Andy is a contributing writer, occasional interviewer, surrogate Schnaars, and co-host of the Sophisticult podcast. He might not be as funny as Joe, rich as Jon, strong as Casey, adorable as Mark, or surly as Eric, but damn does he give great hugs.
Austrailian horror film "The Babdook" has been creating scores of gushing fans after screenings across the states. Appearences at The Stanley Film Festival and Sundance showed an appreciation for the film's genuine craft and generic roots. A few days ago Fantastic Fest showed the flick a substantial amount of love bestowing filmmaker Jennifer Kent with Best Horror Feature and Best Horror Screenplay awards.
If I’ve learned anything about living in Milwaukee its that the city loves movies, especially those weird, gross sort of flicks that get you riled up. A number of the city’s theaters have a storied history of running late night movies including the longest continuously running “The Rocky Horror Picture Show” screening. They’ve also got fantastic cheese, they love biking and “happy hour” is really called “after work until bed”. Don’t hassle me I’m local.
In Eugenio Mira’s “Grand Piano” renowned concert pianist Tom Selznick (Elijah Wood) reemerges from early retirement after he chokes during a concert attempting to play the “Unplayable Piece” by his mentor Patrick Godureaux. Following Patrick’s death, Tom is convinced by his star actress wife Emma (Kerry Bishé) to return to the stage playing Patrick’s piano in his remembrance. Hesitant to bring shame to his mentor, Tom experiences intense anxiety made more pressing by media inquires and some hazing from the orchestra. (They call him Failznick!
So there’s a “RoboCop” remake. That’s something I have to tell my unborn children as well as my unknown bastards. It’s also about to clear 150 million on a 100 million dollar budget. Though only 50 of them bones is domestic it’s still not out of the realm of possibility I’ll have to tell those tiny bearded boys and girls there’s a “Robocop 2” too. (As in ‘also’, not 2x2 which would be weird but not impossible.
The subjects of pregnancy, birth, and motherhood have proved to be one of the most fertile grounds (pardon the pun) in horror fiction in both longevity and richness. They are tropes that relishes in some of the most drastic of physical changes brought upon the human body while also confronting or affirming how our culture views women and regards the female body. These thematic and ideological questions become more complicated when translating these stories to the visual and auditory world of cinematic representations, including television.
10. Maniac & The Act of Killing
The only two films this year that nearly had me take a shower when they were over. One a remake of the 1980 cult classic the other a documentary that employs powerful reenactments of historical violent culls in the Philippines to reconcile the personal delusions of the perpetrators. Bonus points to Maniac for best opening horror sequence of the year.
A woman carefully navigates a torrential downpour as she pulls into the kind of hardware store in a kind of town where everyone has known everyone for most of their lives. It’s also the kind of hardware store that specializes in game meat processing for extra flavor. She procures a flashlight, a length of rope, a metal pipe and other materials that would perhaps raise a few eyebrows should this kindly appearing woman be a grizzly transient. But the woman doesn’t appear well. Her hands shake and raspy, blood-splattering coughs rattle from her throat.
The Milwaukee Film Festival enters its 5th year of hosting an absolute buffet of culture to the denizens of its eponymous metropolis (suck on that people of Golden Corral, Delaware!). Upwards of 200 internationally produced films spanning a century’s worth of cinema will screen over the course of 15 days beginning this Thursday (9/26) and concluding on Thursday, October 10th.
In Robert Spadoni’s book “Uncanny Bodies” the author argues that the U.S. film industry’s acceptance of sound technology was one of the key contributing factors in establishing the modern horror genre. Sound became a method by which films sought out and experimented with new ways of engaging and potentially growing their audience. Certainly no cinematic form held more potential for this then those with high spectacle, fantastic elements.