Category: Fantastic Fest

Fantastic Fest 2014 – Opening Night Red Carpet For TUSK

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Fantastic Fest is known for bringing out the party animals. So it seems only appropriate to kick-off the 10th Anniversary of this great and wild festival with an animal film unlike anything you’ll probably see this year. TUSK brought out the leader of the pack himself, Kevin Smith, on Thursday night for its red carpet premiere in Austin. Smith greeted fans and made funny faces for the line of photographers. He sported his now signature look – an oversized hockey jersey advertising his “Fatman on Batman” podcast. Also in attendance was actor Justin Long, composer Christopher Drake, and Alamo Drafthouse CEO and Fantastic Fest co-founder Tim League.

The crowd was its usual excited self as anticipation for this year has been sky high. This year seems to signal a return to a more horror-centric lineup given the number of films in the specific genre. Kicking things off with TUSK – a bizarre, horror, comedy hitting theaters this weekend – further solidifies this point all the more.

You can find more photos from the red carpet below. Look for more of our coverage from Fantastic Fest all this week and next! It’s only just beginning… get ready.

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Tim League -Co-founder of Fantastic Fest

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Kevin Smith – director of TUSK

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Smith posing with TUSK star Justin Long

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This year’s Fantastic Fest poster

Fantastic Fest – A Look at the Film, Parties, and Chaos that Await in Austin

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The best way to describe how I approach Fantastic Fest is like summer camp. It happens once a year. You get back together with old friends. Yet in this case, this non-traditional camp is for fans of the most bizarre, violent, horrific, and FANTASTIC movies you could imagine. And even still, Fantastic Fest is so much more. This will be more third time attending Fantastic Fest and We Are Movie Geeks fourth time covering the crazy events that take place in Austin every September. For eight days I will be immersed in a world that is unlike any other film festival I have ever attended. What other festival is going to feature events like an opening night food fight, a karaoke party, a “nerd rap throwdown,” and the signature event at the festival – Fantastic Debates (which includes a verbal debate followed by a literal boxing match). These are just a few of the types of things that have me excited to arrive in Austin in a matter of days. Alamo Drafthouse CEO and Fantastic Fest co-founder Tim League and his team have once again assembled a great lineup that include screenings of TUSK, NIGHTCRAWLER, HORNS, THE GUEST, THE BABADOOK, and world premieres of EVERLY (starring Salma Hayek), THE TOWN THAT DREADED SUNDOWN, THE ABC’S OF DEATH 2, the documentary MY LIFE DIRECTED BY NICOLAS WINDING REFN, and V/H/S-VIRAL. Before I head down to Austin, I wanted to showcase some of the reasons why I’m so excited about the festival and what you can expect from my coverage here on We Are Movie Geeks in the coming weeks.

 

 

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The Alamo Drafthouse – The Greatest Movie Theater in the Universe

That’s not empty praise. The Alamo Drafthouse started in Austin in 1997 and has since branched out to spread the company’s love of cinema to other cities. For the 10th Anniversary of the festival, the Drafthouse on South Lamar will be re-opening its doors after being closed for over a year due to upgrades and renovations – last year’s festival was held at a different venue – along with the re-opening of adjoining bar The Highball. Film fans and critics come from all over the world to attend this festival, not just for the lineup but because the atmosphere is integral to the festival. Great food, comfortable seating, and a friendly staff are just some of the perks of the location. But there’s one major fact that makes this place a Mecca for true cinemagoers: A very strict “No Cell-Phone Policy.”

 

 

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A Dark Night Is Set For The Closing Night Festivities

Jake Gyllenhaal looks to have taken a rather dark turn in the upcoming film NIGHTCRAWLER. And given the fact that Fantastic Fest celebrates such risky and daring material, I can’t think of a better film to close out the film festival. NIGHTCRAWLER ranks high as one of my most anticipated films of the upcoming fall/winter film schedule so I’m extremely excited to get an early look at this film about a freelance crime journalist who scours the dark streets of LA at night. Director Dan Gilroy will also be present at the screening – to add to the long list of directors and stars attending this year (more on that soon). Finally, after the screening, the closing night festivities conclude with a huge blowout that is sure to bring out all of our own dark desires. The “26 Ways To Party” is described as a “closing night party takes its macabre cues from ABCs OF DEATH 2 by running down the alphabet from A to Z, unleashing a massive meltdown of madcap mayhem in Fantastic Fest history.” Ok… now that sounds like a dark and twisted night of fun.

 

 

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The Top Names Working In Genre Film Will Be There

Let’s just take a moment to list a few names to see if this gets your attention: Edgar Wright (SHAUN OF THE DEAD, HOT FUZZ), James Gunn (SLITHER, GUARDIANS OF THE GALAXY), Eli Roth (HOSTEL, THE GREEN INFERNO), Ti West (HOUSE OF THE DEVIL, THE SACRAMENT), Kevin Smith (CLERKS, TUSK), Larry Fessenden (HABIT, THE LAST WINTER), Jen & Sylvia Soska (AMERICAN MARY, DEAD HOOKER IN A TRUNK), Joe Lynch (CHILLERAMA, KNIGHTS OF BADASSDOM), and Nicolas Winding Refn (DRIVE, ONLY GOD FORGIVES). These are all but a few of the directors that will be taking part in the festivities this year! Fantastic Fest has pulled out all the stops this year and has included an extremely impressive guest lineup for fans to hear speak before and after films. Who knows, you might even get a chance to share a drink or perform a karaoke duet with one of these names over at The Highball next door – a hangout that houses many of the after hour events if a midnight movie isn’t necessarily your thing.

