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Top 10 Tuesday: Fantastic Fest 2014

Though it saddens to me say, Fantastic Fest 2014 has come to a close. Another year of movies and mayhem has ended and somehow the newly renovated Alamo Drafthouse is still standing – even if the crowds partied hard enough every night to make me expect the worse. Fantastic Fest has always shown the best genre films from around the world and this year was certainly no different. In fact, this year’s lineup featured an extraordinary array of bloody slashers, dark comedies, bizarre love stories, and crazy documentaries. Here’s my Top 10 Favorites From Fantastic Fest 2014!

Honorable Mentions:

THE TRIBE

The idea of a film without any dialogue or even a film score can be a tough sell for even a seasoned filmgoer like myself. So it really says something (no pun intended) that THE TRIBE soars as a unique storytelling experience that showcases pure and raw emotions. The film follows a new student at a school for the hearing impaired. It doesn’t take long for him to slip into the wrong crowd, but it’s all the more heartbreaking as we see him descend even deeper into the school’s criminal world of drugs, prostitution, and violence. There’s an explanation at the beginning of the film that some might see as a warning that states: “There are no subtitles. There is no translation.” We do hear the natural sounds of the environment and of the characters actions, which are used to excruciating effect during two extremely disturbing scenes that made most of the audience I saw this with very squeamish. While the coldness and bleak nature of the film made the film somewhat laborious, I find it hard to not at least recommend this based purely on the fact that I’m not sure I will ever see and not hear a film this shocking and raw feeling ever again.

ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS

This is the third documentary that Mark Hartley has made chronicling the underbelly of cinema. Following in the footsteps of NOT QUITE HOLLYWOOD: THE WILD, UNTOLD STORY OF OZPLOITATION! and MACHETE MAIDENS UNLEASHED, ELECTRIC BOOGALOO is a film that has so much to love if you’re a fan of film history. Keep in mind, the films that are chronicled here are far from the classics often discussed in film history. Cannon films are responsible for such sleazy B-movie VHS-era “classics” like MASTERs OF THE UNIVERSE, BREAKIN’, DEATH WISH III, and MISSING IN ACTION. Several writers, directors, and actors from this period recount the crazy experience of working for Menahem Golan and Yoram Globus. Sadly some of the big name stars from these films are missing (including Chuck Norris and Sylvester Stallone), but if you grew up during the VHS-era, there is no reason for you to miss this insightful and often humorous account of one of cinema’s craziest companies. Plus, who doesn’t love to re-watch ridiculous scenes from NINJA III: THE DOMINATION.

10. TOKYO TRIBE

A Japanese, hip-hop, musical. That is all you need to know to figure out if this film is for you or not. TOKYO TRIBE’s neon world of rival gangs is intentionally over the top and excessively garish to the point that I found myself laughing more at the set-design and costumes than the so-bad-it’s-good rap lyrics. Destined to be a cult classic, TOKYO TRIBE is without question a Shion Sono film (director of SUICIDE CLUB and STRANGE CIRCUS). One could make a case that the film is a satire of Western excess, sexism, and pop culture, but even ignoring the social message at work, it’s hard not to admire the crazy amount of energy this film is bursting at the seams with. TOKYO TRIBE feels like a film from another planet from a director who is constantly pushing the audience into new and unseen territory.

9. CUB

Typically killing kids on screen is a film taboo – though there have been a few exceptions over the years. Belgian director Jonas Govaerts doesn’t let this unspoken rule stand in the way of his feature film debut CUB. Part slasher film, part survival horror, and part coming of age drama, CUB perfectly balances themes of youthful abandon and isolation with a healthy amount of gory horror. A mysterious werewolf/boy creature that is given the name “Kai” haunts the woods as two troop leaders and their cook lead a group of scouts on camping trip. Some might feel that the film is maybe too mean-spirited given the dark nature of the story, but I enjoyed the uneasy feeling, the talented young cast, and the unpredictable story that delivered a real gut-punch of an ending.

8. DEAD SNOW 2: RED VS DEAD

The title says it all. A bigger budgeted sequel that picks up moments after where the first Nazi zombie outing left audiences, DEAD SNOW 2 is a bloodier, crazier, and more exciting sequel that fans will no doubt love – even critics of the first one might find it hard not to love this follow-up. Tommy Wirkola returns to the directing chair. Between his knack for visual gags and a talented cast that includes the surviving star from the first film Veagr Hoal and newcomer Martin Starr as a geeky Zombie Squad, the humor is almost as non-stop as the gore. This is one of the best horror comedies to be released in recent years and is a must-see for zombie film fans!

7. JOHN WICK

JOHN WICK has enough John Woo visuals to engage action die-hards but with a distinct European sensibility for those looking for more than just rampant bloodshed. Shoot-em-ups can be found each year almost as often as dead bodies pile-up in this film – which the director confirmed in the Q&A was in fact 84. However, it’s not too often that you find one so carefully and meticulously constructed as JOHN WICK. The level of world-building on display is commendable. Neon clubs, exotic bathhouses, and an elite hotel that houses the most feared men and women in this underground crime world, all give JOHN WICK the feel of a giant and exciting game board for Keanu Reeves to enact his revenge. WICK soars at being both a perfect example of how to construct an exciting action film as well as being a fine example of how style over substance isn’t always a bad thing.

6. NIGHTCRAWLER

NIGHTCRAWLER reveals a world where everyone is either the hunter or the prey. It shows us that we are all animals at heart looking to not just better ourselves, but will ultimately do anything to get ahead of the pack. Jake Gyllenhaal and Rene Russo play the two main hunters in the film. With a shit-eating grin, greasy hair, and bulging eyes that showcase the character’s eagerness for fame and fortune, Gyllenhaal feels like the car accidents his character goes to examine – he’s a complete wreck but you don’t want to look away. It’s a role that demands attention and Gyllenhaal gives it his all. Russo is in top form as well playing a news producer trying to maintain high ratings. Russo plays the part with intimidating gravitas. Her scenes where she plays opposite Gyllenhaal ignite the screen with even more sparks and fire than some of the on-screen car crashes towards the later half of the film. If the first hour or so shows how well Dan Gilroy can handle dialogue, it’s the last 30 minutes that shows how confident he is in the directing seat. Intense, nail biting, and shocking, NIGHTCRAWLER delivers an explosive finale that will leave you shaken.

5. IN ORDER OF DISAPPEARANCE

Hans Petter Moland’s Norwegian crime drama is the second film on this list to focus on a man’s revenge fueled killing spree. Stellan Skarsgard might not seem like competition for Keanu Reeves or even Liam Neeson or Charles Branson for that matter, but IN ORDER OF DISAPPEARANCE is a biting crime caper that racks up as many laughs as it does dead bodies. Skarsgard delivers one of his strongest performances in a film that has a unique Norwegian flare while still appealing to the Hollywood crowd who enjoy Coen Bros-esque gallows humor. Don’t be surprised to see this become a hit at your local arthouse theater when it will no doubt get released next year.

