SIDE NOTE: THIS IS BEING UPDATED DAILY! PLEASE KEEP CHECKING BACK FOR MORE COVERAGE!

Fantastic Fest Secret Screening Review: A SERIOUS MAN

Rating: 9/10

Writer/Director: Joel and Ethan Coen
Cast: Michael Stuhlbarg, Richard Kind, Adam Arkin
Studio: Focus Features

It’s strange to think that NO COUNTRY FOR OLD MEN could ever seem like a straightforward or simple film. Of course, it’s not, it’s a layered film with plenty to say, but after seeing the Coen brothers’ latest film, A SERIOUS MAN, NO COUNTRY seems easy to understand, which is probably part of the film’s point…probably.

After walking out of the screening of A SERIOUS MAN, I was in a sort of cinematic daze trying to process what I had just seen, coupled with not wanting to jump to any certainties. A SERIOUS MAN is a film that makes you work for your gratification, but once it begins to come together it is definitely worth the effort.

A SERIOUS MAN is about Larry Gopnik (Michael Stuhlbarg) a ohysics professor who has built his life the way he thinks he should. A good job, a wife, two kids, modest house – but the film begins as Larry’s safely built life starts to fall apart. During his struggles, Larry visits three rabbis, looking for insights or any kind of help. The story sounds simple, but once you dig deeper and, of course, the Coen brothers want you dig, the film is ripe with ideas and ways to push the viewer (in the best way possible).

The Coen brothers are also able to give us a very funny movie without having any actual jokes. The film’s dark comedy lives in Larry’s gradual unraveling and the character’s foolishness or hang ups. A SERIOUS MAN’s existence of humor, despite containing no real jokes, is just another reminder of how the Coen brothers are not only on the short list of best directors working today, but are also two of the best screenwriters.

A SERIOUS MAN requires your involvement, your perpsepective, and what you think the film is trying to say. It also relies heavily on your own views, as A SERIOUS MAN is incredibly open to interpetation, and there will likely be a large diversity of opinion when it comes the film. This a big part of what makes the film so interesting and impressive, in that while the Coens surely had a clear idea of what they were getting at with A SERIOUS MAN, the film’s complexities and deep subtext means it can be taken in so many different ways.

Note: This review has been changed since originally being published.

Last modified on 2009-11-28 21:23:09 GMT. 2 comments. Top.

Fantastic Fest Red Carpet Int: ZOMBIELAND (Woody Harrelson, Jesse Eisenberg, Emma Stone, Ruben Fleischer)

Now that ZOMBIELAND has hit theaters, the world can now experience the pure bad assness that is this film. But what if the film was not a film at all? What if it was reality? Wouldn’t you want to know a few things to prepare yourself for the onslaught of the walking/running/climbing undead? And who better to ask than the film’s stars Woody Harrelson, Jesse Eisenberg, and Emma Stone as well as its director Ruben Fleischer?

Check out our interview on the zombie-filled red carpet for the premiere of the film! You will discover beneficial survival tips including: what the most effective yet creative zombie killing weapon is, what the the scariest zombie animal is, what profession makes the most terrifying zombie, as well as some of the more obscure influences behind ZOMBIELAND itself. And fear not for there are no spoilers, however, the lovely Emma Stone does provide a few of the earlier names that were thrown around for what could be the best cameo of all time! Best next to the cameo in this video from Mr. Cinematical, Scott Weinberg, of course!

And if that wasn’t enough, the always well-mannered and well-spoken Mr. Eisenberg gives you a few insights into what can be expected from David Fincher’s THE SOCIAL NETWORK, in which the actor plays the creator of Facebook, Mark Zuckerberg.

Check it out after the jump!

Last modified on 2009-10-04 17:11:51 GMT. 2 comments. Top.

Fantastic Fest Red Carpet Int: THE VAMPIRE’S ASSISTANT (John C. Reilly, Josh Hutcherson)

On Saturday, we got the chance to chat with actors John C. Reilly and Josh Hutcherson, stars of the film CIRQUE DU FREAK: THE VAMPIRE’S ASSISTANT. Check out the video from the red carpet premiere of the film, which debuted here in Austin at this year’s Fantastic Fest. Mr. Reilly tells us what we can expect from the film and how it does not necessarily follow classic vampire lore. Hutcherson lets us know what sets this apart from other current vampire fare (I.E. TRUE BLOOD, TWILIGHT). Fans of RED DAWN that are anticipating the remake will definitely want to check this out, as Hutcherson (who takes over for C. Thomas Howell) also gives us a few tidbits on what to look forward to with the upcoming reimagining. Chinese instead of Russians and Cubans? Still rocking the Star Wars hat with the flipped bill? Can we expected the classic guttural “Wolverines!” yell?

Check out the video after the jump to find out!

Edited by: Chase Whale

Last modified on 2009-10-05 00:27:21 GMT. 6 comments. Top.

