Tuesday, April 21, 2015

IFF Boston starts tomorrow night!




The Independent Film Festival Boston is a force to be reckoned with. Spanning across the Boston area and taking over the Brattle, Coolidge Corner, and Somerville Theaters, this fest is world-class cinema bright right to our front doors. Though they focus on the best independent films, a certain number of horror and genre films are bound to be included in the programming. 
 
Of note, this year I strongly encourage you to check out:

The Tribe. I’ve been singing this film’s praises ever since it knocked me on my ass at 2014’s Fantastic Fest. This is by no means a horror film, rather it is a dialogueless art-house film that shows the horrors that humans are capable of committing. It is immensely difficult to watch, but also one of the most impactful cinematic experiences I have ever had in my life. If you like films that make you work for access, films to change your life, and are prepared to need a stiff drink afterward, do not miss this. 


They Look Like People. I have not yet seen this film, but am completely smitten by the description on the IFFB site: “Suspecting that those around him are actually malevolent shape-shifters, a troubled man questions whether to protect his only friend from an impending war, or from himself.” Naughty shape-shifters and a troubled soul? Sign me up! 


Deathgasm. I am sold on the name of this film alone. Playing the late slot on a Saturday night at the Brattle Theater, Deathgasm promises to be one of the more fun and less egotistical films of the festival. Again, this is not a film I have seen yet myself, but dark comedies starring metal heads, filled with splatter are squarely in my cinematic sweet-spot. The excellent reviews for Deathgasm from South by Southwest left me chomping at the bit to see this one. 


With IFFB’s eclectic and carefully chosen programming there are bound to be films I am leaving out of this very short list. And I did not even attempt to scratch the surface of their stellar shorts programs. Check out their schedule online, buy your tickets early, be sure to find a drinking buddy for after The Tribe, and don’t miss The Independent Film Festival Boston!

Monday, April 20, 2015

Film Thrills #9 Director Patrick Kennelly & Actor Bethany Orr (EXCESS FLESH)

Coming out of the 2015 Boston Underground Film Festival, there might no have been a more controversial a film than Patrick Kennelly's Excess Flesh. Exploring body dysmorphia, the cyclical nature of abusive relationships, psychosis and the way Los Angeles serves as a breeding ground for dangerous and unrealistic standards of beauty, the film is anchored by it's leading lady Bethany Orr and the intensity she brings to her role as Jill. As an apartment recluse, Jill feeds her paranoia and self loathing one spoonful of decadent mac and cheese slathered with BBQ chips at a time.  


Both Kennelly and Orr sat down to talk with Dede Crimmins and I this past week to discuss the genesis of the film, what it means to create horror rooted in reality and why those who say "beautiful" people can't claim to have body issues can get stuffed.

For more on Excess Flesh, read Dede's incisive review at ALL THINGS HORROR: "Excess Flesh Rips Your Heart Through Your Stomach And Makes You Watch".

If you dug this week's episode, please do us a HUGE favor and leave us a positive review on iTunes. It takes two minutes and helps us to be discovered by more listeners. 






Holy Cow, The Trailer for M Night Shymalan's THE VISIT Looks Great!


After last year's disjointed mega flop After Earth, no one could blame filmmaker/human punching bag M Night Shyamalan if he decided to take an extended break from making movies. In fact, considering his post-Signs output, more than a few people have vocally encouraged him to do so, with that number increasing with each subsequent release.

With that in mind, it was a bit surprising to see a trailer for Shyamalan's latest effort, The Visit, this past weekend in theaters. Even more shocking was how damn good the two minutes of footage looked! The Visit appears to be Shyamalan scaling back the scope and spectacle of his vision, opting for a small scale horror film that, if it works, should be a real crowd pleaser. Shyamalan financed the film out of his own pocket, and filmed it in secret in rural Pennsylvania.

The Visit is about a pair of siblings dropped off to their grandparents' house in order to spend some quality time with them. While things seem hunky dory at the outset, it's not too long before the brother and sister discover that Nona and Papa are involved in some freaky activity. Despite their mom dismissing her parent's behavior as the quirks of old age (and perhaps just happy to enjoy a few nights at home without screaming kids underfoot), or what might be the early onset of dementia, it doesn't matter what the reasons are when granny is telling the kids to hop in the oven or gramps is wielding an axe with bad intentions on his mind.