4. GOODNIGHT MOMMY

If there were ever a film to come out this year that made those of us without kids to continue to stay that way, it would be GOODNIGHT MOMMY. The film’s original German title ICH SEH, ICH SEH, may not be as creepy sounding as the new English title, but might be more accurate given the film is centered around twin identical boys. As their mother attempts to recover from facial plastic surgery, the dynamic duo struggles to accept the changes in their mother. I will just leave it at, that but believe me when I say this is a very disturbing film in more ways than one. The ultra modern home that’s isolated deep in the Austrian countryside already gives the film an uneasy feeling of unpredictability, but as the relationship between the mother and her boys is put to the test, the tension becomes almost unbearable. GOODNIGHT MOMMY is an endurance test that leaves a lasting impression… especially on this viewer who definitely won’t want kids anytime soon.

3. THE BABADOOK

On the surface, THE BABADOOK is about a mysterious children’s book character that come to life to haunt a mother and her child. It may sound like a straightforward idea but it is writer and director Jennifer Kent’s handling of the material that makes this film so memorable. THE BABADOOK may be the scariest horror film of the year, but at the same time it is so much more. Beneath the slow-building dread lies a classic tale of a woman coming to terms with her own demons. Depression, regret, and life as a single mother are all examined in a thoughtful manner that elevates the film to a Polanski level of horror. Between the cold, almost black and white photography, and slow building dread, THE BABADOOK feels like a classic tale of psychological horror. Jennifer Kent brings out a strong performance from the talented Essie Davis, but it’s her approach to real life anxieties and everyday horror that makes THE BABADOOK a must-see for non-horror fans and horror fans alike.

2. FELT

FELT is a compelling and deeply tragic look at an artist that refuses to turn away from the problems she sees in the world. Amy (Amy Everson) is an artist living in California who weaves a world of dark satire through her knitted creations. A haunting and melodic score by the band Deaf Center sets the tone of the film perfectly. Your reaction to the film and its effect on you will ultimately depend on your willingness to accept the underlying issues that are at the heart of director Jason Banker and co-writer Amy Everson’s story – male dominance and its psychological effects on women. Banker employs a mix of documentary and story to form a film that blurs the line between reality and fiction. FELT has a statement to make but not one that takes away from its thoughtful and impressive storytelling.

1. SPRING

What makes SPRING such a treat to discover is the way in which the story is presented. Evan has been through a lot of recent hardships – losing his mom and his job in the same week – and the idea of a new life, or at least an escape from his old one, comes in the form of an aimless journey through Italy. An air of mystery sets in once Evan arrives in Italy and meets a mysterious young woman. Directors Justin Benson and Aaron Moorhead are careful about revealing what exactly is going on as the audience is left speculating at what’s around the corner. Benson’s genuine love for the characters is evident through the poignant dialogue and is perfectly brought to life through two wonderful leads in Lou Taylor Pucci and Nadia Hilker. A heartbreaking vulnerability is conveyed in their performances – a style that is equally as rare to see in the horror genre. More patient genre fans will appreciate some shocking and surreal make-up and effects work that is showcased in the second half. At a festival like Fantastic Fest, a film like SPRING stands out as a refreshing approach to a character driven horror story with elements of dark fantasy.

There were so many great films that were shown at this year’s Fest that it was very hard to narrow it down. Fantastic Fest 2014 was an absolute blast and I look forward to returning next year!

Fantastic Fest 2014: NIGHTCRAWLER – The Review

His name may be Lou Bloom but a more accurate name for Jake Gyllenhaal would be the title of Dan Gilroy’s debut feature film. Lou is a creature of the night – like a wolf scrounging for scraps in order to survive another day. It isn’t until he discovers the seedy world of late-night accident and crime-reporting that he feels his skills are finally being utilized. By imitating fellow reporter Joe (Bill Paxton) and following the guidance of his new boss Nina (Rene Russo), Lou’s “business” begins to take-off. Soon he is hiring an assistant (Riz Ahmed) for his late night reporting and rising to the top above his competition. It isn’t until a deadly murder that he catches on tape that places his life and everyone around him in jeopardy.

With a shit-eating grin, greasy hair, and bulging eyes that showcase the character’s eagerness for fame and fortune, Gyllenhaal feels like the car accidents his character goes to examine – he’s a complete wreck but you don’t want to look away. It’s a role that demands attention and Gyllenhaal gives his all and then some into the role (apparently he needed stitches after a run-in with a bathroom mirror in one scene). Even through all of the animal like comparisons one can make to his character, there’s still a level of intelligence that is relayed through several thought-provoking monologues. Some of these speeches feel like your watching an infomercial as Lou sells himself as a hard worker and a businessman. In a filmic career filled with ups and downs, Gyllenhaal delivers his finest and most complex performance to date.

Rene Russo is in top form as well playing a news producer who is trying to maintain ratings amid stiff competition. She serves as a reflection to Lou’s character but in a way that’s somewhat disguised due to her more conventional status in society. They both pine for money even at the cost of sacrificing their moral code – which as the film progresses becomes even harder to gauge. Russo plays the part with intimidating gravitas. Her scenes where she plays opposite Gyllenhaal ignite the screen with even more sparks and fire than some of the on-screen car crashes. One scene in particular where the two “working professionals” go on a date to a Mexican restaurant feels ever the power struggle as each side tries to control the situation, leaving the audience to feel the tension while being in awe of the deft wordplay. Thankfully both actors are up to the challenge of creating characters that the audience can love to hate.

This is also due to a tight script by Dan Gilroy. After sharpening his teeth by working on more Hollywood fare like REAL STEEL and THE BOURNE LEGACY, Gilroy finally shows he can write something with bite. NIGHTCRAWLER imparts a healthy amount of social commentary into what is essentially a dark character study on the surface. It is through Lou’s journey into the depths of the crime world that Gilroy is able to speak about the dog-eat-dog world of business and the political slant of the media. Lou is constantly racing against the clock to be the first one on the crime scene so to beat out the other reporters. Gilroy uses this as a metaphor for the current business world and the struggle to get your foot in the door that so many young people face on an everyday basis. Once Lou finally gets his foot in the door the script unveils some of the dark secrets behind the “real stories” we watch every night on our televisions. Gilroy does have a tendency to shine an overly negative light on these players in order to get his point across, which some might see as a little too one-sided

Aside from the hard-hitting themes at times, the other element that makes its presence far too known is James Newton Hoawrd’s score. At times it utilizes tribal like drums to great effect, other times there’s violins or electronic sounds, while other times the score plays like a melodic almost contradictory joy to the macabre proceedings. Sadly, Howard’s score is one of the most distracting scores I have ever heard! There are times in the second half where it sets the tone of the film perfectly, but the first half is littered with a number of scenes where Howard tries out different styles with obnoxious results.