Fantastic Fest Review: THE HOUSE OF THE DEVIL

Rating: 7.5/10

Writer/Director: Ti West
Cast: Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig
Studio: Magnolia

THE HOUSE OF THE DEVIL is a chilling tale of a college student (Jocelin Donahue) desperate for money who decides to answer a flier for a babysitting job. However, the flier is a ploy by an elderly couple (Tom Noonan and Mary Woronov) to get the suspecting girl to their house for an evil purpose.

The film takes its time, and it’s quite a while before Samantha realizes that it’s time to panic after the Ulmans’ intentions are revealed. For almost an hour, THE HOUSE OF THE DEVIL is mostly a quietly unnerving experience, before getting to its blood-covered third act.

From its vintage look, eighties setting, and a totally retro opening credits sequence, THE HOUSE OF THE DEVIL lets you know from the first frame where its head and heart is. I might add that it’s a very good place. The entire film plays as if it’s been sitting on a shelf somewhere for 20 or 30 years. THE HOUSE OF THE DEVIL not only looks like an early 80s horror film, but also has the same attractiveness as those films; it gives quite a loving nod and heavy emphasis to mood and tone, with the film having nice gradual build from creepy to “what the fuck” awesomeness.

Ti West wisely gives us plenty of quality time with Samantha before she winds up at the home, fleshing Samantha into something more than just a one-dimensional character there to be killed. What this achieves is it makes Sam into someone we care about. So, when shit gets real (and it certainly does in THE HOUSE OF THE DEVIL), we are much more concerned with how it all turns out. This of course being different to so many other horror films that only give us stereotypical characters, there to get hacked up and/or show their goods.

THE HOUSE OF THE DEVIL also has clever dialogue that is notable for its subtle playfulness. There are some slight puns that are pretty amusing. And Mr. Ulman’s focus on mentioning the local pizza delivery place (which also serves as a critical plot device in the film) should get a chuckle or two from audience members.

Ti West’s THE HOUSE OF THE DEVIL is everything its cool marketing campaign has made it out to be. It is an enjoyable throwback to a much better time for the horror genre – you remember the 70s or 80s? When every horror film wasn’t a remake or didn’t feature a long, dark haired Japanese girl with a chip on her shoulder.

Last modified on 2009-10-30 15:41:36 GMT. Top.

Fantastic Fest Video Interview: TRICK ‘R TREAT writer/director Michael Dougherty

My interview with TRICK R’ TREAT writer/director Michael Dougherty happened in a more eventful way than usual. The interview at first seemed certain and was supposed to take place before the film’s screening at Fantastic Fest on Friday night. However, moments before the screening, I lost communication with the interview connection and wasn’t sure if it was actually to happen. I heard from my pal, Scott from We Are Movie Geeks, that Michael should be arriving out front any minute, and decided to go out wait for him with Scott. While waiting, I saw a guy walking guy that looked a little lost and a lot like the Michael Dougherty picture I recently saw on IMDb. Not quite sure what to do I, yelled Micheal’s name, and the confused guy turned around. Scott and I introduced ourselves and got out an interview, plus I got a kind of interesting story about the interview that almost got away. Count it!

Check out my review of TRICK ‘R TREAT! View the video after the jump!

Edited by: Chase Whale

Please be patient while the video loads. Thanks!

Last modified on 2009-09-28 03:18:13 GMT. Top.

Fantastic Fest Review: FISH STORY

Rating: 8/10

Writers: Tamio Hayashi
Director: Yoshihiro Nakamura
Cast: Gaku Hamada, Atsushi Itô, Kengo Kora, Mirai Moriyama, Nao Omori, Mikako Tabe
Studio: Amuse Soft Entertainment/Dub

Can one song change the world? Music and, moreover, art in general, is a powerful tool that has influenced and encouraged people to achieve amazing feats. But did The Beatles ever stop a comet from destroying Earth? Nay. However, the Japanese punk band Gekirin has. And that is where FISH STORY begins.

The film explores multiple character pieces, seemingly unconnected. In the 1975, Gekirin, predecessors to the punk pioneers Sex Pistols, write one great song and fade into obscurity. In 2012, a record store owner, a young patron, and a pompous rich man discuss the impending end of the world as an unstoppable comet hurdles towards Earth. In the 1990s, a college student faces his fears and becomes the man foretold he will be by a young psychic girl. In early 2000, a “champion of justice” thwarts a hostage situation when terrorists, attempting to create a new ark, hijack a ferry boat.

Well, the stories only appear to be unconnected! That is, until the very end of the film when, in a moment of black and white cinematic beauty, they are all sewn together to reveal that one song can in fact change the world and that one minuscule event can cause a chain reaction that echoes through into eternity. And they say that punk is dead. In FISH STORY, punk keeps us all alive.

Read on for more.