 

 

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Docs Aren’t Dead

Some may think that documentaries might not be the best fit for a festival that features films that feature a masked serial killer (THE TOWN THAT DREADED SUNDOWN), a teen that develops devil horns (HORNS), and Nazi zombies (DEAD SNOW 2: RED VS DEAD), but then again, these films aren’t your typical documentaries. Probably the most awaited documentary of the bunch – maybe even one of the most anticipated films of Fantastic Fest – is ELECTRIC BOOGALO: THE WILD, UNTOLD STORY OF CANNON FILMS. If you grew up going to your local video rental shop every Friday night then there’s a good chance you know of The Cannon Group. More specifically, if you grew up watching violent action films starring Chuck Norris, Charles Bronson, and Dolph Lundgren, then you have seen some of the films featured in this documentary that just received high praise from its premiere at the Toronto International Film Festival. Other documentaries this year include FUTURE SHOCK! THE STORY OF 2000AD (focusing on the underground comic by Grant Morrison and Alan Moore), LOST SOUL -THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU (one of the biggest flops of the 90’s is looked at), and MY LIFE DIRECTED BY NICOLAS WINDING REFN (Refn’s wife and filmmaker Liv Corfixen follows her husband while he makes ONLY GOD FORGIVES).

 

 

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NYMPHOMANIAC: EXTENDED DIRECTOR’S CUT

This film gets its own category because it seems only right for this truly epic film. One of the most controversial films of 2014 and one that divided critics and audiences alike is screening at Fantastic Fest in the way that director Lars Von Trier originally envisioned. Parts I and II – originally released separately earlier this year – are combined into one complete film that includes even more of the good stuff: sex. The EXTENDED DIRECTOR’S CUT is listed with a running time of a whopping 324 minutes! I guess it goes without saying that this is not for those of a more prudish nature. Offensive, graphic, and extreme, are all characteristics of a true Fantastic Fest film.

 

 

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Lost and Forgotten Classics Are Given Their Due 

Each year a number of repertory screenings are integrated into the lineup of new films. Sometimes these films are overlooked gems, while others might have been long lost and will be screened for the first time in years! This year has a little bit of both. A rare 35mm screening of BUGSY MALONE (1976) will be screened with an accompanying book launch entitled KID POWER! – all about cool, tuff and inspiring kids in cult film and television. To go along with the Cannon films documentary, screenings of DEATH WISH 3 and NINJA III: THE DOMINATION are planned. Last but certainly not least, director Nicolas Winding Refn will be presenting the long lost film THE ASTROLOGER (1975).  This was recently rescued and restored by local non-profit The American Genre Film Archive and is directed by James Glickenhaus (THE EXTERMINATOR). 

 

Hopefully this gives you an idea of the many reasons why I’m so excited about Fantastic Fest this year. After 10 years of quality programming and entertaining events for fans of horror, sci-fi, fantasty, and exploitation films, Fantastic Fest has proven they are one of the best film festivals in the world. Stay tuned all this week and next week for We Are Movie Geek’s coverage of the fest. You can also follow my thoughts and exploits on Twitter @MPHaffner and through the hashtag #FFX. Get ready Austin… I’m coming for you!

For more info visit fantasticfest.com 

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THE FINAL MEMBER – Fantastic Fest Review

We’ve all been there, regardless of which side we’re on, hearing complaints of men being obsessed with their, um… let’s call them members for the sake of a family-friendly review. With that said, it’s a tired — if not occasionally accurate — stereotypical sort of debate. An ageless battle of the sexes, if you will. So, I must admit that when I first heard of a new documentary that’s all about a man obsessed with “members” of all types, my mind began to shut down in response to what I was sure would be a lousy film. Oh, boy… was I wrong!

As much as I would love to tell you this film has no Freudian content, I would be a bald-faced liar if I did, so what I will tell you is that THE FINAL MEMBER is an absolutely mesmerizing documentary that takes ownership of all that Freudian stuff and uses it to it’s own advantage, resulting in one of the most entertaining, intelligent and emotional non-fiction films in some time. Co-directed by Jonah Bekhor and Zach Math, this film will undoubtedly weasel it’s way into your heart, one way or another. Emotionally, its as heartbreaking as it is uplifting. It will often make you laugh, occasionally forcing you into a double-take, but also pull at your strings at times as characters’ hopes and dreams follow the roller coaster ride of becoming a reality.

THE FINAL MEMBER is set in the northern Icelandic town of Husavik, an ironing locale given the subject matter. How do you think your member would react to being thirty miles from the Arctic Circle? The film is primarily centered around Siggi Hjartarson, the founder of the Icelandic Phallological Museum – the world’s only penis museum. Husavik is home to this museum, where the founder has accumulated an impressive — if not, at first, curiously off-putting — collection of members representing virtually every mammalian species on the planet… except for one. In the forty plus years this collection has taken to assemble, the one and only member — the “final member,” if you will — that is missing is a human specimen.

