought after for his musical stylings, channeling something that can only be described as the love child of Vangelis and John Carpenter. Likewise, the cinematography of Norm Li is nothing short of stunning. His intense and precise lighting style reminds me of another recent genre film, AMER. If you’re familiar with that movie then you know to expect in terms of quality visuals. There isn’t a wasted frame in the entire film.

BEYOND THE BLACK RAINBOW is being given a limited-release by Magnet. Do yourself a favor a try to see this on the big screen. Your mind will thank you after it’s done putting itself back together.

On Friday, July 6th, The Hi-Pointe Theatre and Late Nite Grindhouse are handling the St. Louis premiere. Admission is $6 and the show starts at 11:30PM.

Overall Rating: 4 stars out of 5

Review: ANTICHRIST

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Director Lars von Trier has created a truly pulverizing film with ANTICHRIST. It is full of dread, full of despair. It is a horror film, but it doesn’t rely on easy scares or the cheap theatrics of B movies. It is a distant cousin to the director’s previous work, DANCER IN THE DARK, in that it is a wholly original vision that also works as a razor sharp deconstruction of the genre it belongs to.

The story is simple. A man and a woman (played by Willem Dafoe and Charlotte Gainsbourg) make love, while their infant son accidentally falls to his death. They take their grief to a cabin in the woods where tensions build and slowly turn into horror. Taking into account that brief plot description, you can see the classic horror film scenario: Two lovers, a secluded location, and a sin that calls for bloody retribution. Yes, the trappings of the genre are there, but Trier does not cow down to narrative expectations.

Controversy surrounding this film is not unfounded, and this is certainly not a movie for the weak of heart or for people whose moods can significantly be affected by film. ANTICHRIST  is a horror picture, a dead serious one, about overwhelming guilt and despair. Like many films and many philosophies, nature is framed as an uncaring and violent spectre, but Trier takes the idea a little further and presents the idea that nature is inherently evil, because nature is Satan’s church. We are all unwilling worshippers of sin.

Then, there is the violence. It manifests itself as physical, psychological, sexual and sometimes a combination of it all. This movie does not shy away from the profane. It is explicit in its depictions of wanton sexuality and bodily harm. Some critics accuse Trier of having created a blisteringly misogynistic film, but I do not think they were paying close enough attention. It’s a polarizing film for sure, and it is not something that you idly watch. You must endure ANTICHRIST.

Despite its content, it is an unnaturally beautiful film. Cinematographer Anthony Dod Mantle (2009 Oscar winner for Slumdog Millionaire) takes this psychosexual nightmare and makes it a work of moving art. For any cineaste that has forgotten that Trier is quite a brilliant technical craftsman, then ANTICHRIST is a great reminder.

ANTICHRIST  is in limited release Oct. 23

Overall Rating: 5 out of 5

Review: PARANORMAL ACTIVITY

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I was lucky enough to catch the midnight screening of ‘Paranormal Activity’ here in Los Angeles. I had my reservations going into the film, because this movie has been getting a lot of hype, but I went in with an open mind.

It must have been a little over halfway through the running time when I started to feel like I wanted to leave the theater, though not because the movie was bad… IT SCARED THE ABSOLUTE HELL OUT OF ME.

Continue reading Review: PARANORMAL ACTIVITY

Korean Vampires Are Coming to St. Louis

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Park Chan-wook’s vampire drama, ‘Thirst,’ opens in St. Louis at the Tivoli on September 25. I suggest that you make plans to see it, because it is hands down one of the years best films.

‘Thirst’ is the latest film from Park Chan-wook, the acclaimed director of ‘Oldboy’ and ‘I’m a Cyborg, But That’s OK.’ This highly anticipated movie is already a big hit in Korea and it was an official selection at the 62nd Cannes Film Festival, where it was awarded the Jury Prize.

‘Thirst’ stars Korean favorite Song Kang-ho as a goodly priest that finds himself the victim of a horrible disease whose side effects include an extreme aversion to sunlight and the need to drink blood in order to survive. This affliction soon puts the priest on very intimate terms with all of the Seven Deadly Sins… especially when he begins to lust after the wife of a childhood friend.

Fans of Park Chan-wook’s ‘Vengeance Trilogy’ (Sympathy for Mr. Vengeance, Oldboy, Sympathy for Lady Vengeance) will not be disappointed. ‘Thirst’ is a fine display of the beauty, violence and black humor that permeates Chan-wook’s best work.