The film is a wonderful look at what happens if you fulfill your destiny, and the chances you must take to get there. That is, if you even believe in destiny. Maybe you see the world as random chance encounters, all acting in a undetermined cause/effect relationship. Whatever your philosophy may be, FISH STORY is a film that explores people at their best and the explosive power this carries in the world. It does so, not in a heavy CRASH-like way, but through light-hearted, self-aware methods. ARMAGEDDON and KARATE KID references abound, FISH STORY is a film that achieves its message without shoving it down your throat.

It is obscure films like this that make film festivals worth while. Like the oh-so-catchy single “Fish Story” itself, I may have never been exposed to it had I not been open to checking out something unknown. I can now say that I am very pleased I did, and hope you too will one day get to see the story of Gekirin, the astronaut, the boy who could, the record store owner, and the champion of justice. Like punk music itself, FISH STORY has something to say and I think you should hear it.

Last modified on 2009-09-28 22:54:58 GMT. Top.

Fantastic Fest Q&A: TRICK ‘R TREAT with writer/director Michael Dougherty

Rusty and I just got back from the Fantastic Fest premiere of writer/director Michael Dougherty’s should-have-gone-to-theaters TRICK ‘R TREAT. I’m not going to tell you anything about the movie, because everything I felt can be read in Rusty’s review – but I can tell you that it’s in my top five favorite horror films of all time.

After the screening, our friend and big brother Scott Weinberg (Cinematical, FearNet, Horror Squad) led a Q&A with Michael. If you’re one of the ones that’s been anticipating the release of this, all the questions you probably had are answered in this Q&A. Heads up – there are SPOILERS. You can either A) Watch at your own risk, or B) Wait until you buy and watch the film when it hits DVD shelves October 6th – then come back here and enjoy!

Check out the nice little treat after the jump! Much apologies for a bit of shaky cam!

Edited by: Chase Whale

Please be patient while the video loads. Thanks!

Last modified on 2009-11-08 20:37:31 GMT. Top.

Fantastic Fest Review: SURVIVAL OF THE DEAD reviewed by the ZOMBIE GIRL herself, Emily Hagins

Gordon and the Whale is pleased to feature this guest review of George Romero’s next chapter in his OF THE DEAD series by young filmmaker Emily Hagins. You may know Emily’s name from the award-winning documentary ZOMBIE GIRL, which chronicled her experiences as she set out to make her first feature-length film, a zombie movie entitled PATHOGEN. What makes this extraordinary is that Emily was 12 years old when she made PATHOGEN. Writer, director, and now film critic…all extracurricular activities for this high school student. Makes you feel kind of lazy, doesn’t it?

Check out Emily’s fantastic review of the Fantastic Fest premiere of SURVIVAL OF THE DEAD after the jump!

To give a fair warning, I don’t know if you’ll find the most objective review of the new Romero zombie movie SURVIVAL OF THE DEAD from someone who has been dubbed the “Zombie Girl.” I have a soft spot for zombie movies, especially the cheesy ones with audience-pleasing scares. I’m not always on the hunt for movies that will blow my mind (or brain) because I can be just as entertained by a movie that is simply fun to watch. Which brings me to this – SURVIVAL OF THE DEAD is a cheesy zombie movie that is fun to watch.

The story shows what happened to the army folks from DIARY OF THE DEAD. They become involved with an old feud between two Irish families on a small island off the coast of Delaware. Not only an interesting setting for the zombie apocalypse, but a very different idea from the typical “teens going somewhere they shouldn’t and now they’re in trouble” set-up. Don’t get me wrong, this idea can and has been done right. But that premise is done so often that it becomes harder to make your movie stand out from the rest. This was one of the elements I didn’t really care for in DIARY OF THE DEAD, mainly because I’d seen it repeated so many times in the mainstream horror movies. In comparison, SURVIVAL has a much more compelling plot involving both zombie elements and human drama in a way that makes you care what will happen to the characters – even if you don’t like them.

The cheese factor comes from the sometimes silly kills and dialog. This isn’t a bad thing in my book – but if you’re easily bothered by movies with unrealistic over-the-top elements, then chances are that you shouldn’t be watching most zombie movies in the first place.

Therefore, if you don’t like zombie movies, I don’t necessarily think you should check this one out. I know that seems like a blatantly obvious statement, but hear me out. This is my basic checklist for a zombie movie:

1) Zombies (preferably slow)
2) Protagonists (characters that I care about with their own drama/relationships)
3) Zombies conflicting with protagonists
4) Zombie rules for the story (shoot in head to kill, etc.)
5) Gore (see #3)

If you don’t find yourself checking off the boxes here, then you’d probably be better off not watching these types of films – simply because all of these things are key factors in the genre as a whole. On the other hand, if this list sounds awesome to you, then chances are that you know who George Romero is already and you would check out SURVIVAL no matter what this review said.

Final thoughts from the Zombie Girl:

I highly respect Mr. Romero in multiple ways. Not only did he basically create the modern zombie movie, not to mention countless other classic horror films, but he’s continued to make movies and keep up his status as a filmmaker even into his 70s.

