All things familiar, yet all things becoming increasingly sinister, Clark seems to have crafted a sci-fi horror/mystery film with no real, concrete horror elements. Instead, inundating the storyline with plenty of mystery, mystery piled atop mystery. A straightforward narrative film stalked and accosted by the experimental with Clark’s experimental imagery insinuating a cinematic approximation of the metaphysical as flashes of light cycle chaotic, reasoning and context seemingly lost in its rapid shuffle, abstraction deployed as the narrative catalyst.
Just ending its successful run at some of my favorite festivals like Slamdance and Fantastic Fest, Jason Kupfer‘s 6-minute gory comedic gut-punch Invaders is now available to watch for free via Vimeo.
This week’s Kickstart Sunday pick comes to us from director Matthew Lessner and his upcoming feature film Automatic At Sea. I had the opportunity to check out this director’s last project, Chapel Perilous, at last year’s Sundance Film Festival, and
The narrative, co-written with Kate Johnston, found at the center of Empire Builder happens to deal with one uncomplicated action, an elementary development seen as inevitable based on the build and structure of the storyline. Throughout the entirety of the beginning portions of the film, there doesn’t appear to be much of an effort placed on shrouding what could happen in mystery and/or ambiguity. Swanberg and Johnston’s interests lie in the field of the emotional, taking the time to display the emotional states of each character in an unembellished fashion relying on nothing but the body languages amid solitude and socialization, oscillating between fleeting moments of reflection and intimate interactions of playfulness and consideration.
I remember walking into my local arcade when I was a kid and first discovering Dragon’s Lair. I couldn’t comprehend how amazing this game looked in comparison to the other offerings at the time, with its bright and colorful hand drawn animation. It
Paintings from the likes of Monet, Manet and Renoir (to name a few) populate the backgrounds of each still frame, each frame signifying one act of the film’s storyline with 18 acts in total. The actors, themselves, exist primarily in the foreground, in time period aligned garments, over-emoting in the vein of silent films, gravitas pinned to the performances by way of over-exaggeration. Their existences will occasionally blend into the paintings, two art forms bleeding into one as the oil-painted veneer of thickets and overgrowth cloud the stances and footfalls of the actors navigating the artificiality of the surrounding terrain.
The occupying quirk found in Alison Bagnall’s Funny Bunny is easily recognizable on the surface as more of the same. At first glance, Bagnall’s feature has the familiar appearance of all the other indie comedies strewn about the distribution landscape over the past several years except that Bagnall’s implementation emerges as a more thoughtful interpretation.
It’s been quite a long hiatus since our last Grindhouse Weekly article, but with Halloween rapidly approaching, I thought it might be fun to exhume this deceased feature and breathe some new life in it.
The film I’ll be looking at this week is Lucio Fulci’s infamous 1982 giallo film, The New York Ripper. It opens with a man playing fetch with his dog along the East River, and when, instead of a stick, the retriever brings back a human hand. Fulci decides this is the best time to start the opening credits (and it totally is). He goes to a close-up freeze frame of the decomposing hand and cues the opening title.
Continuing our Kickstart Sunday Halloween celebration, this week’s pick is the throwback psychedelic slasher Psychotic! from Maxwell Frey and Derek Gibbons. Psychotic! draws influence from Italian horror films of the ’70s, but is a contemporary story taking place in Bushwick,
Right from the jump, writer/director Christopher Good unloads the viewer into the whirlwind that is Mudjackin’, a brother/sister buddy comedy murder mystery, starting with an I.C.E. raid before even considering introducing context or characters really. From there, the relentlessness continues with the tempo locked-in at high-octane with rapid-fire cuts coming from every possible direction while the brother/sister duo run through an exhaustive overview of their backstories with a swiftness - years flush with dreaming big and big, shattered dreams.
With Halloween just around the corner, I thought it would be fitting to choose a horror film for this week’s Kickstart Sunday pick, so today we’ll be highlighting director Laszlo Illes‘ The Basement. This English-Hungarian indie horror flick tells the