I’m utterly shocked and pleasantly surprised at how candidly THE FINAL MEMBER flows, rolling through the audiences collective mind with such smooth coolness and maturity, while also remaining just quirky enough to be entertaining without becoming degrading. Bekhor and Math clearly had their heads — no pun intended —  in the right places making this film, as the ratio of respect and tastefulness to humor and openness about the subject matter couldn’t be any closer to perfect. The museum’s founder wears his intent on his sleeve, devoted to using the museum to help society get past its awkwardness towards sex and the male genitalia. How’s that for a mission in life?

As compelling as this already surely has you hooked, THE FINAL MEMBER is not focused entirely on the museum and its founder. Just as the audience gets comfortable around the man with many members, we’re introduced to his two most promising potential donors. Yes, donors… as in, men willing to donate their members to the museum for the benefit of all mankind. Is there a greater purpose in life? If you though the film was incredible before, it gets even better once the race begins to be known as the first man to have their member displayed in the Icelandic Phallological Museum. The contenders: a locally famous, once-adventurous Icelandic ladies man in his 90s versus an upper-middle-aged, well-endowed Texan whose member is affectionately named Elmo; allegedly not affiliated with Sesame Street’s Elmo.

THE FINAL MEMBER becomes a sort of battle of personal patriotism between these two potential donors, while the museum’s founder is stuck in the middle simply waiting to receive the donated member, whosoever comes first. (Really? Minds out of the gutter.) The second half of the film focuses more heavily on these two donors and the process by which the donors’ eligibility is verified, including having one’s member plaster cast for a mold to be sent as proof the member meets the minimum “legally required length of 5 inches.” You heard me correctly. As the saying goes, “truth is often stranger than fiction” and that certainly applies here, especially in the case of the Texan and his Elmo, whose adventures together range from a strategically tattooed stars and stripes to a concept for a comic book.

All silliness aside, this really is a smart, genuinely sincere documentary about real people with really unique stories. As the filmmakers’ first feature-length outing, this is an even more impressive accomplishment. If ever you wondered how such a film could be made and be taken seriously, this is it. If ever there was a film about the human penis that you simply must experience, THE FINAL MEMBER is the film that fits just right.

Overall Rating: 4.5 out of 5 stars

I DECLARE WAR – Fantastic Fest Review

If you’re school was anything like mine growing up, you may have been assigned to read William Golding’s Lord of the Flies, but if not, maybe you’ve seen one of two film adaptations that have been made. This serves as a jumping off point for better understanding I DECLARE WAR. No, this isn’t another remake of LORD OF THE FLIES, but it does share some of the classic thematic content. If you have no idea what I’m talking about, it’s all right. It’s far from mandatory for enjoying this hidden gem.

Written by Jason Lapeyre and co-directed with Robert Wilson, I DECLARE WAR tackles the darker heart of what happens when innocent fun evolves into real-life danger. I can imagine the contemporary societal obsession with video games and the abundance of violence prevalent in these games as having an inspiration, but are the video games really the focal point? I think not. With the world we live in becoming increasingly violent and the access to real-time, uncensored live media not slowing, it could be read as commentary on what led these children to the film’s climax. Even this, as logical as it sounds, I don’t believe is at the heart of the film.

I DECLARE WAR follows a group of pre-teen aged kids in the midst of war. Not a “real war” — although an argument could be made that it becomes just that — but a “war game.” Here we have two opposing forces, in this case a band of 5-6 kids on either side, both led by their respective generals. For the group of kids through whose perspective the story is being told, the general is PK, played by Gage Munroe. If this kid looks familiar, you may have seen him in IMMORTALS (2011) on on the TV series ALPHAS. However, Munroe also has one of those faces that encourages a sense of deja vu, while his talent is impressive for delivering sophisticated lines of military dialogue with accuracy and conviction while still allowing the viewer to believe he’s just a kid.

As PK leads his troops through the local woods in search of the enemy’s base, which of course holds the all-important “flag,” they get ambushed by Skinner, played by Michael Friend. Skinner is not the opposing general, but rather one of his ranks gone rogue. Skinner and his small band of soldiers of fortune take PK’s best friend Kwon (Siam Yu) prisoner with the intent of getting him to talk, revealing the location of his base and therefor securing victory over the yet-to-be-defeated General PK.

Quinn (Aidan Gouveia), the general challenging PK’s undefeated status, desires to best him at his own game, proving he has the military mustard. Unfortunately, Skinner proves to be an obstacle that destroys Quinn’s hopes and threatens more than the fate of a game for Kwon and PK. When the game begins to unravel, the reality of childhood emotions begin to take over. Fear, paranoia, envy and anger become the driving force in a battle that turns ugly, pitting wits against rage. Meanwhile, Jess (McKenzie Munroe) becomes a wild card that could turn the tables of this war either direction with her cunning tactics driven by love.