As a side note, his Q&A before the screening was very insightful and fun. My favorite question he answered was “What advice do you have for a young filmmaker?” (I swear it wasn’t me who asked this), to which Mr. Romero replied “Just go out and do it” (in short). Not only is this one of the most honest and simple pieces of advice to give, but it’s the same idea that got me through making my film PATHOGEN. To hear that from a director who heavily inspired me was a very cool moment.

In the end, the screening of SURVIVAL OF THE DEAD at Fantastic Fest was a blast. The audience, Mr. Romero’s presence and the film itself made it truly memorable. In short, SURVIVAL OF THE DEAD a cheesy zombie movie with an original set-up, but it is simply just that. Go in expecting a fun movie experience, and you won’t be disappointed with the latest from George Romero.

-Emily Hagins

You can find out more about Emily’s films on her website Cheesy Nuggets Productions. Check it out and support independent filmmaking!

Last modified on 2009-09-28 01:50:47 GMT. 5 comments. Top.

Fantastic Fest Review: GENTLEMEN BRONCOS

Rating: 6/10

Writers: Jared Hess, Jerusha Hess
Director: Jared Hess
Cast: Jemaine Clement, Michael Angarano, Sam Rockwell, Jennifer Coolidge, Mike White
Studio: Fox Searchlight

The latest eccentric tale from husband and wife writing/directing team Jared Hess and Jerusha Hess (NAPOLEON DYNAMITE, NACHO LIBRE), GENTLEMEN BRONCOS follows a young introvert (Michael Angarano) as he has his dreams fulfilled by meeting his idol, famed fantasy writer Dr. Ronald Chevalier (Jemaine Clement). Yet Chevalier is not the role model he appears to be as he, in an act of desperation, plagiarizes the boy’s passion project to meet a publishing deadline. The boy’s dreams are turned into a nightmare as his story, YEAST LORDS, is mauled like a young warrior squirrel by a rabid war wolf.

Let me preface in saying that I really, very desperately wanted to love GENTLEMEN BRONCOS. I thoroughly enjoyed NAPOLEON DYNAMITE, as many did, and liked NACHO LIBRE, which plenty did not. The Hess duo have a knack for creating unique characters that are so over-the-top, yet genuine in the universe they operate in that you can’t help but love them. They remind us of the very people we encounter in our daily lives, that seem to see the world in some kind of different way. Call them laser rose-tinted glasses.

And that is the very thing that I did thoroughly enjoy about BRONCOS, the characters. As Chevalier, Clement channels his inner Bowie from FLIGHT OF THE CONCORDS, playing the character with such comically arrogant bravado that you can’t help but both hate him and love him. Angarano plays young Benjamin with such a genuine awkwardness, vulnerability, and appeal that you can’t help but both feel sorry for him, root for him, and share in his hate/love for Chevalier. The additional cast of colorful characters are equally as likable and laughable. Mike White as the 80s hair band reject/snake charmer/guardian angel Dusty. Jennifer Coolidge as the supportive mother to Benjamin. And last but not least, the brilliantly odd Sam Rockwell, appearing as both Brutus and Bronco. Both warriors, but very different in style. Bronco, Benjamin’s creation, could be Zaphod Beeblebrox’s long lost, rough-edged brother. Brutus, Chevalier’s imagining, is more flamboyant, channeling what can only be described as a transvestite Hulk Hogan.

Which brings me to the other thing I very much enjoyed about GENTLEMEN BRONCOS. The story within the story that we are privy to. Both Benjamin’s YEAST LORDS and Chevalier’s BRUTUS & BALZAAK are the most enjoyable aspects of the film. Being that they are films within a film, Hess uses this chance to let his imagination run unhindered, creating fantasy universes that would make even Michael Ende blush.

Unfortunately, these two things were not enough to take GENTLEMEN BRONCOS to the moon for me. The film lacked a defined pacing, leaving it feeling as if it was a group of hilarious, enjoyable scenes strung together without an overall cohesive point. The plagiarism story line, which would appear to be the main plot, becomes more of a subplot and afterthought. The result is a group of highly enjoyable characters operating in entertaining scenes that have no overall defined point.

GENTLEMEN BRONCOS left me wishing that it did not get bucked off its battle stag in the last act, as I wanted to love it, but can only truthfully say that I enjoyed it and not much more. In its moments of brilliance, it does not do enough to be completely brilliant. Admittedly though, both NAPOLEON DYNAMITE and NACHO LIBRE are the types of films that grew (centaur) legs and earned their place in my heart with repeat viewings. I am willing to give GENTLEMEN BRONCOS the same courtesy I gave the other beloved works of Hess & Co. Dr. Chevalier requested a second chance in life and I just may give it to him.

Last modified on 2009-11-04 17:30:38 GMT. 1 comment. Top.