Look, everyone knows that old people are creepy enough without any added hijinx. They typically smell of Vic's Vapor Rub and serve as a constant reminder of our own mortality. Put one behind the wheel and they'll drive 40 miles an hour in the passing lane but manage to confuse the brake and gas pedal when driving in front of school kids of trying to park in front of buildings. They talk a lot of gibberish and wear night clothes in public. They vote, and they vote for assholes nine times out of ten. All things considered, if you make senior citizens the antagonists in your horror movie, it will be creepy as shit.

Universal Studios slated The Visit for a September 11th release. This seems like a bold move. If the film is the latest in a long line of disasters for the filmmaker, then the reviews almost write themselves: "The Visit is the second largest tragedy unleashed upon the country on this date." Here's hoping the once-great director finds his footing again.

INTERVIEW: Director Lowell Dean (WOLFCOP) Talks Law Enforcing Lycanthropes


So WOLFCOP came about in a really interesting way by winning a contest to get funding, right? Can you talk a little bit about how the film came together?

It was almost a backwards way of getting a film together for sure. We had shot a concept reel as a way of getting funding. We entered a contest called the Cinecoup Accellerator. You can check them out online but Cinecoup is essentially a social media platform. It wasn't a contest per se but people do compete online for votes and media attention and the winner of the final film selected would receive a budget of a million dollars and a theatrical release in Canada. Wolfcop luckily wound up being the film selected.

WOLFCOP struck me as a throwback film from the early days of HBO and Cinemax where one would have seen it over and over when pay cable was looking for ways to fill programming with any low budget horror or comedy they could pay the rights to broadcast. How big of an influence were the early days of cable or glory days of VHS in coming up with the tone for Wolfcop? 

Yeah definitely. I think especially for me, I wanted to have the late night TV vibe and have an 80's feel in general. We wanted to have that "low budget, high concept" feel that so many of the best 80's movies had and we wanted to do a really dark, twisted and funny spin on something like Teen Wolf. 

The film has a lot of laughs and obviously the joke is spelled out in the title of the film, but watching it I was struck by how straight much of the film plays and how much pathos and how much of a backstory is developed for the towns history. How important to you was it to not make the film to overtly "silly"or pure schlock. given that your lead character is a law enforcing werewolf? 

It was definitely a conscious decision. I'm heavily influenced by comic book culture and of course we knew the name of the movie is "Wolf Cop" so people were going to laugh no matter what. We wanted to get people to care about the characters and the story. When I wrote it I almost went on the offensive and maybe went a little too much on developing the drama. I wanted you to care about the characters and set up the world first and foremost and set up the history of the town so that by the time we let Wolfcop off the leash and things got crazy and bizarre you felt like you were in a bit of a comic book world.

Universal Studios is in the middle of retooling all their classic monsters as Avengers-style action heroes, which seems pretty unfortunate, but do you envision bringing on more classic monsters? I know the end of the film says that Wolfcop will return.

There will definitely be a Wolfcop II, but I don't see him taking on a vampire lawyer. Without giving too much away I will say there is a new monster that comes to the town and Wolfcop will take it on. Eventually it would be cool to do our own team type of thing but I think this character still needs some more fleshing out before we bring on Frankenstein and the ilk.

What were some of the more fun ideas to develop and film? The werewolf sex scene obviously gets a rise from the audience.

The sex scene was fun to do. The transformation scenes were a huge challenge because they were so slow and took so long to set up. We'd spent at least twenty minutes setting up a two second shot. For me it was the barn scene where Wolfcop shows up and just starts shooting everyone down and ripping off people's faces. By the time you reach the sequel there will be more off that since we got the origin story out of the way. Whenever Wolfcop was on set, things were a little crazy.

Was it just about all practical effects? This has to be the first exploding penis in a transformation ever seen on film.

It wasn't 100% practical effects but it was very close too it.

Who was on the FX team? 

Emerson Ziffle was the head of our effects team. I've been working with him and have been friends with him for a long time. Before there was even a script he was working on the effects.

With any werewolf film, the hook hinges on the transformation scenes. What had Emerson worked on in the past that made him your guy.

He and I had worked on a couple short projects together in the past. One of my first short films is a zombie comedy called "Doomed"about a small town that gets devoured by zombies. His effects were so much better than the actual film that I knew I had to work with him more. Later on, my first feature was a zombie/mutant title called 13 Eerie and he did the effects for that as well. I just knew he was the guy to work with.

How excited have you been with the attention the film has received?

I'm so happy for it and shocked by it a little bit every day. This was such a small little project shot in seventeen days. I'm so flattered when people even talk about it. I hope people get what they were looking for from it.