I DECLARE WAR works so well, not just for the talent of its young cast, but because the filmmakers chose to make a family-friendly — that is, with parental guidance — film that takes on such a subject, but did so without dumbing it down or lightening it up. This is a rather dark, but realistically portrayed story of a series of events that I can absolutely see occurring in real life. No real guns are ever used by the characters, but their imaginations are depicted in such a way that the viewer is transported into their minds, allowing us to perceive the sticks and other various objects thrown together to vaguely resemble a gun, with creativity filling in the details.

While the film clearly focuses on children, I DECLARE WAR could also be considered a commentary on adults. Everything that occurs in this film, occurs between adults in real life. Simply change the setting and what’s at stake, and you have the rat race, etc. The film actually paints a pretty vivid portrait of a society that, for the most part, never truly grows up emotionally. We may think we do, but in most cases we just give these conflicts grown up names to make ourselves feel better. Food for thought.

Overall Rating: 4 out of 5 stars

“Like” I DECLARE WAR on Facebook.

THE AMERICAN SCREAM – Fantastic Fest Review

home haunter: one who transforms the place where one lives with the intent to invoke fear upon visitors as entertainment on the holiday of Halloween.

With the exception of the classic cartoon It’s the Great Pumpkin, Charlie Brown, rarely are Halloween themed films described as “heart warming,” but THE AMERICAN SCREAM is an outstanding exception. This original documentary follows three families in the small town of Fairhaven, Massachusetts. These three families all share a common love for Halloween and the art of home haunting, or transforming their homes into frightening displays for the benefit of trick or treaters. The levels of expertise, and even the motivation for each of these families’ interest in such an undertaking varies greatly, but the one universal trait is the pleasure and joy they get from seeing visitors react to what they have created and having fun in the process.

THE AMERICAN SCREAM is directed by Michael Stephenson, his second feature length documentary film, which follows the much loved cult hit BEST WORST MOVIE (2009). At first, the viewer may find themselves wondering whether the film will go down a less mature, derogatory path. For some viewers, this may be encouraging, but Stephenson’s ultimate intention couldn’t be further from this false reading of the first act. As Stephenson sets up his three families’ stories, we’re introduced to them fully exposed, with all their “flaws” for the world to see. As a viewer, be a better person and look past this, as these people being profiled are about to fill your heart with holiday joy, inspire you and perhaps even initiate a few tears.

We are first introduced to the Bariteau family; Victor (the father), his wife and two girls. Victor is the man with an endless passion for Halloween and home haunting. Eight years he has been at this, having started with merely a single hand-made prop his first year. This tradition has grown since then to become the most cherished and anticipated home haunting in the area. Victor works year-round developing and building the various elements of his annual masterpiece, always adding and changing, ever striving closer to that elusively, perfectly frightening experience. What his story conveys is a sense of passion, a drive to succeed no matter the obstacle — and Victor does have obstacles — the way in which a family comes together and supports each other, and finally — as cheesy as it may sound — how dreams can come true.

While the Bariteau family is the film’s centerpiece, THE AMERICAN SCREAM is not solely Victor’s story. Once comfortable in Victor’s home, we’re introduced to Manny and Lori Souza, a working class couple with kids. It becomes apparent early on that Manny doesn’t have the same passion for the art of home haunting as Victor. He boasts about how most of what he uses for his home haunting is free. Manny shows off a massive pirate display he had built in the past, all of which set him back a total of about $8, which admittedly is impressive, but Manny is recycling other people’s junks into pleasant memories for his and other families’ kids who visit on Halloween. This is what drives Manny, seeing the happiness on the faces of children. He openly admits, if people stopped coming, he’d stop home haunting.

Victor may be the artist striving for perfection, while Manny may be the tough guy with a heart of gold, but the Brodeurs are the philanthropists. Matthew and his father Richard live together, take care of each other and both are as kind-hearted and generous as they are peculiar. Watching Matthew and his father interact is — as unintentionally mean-spirited as this sounds — like watching a hilarious sitcom. Despite the obvious personality points, these two men are an inspiration for all of us to do more for others. Not only are Matthew and Richard best friends, but they both contribute immensely to their community as Shriners, they’re both seasons clowns, and they work together each year on their home haunting as a benefit to the local children’s hospital. On the scale of artistic talent, the Brodeur’s may fall somewhere near the bottom, but they put their hearts into it and show us that it’s not always about the quality or even the quantity, but about the intention.

Michael Stephenson takes Halloween back, giving us a backstage pass to creating fear for fun, returning us to our youth and to what we all truly loved about the only time of year being scared was this much fun. THE AMERICAN SCREAM portrays a community that is brought together by Halloween, as Victor calls “the only holiday that does this,” pointing out that Thanksgiving and Christmas are for families, but Halloween is for the community. This is illustrated by the hordes of people who visit his home haunting, the majority of whom Victor and his family have never met before, and may never see again. In Victor’s words, “they may not remember me, but they’ll remember what I’ve done.” This one line sums up the entire film with crystal clarity.