Fantastic Fest Review: TRICK ‘R TREAT

Rating: 9/10

Writer/Director: Michael Dougherty
Cast: Anna Paquin, Brian Cox, Dylan Baker, Leslie Bibb
Studio: Warner Brothers

It is no secret that the horror genre is currently in a pitiful state. Current offerings seem to be mostly reduced to unnecessary remakes, sequels, and scare-less PG-13 films that just want to take money from middle schoolers. Yet every once awhile, a quality horror film seems to somehow sneak out in a depressingly rare turn of events.

While the current state of the horror genre is dim, I will always remain devoted to it. Finally, my undying devotion seems to be rewarded, as it is only day two of Fantastic Fest, and I have already seen two of the best horror films to come out in years. Yesterday, it was PARANORMAL ACTIVITY. Today, it was the horror anthology TRICK ‘R TREAT. The film is a kick ass homage to horror collection films like CREEPSHOW, paying tribute to its inspirations, while also being quite inventive as a refreshing horror gem.

Read on for more.

TRICK R’ TREAT consists of several short horror stories, which is certainly nothing new. However, writer/director Michael Dougherty freshens things up since the days of TALES FROM THE CRYPT and other anthologies, connecting and intertwining the four tales. A neat technique from a filmmaking stand point, not to mention it sells the story’s payoffs in a bigger, better way as they are all reliant on one another. Of course, there have been horror films in the past that have flirted with this notion of interconnectedness, perhaps most notably with the TWILIGHT ZONE movie or Stephen King’s CAT’S EYES. However, it is hard to conjure up thoughts of another horror anthology that did it to level that TRICK R’ TREAT does or, better yet, does in such a satisfying way. Everything comes together so nicely in TRICK R’ TREAT that, even if horror movies aren’t your thing, the film is worth seeing for how finely crafted and integral its various stories are with one another.

There is much to love with TRICK R’ TREAT. Not one of the film’s stories is weak. It’s a bold statement to make, but true. Some might be heavier on the creepy scares, and some might be more about the twists, but all work effectively. There is no razor blade-filled candy to spoil this Halloween score.

The interesting thing about TRICK R’ TREAT being such a great horror outing is it has been movie purgatory for over two years. Luckily for us all, the film is finally being released on DVD October 6th. There is justice in this world where lesser “horror” films continue to get released to theaters.

Last modified on 2009-10-09 18:32:37 GMT. Top.

Fantastic Fest Secret Screening Review: THE MEN WHO STARE AT GOATS

Rating: 5/10

Writer: Peter Straughan
Director: Grant Heslov
Cast: George Clooney, Ewan McGregor, Kevin Spacey, Jeff Bridges
Studio: Overture Films

NOTE: The cut of the film shown at Fantastic Fest was an unfinished one.

Small town reporter Bob Wilton (Ewan McGregor) doesn’t have much going for him in his life. His wife has left him for his amputee editor. His writing often takes him to uninteresting places. He is reminded that his life is meaningless on a semi-often basis. That is, until Bob discovers a door to a more exciting life within one of his interviews. On routine assignment, he uncovers a secret faction of the army known as New Earth, made up of soldiers that possess different levels of psychic and paranormal abilities. Abilities like being able to walk through walls, become invisible, and even kill animals by just staring at them (hint hint). Well, supposedly.

Wilton decides to unlock the mysterious door life opens for him and walk through it, taking him to Iraq where, in a moment of fate, he meets one of said super soldiers with superpowers. Enter the mustachioed man’s man Lyn Cassady (George Clooney), a multi-level soldier with abilities like telepathy and walking through walls. Again, supposedly. Together Cassady and Wilton embark on a journey through a war torn Iraq, uncovering both their interconnected futures as well as the past of New Earth.

Read on for more!

THE MEN WHO STARE AT GOATS is Coen-esque in its eccentricity, yet does not come along with the depth of a film like BURN AFTER READING. On the exterior, it looks to possess all the similar comedy except, in reality, it is not as funny. In attempts to say something about “the bigger picture,” yet ends up just going back and forth in the existential questions it poses so many times that you get lost in what it’s attempting to say in the first place.

The qualities that are appealing about THE MEN WHO STARE AT GOATS is as expected. That being the performances. Clooney is top notch as always, especially with the mustache. Oddly enough, he too is channeling his inner Coen, with the Cassady character resembling his own from BURN AFTER READING. Another Coen alumni, Jeff Bridges, the hippie commander of New Earth, is as enjoyable as always channeling what could possibly be a younger, more zen, focused version of The Dude. The usually likable Kevin Spacey is fairly unlikeable in this film. However, this is the purpose of his role and thus it is achieved. McGregor, however, is somewhat disappointing in the film, playing a very two-dimensional version of the multi-dimensional everyman we have all seen him play well in films that don’t involve barnyard animals and staring contests.

For example, look to STAR WARS, which this film happens to have quite a lot of references to. As the soldiers of New Earth are referred to as “jedi” for their mind abilities, a few key scenes of comedy between McGregor and Clooney are present for obvious reasons. But while Wilton asking what a jedi is can be funny one or three times, it quickly becomes just as unfunny when it is frequently used.