You have a great character in Wolfcop's partner Tina (AMY MATYSIO). Was it important to have a strong female character that was an ass kicker in her own right and not just a standard love interest? 

It wasn't originally but over the different drafts of the film Tina got a lot stronger and it totally helped the film. Female characters are often pushed to the background or relegated to sex objects in these kinds of films, so to let Tina be the John McClaine of the movie felt right. In a lot of ways Lou is Tina's sidekick in the movie. I realized that when we were doing the breakdown of the final fight and Tina was killing off way more people than Wolfcop. She was fun to write for and will definitely be back in the sequel.




Thursday, April 16, 2015

"Chewie, We're Home": Lots To Love In The New Star Wars Trailer



The joyous and spontaneous sounds of orgasmic bliss that broke out all over the internet today was the collective outbursts from fanboys and fangirls today with the release of the first full bore trailer for Star Wars: The Force Awakens. Since it's the duty of anyone operating a movie or entertainment site to comment on the new trailer, I am honor bound to throw in my own two cents on two minutes that left me giddy with excitement and breathlessly awaiting for December to come around.

Here's a handful of items I loved about the trailer:


  • STAR DESTROYER DOWN That first sweeping shot of the desert, complete with a crashed X-Wing and an obliterated Imperial Star Destroyer nicely ties Episode VII in with that first, captivating image of A New Hope, where the sheer magnitude of the Destroyer let audiences in on the fact that they were in for an epic ride. 
  • VADER'S BURNED OUT HELMET The visage of Darth Vader's charred skull resting in the melted, gnarly steel of his hemet was pretty shocking. The early rumors have it that one of the film's new Big Bad is responsible for pulling it out of the funeral pyre. As far as I'm concerned, there can never be too much Vader, and even if his presence is simply hinted at in the new series, it won't be a bad thing.
  • LUKE'S VOICEOVER AND CYBERNETIC HAND I've been trying to stay as spoiler free as possible when it comes to plot details of the new film, but one of the rumors is the Empire didn't die out with the destruction of the second Death Star and the Battle of Endor. Seeing Luke's false hand stripped of flesh hints at the idea that he's endured more than his share of battles following the death of Palpatine. Also, his narration in the trailer, talking about how the Force runs through his bloodline gave me goosebumps. Does the "you" he refers to hint at Jedi children? Is it possible that Mara Jade from the expanded universe will make an appearance? 
  • KYLO REN AND THE "CROSSGUARD LIGHTSABER" I don't care, that shit looks cool. Ren's face guard and costume should draw comparisons to Darth Revan from the Knights of the Old Republic video game. He looks like a formidable opponent and all around badass. Let's hope Abrams and company don't repeat Episode I's mistake and have him cleaved in half by the end of the first film. 
  • JOHN BOYEGA IN AND OUT OF THE STORMTROOPER SUIT Boyega plays Finn, and guess at his role is a bit of good fun. Is he a double agent? Is he someone that crosses from the villain's to the heroes' side?  
  • "CHEWIE, WE'RE HOME."The gang's all back, and Ford even looks like he gives a shit. Seriously, how cool is it to have Han Solo back on screen after three decades? As long as we can leave out CGI monkeys and Shila Labouef, I think we're in good hands. 

EX MACHINA interview with writer & director Alex Garland




Writer Alex Garland has deep roots in genre film. From injecting new life into the zombie genre with 28 DAYS LATER (no matter if they are zombies or just infected, that film kicks ass regardless of the official category), outer space hijinks in SUNSHINE, and even the 2012’s DREDD, Garland has established himself as an original mind who flirts with the edges of genres. He visited Boston this week and I got to sit down to talk to him about his newest film EX MACHINA.