Recently, the director took a moment to speak about his latest film and how he balanced the humor and seriousness:

“10 years ago I couldn’t dream I’d end with a film like this, because at the time I was determined to make a humorless film. I told myself I wanted to make the darkest, most serious film in the history of cinema,” says Park.

The film didn’t turn out that way, and Park offers up this explanation:  â€œA filmmaker’s tendencies or his personality isn’t something that can be changed by determination, because even though I decided to make this very serious film, I ended up with something like this.”

“With a character in a film,” he elaborates, “the more they struggle or the more they jump around full of rage, or whether they become subject to violence or they tremble in fear in anticipation of such violence – or when they are gripped with an extreme sorrow – in these situations, if you just shift the angle a little bit, if you change the point of view or if you change the size of a zoom, then you are able to capture humor in that situation.”

Park’s sensibilities lend themselves easily to a genre film like ‘Thirst,’ which he sees as a natural progression of his fantastical narratives.

“By decreasing the amount of supernaturalism contained in this film, I think I was able to meet a middle ground. I brought down the level of supernaturalism to meet the level of surrealism found in my previous films. If you think back, ever since JSA, fantastical elements in my films have been on the increase. Look at ‘Sympathy For Mr. Vengeance,’ ‘Oldboy,’ ‘Sympathy For Lady Vengeance’  through to ‘I’m A Cyborg, But That’s OK.’ So, with this increasing of fantastic elements in one hand, you could almost say that this is a part of that progression, to reach ‘Thirst.’”

So, what piqued his interest in vampires?

“If you ask me what elements of vampirism I find interesting, unlike like other films, it’s not the vampires being immortal or having super powers or their being very beautiful, but it’s the fact that they can only consume blood and they can only move about during the night. This is a being that is very limited in what they can do. It is almost someone to be sympathized with, these poor creatures with all these limitations placed on them, these limitations that they did not seek.“

‘Thirst’ paints an intriguing portrait of sinful lust and sensual pleasure, an intelligent treat for discerning fans of world cinema.

Thirst opens at Tivoli Theater in St. Louis on September 25

(This article appears courtesy of Campus Circle)

Review: ‘Big Man Japan’

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‘Big Man Japan’ follows the exploits of a middle-aged man whose job entails being occasionally shocked with electricity that turns him into Dai Nipponjin, a several stories tall behemoth that defends Japan from a variety of giant monsters. Think of Ultraman as a blue-collar worker and you’re on the right track. Instead of being a revered hero of the people, Dai Nipponjin is reviled as a noisy and destructive oaf.

‘Big Man Japan’ is a clever satire, a deconstruction of the Japanese super hero but also a decidedly acute dissection of Japan itself, the influence of American culture and the relationship between Japan, the United States and North Korea. It’s a lot to pack into one movie, but creator/director/star Hitoshi Matsumoto pulls it off without a hitch. Admittedly, if you go into this film with little or no knowledge of the above, then prepare to be baffled at some points, but know that much of the comedy is born out of the characters.

Matsumoto is a renowned Japanese comic and ‘Big Man Japan’ is his first feature film. Shot in the style of a documentary, Matsumoto litters the movie with a kind of dry, self-deprecating humor that reminds me very much of Brit comic, Ricky Gervais. Like Gervais, Matsumoto is most interested in the kind of sad, pathetic character that surrounds his self in denial, yearns for entitlement and skirts responsibility. The main character in ‘Big Man Japan,’ Daisato, is exactly that type of character, a pariah in the eyes of the people he has sworn to protect.

The film shifts style and focus from the understated moments with Daisato to highly absurd comic fantasy featuring giant CGI monsters. The creature designs never fail to amuse and the effects work in service of the story. Monsters range from giant demons to massive hoping legs topped with human heads to skyscraper-sized old men in diapers.

It is possible to come to this movie green and be entertained, though it is definitely skewed towards an audience that is familiar with daikaiju (giant monster) cinema.

‘Big Man Japan’ is the sixth and final film for Magnet Releasing’s Six Shooter Film Series, and it is a satisfying end to a remarkably successful slate of movies.

‘Big Man Japan’Â  opens in Los Angeles at Landmark’s Nuart Theatre and in New York on May 15

[Overall: 4 stars out of 5]

Classic Shit: ‘Stander’

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“Classic Shit!” is a column dedicated to films that were maligned upon release, and it is for films that are as entertaining as they are terrible. It is a home for cinema’s underdog.