“Like” the film on Facebook and request a screening near you on Tugg.com

Overall Rating: 4.5 out of 5 stars

THE AMERICAN SCREAM will premiere on ChillerTV at 7pm CST on Sunday, October 28th, 2012. If you’d like to see one of the best documentaries in recent years in the theater, THE AMERICAN SCREAM will also have a limited theatrical release, as listed below:

October 5 – Hollywood Theater (Portland, OR)
October 5 – Music Box Theater (Chicago, IL)
October 6 – The Grand Illusion Cinema (Seattle, OR)
October 13 & 14 – The Cinefamily (L.A., CA) w/ Director Michael Paul Stephenson in person
October 16 – Roxie Theater (San Francisco, CA)
October 19 – Coolidge Corner Theater (Boston, MA)
October 20 – Nitehawk Cinema (Brooklyn, NY)
November 9-14 – Alamo Drafthouse (Austin and Houston, TX)

CLOUD ATLAS – Fantastic Fest Review

It’s a treat when a major movie comes along, one that looks and feels like a studio-produced movie yet has the intelligence and creativity of an independently film. Not since, say… THE FOUNTAIN, have I experienced such an event. That is until I saw CLOUD ATLAS. Not only was this in incredible eye-popping, jaw-dropping treat, it was a complete surprise, having seen this film as one of the two scheduled “secret screenings” while in attendance at Fantastic Fest 2012. And, as if that wasn’t enough to pour my affection all over like thick, rich gravy… this actually IS an independently-produced film!

THE MATRIX trilogy may be their most recognizable work, but I would contend that CLOUD ATLAS is Andy and Lana Wachowski‘s most profound, accomplished film to date. Co-directed with Tom Tykwer (RUN LOLA RUN) and based upon David Mitchell‘s award-winning novel of the same name, this science-fiction film addresses how individual lives can affect others’ lives in the past, present and future. The film contains multiples stories spanning many eras in human history, from centuries ago to centuries into the future, where the setting is a post-apocalyptic society.

CLOUD ATLAS features a line-up of talented stars rarely seen in one film. Leading the cast are Tom Hanks (CASTAWAY) and Halle Berry (MONSTER’S BALL), whose roles form the primary storyline throughout time, but are not the sole focal point of the film. Hugh Grant (ABOUT A BOY) delivers performances far outside his normal wheelhouse, delivering some truly unlikeable characters in addition to the enjoyably villainous characters delivered by Hugo Weaving (CAPTAIN AMERICA: THE FIRST AVENGER). Weaving, who you may remember as the relentless Agent Smith from THE MATRIX, is much more accustomed to these roles, but seeing Hugh Grant take on this new type of role is refreshing, especially given how well he adapts.

The cast also features veterans performing alongside relatively new faces. Jim Broadbent (THE IRON LADY) is splendid and Susan Sarandon (THE LOVELY BONES), while not prevalent in the film, still adds some seasoned texture to the overall film. Newer talent includes Jim Sturgess (ACROSS THE UNIVERSE) and Doona Bae (THE HOST) amongst others, most of whom provide varied performances for multiple characters in different stories set in different stages of time. Not only is this an impressive undertaking, its also impressively effective, if not dauntingly complex.

CLOUD ATLAS is immeasurably satisfying and uplifting, although few are likely to leave the theater having fully understood the massive scope of this enigmatic cinematic puzzle. David Mitchell’s novel followed six story lines through time, but the film takes it further, following several more story lines, attempting to connect many more lives throughout time than the book. The structure of the film jumps forward and backward in time, as does the tone and the genre, making this a truly unique and original work of daring filmmaking.

CLOUD ATLAS can be an intimidating film to take on, but only on the surface. Once engaged, the film flows surprisingly well, leaping in time from one life to another, setting the viewer up to discover one connection after the other. The whole of the film is tied together by a number of things, one being the actors playing multiple roles. I specifically refuse to point out who plays the individual roles, as part of the experience of watching this film is making those discoveries and connections on your own. The other significant element that serves as the most intoxicating adhesive is the original score from Reinhold Heil, Johnny Klimek and especially Tom Tykwer for his Cloud Atlas title piece of classically-inspired music.

For a film that cost an estimated $100 million to make, with such an enormous star-studded cast and as much high-quality CGI special effects work as CLOUD ATLAS, the fact that this is independently produced should compel even more interest. The Wachowski’s and Tykwer have created a philosophical playground on screen. The viewer’s eyes and ears will relish the feast that is CLOUD ATLAS and what the viewer witnesses is likely to stay with them indefinitely, resonating with an endless amount of food for thought as connections continually get made beyond the initial viewing.

For me, the most compelling story line takes place in the distant future, set in the post-apocalyptic society with a hint of BLADE RUNNER meets THE MATRIX, but the most engaging performances come from Tom Hanks, Jim Broadbent and Halle Berry, which should help refuel the fire in her recently faltering career. As much as I am drawn to go on for a few thousand more words, describing every last detail of the film, attempting to convey all the various themes and ideas, I would not be doing justice to CLOUD ATLAS, as much an enlightening event as it is an enjoyable film.

Overall Rating: 4.5 out of 5 stars

CLOUD ATLAS opens in theaters nationwide on Friday, October 26th, 2012.