Which is the perfect example of just what is wrong with the good, but not great, THE MEN WHO STARE AT GOATS. It tries so hard to be something that in the end, whatever type of film it was trying to be with whatever message it was trying to say gets lost. In other words, it runs right into the wall instead of going through it.

Last modified on 2009-11-07 22:22:21 GMT. 1 comment. Top.

Fantastic Fest Review: CABIN FEVER 2: SPRING FEVER

Rating: 6/10

Let me go ahead and throw this out there – CABIN FEVER 2: SPRING FEVER is not a bad movie, even if, at first, it sounds like  nothing but straight-to-DVD shittiness. Director Ti West (THE HOUSE OF THE DEVIL) continues on Eli Roth’s path of horror fun, giving the sequel a little spin with his own vision.

CABIN FEVER 2 picks up a few days after where the first CABIN FEVER left off (Rider Strong makes an explosive cameo), with the diseased blood of the dead flowing into the river. Instead of staying in the woods (who wants to relive the first when we can just rent it?), West takes us on a short road trip (in wonderful 80s animation) with a truck full of unfortunate bottled water (appropriately titled “Down Home Water”) to a high school full of ill-fated and oversexed kids, who are in the process of gearing up for prom.

CABIN FEVER 2’s gross out factor is far superior to that of the original. One particular scene that unfortunately keeps creeping up in my mind deals with a doomed teenager and his white puss-oozing penis. I know what you’re thinking, and no, his penis did not drink any water, but it did come into contact with the flesh-eating disease when a girl with braces performed fellatio on him earlier in the film. See where I’m going? Shit gets gross.

One of the cool things about CABIN FEVER 2 is its smart homage to a very classic horror film, CARRIE. In the last moments of the film, we’re locked in a gymnasium full of dying kids, vomiting on themselves and everyone else. The claustrophobia alone would drive me crazy.

My theory is that, at the end of CABIN FEVER 2, the movie wants you to know it’s a social commentary about what happens when people live carelessly, particularly when it comes to the notion that STDs do exist. You make bad decisions in life, you will end up getting the shaft. Or losing it.

CABIN FEVER 2: SPRING FEVER is a dirty mess of fun. Go in, sit down, get grossed out, and be prepared to never want to drink water or have unprotected sex again.

Last modified on 2009-10-05 02:40:49 GMT. Top.

PARANORMAL ACTIVITY Fantastic Fest Video Review w/ Peter Sciretta & company

I was eight times excited and six times pumped to see the midnight screening of PARANORMAL ACTIVITY (if you do the math you will clearly see that I was very much anticipating the film). Everything I had heard about PARANORMAL ACTIVITY would make any horror film dare to dream of greatness.

Moments after the screening, Peter from SlashFilm asked me and another friend from We Are Movie Greeks to do a video blog sharing our thoughts on the film. I feel confident you can probably guess from the title of this post that my answer was not no.

You can watch the video review after the jump to see how the three us of felt about PARANORMAL ACTIVITY and see if the film lived to the hype for us.

Last modified on 2009-11-08 21:30:59 GMT. Top.

Fantastic Fest Review: PARANORMAL ACTIVITY

Rating: 8/10

Writer/Director: Oren Peli
Cast: Micah Sloat, Katherine Featherston
Studio: Paramount

The buzz for PARANORMAL ACTIVITY has been extremely positive, making it out to be one of the scariest movies in years. And, as my heart tragically knows so well – horror is the first film genre I ever fell hard for, and despite the pain caused by so many cinematic disappointments – I can never let go. Going into the PARANORMAL ACTIVITY screening, I was pee-my-pants-and-blame-it-on-a-faulty-sink excited (that is the common expression, right?). My excitement for PARANORMAL ACTIVITY was not all for nothing, as the film delivered on what so many have promised.

The film has a simple and terrifically executed premise. A couple is experiencing some strange occurrences in their house, so the man, Micah, decides to get a video camera and record their bedroom at night, when most of the possible paranormal activity (yay, the title works) seems to be happening. Thus begins the film’s carefully executed climb to its terrifying final moments, pushing just the right buttons at the right time along the way.

PARANORMAL ACTIVITY will naturally draw comparisons to THE BLAIR WITCH PROJECT, due it its home movie visual style and the fact that they both focus on supernatural evil. In BLAIR WITCH, it was the spirit of a deceased witch and, with PARANORMAL ACTIVITY, it is an invisible demon doing the terrorizing. What makes PARANORMAL ACTIVITY a superior and far scarier film is that so much more to scream about happens along the way. Most people just talk about the final moments of THE BLAIR WITCH PROJECT when the film is brought up, as the rest of the film is just all about the possibility of a ghost and nothing really frightening happens. With PARANORMAL ACTIVITY, there are many scary moments to reference when you’re talking about the film as you leave the theater, and so much to keep you awake when trying to fall asleep that night.

PARANORMAL ACTIVITY packs the freaky goods. It creeps into your head, scares the swear word out of you, and stays with you long after the credits don’t roll (that will make sense when you see the movie).