From FRANKENSTEIN to BLADE RUNNER there is a strong history of creating artificial life or artificial intelligence in science fiction. What attracted you to working with these stories?
I’m aware of exactly what you are talking about, and I thought I had a different way I wanted to approach it. Typically creation stories are cautionary tales, with a semi-religious aspect to them. It is implicit that man should not create life because creation is God’s work. If man messes with creation he will get his fingers burned. I was interested in that rhythm. I could see elements, but the more I thought of it, the more I realized there was a misapprehension here. Particularly when it comes to consciousness, because on some level this is just a film about consciousness. Creating consciousness is not God’s work at all, it is a parental act. Everybody on the planet is a result of either one or two other consciences creating it. It’s not in itself a very strange thing. In fact, it is the opposite of strange; it’s the most normal thing there is. It is fundamental to the fact that we exist at all. So in some respects I was approaching this from what I thought was a different angle. In my mind, though I wouldn’t expect anyone else to see it this way, when you have a thing like Ava turning to Nathan and saying, “What is it like to have made a thing that hates you?” that’s like an adolescent. More importantly than that, the film is allied with child. In my perspective I’m standing next to Ava. Of course I understand other people may not. They might empathize with Nathan or, more likely, Caleb, but I certainly don’t. When stories get repeated this way, with variations, it is because they capture something. It’s effectively the same as myth, isn’t it? It’s in the telling and retelling that we assure ourselves or examine ourselves. Many of the stories that exist out there are myth-like reoccurrences. 

One of the questions I was planning on asking you was which character you identify with, and it is interesting that you chose Ava.
I identify massively with Ava. And I did think a lot about this because it is an ideas movie. Posing questions, with some of them answered and some of them not. Some of them like, “Where does gender reside?” I’m not sure if I know how to answer that. But the fact that I don’t know how to answer it doesn’t mean that it isn’t interesting to ask and think about it. If you are going to put this stuff out there, there is something of a responsibility. The right thing to do is to think about it as hard as you can, and to rely on other people as well. With this film, more than any other I’ve worked on, I worked on it and then showed it to other people. They were interested in some of the issues raised, and I asked them to test it and make sure it stands up. 

This is the first film you have directed. Is that correct?
Fucking hell (laughs). Usually that question is asked in an easier way. By saying “correct?” you have put me on the spot. I have worked as a director before, so it’s not exactly the first time. 

EX MACHINA often focuses on showing, rather than telling. As a writer, how did you approach the script when creating the visual language, when you would be the director too?
If someone said, “What’s your job?” I would say I’m a writer. I always approached the script exactly the same way. Show don’t tell is one of the first lessons in filmmaking. The fact that I knew that lesson didn’t mean that I didn’t get it wrong earlier. The whole thing is a process of learning, on all sorts of levels. I can see lots of stuff in this film that is a direct reaction to other things. For example, things I did not do properly on SUNSHINE, things I didn’t do properly in NEVER LET ME GO, things I didn’t do properly on DREDD. I can point to things and say, “That’s me trying to correct a problem that I created on SUNSHINE.” I already knew show don’t tell. There are times in the film where I can see people reacting in a polar way. I’ll see it one way, someone else will see it another, and another will see something else. I think I could have avoided that if I did more tell don’t show. If I said specifically what the position of the film is, and it was very clear, then it would avoid a certain problem in interpretation. However, I also think that would be to the detriment of other stuff. A balance is the right way to do it, but it’s not clear in my head. It is an ongoing process. 

You’ve already touched on some topics I wanted to bring up. You mentioned gender, and the fact that you did not have a specific answer to some questions about gender- (Garland jumps in)
There are very specific questions. And there are some answers to some of the questions. For example, the questions that get implicitly raised in the film are, “Where does gender reside?” “What is the right way to refer to Ava: He, She, or It?”, and “Is gender defined as a way that someone else reacts to you, is it defined by your physical form, or is it defined by your consciousness?” With the particular question, “Where does gender reside?” I don’t feel that I have a water-tight, concrete answer. But that does not negate the value of the question. It remains an interesting subject for me, whether I know where it leads or not. 

You are kind of interviewing yourself at this point. I was going to ask, what made you want to explore gender as a topic? So many films do not deal with it, and EX MACHINA takes it head-on.
Various things, I suppose. Much of it is rather banal: I’ve got a young daughter. I’m aware of some of the things, and some of the inputs that are being laid on to her. You think about it. Sometimes you feel pretty anxious about it. A lot of what is in the film comes from conversations with particular friends. There is one friend of mine, in particular, who I have spoken to about some of these issues for quite a while. As you think about them, turn them around in your head, they become more and more interesting. You try to process it. For me, as a writer, this process takes the form of stories. When I get really fixated on a subject that’s where it eventually works itself out. 

What is your next project?
One of the producers on EX MACHINA, Scott Rudin, gave me a book. I did read it and I thought it was kind of amazing. It’s called Annihilation, written by an American called Jeff VanderMeer. It is a really strange, beautiful novel, which has a dream-like aspect. I read it and got really fascinated by it, and could see a way to approach it as an adaptation. I wrote that, and I just submitted it to the studio and now I’m waiting. At this point it is like a coin flipped in the air, and it is spinning.