SINISTER – Fantastic Fest Review

It pains me to say this, but truly scary, well-made horror films being released in theaters are few and far between these days. Such films being released during the holy horror month of October — oddly — are even more scarce. Fortunately, we have writer C. Robert Cargill‘s frightening film to thank, inspired by the persistent image of a family hanging dead from an old tree, which haunted his dreams until the day he wrote the screenplay… or, perhaps it still does.

SINISTER is Cargill’s first feature screenplay and is directed by Scott Derrickson (HELLRAISER: INFERNO). The film stars an unlikely, but familiar face in Ethan Hawke (DAYBREAKERS), an actor not known for showing up in horror films. Regardless, Hawke still delivers the same caliber of performance we’re used to seeing in his dramatic roles, playing Ellison Oswalt, a once famous now struggling writer of true crime novels. Expecting to capture inspiration for what he hopes is his second best seller, Ellison moves his family into the home of the victims he is currently writing about, a sleazy yet understandably logical strategy.

Ellison is not a bad man, by nature, but merely a good man who has lost his way and now is driven — unbeknownst to himself — by the powerful allure of fame and fortune. Focused entirely on his own success, excusing it as his answer to giving his family a better life, Ellison allows himself to blindly pursue a path much darker than he had ever imagined when he discovers a mysterious box of super-8 films in the attic of their new house. Wearing an awful grey sweater vest, Hawke supplies Ellison with the appropriate blend of being a loving family man and an obsessed, reckless fame monster… sort of like Mister Rogers meets Stephen King.

Juliet Rylance is commendable as Ellison’s concerned, yet supportive wife Tracy, who is oblivious to the truth about her new home for much of the film. Giving Ellison the space he needs and the freedom to pursue his craft, Tracy provides the counter-balance to a town unfriendly and bitter toward Ellison’s work. This is most readily illustrated by the sharp, unwelcoming yet witty exchange that takes place between Ellison and the town’s Sheriff (Fred Dalton Thompson) upon their first meeting. What Tracy does not realize — nor does Ellison, at first — is that her husband’s research is gravely endangering the lives of his entire family.

SINISTER not only builds with an intensely slow burn, it creates the first truly creepy horror villain that isn’t just a slasher, but is a humanoid monster of sorts… since, well, let’s say JEEPERS CREEPERS, but that’s not the best example. In an age where most horror is predicated on mean, violent humans doing very bad things, SINISTER is a breath of  fresh foul air. The baddy in SINISTER is kept at a distance, just out of reach, making him that much more frightening. Derrickson employes the same tactic that worked so well for Spielberg’s JAWS, in that what we don’t see is far more unnerving than what we do see.

As Ellison continues to dig deeper into the increasingly disturbing home movies, gradually piecing together the mystery of the family’s death and their connection to other similar murders across the country, the Oswalt family begin to find themselves subject to some very unfortunate side effects to Ellison’s new project. What SINISTER does so well is to capitalize on terror in the unknown, the fear of the dark and the inherent creepiness of waiting for the inevitable to occur. Derrickson creates a canvas in many of his shots, giving the audience so much visual information to take in that its difficult to pinpoint exactly where in frame, when or how the scare will occur, but we know its coming and can’t do a damn thing about it. Making this ever more effective, Derrickson allows himself to linger on these shots, creating even more tension for a greater scare once the inevitable occurs.

SINISTER plays on our basic fears, more than the visual shock of blood and gore, but that’s not to say this film isn’t graphic. There is plenty of blood and a fair amount of gore, but Derrickson takes the high road and chooses to imply most of the more gruesome events in the film, rather than putting them front and center as an outright spectacle. Nonetheless, the contents of this film are far from mild and not for an audience unaccustomed to some seriously demented content. Hawke succeeds at capturing the emotional range of his character, convincing the viewer of Ellison’s transformation through fear.

With all this evil menacing and bloody terror, one might expect the film to be an unbearably grueling ordeal to sit through, but SINISTER is actually a carefully considered, well-written story with a solid structure. Cargill provides just enough comic relief — but, not too much — to ease our troubled minds and weary souls when things get to be a bit too much for us to carry on. In fact, one of the most enjoyable scenes in the film occurs when Ellison and the Deputy Sheriff (James Ransone) — and fan — he has befriended discuss the validity of paranormal activity in the house of a murdered family. I, for one, did not expect to laugh so heartily in such a film, but it works and is welcome.

SINISTER is easily one of the best horror films I’ve seen in recent years. The only complaint I have about the film, albeit minor in scope, is that I personally felt the ending could have been tightened up a tad, shortened by ending in a more clean-cut space. Instead, the film meanders beyond this point to divulge some additional creative story details that ultimately work, but in the end aren’t terribly necessary. If you’re seeking out some fresh new horror to chew on this Halloween, I’d have to say you won’t find a better specimen than this.

Overall Rating: 4 out of 5 stars

SINISTER opens in theaters nationwide on Friday, October 12th, 2012.

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THE CONSPIRACY – Fantastic Fest Review

How do you react when you walk past a strange man or woman shouting seemingly absurd statements about politics, aliens or the end of the world? Do you stop and listen intently? Do you retaliate with your own brand of biased retorts, or do you simply pass them by, putting every ounce of your being into convincing yourself they do not exist? Now, consider this… what if everything coming out of their loud, obnoxious mouths were true.