Last modified on 2009-09-28 21:45:49 GMT. 2 comments. Top.

Fantastic Fest Review: ZOMBIELAND

Rating: 9.5/10

Writers: Rhett Reese, Paul Wernick
Director: Ruben Fleischer
Cast: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin
Studio: Columbia Pictures

ZOMBIELAND…it is a land of zombies. But you probably could have guessed that from the title.

What this land really is, is one of no names. Instead, people (the few of them that are still alive and not undead) go by the names of the places they come from or the places they are going. But where do people go in this barren wasteland of the undead? And where do they come from if this place no longer exists? And, with that question, is where the story begins.

Our narrator, or tour guide of sorts, through this land of zombies is Columbus (Jesse Eisenberg). A boy not yet a man on his way to…well…Columbus, Ohio. When we meet Columbus, he is in Garland, TX (yes, that’s right, I said Garland). We quickly find that he is someone who lives by rules in a ruleless society. These rules, popping in almost like a fifth character, also happen to be one of the funniest qualities in this “so self-aware that it works on so many levels” film. Columbus never breaks even one, which is how he has made it through what started as swine flu then turned into mad cow disease, eventually evolving into a plague of walking/running/climbing undead. Eisenberg plays Columbus with the same fervor and lovable insecurity he plays all his seemingly similar characters. Yet, do not be quick to take this is as a knock. In fact, it’s the very thing that draws us to the kid, and his subsequent characters, in the first place. He’s that guy who reminds us of the fears and awkwardness in ourselves, but also the ability to be the hero. He just needs a little help from his friends.

Enter Tallahassee (Woody Harrelson), a redneck with Nickelback’s wardrobe that seems to enjoy life more after the zombie apocalypse than before. Tallahassee lives by the philosophy of “I have come here to chew Twinkies and kick zombie ass.” Unfortunately, the world is all out of Twinkies. It has always been said that in the end of times, after everything was gone, there would be only cockroaches and Twinkies. Well, not in this end of times. But the Twinkie represents something so much more to Tallahassee. As someone who appears to have been able to disconnect himself from the death and destruction of the present, the little golden sponge cake with the creamy filling connects him to the only past he ever really had. But what are pasts and memories and family in this new version of Earth? Those things disappeared when something hit the restart button on society. Tallahassee is a man that realizes this and realizes he’s better off realizing it.

Which is exactly why Harrelson shines as Tallahassee. He plays the character with this carefree, unhindered attitude to the limits, completely being the person that we all want to be at certain times in our lives. Haven’t you ever wanted to scream at the top of your lungs in a public place? Fire guns into the air for no reason? Break things just because they are there, waiting to be broken? I know I have, but maybe never will because “society’s norms” keep me from doing so. Well, what is there to do when there is no society and no norm? There is shit to break and guns to fire.

Enter two girls who know how to break shit and fire guns – the ladies that round out this quaint little quad of drifters. Sisters Wichita and Little Rock (the adorable Emma Stone and equally adorable-in-a-different-way Abigail Breslin) that took advantage of the world before the zombie outbreak, just in the same way they do now, after the outbreak. The two are on their own journey to find a place that reminds them of a better time. A time where people weren’t being eaten by other people. Their “Twinkie” (if you will) is an amusement park in Los Angeles, said to be zombie-free. The thing is, nowhere is zombie-free in Zombieland.

And so we see four people on a road to nowhere, a journey that the Talking Heads once captured perfectly in their song by the same name. But these four, whether any of them will admit it, need each other in this journey. They need each other to help survive. They need each other because these relationships are the only thing that still make them human in a world of non-humanistic creatures. After all, in Zombieland, the people around you are the only family or friends you’ve got. Well, that an a 12-gauge.

From a non-contextual standpoint, ZOMBIELAND works as a film on so many levels. You can tell that newcomer Ruben Fleischer, along with screenwriters Rhett Reese and Paul Wernick, have seen all the classics and taken notes. Just as Romero explored the ideas behind society not being all that different on its interior before and after the zombie apocalypse in DAWN OF THE DEAD, Reese and Wernick do, too. Yet, they do it in a much more outwardly humorous, self-aware way (i.e.. zombie kill of the week, the aforementioned rules, and maybe the best celebrity cameo in any film to this date). It’s as if the characters themselves grew up in a society filled with zombies movies, and then put to use the knowledge gained by watching them when a real zombie outbreak occurred. The script itself comes off in a very similar way. These two guys grew up watching zombie films and have now put to use the rules learned, so that they may reinforce some and smash to pieces others. With that said, ZOMBIELAND does not succumb to convention. It is bold in its choices in a way I have never seen another zombie movie be, thus it really cannot be compared to any of its predecessors. Instead, ZOMBIELAND is more like HITCHHIKER’S GUIDE TO THE GALAXY or MONTY PYTHON…with zombies.