Tuesday, April 14, 2015

Shout! Factory releases two-fer Blu-ray of Carrie and The Rage: Carrie 2

Pandering to the B-horror collectors, Shout! Factory has recently done a decent job of putting out Blu-rays of films you never knew you wanted a pristine copy of. The latest in their quest to never forget is the double feature of Carrie (the made for TV version starring Angela Bettis and The Rage: Carrie 2. Though I'm not about to argue that either are canon, I will say the pairing makes for a fun night of popcorn fun. 


From the press release:
Get ready for a double dose of telekinesis terror! Scream Factory presents Carrie & The Rage: Carrie 2 on Blu-ray on April 14, 2015, with bonus features that include new audio commentaries with Carrie director David Carson and The Rage: Carrie 2 director Katt Shea and director of photography Donald Morgan.

CARRIE
Angela Bettis (May) stars in this 2002 adaptation of Stephen King's classic tale of horror and retribution, featuring eye-popping special effects and a shocking, all-new twist ending! Carrie White (Bettis) is a lonely, awkward teenage girl who just doesn't fit in. At school, she endures her classmates' constant ridicule, and at home she suffers endless psychological torture at the hands of her fanatically religious mother (Patricia Clarkson, Six Feet Under). But Carrie has a secret. She's been cursed with the terrifying power of telekinesis. And when her tormenters commit an act of unforgivably cruel humiliation at the prom, they'll soon learn a deadly lesson. Taking its inspiration from King’s book rather than the original film, Carrie was written by Bryan Fuller (TV’s Hannibal, Pushing Daisies) and stars Emilie de Ravin (Lost), Katharine Isabelle (See No Evil 2, Ginger Snaps) and Chelan Simmons (Tucker & Dale Vs. Evil).

THE RAGE: CARRIE 2
In this horrifying 1999 sequel to Brian DePalma’s 1976 classic, Rachel (Emily Bergl, The Knick) is a high school misfit who gets caught in the middle of a vicious prank orchestrated by a group of jocks that turns deadly. Once the police bring one of the boys in for questioning, his teammates target Rachel for squealing, and hatch a devious scheme to publicly humiliate her. But messing with Rachel is worse than playing with fire, for when her temper's crossed, it triggers a powder-keg of anger and unleashes horrifying powers that turn a wild teen house party into a wilder mad-house inferno! Also starring Jason London (Dazed And Confused), Rachel Blanchard (TV’s Clueless), Mena Suvari (American Beauty) and Amy Irving (reprising her role as Sue Snell from Brian DePalma’s original Carrie), this fast-paced, white-knuckle revenge fantasy takes telekinesis to the next level of terror!

SPECIAL FEATURES:
CARRIE:
  • NEW Audio Commentary with director David Carson
  • Trailer
 THE RAGE: CARRIE 2:
  • NEW 2015 Audio Commentary with director Katt Shea and Director of Photography Donald Morgan, moderated by filmmaker David DeCoteau
  • Original 1999 Commentary with Katt Shea
  • Alternate Ending with “before and after” special effect sequence
  • Additional scenes not seen in theatres
  • Theatrical Trailer

Monday, April 13, 2015

Netflix's DAREDEVIL Brings Grit And Toughness To The Marvelverse




This review covers the first four episodes of Netflix's new, original series Daredevil.

As the first of four shows in the Netflix and Marvel partnership, Daredevil has a lot of pressure riding on its shoulders. Not only does it have to wash the taste of 2003 film out of audience's mouths,* it is also needs to succeed without the grandeur of Marvel's other properties while tying itself in to the ever-expanding shared universe. Thankfully, the series succeeds by embracing the grounded, street level heroism that defines its character, which allows viewers to enjoy it as an urban crime drama just as much as they do for its super heroics.

Set in aftermath of The Avengers, Daredevil concerns itself with the consequences and cleanup the man-on-the street confronts when Gods, super soldiers, Hulks and aliens level entire city blocks in their efforts to either save or destroy the world. One of the roughest sections of New York City, known as "Hell's Kitchen," was hit hard, and as it tries to rebuild, corporate construction  interests have set their sites on reshaping the area to benefit the one percenters at the expense of the down and outers that make up the area. It's this street level view that makes up the most compelling aspect of Daredevil. While the Marvel films have raked in a fortune by providing audiences with a sense of grandeur and light heartedness that had gone missing from superhero films for far too long. Daredevil strips the sense of the fantastic away and operates much more on the ground level. In doing so, it becomes the first of its kind to examine how these epic battles effect those struggling to eke out an existence. At one point a corrupt executive reminds a congregation of white collar villains that every time one of the super humans punch another through a wall "our margins go up by three percent." With a focus on crime syndicates and bureaucratic corruption, Daredevil shares more in common with The Wire than Iron Man.