Writer and director Christopher MacBride invites the audience to consider this while viewing his film THE CONSPIRACY, which is a faux documentary of sorts, but doesn’t attempt to fool the audience that it’s a real documentary. Intentional or not, there are signs that the film is a fictional production, from the way the documentary filmmakers are presented to the way in which the film is shot and structured. The opening scenes are very much designed to convey the feel of a riveting documentary, but this feeling rapidly tapers off as the story progresses and the heart of the film begins to take form.

THE CONSPIRACY begins with interview segments and on-the-street clips inter-cut with various bits of archival footage as documentary filmmakers Aaron (Aaron Poole) and Jim (James Gilbert) build a profile of an outspoken conspiracy theorist. As their exploration evolves, the man who at first appears mentally unbalanced begins to actually start making sense… and then, he disappears. His apartment ransacked, the filmmakers’ footage is all that remains to prove the man had ever existed.

Left with an unfinished film and a mess of the missing conspiracy theorist’s collected documents, Aaron and Jim choose to explore his theories further in hopes of either finding the man, or what happened to him. This marks the point at which a rift begins to form between Aaron and Jim, but also where the film itself begins to morph into something completely different from what was initially presented to viewers. This is also the point at which it becomes unquestionably apparent that the filmmakers were not out to fool audiences that this is an authentic documentary.

THE CONSPIRACY shifts from feeling like a documentary expose to a film that actually draws the audience in and makes them feel a part of the conspiracy, challenges the viewer to ask themselves about the validity of the “facts” and “theories” they are being exposed to on screen. MacBride clearly took great care in his research and in constructing the this film. MacBride wants us to question the truth as we know it, not to suggest that what we understand is false, but instead encourages us to questions the sources from which we receive our information.

As the stakes in THE CONSPIRACY increase and we inch closer to the truth, the film is already in the process of shifting into thriller mode. While there is a point where the film’s outcome becomes something predictable, it doesn’t draw too much from the experience. There are some logistical arguments to be made regarding the production, such as a flawed attempt to convincingly present a portion of the film as shot by a tiny, hidden tie pin camera. Then again, most viewers probably won’t even bat an eye, but for some viewers this will nag at you after the fact.

THE CONSPIRACY is engaging, entertaining, even a little bit educational. While the ending does get chalked up to being a fairly typical genre conclusion, it’s the journey to reach that outcome, the experience of the film that makes THE CONSPIRACY worth seeing. Allow yourself to be taken for a ride. Follow the filmmakers down the rabbit hole of the conspiracy theories and the mystery inherent to revealing the identity of who is pulling the strings.

Overall Rating: 3.5 out of 5 stars

RED DAWN (2012) – Fantastic Fest Review

If you’re anything like me, the first thought in your head when you heard about the remake of the 1984 classic RED DAWN was to shrug it off thinking “whatever.” Then, as the film is completed and nearing release, we hear that instead of being invaded by the Russians like the original — which is entirely understandable — or, as a way to update the story, invaded by the Chinese, which was the original plan, it turns out we’re being invaded by North Korea. Exactly. My first thought was… [scoff] “Yeah, right. How does that work?”

[Biting my tongue…] As it turns out, it works rather well. Surprised? I am. RED DAWN (2012) is, structurally, more or less loosely the same film as the 1984 original. I mean, when it comes down to brass tacks, both films are about the U.S. being caught off guard by a surprise invasion from a Communist enemy, occupied, then ultimately saved by a band of unlikely heroes. The difference is in the details. Instead of the Soviet Union, we’re invaded by North Korea… but, with some help from a couple of all-too-familiar [and previously mentioned] forces with a common goal. Nonetheless, the U.S. initially gets its ass handed to them, making the struggle to fight back all the more exciting.

Dan Bradley directs this modern retelling of the Cold War classic. Bradley is a stunt man with an extensive resume, stepping behind the camera as director for the first time. Its my theory that his time spent throwing punches, dodging bullets and taking falls are a significant factor in establishing the kind of realistic, modestly-paced action we get in RED DAWN. The film opens on a local high school football game, featuring the hometown Wolverines — from which the soon-to-be-realized American rebels get their name — and sets up the character profile for one of our two main heroes.

Josh Peck (THE WACKNESS) plays the star high school quarterback with an attitude, Matt Eckert, who must overcome his own selfishness and realize that in order to survive — ironically — he must learn to be a team player. Chris Hemsworth (THOR, THE AVENGERS) plays Matt’s older brother Jed, the more responsible of the two and a Marine on leave. Isabel Lucas (IMMORTALS) plays Erica, Matt’s sweetheart who is both the driving force for Matt’s fight against the invaders and the potential undoing of their small band of freedom fighters.

RED DAWN spends just enough time introducing characters and setting up back story, then throws the viewer head first into the invasion. The title of the film is no random choice, as the Communist, or “Red” invaders parachute from a legion of bombers into the Pacific Northwest. In our case, we witness what unfolds in Spokane, Washington as Matt and Jed wake to find North Korean soldiers have quickly taken control of their town, complete with fully armed soldiers, military vehicles and a barrage of exploding houses throughout the neighborhood. What little CGI is visibly present in this film, appears during the initial takeover, but is done so with a sense of holding back, not to exceed any suspension of disbelief, but actually causes a noticeable sense of dread and patriotism in the viewer.