As a side note, it is no coincidence that these both root from British humor, and coincidentally, so does SHAUN OF THE DEAD, which many will compare ZOMBIELAND to. Be that as it may, ZOMBIELAND is not SHAUN OF THE DEAD. It is merely America’s rebuttal to SHAUN which is, of course, another great zombie flick that manages to perfectly balance horror and comedy.

In the end, ZOMBIELAND is not ZOMBIE: LAND OF THE DEAD, SHAUN OF THE DEAD, DAWN OF THE DEAD, DEAD ALIVE or anything in between. It is, as RIGHT SAID FRED said, “too sexy” for comparison.

Last modified on 2009-09-26 07:25:39 GMT. 6 comments. Top.

Fantastic Fest Review: ANTICHRIST

Rating: 8/10

Writer/Director: Lars von Trier
Cast: Willem Dafoe and Charlotte Gainsbourg

I am, and always have been, a big-time fan of Lars von Trier. That being said, I’ve always taken his films not only with a huge chunk of salt, but also recognized just how much he’s trying to fuck with his audience. To me he’s always been like that drunk, asshole friend who might stick his dick in your beer at a party or worse, slip you an Ex Lax and then videotape the ensuing mess. Von Trier has always reveled in his ability to irk, anger, and confuse an audience, as well as make you laugh at things or think about them in a way that makes you uncomfortable. But I feel provocation is an important part of cinema and I’d rather be messed with and prodded to react that pandered to any day of the week.

So after hearing all the hullabaloo from Cannes following the premiere of von Trier’s latest, the shocking and beautiful ANTICHRIST, I braced myself for more von Trier shenanigans. I had heard of audience freak-outs and walkouts and a Q&A where it was demanded that von Trier “explain himself” and tell everyone just what act he was trying to commit onscreen. Then there was all the talk of “torture porn” and genital mutilations. I figured it was all just cinema’s resident provocative imp back to his old tricks. Then I saw the film and it’s nothing like what you’ve been led to believe. Well, mostly.

The premise of the film revolves around an unnamed couple whose toddler son has tumbled out the window to his death as the couple was engaging in some intense, balls slappin’ sex. Gainsbourg’s character is devastated and falls into a deep, dark depression while Dafoe’s character, a therapist, remains coolly detached from his emotions, sans one mini-meltdown during the funeral. The couple decides to make a trek to their cabin in the woods (unfortunately and clumsily named “Eden”) where Dafoe seeks to help Gainsbourg overcome her fears by forcing her to face them. From here, the film slowly and steadily dips into madness as Gainsbourg turns on Dafoe and a surrealist nightmare unfolds all around.

While there are many trite and goofy provocations throughout ANTICHRIST, I truly believe this is von Trier’s most personal film. I also think it’s his first real attempt at honest filmmaking and, while he still has much to learn (such as character development and subtlety), ANTICHRIST deserves to be heralded as a great film. Not to mention the fact that ANTICHRIST is the most beautiful film of the year.

Due to his frequent outbursts, drunken behavior, and much publicized anxieties, von Trier has managed to paint himself in a corner as a nut-job with major creativity. But because of his weirdness, few really take him seriously. So when ANTICHRIST delves headlong into subjects he’s only lightly brushed upon before (gender roles, feminism), it’s tough to believe he’s attempting more than dime-store shock appeal. Anyone who’s seen a few of von Trier’s movies knows he either hates women or is terrified of them…or both. And those misogynistic fears are front and center here, and while it’s sad and disturbing to see a man who feels so threatened, it’s the way von Trier feels and that’s honest. Hitchcock was also terrified of and/or hated women but he managed to couch these feelings in an allegorical, visual, and narrative way. Von Trier just isn’t that refined. However, I think he’s trying.

In ANTICHRIST, the audience really starts to despise Dafoe and it’s easy to see why Gainsbourg turns on him. But not so easy to see is who von Trier is supposed to represent in the story. Is he the overly analytical and ultimately inhuman Dafoe character, or is he the sensitive and sad, but ultimately insane Gainsbourg character? Or is he both or neither? Is the film really as personal as I think it is or is this just more shuck and jive bullshit from von Trier. I don’t know! But it’s all worthy of discussion and to me, that’s a big plus.

The issue lies in the fact that von Trier is very much the boy-who-cried-wolf. In hundreds of interviews over the years, von Trier has maintained his craziness and his anxieties and these words and actions stand out as much as his films do. Yet aside from using his insanity as a half-assed explanation for his more agitating films, ,and motives, he’s never really tried to reach out to an audience and explain himself and his feelings. Does he really mean it this time? By using the cinematic landscape laid out by Alfred Hitchcock and Andrei Tarkovsky (the latter of whom the film is dedicated to) to express himself, I think ANTICHRIST is truly an attempt to connect with an audience and move forward as a filmmaker and maybe even a human being. Whether or not it works, or better, whether the audience can find the forest of beauty through the trees of cringe-worthy violence, is another story completely.

Last modified on 2009-09-29 14:56:29 GMT. Top.