NIGHTCRAWLER reveals a world where everyone is either the hunter or the prey. It shows us that we are all animals at heart looking to not just better ourselves, but will ultimately do anything to get ahead of the pack. Gilroy stages his crime drama in a way that recalls 70’s films like NETWORK and THE CHINA SYNDROME with a dash of BLOW-UP. The film is unintentionally broken into two parts (Gilroy admitted to me in an interview that it was not necessarily written this way) by a gruesome event that happens halfway through the film that triggers a second half that ramps up the excitement. If the first hour or so shows how well Gilroy can handle dialogue, it’s the last 30 minutes that shows how confident he is in the directing seat. Intense, nail biting, and shocking, NIGHTCRAWLER delivers an explosive finale that will leave you shaken. Aside from a misguided score, NIGHTCRAWLER proves Gilroy is more than just a writer. In fact, he’s a director that isn’t afraid to venture into the dark of the night.

Overall score: 4 out of 5

NIGHTCRAWLER opens in theaters everywhere on October 31

Fantastic Fest 2014: Interview with Larry Fessenden from ABC’s OF DEATH 2

After seeing ABC’s OF DEATH 2 at Fantastic Fest (you can read my review of the film HERE), I was able to sit down with the director of one of my favorite shorts in the anthology – Larry Fessenden. His short “N is for Nexus” is a break-neck countdown through the streets of New York as Halloween night approaches. A couple preparing their Frankenstein costumes for a party sets in motion a series of events that intersect and slowly affect one another, leading to a devastating conclusion. Fessenden is practically a legend in the indie horror genre. He has worked as an actor, cinematographer, writer and director since the later 70’s and has created a named for himself with such feature films like HABIT, WENDIGO, and THE LAST WINTER, while also appearing in films like I SELL THE DEAD, STAKE LAND, and JUG FACE. I was lucky enough to sit down with Fessenden not once but twice. Long story short, I accidentally deleted the first interview but was able to sit down for a second one during Fantastic Fest – it seems apropos considering his short also deals with actions and consequences. I’m grateful that his schedule was able to accommodate me again because it ended up being one of the best discussions I’ve had with a director. Not only did we dig into his exciting entry to ABC’s 2, but we discussed a wide variety of topics including his filmmaking process, the current state of horror, and the iconography of Frankenstein.

The interview below does contain some MINOR spoilers to his short film. If you don’t want to have anything ruined for you, go check out ABC’S OF DEATH 2 on VOD right now and then come back to read what Fessenden has to say it.

Was this the first idea you had when you were approached to do a short for ABC’s OF DEATH 2? A film that builds to Halloween night.

All the components I wanted to do was to shoot in the streets of my beloved city of New York at Halloween. I had the idea that all the extras would be handpicked from real people on the street and I was going to craft all the monster cameos that are seen in the film. Ultimately I wanted to tell the story of all these tricks of timing that lead to a terrible end. That’s why the short is called “Nexus.” If I got the letter C it would have been “Convergence.” I was pretty determined to tell this story of fate and circumstance. If your girlfriend tells you to “hurry up,” than you get somewhere sooner than you planned or you forget something and you get there later than you planned. I just loved the idea and seemed appropriate for a quick 3-minute piece.

So you didn’t shoot down any other ideas prior to this one?

No. I’m not one of these people overflowing with stories, so if I come up with one I pretty much nurture it till I can get it out of my system. It also fed into the idea that I could play with editing rhythms and I could have these three or four different stories starting to build. I love this kind of editing and you don’t get to do this with features. With a feature you tend to do longer takes and play things out more slowly, and so in this case you can do these fast cuts with each accompanied by a sound effect so you get this percussive experience.

That’s one of the refreshing things for me, compared to the other shorts, you do have this frenzied rapid-pace style, except for the opening shot. Did you edit the entire thing yourself or did you work with someone on that?

No. One of the pleasures of this thing for many of the filmmakers present in this feature is that you bring in all your pals to do favors and you get this great production value and it becomes this collaboration. I did the opposite. There were no friends. I did everything. One of the difficult things of being a film artist is that you’re always asking for favors. Money, time, extras, locations. You’re always asking for something. This time I was going to use the equipment that I own and go out with one or two people and do it myself. So I was the sole editor. Another quirk of my work is that I don’t screen my work for people. That the mission of the artist is to find acutely as possible what is inside and what it is that works. Then you screen it and Marc Walcow who was my producer for ABC’s and Ant (Timpson) and Tim (League) finally did see it and they had small notes but mainly encouragement. So I felt protected and that they understood the idea I was trying to convey on-screen.

I loved that you showed Halloween from a different angle. So often you see it set in rural America or in these small town or suburban areas like Haddonfield (in the film HALLOWEEN) or recently in the TRICK ‘R TREAT film. You showed Halloween in the big city with the cars driving about, the crowded sidewalks, the car horns, the stoplights – all of these things play a part into the story and you don’t often see that when you have a film set during Halloween.

This was my experience growing up in the city during Halloween. It’s a wonderful holiday in New York. There’s this great parade. It’s colorful and energetic and in the past 10 years it has always been this great event. There’s this very specific things that happen in East Village in New York. So I wanted to capture that. Actually a lot of the footage is from drive-bys that I did on Halloween. To see the real people during their routine. I just love the holiday. I did include a couple of odd nods to my earlier film HABIT. The cab driver in this is a cabbie now and he was a character in HABIT. It was fun to bring him out. And HABIT itself was shot as one sequence on Halloween. We shot on Halloween. So I wanted to pay tribute to that idea of “stealing real-life.” There’s this great film called MEDIUM COOL where they filmed during a riot in the 60’s. It’s traditional filmmaking where you are using a location and letting it speak to you.

The Frankenstein mask that becomes a central element to the story, did you make that yourself?

Of course!

(laughter)

That was why I made the movie. So we made it around Halloween and I always allow myself around that time to watch some of the old black and white movies to celebrate the stuff I love like the Jack Pierce make-up. Hopefully there’s no lawsuits but my make-up is clearly derived from that.

(laughter)

I just had fun making my own and making the costumes. I made the boots with a cobbler. Talk about the budget… that’s where the budget went.

Even the suit coat…

Oh yeah, it had to be smaller.

You have that great shot where you show him putting it on and it’s clearly shorter.

I really did all this to fetishize everything that forms this iconic imagery. It is one of the most iconic images of 20^th century art. Maybe there’s the soup can and Frankenstein’s monster but I can’t think of anything else. I really wanted to tribute that. I also wanted to include a nod to The Bride. At the beginning of the film I really wanted the actress Lauren Molina to hit that pose.

The Elsa Lanchester…

Where Elsa rejects Boris and it’s a ¾ angle and she screams, “AHHH!”

Photo source: Crave Online

I love that you include her at the end in this long wide shot that pans back. Throughout the film you have these quick close-ups but you include this kind of nod to the classic and frightened Bride also at the end.