If I say something is a classic, then take it with a grain of salt. If I call it shit, then I do it with love-

Except this time, because ‘Stander’ is really awesome and deserves to be rediscovered. Right now.

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“Stander” is a perfect example of quality cinema criminally ignored. This movie is top shelf all around: great score, great cast, great script and great director. I remember seeing a short trailer for this movie a long time ago and thinking to myself, “Hey, this movie looks like it might be pretty awesome.” 

Well, it was a sight better than “awesome.”  It’s fucking GREAT.

Thomas Jane plays Andre Stander, a South African police officer that grows increasingly tired of political and racial hypocrisy, then he decides to start bucking the system and begins robbing every bank he comes in contact with. Andre Stander goes on to rob at least 26 banks while employed as a Johannesburg police captain, but he gets caught and goes to jail. A minor inconvenience, Stander breaks out of prison and goes on to rob another 20 or so banks for a period of six months. Stander and his two accomplices, Lee McCall and Allan Heyl, were known as the “Stander Gang.” Only one of them still lives.

“Stander,” it should be noted, is based on a true story.

Thomas Jane rules the roost in this movie. The guy is simply devoted to his craft and he completely commits himself to the character of Andre Stander. When he speaks, it is in a pitch perfect South African accent, which is a feat in and of its self. Speaking in an accent is hard enough (just ask Leonardo DiCaprio or Kevin Costner), but South African strikes me as especially difficult, with its myriad of dialects. Good for you, Mr. Jane, because I bought it for the duration of the running time.

And if Jane’s skills weren’t exemplary enough, he is matched in his commitment by a trio of supporting actors: Dexter Fletcher, David O’Hara and Deborah Kara Unger. Everyone seems to be doing overtime in the acting department.

Dexter Fletcher does what he always does, which is completely slip into character and vanish. He’s one of those actors that you see on screen and you know you recognize him, but what from? I’m telling you that ability is a godsend, nothing but pure talent. Fletcher is golden in whatever he’s in and it is no different with “Stander.” Keep your eyes and ears open for Fletcher’s new movie, “Autumn,” because it sounds awesome.

David O’Hara is probably best remembered as Stephen, the Irish, from ‘Braveheart.’ Since then, he’s been making his mark and landing substantial roles in any number of wide-release films, most recently in ‘Wanted,’ as the father of Mr. Tumnus. I like O’Hara, and he’s a great scene-stealer. There’s just something about him, the combo of distinctive features and a rather commanding voice. I can see this guy having a long career and I truly hope he gets to take the lead somewhere down the line. He turns in a really great performance in ‘Stander,’ one that matches Jane beat for beat in any scene they share.

Deborah Kara Unger plays Stander’s wife, Bekkie. Her chemistry with Jane is at the root of ‘Stander’s’ dramatic core. Their emotional investment in one another carries over into scenes where either character is alone, yet Unger and Jane’s mastery of silent, physical expression tells the audience that their missing partner is very much on their minds. Unger is good at pained, tragic characters and she puts that strength to good use. Like Jane, her accent never falters, never seems forced.

I also want to make quick mention of the score by David Holmes. It is amazing and, unfortunately, not available for purchase in any way shape or form. A shame, really. Just check out the trailer for a sample of Holmes’s talent†¦

Bronwen Hughes directed ‘Stander’. Or should I say, Bronwen Hughes directed the shit out ‘Stander.’ Seriously, what kind of massive talent is Bronwen Hughes? Will someone start funding this woman’s work on a consistent basis, please? Hughes turned out one of the best heist movies I’ve seen in a long time. None of that cheeky ‘Oceans 12’ nonsense, this is real and intense stuff, with actions that lead to serious consequences. Not to portray the movie as an exercise in doom and gloom, because there is certainly levity to be found among the brash exploits of the Stander Gang, but a tale like this does have an air of tragedy lingering throughout. It’s a hell of a ride to tragedy, though, that’s for sure.

Being based on real people and events and set against the backdrop of something as complicated as apartheid, I have to applaud the deft hand that went into crafting this story. The details necessary to truly grasp the enormity of Stander’s narrative, as well as the story of South Africa, are delivered with a precision that should be applauded by lovers of good cinema. A wonderful example of Hughes’s (and, in fairness, screenwriter Bima Stagg) concise storytelling is in the opening title sequence, which lays out the groundwork for not only the film’s setting but the socio-economic dynamics of Johannesburg.