At the center of Daredevil is Charlie Cox as Matt Murdoch, the blind lawyer whose heightened senses and years of training have him taking on the role of vigilante trying to clean up the streets of Hell's Kitchen. Cox plays Murdoch as an lower-on-the-income bracket Bruce Wayne, a man whose charm and clearheadedness mask the rage bubbling just underneath his skin. Both the show and Cox's take on the character owe a heavy debt to Frank Miller's historic run on the comic book in the early 80s. Cox brings an edge to Murdoch that can't be found anywhere else in the MCU. The series wisely sidesteps the standard origin story by setting itself at the start of Daredevil's career, while providing brief flashbacks to the events that led him to donning the mask. The series kicks off with "Battlin'" Jack Murdoch (John Patrick Hayden), a midcard pugilist who can take a punch as good as he can give it, cradling Matt in his arms after a toxic chemical spill blinds the boy. This moment and the one's that follow demonstrate the bond between the father and son and shine a spotlight on the lessons of toughness, honor and responsibility the elder passed down to Matt.

Part of the beauty of having Daredevil spread out of 13 fifty minute episodes rather than a two hour film is it allows the show to flesh out a stellar supporting cast. True Blood's Deborah Ann Woll brings toughness, smarts and resourcefulness to her role as Karen Page. Murdoch and Page meet the woman after she's framed for the murder of a coworker and Murdoch takes her case. Page is about to blow the cover on a billion dollar pension scheme run by her employers and its only through luck and cleverness that she manages to avoid being killed in the pilot. Rosario Dawson turns up as Clare, a nurse living in Hell's Kitchen who patches Murdoch's broken bones and bruises after his brawls. Elden Henson brings a bit too much of a dudebro persona to his role of Foggy Nelson, Murdoch's partner and best friend, but Vincent D'Onofrio is a revelation as the shadowy antagonist WilsonFisk, aka The Kingpin. Sticking mostly to the shadows for the first few episodes, D'Onofrio plays the part with a blend of delicate sensitivity and intense rage. Fisk speaks in a raspy whisper that forces you to listen in order to hear him, and it's not until one of his underlings anger him by threatening to expose his operation that the anger just under his surface come exploding out in brutal, precise fashion.

Speaking of brutality, Daredevil contains some of the best fight choreography this side of The Raid. Most of the fighting takes place in close quarters and consists of hard strikes, punches and sweeping kicks with an eye towards disabling one's opponent by as efficient means possible. The second episode, Cut Man, climaxes with an extended single take shot where Daredevil has to taken on six baddies at once, and it's every bit as breathtaking a bit of fighting that one would see on a massive scale cinematic production.

Any fears that a movie to the small screen of Netflix would hamper the high standards of the MCU fans have come to expect should be set at ease by the end of the first episode. Daredevil is an addicting show, one that manages to blend crisp action with high stakes drama. Those looking for the next, great binge watching experience should look no further than this show.

Drafthouse & iTunes Offer SPRING For $9.99

Since its release this past March, Justin Benson and Aaron Morehead's sophomore film SPRING has earned critical and commercial accolades. After debuting as the #1 film in the horror subsection (and top 3 in the romantic films category) the film has continued to pick up steam, reemerging at the top of the charts again this past week. In order to celebrate and to keep momentum going, DRAFTHOUSE FILMS is offering Spring for purchase in HD at $9.99 for a limited time.  This is a chance to own one of the best films of the year for the price of a burrito. Folks looking for something uplifting and beautiful, with wonderful performances and visual eye candy would be stupid to pass this up.





Thursday, April 9, 2015

Trailer For Human Centipede 3 Mak....Fuck It I Give Up.

Presented without comment:



Okay, a couple (brief) comments:

  • I never watched the 2nd film. It came out around the time my daughter was born, and after hearing it ended with a sequence involving a newborn getting squashed by a brake pedal played for comic shock effect, well, fuck that noise.
  • Deiter Laser as a mad scientist: perfect casting. Deiter Laser as a redneck prison warden, I'm not sold.
  • I'll probably see this with friends because deep down I hate myself.