We book ended the film with her. The first thing is that we pull out from her mouth screaming into the phone and than in the end we go back into the mouth, which is also a tribute to THE TENANT by Polanski. It’s one of my favorites. The film ends with it being kind of a shit-show and he yells, “AHHH! I can’t take it!” and the camera goes into his mouth. So on the one hand we have that wide shot that contextualizes it. If you actually freeze-frame it you can see there’s a giant crowd that’s gathered and that’s just New York. Everyone gathered and watched us do our thing. We only had a precious amount of time for us to block off that street. To get that wide view I basically put an old tripod on a car and had this crazy jib arm that I found in my storage room and put the camera on it. It was fun. Sometimes we would mount the camera to a bike and I would just pedal around myself.

You seem to embrace the DIY spirit.

You think of film… (pause) Look, it’s a business its all of those things we know, but what if your artform is making movies. Connecting one image to another and selecting the lens, the choice of a wide shot or not. Those are the choices you make. Never mind the money and who’s in your movie. What I love to do because of ABC’s OF DEATH 2 is to present you the art of film. You don’t have to worry about money or any other agenda. Its all about what are the images to tell this story, and in this case it was relatively intricate. So you go out and get the moving shot of the yellow light to cut into this, which will be about 45 frames and then show this. I deliberately didn’t hire a DP (director of photography) even though it would have made it look better, but I wanted to experience the art of film. It’s so rare now. It’s hugely stressful to deal with all the paperwork and the unions and all the equipment.

It’s an interesting time period we’re in because you have the technology to make a movie on your iPhone or on a GoPro so you have people that have the opportunity to finally be able to bring their ideas to life. At the same time you have so many films being made. It’s a fine line. It’s great to have so many great ideas and films out there but it’s hard to stay ahead of the pack and to stand out.

It’s the democratization of the art form. Which is cool. We’ve all been yearning for that and we’ve celebrated it when it popped up. Like when they made DAWN OF THE DEAD. We were all like, “isn’t it cool that they made that outside of the system.” Same with TEXAS CHAINSAW MASSACRE or even SAW. But it’s also true that you say, “Jeez Louis. There’s so much content.” And not all of it is crap.

The amount of films made in 1985 compared to know…

(laughter)

It’s insane. As you say, all good, but the puzzle becomes how you monetize it. Because if there’s that much content than that means no one has to pay for it. So we become “Spotified” and think that we don’t have to pay for anything. So we watch it and digest it. It’s a weird time and it’s fine. You can either complain about it or just say, “this is where we are.” It’s hard to make sense of it all but more it’s hard to make a living as a filmmaker unitl you get to the upper echelon. Like the Paul Thomas Anderson’s or the James Wan’s. How many horror auteurs can we speak of working now?

Obviously you’re a fan of the FRANKENSTEIN film(s). Talk to me about the films and their impact on you. What do you take from them?

First of all, it’s an amazing archetype. One thing I do love about horror is that it’s a cautionary tale, and I’m not talking about FRIDAY THE 13^th where if you have sex you will get murdered. That’s not of interest. What I do feel strongly about is the Frankenstein mythology that comes from the book which is human hubris possibly might bite us in the ass. As you may know the book is subtitled “The Modern Prometheus” who is the Greek god who stole fire from the gods and then got eaten by vultures for the rest of time. I just love the story and it has not been told well. It’s fascinating but it has not been told very well since the Karloff 1931 film. I love the first one. A lot of people cherish the second but I found it too campy and I didn’t like the monster talking. It’s still a beautiful film and worth revisiting. I never fetishized it like the first one, which is almost a perfect film. There’s a coupe of slips into goofiness with the father figure but that’s hardly the point. The make-up is just an amazing feat. The third one has great charm.

The SON OF FRANKENSTEIN is fantastic.

Oddly enough, (Bela) Lugosi, who refused to play the monster because there was too much makeup and thought he wouldn’t be celebrated – he obviously regretted that the rest of his life – would be in the third one as a hunchback.

And he delivers a standout performance. He’s the real “monster” in it.

You’re right. He is the monster. And that’s the one, in a way more than the others, where he has these self-reflexive moments like when he looks in the mirror going, “NO! NO!” Everything about it is fascinating. Karloff is a little heavier so the make-up changes subtly. They took away his power of speech because they realized that was the wrong direction. Then you have the archetype of guy in the town with the wooden arm.

Which you see now with all the bumbling idiot cops played on-screen.

It’s got a great sense of humor without being campy. You then have the weird thing with the child at the end. You have the monster wearing a new outfit.

They even push the German expressionist visuals even further with the lab and some of the architectural details.

It was also the first time you get that Universal Pictures cliché where you get this weird European in huge quotations village where there’s cars and horses with buggies and gypsies. It’s this weird conceit that came from Universal Pictures. Then you have the subsequent movies like GHOST OF FRANKENSTEIN and HOUSE OF FRANKENSTEIN and FRANKENSTEIN MEETS THE WOLFMAN and they all are really interesting. They spend a lot of time with Larry Talbot (the wolfman) and his anguish. I think they are all better films than people think because now obviously Frankenstein became Herman Munster and then showed up on a cereal box and this watered down thing. To go back though, there aren’t that many great Frankenstein films. They all have something. Even the Hammer films are fun. There’s a TV movie I love called FRANKENSTEIN: THE TRUE STORY with Michael Sarrazin where he plays a very beautiful Frankenstein monster but it kind of falls apart. It is my ambition to make another real Frankenstein film one day, but in the meantime, I have these short films which I have enjoyed.

You actually acted in one of my favorite horror films of last year JUG FACE. I actually reached to the director on Twitter after seeing it and told him how much I appreciated his film. Your performance in that film is great.

Very cool. Chad is a really genuine filmmaker. I found the experience to be exactly what you wanted when working in horror. He’s working in a genre where you have scares and oddness, but there’s clearly something very personal going on in that film. It was well researched where you have these jug faces in traditional Southern life where you make a jug out of clay with a face on it. This is why horror can be so exciting. He’s taking something so odd and peculiar and creating a world that it very unique. He’s got as story to tell but you also have a monster and a giant pit filled with blood so you also have your horror tropes. But in there you do have a very personal film and that’s where horror can flourish. You don’t always get that from the main street.

What were some of your favorites in ABC’s OF DEATH 2 or some that really stood out to you?

I’m always hesitant to celebrate one thing because it could just be a trick of the moment but I do have to say I thought this was an amazing collection with a lot of ambition and a lot of talent. It’s a great way to sample what these guys and gals are able to do. I did like the last one (Z is for Zygote). I thought that was just outstanding. I thought “B is for Badger” early on was great fun. So it’s cool. I’m really serious with my take on horror but that’s an example of really fun and sort of biting satire with a buffoon who just isn’t paying attention. It’s all done in single-take too. There’s a lot of great techniques going on in the film. Nicely edited together pieces. Plus there’s some great special effects throughout.