As the viewer becomes attached to certain characters and distrustful of others, the film leads us through this devastating turn of events without ever sensationalizing them. RED DAWN is a violent, sometimes graphic film, but is never gratuitous. The characters are written in a way that we care about them, we want to see them succeed, even the ones who clearly have their priorities skewed. Adrianne Palicki, Josh Hutcherson, and Connor Cruise round out the primary cast, forming the core of the rebel Fighters known as the Wolverines. Jeffrey Dean Morgan makes a welcome casting addition as Col. Andy Tanner, a Marine pulled out of retirement in the latter half of the film.

At one point, RED DAWN actually pokes fun at itself, but does so innocently by allowing Matt to reveal how ignorant he is to the current state of world affairs. Despite the opening title sequence revealing a well-crafted and much appreciated montage of world news broadcasts and the like, Matt fails to grasp the scope of events leading up to the North Korean invasion when he asks “How is that possible?” This all becomes clear, not only for Matt, but for an otherwise potentially skeptical audience. In fact, the premise of this remake is perhaps even more realistic and terrifying than that of the 1984 original.

Unlike so many films that shove a sort of uber-patriotism down our throats, RED DAWN delivers an easily digestible dose of patriotic storytelling that pleases the pallet, while still succeeding and it’s primary goal of entertaining the audience. RED DAWN offers a strong story, but one that’s not overly complicated; a satisfying portion of realistic action that never goes over-the-top; and a decent helping of relationship side story to please the female perspective without overwhelming the rest of the film.

Overall Rating: 3.5 out of 5 stars

RED DAWN opens nationwide in theaters on Wednesday, November 21st, 2012.

ANTIVIRAL – Fantastic Fest Review

As an avid fan of the works of filmmaker David Cronenberg, I found myself fully committed to absorbing the feature film debut from his son, Brandon Cronenberg… for better or for worse. Fortunately, it paid off and I can honestly say that the Cronenberg name is becoming synonymous with daring, experimental film of a high caliber, beyond that of the founding father. ANTIVIRAL is a mesmerizing science-fiction film of one possible societal shift of the not-so-distant future.

Whether or not Brandon wishes to admit or acknowledge the influence of his father’s work on his own, this influence is clearly evident in ANTIVIRAL. I want only to point this out up front, but will refrain from making this the focus of my case for the film. From the elements of body horror, to the use of a fever dream and even distorted video displays of the human form, the truth lies in the film itself. However, Brandon doesn’t merely settle with making a film reminiscent of his father’s legacy, but expands upon it, making it his own. Brandon’s concept is his own, revealing his voice for the first time as a feature film writer and director with a bizarre bravado.

As writer, Brandon Cronenberg tackles some intriguing — even controversial — subject matter, transporting us into a society so utterly engrossed in celebrity worship that fans pay good money to a corporate clinic to be infected by a strain of viral illness collected directly from their celebrity of choice in an effort to become intimately closer on a biological level. This is the central product upon which the film revolves, but audiences get a broader taste of this twisted trend as the story progresses.

Caleb Landry Jones (X-MEN: FIRST CLASS) plays Syd March, a young salesman of sorts for Lucas Clinic, pushing the latest of celebrity viruses on demanding fans, willing to feed their obsession. Hannah Geist, played by Sarah Gadon, is Lucas Clinics’ biggest money maker, but her most recent viral illness is proving far more serious than anyone expected. This becomes a significant problem for Syd, not just because she’s the Clinic’s cash cow, but because Syd has been skimming off the top to bank some cash on the side. This is particularly troubling as his method of smuggling consequently brings himself closer to the celebrity whose virus he is smuggling.

ANTIVIRAL features a sterile, white-washed corporate atmosphere while Syd is at the clinic, set against the grimy underbelly of the black market with which he is tangled smuggling the celebrity contraband to his fence, the owner of a delicatessen of the strangest order who deals in distributing exclusive viral illnesses to the masses. E.C. Woodley provides a fitting score to accompany the visual dynamics of cinematographer Karim Hussain.

Caleb Landry Jones truly captures the enigmatic nature of Syd, complete with the internal struggle that infects both his conscience and his body. Syd is clearly not a devoted supporter of the industry within which he works, nor is he rebelling against it. As Arvid (Joe Pingue), his delicatessen fence points out, perhaps Syd is in denial of his own deep-seeded obsession with Hannah. This peculiar imperfection in his master plan of making his own way drives Syd down a less certain and far more nefarious path as he uncovers a hidden agenda put into play by certain players.

Visually, ANTIVIRAL engages the viewer on multiple layers, including some impressive but low-key special effects and a unique use of flesh and the human cellular material in only a handful of creative applications. These scenes, however, particularly the final scene, may warrant a word of caution for the squeamish regarding human blood, not in excess, but in context. Perhaps the only thing I can legitimately make a case for improving would be a slight tightening of the pace, but not much, and the absence of any further fever dreams beyond the one and only example involving Syd becoming one with machine.

Overall Rating: 4 out of 5 stars