The film opens with a bird’s eye view of the South African landscape, beginning with the desert and into the vast grasslands, the farms and the people, images that are most familiar to people foreign to the continent. Then the opening shifts to a far different vision, to Johannesburg, a vast metropolitan city. In the film’s commentary, Hughes compares it visually to Seattle and the comparison is fairly astute. The camera moves on from downtown and into the suburbs, over the grand homes with their swimming pools and tennis courts. Finally, we see the slums and the shacks inhabited by the poor. The economic gap is startling, especially because these slums and these mansions exist right across the road from one another. This opening sequence speaks volumes to the audience, and we haven’t even been introduced to the main characters. Bravo, Bronwen, bravo.

Hughes has had an interesting career up until ‘Stander’ and it is a diverse path, to say the least. For instance, Hughes directed the movie ‘Forces of Nature,’ but right before that she directed the Nickelodean picture ‘Harriet the Spy,’ and those two movies couldn’t be any further removed from one another in terms of story and content, however, the most surprising aspect of Hughes’s early career is her involvement with ‘The Kids in the Hall.’ She directed film segments of at least six different episodes in 1994. So it is a career that seems to have been born kicking and screaming to find its way, and ‘Stander’ definitely seems like the turning point, where years of natural ability collide with years of on-set experience and the end product is solid, confident and exciting cinema. Color me impressed with Miss Hughes.  Ã‚

So, what the hell happened? Why isn’t this considered one of the great crime movies of this generation? Who is to blame?

After careful consideration of the facts, I offer my verdict: I can’t really blame anyone.

‘Stander’ had North American distribution through Newmarket Films, a company – it seems – whose only interest is to help really cool independent films see the light of day. Just take a look at this sample of their releases from the past nine years:

Memento

Donnie Darko

Whale Rider

Monster

The Passion of the Christ

A Cock and Bull Story

The Prestige

Um, yeah, all those movies are pretty good and I’d be lying if I told you I didn’t own any of them. So, how did ‘Stander’ slip through the collective radar? What were we busy watching that year? Oh, wait, wasn’t that the year that ‘Van Helsing’ came rolling into the cinemas? Right. That must have been it.Â

In all fairness, ‘Stander’ didn’t have a wide release in North America. If you did get to see it in a theater, then consider yourself one of the lucky ones. And take a moment to thank Newmarket Films, because they at least made sure that the opportunity existed.

Anyway, the movie is on DVD. Rent it, buy it, just do what you do. The important thing is that you see it, because it’s really good.

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‘The Mighty Boosh’ Starts Tonight On Adult Swim

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Fans of offbeat comedy, please give this show a chance!

I’m reposting this announcement via Turner.com:

British Comedy The Mighty Boosh Debuts on Adult Swim

Innovative Televisions Series from Julian Barratt and Noel Fielding Begins March 29, 2009

The Mighty Boosh  will make its way to the U.S. on Sunday, March 29, at 1 a.m. (ET/PT), joining Adult Swim’s Sunday line-up. An idea originally created by Julian Barratt and Noel Fielding in a London pub as a sketch comedy has evolved from live theatre to radio and, finally, to a groundbreaking television series. All three seasons of  The Mighty Boosh  are slated to air on Adult Swim in 2009, beginning with the third season on March 29.  


U.S. television audiences will soon get the chance to experience the fantastical comedic universe written by, and starring, comedians Julian Barratt and Noel Fielding. Barratt and Fielding’s characters were first created for their comedy sketch series Unnatural Acts, which soon made its way to three stage productions  The Mighty Boosh, Arctic Boosh  and  Authoboosh.The live act was then commissioned by the BBC for a six-part radio series that eventually became the successful and award-winning U.K. television series on BBC3. In 2006, Barratt and Fielding launched their first nationwide tour  The Mighty Boosh  Live across the U.K. Their second tour Boosh Live sold out venues at 90 stops across the U.K. and Ireland and wrapped up earlier this year.  

In  The Mighty Boosh,  self-absorbed wannabe glam rocker Vince Noir (Fielding) and the intellectually vain and self-proclaimed genius and jazz aficionado Howard Moon (Barratt) are in a band looking to discover “the new sound† and live alongside a freelance shaman, Naboo (Michael Fielding) and Bollo (David Brown), a talking Gorilla. Each season,  The Mighty Booshcreates its own unique environment, taking place in a vast array of locales, including the “Zooniverse†, the Frozen Tundra and the Australian desert. All three seasons of  The Mighty Boosh  are set to be released on DVD this summer.Â