So what’s next for you? Do you have anything lined-up?

Well, my Frankenstein film of course.

(laughs)

Is that the next project?

I… (pauses) have something. I’m trying to raise some money. It’s very hard. My brand of horror is not immediately pitchable. So everything has to be from my passion for the project. Now I’m putting that out there and trying to get some dough to make the movie. Meanwhile, I produce and dabble with all sorts of other stuff.

I want to thank Larry Fessenden for his time and being so candid with me about his filmmaking process and his short in ABC’S OF DEATH 2. The horror anthology film is now available on VOD and will be hitting select theaters starting on October 31st.

Fantastic Fest 2014: FELT – The Review

An uncomfortable feeling hit me almost immediately while watching Jason Banker’s new film. It was a mix of guilt and shame that lasted up until the brutal and heartbreaking ending. This guilt and shame isn’t attributed to anything I felt guilty for in particular, but more as a man living in a world where I acknowledge that there are deep rooted problems regarding gender, sex and violence, and as last year’s popular song illustrates, the “Blurred Lines” that are often trivialized by society. FELT brings to light the effects of “rape culture” in our society and how normal it has become to dismiss actions by saying “that’s just boys being boys.” Banker’s gorgeous looking film highlights some of the not so pretty situations that we as a society have become accustomed to viewing without thinking about its effects on the victim. He turns what would be shown as just a normal party sequence in most films, where a few girls are offered to enjoy in some alcoholic drinks with some enthusiastic guys, as an example of a problem that goes far beyond just male dominance and its psychological effects on women. FELT has a statement to make but not one that takes away from its thoughtful and impressive storytelling.

Amy (Amy Everson) is an artist living in California who weaves a world of dark satire through her knitted creations. When she’s not creating a woven baby Hitler or an anatomical vagina, she spends her days in an alter ego like state where she slips on a nude leotard with an attached plastic penis, draws facial hair on herself and pretends to act like a man. Her problem with meeting guys doesn’t initially fade away when she meets Kenny (Kentucker Audley). It’s only as their relationship slowly develops that we see Amy drop her guard and exist in a happier place. But how long can her personal happiness last?

Like his previous film TOAD ROAD – which I like more in theory rather than the actual experience – Banker employs a mix of documentary and story to form a film that blurs the line between reality and fiction. Apparently the film is based on Amy Everson’s real experiences. Most of the film highlights her natural life as she almost floats through this world in a dreamlike state. She clearly feels more comfortable living in her own headspace, but it is when she encounters strangers or her concerned friends that her odd and occasionally dark sense of humor comes out. She’s an unpredictable character and Banker takes full advantage of this when the film spirals into darker territory.

Amy is dealing with some deep-rooted issues that are hinted at but are never exactly spelled out. Like most people dealing with psychological and possible physical damage, Amy is presented in an imperfect light. She’s not the best at conversations and doesn’t go out of her way to impress any of the lecherous men she encounters. At the same time, you begin to feel there’s a small level of self-infliction that she puts herself through. This may seem like I’m excusing such rude and inappropriate actions at times, but there’s a moment early on when she is on a date with a guy that she clearly is not interested in but continues to go along with. The date wraps-up and he walks her home but not before she shows him one of her favorite trees. She crawls up under the low-hanging tree and sits quietly as her eager date follows. He sits next to her and attempts to kiss her but is met with a turning of her face – clearly indicating she is not interested. Time passes while the two sit there and he attempts to kiss her one more time. Again he is met with the turning of her face. She never says “no” but more importantly she never actually leaves. There are several other times where she places herself in situations that she is not comfortable in but stays as if this is some self-induced torture for her. It is as if that she is waiting to break under the pressure. Like she intentionally wants to snap.

It’s an uncomfortable feeling being a male and witnessing degrading male behavior – things that are too common in our everyday lives – but also because you feel this character that we have come to care for exist in situations that are out of her control while occasionally partially in her control. I’m not sure if the director intended for this reading or not. Given where Amy stands by the end of the film, I assume we are supposed to believe that she might just be a little crazy – which makes her long and hard journey all the more upsetting.

FELT is a compelling and deeply tragic look at an artist that refuses to turn away from the problems she sees in the world. A haunting and melodic score by the band Deaf Center sets the tone of the film perfectly. Your reaction to the film and its effect of you will ultimately depend on your willingness to accept the underlying issues that are at the heart of Banker and co-writer Amy Everson’s story. Sometimes the most obvious problems have been right in front of us the entire time. Most likely FELT won’t be readily available to the general public, but like the message of the film, it doesn’t mean it should be ignored.

Overall rating: 4.5 out of 5

Fantastic Fest 2014: THE BABADOOK – The Review

On the surface, THE BABADOOK is about a mysterious children’s book character that come to life to haunt a mother and her child. The dark creature almost has no distinguishable characteristics aside from a ghastly grin, long, sharp fingers and a top hat. It may sound like a straightforward idea but it is writer and director Jennifer Kent’s handling of the material that makes this film so memorable. THE BABADOOK may be the scariest horror film of the year, but at the same time it is so much more. Beneath the slow-building dread lies a classic tale of a woman coming to terms with her own demons. Depression, regret, and life as a single mother are all examined in a thoughtful manner that elevates the film to a Polanski level of horror – especially in a way that recalls Catherine Deneuve in REPULSION or Mia Farrow in ROSEMARY’S BABY.

Essie Davis as the forlorn widow is a revelation. Every step and look she displays carries a heavy sadness. As the storybook creature becomes more of a burden on her and her child, she delivers an even more complex performance. A third act that could have easily gone too far in the realm of hysteria feels all the more disquieting in the hands of Davis. It’s not an exaggeration when I say that Essie Davis delivers one of the best female performances I’ve seen in a horror film.

Cinematographer Radek Ladczuk is careful not to let the Babadook himself overstay his welcome. Most of the time, the dark creature is barely seen emerging from a shadow or a dark corner. There are even a few clever sequences where Ladczuk and Kent hint at just the shape of the creature through everyday items and clothing – like an unnerving sequence involving Davis going to a police station. The simple silhouette and unsettling sound effect that emits from the creature is the stuff of nightmares.

Between the cold, almost black and white photography, and slow building dread, THE BABADOOK feels like a classic tale of psychological horror. Jennifer Kent brings out a strong performance from the talented Essie Davis, but it’s her approach to real life anxieties and everyday horror that makes THE BABADOOK a must-see for non-horror fans and horror fans alike.

Overall rating: 4 out of 5

Fantastic Fest 2014: Interview with Chris Nash from ABC’S OF DEATH 2

After seeing ABC’S OF DEATH 2 at Fantastic Fest (you can read my review of the film HERE), I was able to sit down with the director of my favorite short in the anthology – Chris Nash. His short “Z is for Zygote” is about a pregnant woman left by her husband to survive in a cabin during the winter months. She takes a special root each day to satisfy her needs. It’s what happens when the roots runs out that will have horror fans twisting in their seats. Nash has previously directed a series of shorts called the SKINFECTION TRILOGY. You can find those shorts through his Vimeo page by clicking HERE.

The interview below does contain some spoilers to his short film. If you don’t want to have it ruined for you, go check out ABC’S OF DEATH 2 on VOD right now and then come back to read what the Toronto native has to say about his film.

The reception to your short has been great from everyone I have talked to. What feedback have you heard?

Yeah. It’s good from the other filmmakers. Which is all I can really ask for. Tim (League) and Ant (Timpson) like it too.

One of the things that I really like about it is that it seems to show a sort of fantasy world that is close to our reality but slightly off. It subtly creates this disconcerting world. Can you talk about the environment and the setting and what you were trying to translate to the audience?

I was really trying to show the place where I grew up in Northern Ontario. It’s rural. I basically grew up in the woods. Lot of farmland. Being here (in Austin) kind of reminds me of it. So I kind of wanted to make a film set in that place. It’s a weird place that not a lot of people pay attention to. You hear weird stories and see weird people. It’s a weird place. In terms of my favorite storytellers, I like anyone that deals with that kind of anxiety. I like Cronenberg. I like anytime where that one thing is off a little bit. Where you set the one rule. Like this is the normal world but this is the new rule. As long as I don’t deviate from that or don’t do anything too obtuse than it’s real enough for people to hold onto and believe.

I was going to ask if it’s low-hanging fruit to say that Cronenberg is kind of an influence on you between this and some of your previous shorts like BLACKHEAD? Is it accurate to make that comparison?

I’m even hesitant because it is that low-hanging fruit. More than the “body-horror” aspect of Cronenberg, what I love about him is that he doesn’t waste his devices. His allegories are so clear. He doesn’t sacrifice his story to hit you over the head with a message. He’s a smart filmmaker and I appreciate that even more than the “body-horror” aspect. That comes secondary even though it’s really memorable.

The main character has to eat this root in the film as a form of medicine. Is the idea of the root something that came from this backwoods environment? Because it’s not something that’s commonplace like a pill or some liquid that you drink. The root and all of these mason jars throughout her home is an unsettling image.

With the mason jars, I knew she wasn’t going to be going out and dragging food in (because she’s pregnant). Everyone has a storm cellar or fruit cellar with reserves. It also turned out to be out of convenience that day.

(Pauses and laughs)

As far as the root goes, I guess I just like the aesthetic. To go with an old-timey vibe. Where she almost is like a witch.

When they approached you to make a short for this was this your first idea you came up with or was there other ideas as well?

This was the main. I did have another one that was remarkably similar to Dennison Rahmalho’s “J is for Jesus” except mine was going to be “Z is for Zealot.” Yeah… I’m glad I didn’t do that one.

(laughs)

That would have just be mine standing on a milk crate and hitting people over the head with a message. I would have been a lot more annoying about it than Dennison’s.

The woman and her large belly looks like it took a lot of work. Did you have a hand in creating the special effects?

The special effects were all done by me at my kitchen table.

Wow! That’s impressive.

I had some help from the producers when we had to cast our actor. The producer Shannon and I did all the casting and made all the molds for the two actors, but the special effects were all done by me in my kitchen over a long time.

How long did just that aspect take?

I mean . . . I definitely bit off more than I can chew. I say that but it at least got done.

(laughs)

Yeah. It got done in the end. It took about two months. Then when we were shooting it was about another month of tweaking and modifying some effects. I had to build 3 or 4 different busts for the one shot when the hand goes up the neck and breaks the jaw. It just didn’t look quite right at first. I got really crazy over that one shot. That was actually the starting point for the whole idea of the short and I kind of worked backwards from there.

The idea of children consuming their parents or children becoming their parents over time is what I really got from the film. It’s also a visual you don’t see often in horror. You see beheadings and people getting stabbed all the time. But this is different. The tagline for ABC’S OF DEATH is “26 ways to die,” and I must say that this is one of the more original ways. You made the entire audience I saw it with very squeamish during that scene.

Thanks. I appreciate that. I mean… I think it’s kind of easy with “body-horror.” I think it’s low-hanging fruit but I appreciate it nonetheless.

(laughs)

Image Source: Screencrush.com

Someone had told me that there was an email or drunken tirade you went on that helped you get the job.

Tirade? Why does this word keep coming up?

(laughs)

I wouldn’t call it a tirade but it might have read a lot angrier than I thought.

I didn’t read it so –

Long story short, I entered the first ABC’S OF DEATH contest. I did “T is for Thread.” It went over really well with the other filmmakers. I got to know many of them and really enjoyed the community. I also really liked the competition because there was so many good ones submitted. So, when I went to the premiere I was really disappointed with some of the filmmakers in the first one. I…

(pauses and carefully selects his words)

I really don’t want to seem like I’m being a dick. I just really felt that some were very lazy. That they weren’t even the best examples of what they are capable of making.

I can think of one in particular and I’m not sure if we even need to say the director’s name.

It was just disappointing. So when they announced a sequel. I just knew that if I was selected I would give 100% of my energy towards it. So I wrote this alcohol influenced two page tirade saying that if you add me to this project I will give it everything I got.

So they responded?

Yeah. They responded within hours.

(pauses)

I was terrified. I woke-up at 8:00 am in a panic, and I wrote it at 4:00 am. Todd Brown was the first to respond. I was thinking I made a huge mistake. He wrote me saying, “We got your email. It’s eliciting a lot of conversation here.” And I was like, “What the fuck does that mean, Todd?”

(laughter)

That could go either way. So I was thinking they were like, “get a load of this fucking asshole.”

(more laughter)

You know that you might have said something that was in the back of their heads but they didn’t want to acknowledge.

Oh yeah. This community is so supportive. It’s so insular. It’s almost overly supportive in a lot of ways. It’s maybe starting to eat itself.

(laughs)

What were some of your other favorites in ABC’S OF DEATH 2?

I really liked Steve’s (“W is for Wish”). That one is just funny because it’s a thing he’s been batting around for a while. Just to see it done is fun for me. I really loved Jim Hosking’s (“G is for Grandad”).

The grandfather hiding in a cut-away in the mattress is such a strong image.

I know! It’s such a perfect cut-away too! There are a lot of little touches in there. After I saw that I started to watch a lot of his other work. I just love that guy. Todd Rohal’s I really liked (“P is for P-P-P-P Scary!”). I really like Dennison’s (“J is for Jesus”). Honestly … I really feel like I could say I liked all of them.

Yeah. I feel the first time around there were a lot of peaks and valleys. They were either really great or really bad. This time most were on the same high quality level.

Yeah. I saw effort in every one and I saw personality in every single one.

There seems to be also an odd cohesion between all of them this time. I’m not sure if that was a happy accident or not.

It might have to do with that they wrote a manifesto this time. I’m not sure if they had one for the first film. They were like, “Listen. You still have complete freedom, but we do want some quality control.” I’m not sure what it was really. It could just have been the luck of the draw this time.

Have you been approached to do any features or are you working on anything new currently?

Me and my producer Peter have been working on a feature for the last year now. We’re just prepping it. I mean … I could be prepping it for the rest of my life.

(laughs)

I’ll just keep making stuff in my backyard I guess.

I want to thank Chris Nash for his time and being so candid with me about his experience working on ABC’S OF DEATH 2. The horror anthology film is now available on VOD and will be hitting select theaters starting on October 31st.

Fantastic Fest 2014: ABC’S OF DEATH 2 – The Review

You would think that after THE ABC’s OF DEATH gathered so many of the most talented horror directors working in the business, that the well might be a little dry to go back for a second time around. ABC’s 2 proves that there are many talented voices working in the genre. The second entry may not have as many flashy names as the first did (Ben Wheatley, Ti West, Jason Eisener, and Adam Wingard), but it brings together a number of gifted directors that have started to break through in recent years and some that definitely should be well-known names.

What’s so great about ABC’s 2 is that there are so many highlights. Things kick off with a bang with the letter “A.” Quite literally actually. “A is for Amateur” is an entertaining blend of pipe-dream fantasy and reality that delivers a comedic blow to the head. Kristina Buozyte (VANISHING WAVES) directed one of my favorite shorts – “Knell.” An isolated woman suddenly notices from her apartment window a strange alien force affecting a neighboring apartment building. What happens next is more artistic and dreamlike than most of the shorts in this collection. Veteran indie filmmaker Larry Fessenden structures his short around Halloween in New York. His fast-paced editing and filmic style fits well with a story about time and consequence. Later on a zombie court case is equally ironic as it is emotional. “Utopia” is a purposefully slick look at a future society where perfection is strictly enforced. A journey into the “real” world of kid’s cartoon characters left me with a grin ear to ear during the short “Wish.” The film comes to an end with my favorite short of the entire series. “Z is for Zygote” is from relatively unknown short film director Chris Nash. The less said about this twisted fantasy tale the better, but I will admit that it delivered one of the most horrific moments I have ever witnessed in a theater.

Like the first ABC’s before it, this film creates a kaleidoscope of death and horror that feels like you are watching an all night horror marathon. There are so many different genre styles on display that there is a little something that will appeal to everyone’s taste. The marketing for this series has always placed an emphasis on the deaths. With that in mind, I felt that this entry doesn’t quite live up to the slogan “26 new ways to die.” Many of the deaths aren’t as creative as you would expect, and even aren’t as memorable as a few of the kills from the first film. That being said, this group of shorts at least exists on the same level of quality. The first film had such high highs and low lows. Looking back, there are only a few that stand out above the rest in the first ABC’s. Some may say the same about the sequel, but I found that almost all – except for a few derivative and predictable ones – were solid horror shorts that make up a more cohesive and entertaining collection.

Clever titles end many of the shorts with a witty punch line. It starts to become a game to try to guess what the letter is going to stand for. With what appears to be a higher budget and better production overall, ABC’s OF DEATH 2 delivers some exciting stories that manage to use their five minute or less run-time quite well. Sadly, only a few end with an imaginative approach to death, but I can at least say that the sequel far exceeds its predecessor in terms of overall quality and even gives audiences some new directors to keep an eye out for in the future.

Overall rating: 3.5 out of 5

Fantastic Fest 2014: THE TOWN THAT DREADED SUNDOWN – The Review

Texarkana is the home of several murders that occurred in 1946 by a masked killer that was given the name “The Phantom Killer.” It’s a city made up of two counties – one in Arkansas and one in Texas. Ironically, producers Ryan Murphy and Jason Bum have approached the film THE TOWN THAT DREADED SUNDOWN in a similar fashion. On the surface the film is a sequel to the 1976 slasher of the same name, and yet, the film often feels like a remake as well including recreations of some of that film’s kills. A meta-sequel/remake is too much of a mouthful to say, so what do you actually call it? Regardless of its label, this new TOWN is worth visiting simply for the sake of it taking a unique approach to bringing to the screen a killer we’ve seen before.

It’s 2013 and the people of Texarkana have gathered for the annual celebration to watch the 1976 film THE TOWN THAT DREADED SUNDOWN. Jami (Addison Timlin) and Corey (Spencer Treat Clark) sneak off from the outdoor festivities to ignite there own fireworks, but the couple are quickly interrupted when Jami notices a figure watching them in the distance. You can bet that this isn’t just a peeping Tom. The couple is quickly chased through the woods and Corey is killed in front of Jami. What’s more horrific is that the masked killer who resembles the ’76 cinematic killer purposefully lets Jami go. As bodies begin piling up and copy-cat theories surface around town, Jami sets out on her own investigation which leads her to believe that there is more to this real life horror story.

I’ve never been to Texarkana, although I did drive through it to attend Fantastic Fest. It is what you would expect. Small, rural, and not necessarily of this time period. That being said, in the eyes of director Alfonso Gomez-Rejon (GLEE, AMERICAN HORROR STORY) the 70’s are all the rage. Every shot, costume, and set drips with retro 70’s style. After seeing scene after scene of this, you are forced to wonder if Texarkana really does look and feel like a blast from the past. There are a few instances where we see a computer or other piece of modern technology. It becomes so desperate in its artistic choices that I rolled my eyes when I saw an old television with dials on the front of it. The fact that the film continually reminds of the date and year at the bottom of the screen doesn’t help this fact.

Cinematographer Michael Goi extends the throwback style even more with the way the film is shot. Soft focus, double-focus, and tracking shots make THE TOWN… look like it was shot by Brain De Palma’s second unit director. I actually enjoyed this aspect more than the preposterous set dressings. As a fan of 70’s thrillers, I couldn’t help but smirk at some of the visual nods and impressive camera work. More often we see modern horror films attempt to recreate the look and feel of the 80’s, so in a way it’s kind of nice to have someone acknowledge a time when movies looked slightly different than reality. The key word there is slightly.

THE TOWN… will appeal to fans of throwback horror and those looking for a grisly night at the theater. The opening scene is especially fun, brutal, and terrifying! The film doesn’t wink at the audience as much as recent remakes like MY BLOODY VALENTINE and doesn’t try to force any unnecessary humor into the story. Fans of the original film will no doubt spot similarities between this and the ’76 film. There’s no attempt made to hide the fact that this is a pseudo-remake, even though it’s a sequel by definition. What mainly sets it apart though is that the tone feels more like a grim murder mystery than a straight-up slasher. Detective work and tedious interviews bog down the last half a little bit, but the story holds your attention enough to keep you guessing who is behind the murders until the final reveal – even if the finale may be the weakest point in the whole bloody affair. It speaks volumes that the point in which the audience reacted the most to was when the classic Orion logo appeared before the film began – a burst of laughter and applause erupted from the crowd. THE TOWN THAT DREADED SUNDOWN succeeds more at 70’s gimmicks than scares, but at the very least it reminds us of the good ol’ days.

Overall rating: 3 out of 5

Fantastic Fest 2014: MY LIFE DIRECTED BY NICOLAS WINDING REFN – The Review

MY LIFE DIRECTED BY NICOLAS WINDING REFN gives us just a peek into the mind of one of cinema’s most celebrated directors. Directed and shot by his wife Liv Corfixen, MY LIFE… is a documentary that follows the Danish director during the making of his 2013 film ONLY GOD FORGIVES. While her film can be appreciated as simply a small portrait of the acclaimed director, it also taps into the fear and anxiety every artist feels during the creative process. A daring undertaking for someone who has never made a documentary before.

Even though we see Refn in the most mundane situations (waking-up, playing with his kids), he still comes across as cool and enigmatic, not unlike his on-screen heroes. Often we see him in a contemplative state. There’s always a long pause for reflection before he answers a question or responds in a cryptic manner. It’s the silence that keeps you interested in what the director will say next. In many ways he embodies the funny and poignant message he says to Ryan Gosling: “Violence is like sex – it’s all about the build up.” As the scene expands, Gosling frequently glances back at the camera in a self-aware manner, creating a moment that is simultaneously humorous, eye opening, and uncomfortable for the viewer. Again… not unlike the films we have seen from the Danish auteur.

Being the wife of the subject your filming has its advantages. As a result Corfixen is able to capture some of the more personal moments that might have only been relegated to home videos. We see Refn’s fatherly side come out early on when his daughter puts herself too close to harm’s way at the family’s hotel in Taiwan. Later on we get a lover’s spat over how to balance their individual careers and parental responsibilities. Moments such as these elevate the film to more than just your standard behind the scenes featurette you would find on the Blu-ray of ONLY GOD FORGIVES. What carries the most weight is the revelation right from the beginning that Refn made DRIVE without his wife and kids present in LA. Obviously they are present during every step of the way during ONLY GOD FORGIVES – which sometimes is alluded to as a burden. Considering the amount of personal problems Refn seems to be dealing with during his follow-up to DRIVE, you begin to wonder if Corfixen has touched upon a personal fear of her own and has thus created a film as a form of therapy.

The idea of legacy and upholding your reputation as a significant artist is a recurring theme in the film. Pressure to live up to expectations following the commercial and critical success of DRIVE weighs heavily on Refn. Seeing an artist at his most vulnerable can be an eye-opening experience. MY LIFE… shows Refn at his most optimistic, and at his deepest lows where he openly admits in front of the camera that ONLY GOD FORGIVES is a failure. It almost becomes a guessing game as he switches back and forth between loving and hating the project. As someone who went to art school and continues to produce art in physical and written form, I can tell you that this really is a recurring and often scary feeling.

By the time the film wraps up by showing the premiere of ONLY GOD FORGIVES at Cannes, you feel that this documentary’s swift run-time (58 minutes) has only grazed the surface of some of the problems that Corfixen addresses. Not to mention, when taken out of context and being unaware of the negative press and eventual outcome of ONLY GOD FORGIVES, the doc feels like only a part of a bigger picture. In many ways, the audience – especially the film critics – also becomes a part of the story. We see Refn in the film’s closing minutes reading in bed the reviews following the previous night’s screening in Cannes. He reads aloud a particularly ridiculous and conceited review by a film critic, which ultimately brings a smile to his face. You would think that the hateful words would have a negative effect on the director. It’s a moment that captures all of the feelings of “creating something from nothing” in such an ironic and perfect way. MY LIFE DIRECTED BY NICOLAS WINDING REFN is a thoughtful look at the artistic process and its effects on your personal life. Sometimes a film doesn’t quite connect with its audience. Sometimes it doesn’t even connect with its creators. But then again, that’s life. You just have to grin and bear it.

Overall rating: 3.5 out of 5

Make sure to check out my interview with Liv Corfixen and Nicolas Winding Refn

Fantastic Fest 2014: THE HIVE – The Review

First time feature director David Yarovesky blends equal parts contagion film, psychological drama, and teen romance into a horror film with a lot on its mind. Maybe too much on its mind for some people, but all of the elements hit the right notes for me. THE HIVE isn’t breaking any new ground with its ideas, but it is how the ideas are delivered that makes this worth a watch for fans of infection films. Yarovesky’s art direction and visual sense is particularly strong. His history in music video directing is fairly apparent but doesn’t hinder his aspirations to deliver an emotional and meaningful character driven story. Yes… black goo and grisly gore leave the screen caked in a thick, viscous layer, but the setup leading up to the gory bits has all the heart and character that you’d expect from a coming-of-age comedy.

The film opens with a young man (Gabriel Basso) waking up in a boarded-up cabin. He’s all alone and is confused by how he got there. Words and directions are scribbled in chalk all over the walls. All that is immediately apparent is that he is definitely not physically well as neon blood runs through his veins and a black liquid oozes out of open sores. What follows is a series of flashbacks leading up to how he got in the cabin, showing his days as a summer camp counselor and a girl he began to fall in love with… before he entered the personal hell he is in now.

Yarovesky keeps you guessing right from the beginning to where the story might go. Once you get a little deeper into THE HIVE, you do start to piece together the story quicker than the bewildered lead. I mainly enjoyed the back and forth between the past memories of our protagonist’s time at summer camp and his present day struggle to discover who he is. This is mainly due to Gabriel Russo in the lead. His character evolves naturally on-screen and the chemistry between his raunchy buddy Clark (Jacob Zachar) and love interest Katie (Kathryn Prescott) works to build a humane foundation to unleash the impending horror.

The second half brings some of the mystery that was previously hinted at into the light. We see the origin and consequences of a deadly virus. It’s a concept we’ve seen before, but at least is injected with some energy through the film’s intense camera-work and choppy edited style. There are elements that eventually come into play that aren’t as successful, such as when the virus-inflicted victims begin speaking in demonic voices. It’s hard to swallow this without immediately thinking of EVIL DEAD. But since Yarovesky took the time to establish the characters, when the threat of the virus rears its nasty, black goo spewing head, you feel the stakes have been properly raised and you fear for the inevitable conclusion.

Considering this is a debut feature, you have to give a little bit of a pass to director David Yarovesky for biting off a little more than he can chew. At times you feel he had a hard time balancing the different elements of the story. For instance, the flashbacks of the science experiment gone wrong aren’t explained enough to really warrant their inclusion in the story as much as they are. Mixing pseudo-science such as the transferring of brain signals and cerebral medical experiments into the horror arena can sometimes make for a messy experiment. The way Yarovesky mixes everything so confidently though is worth applauding. THE HIVE is a bold and visually striking feature that signals the arrival of a new voice in horror. It’s a strong first feature that succeeds at doing things right, even if we’ve seen many of these things before.

Overall rating: 3.5 out of 5

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