We’re Just As Surprised By Our Pick of the Week As You Are

By Rob Hunter

Plus 14 More New Releases to Watch This Week on Blu-ray/DVD!

Welcome to this week in home video! Click the title to buy a Blu-ray/DVD from Amazon and help support FSR in the process!

---

Pick of the Week

Kidnap

What is it? A woman’s son is kidnapped, and she’ll stop at nothing to get him back.

Why see it? Look, this Halle Berry vehicle was gone from theaters faster than you can say something that would take you a week or so to say, but it turns out the damn thing is actually a mostly terrific, nearly real-time ride. It has issues in some dialogue and character choices, but fans of the excellent Breakdown should give it a spin — it’s not up to that film’s league, but it offers some of that same real-world intensity packed into a limited time period. Berry gives a ferocious performance and leads a fairly believable chase whether it be in cars or on foot, and in addition to dodging cliched bullets along the way it leads to a satisfying ending too.

[Blu-ray/DVD extras: Featurette]

---

The Best

Best of Midnight Blue [Blue Underground]

What is it? New York City’s legendary public access show gets an epic highlight reel.

Why see it? As a non-resident of NYC I was unfamiliar with this show, but watching it now for the first time I’ve immediately fallen in love with its attitude, social commentary, and playful depravity. Host Al Goldstein (Screw Magazine) is a bit of a prick, but he doesn’t pretend otherwise, and his show featured a revolving roster of porn stars, “real” stars, and others, and this set collects episodes featuring Arnold Schwarzenegger, Penn & Teller, and a very funny interview with Gilbert Gottfried. One disc focuses on the talents and tales behind Deep Throat including the legal troubles that followed its release, and Goldstein’s clearly infamous “Fuck you!” segments offer their own charm. The show ran from 1975 to 2002, and while the 6-disc collection only explores up into the early 90s it offers plenty of entertainment and leaves viewers wanting more.

[DVD extras: Trivia, interviews, featurettes]

Dawn of the Dead [Scream Factory]

What is it? There’s no more room in hell.

Why see it? Zack Snyder’s reboot of George Romero’s classic seemed like a guaranteed bust for a lot of people, but he proved himself with a movie that remains his best to date. The opening sequence is an all-timer in its blend of suspense and awe, and it’s a fun ride all the way through to the killer ending. As much action as it is horror, the film delivers big, exciting thrills and pairs them with a great cast (Sarah Polley, Ving Rhames, Ty Burrell, and more) and terrifically grisly gory bits. Scream Factory’s new Collector’s Edition offers both the theatrical and unrated versions along with a ton of extras new and old.

[Blu-ray/DVD extras: New 2K restoration of theatrical cut, interviews, featurettes, deleted scenes, commentary, ]

The Devil’s Rain [Severin Films]

What is it? Don’t feed devil worshipers after midnight, and definitely, definitely, never get them wet.

Why see it? It may not be a 70s horror classic, but this is a fun flick all the same thanks to more than just its infamously gooey ending. William Shatner, Ida Lupino, and Ernest Borgnine ham things up nicely, Tom Skerritt anchors it with a more serious and heroic turn, and the devlish antics bring both a demon head and some melting Satanists. The bigger joy here is the bevy of extras that Severin has gathered both archival and new. The Skerritt interview is my personal favorite — his discovery that the film hired Anton LaVey as a technical advisor blows his mind — but others including a Church of Satan interview and a featurette with super fan Daniel Roebuck is fun too.

[Blu-ray/DVD extras: Commentary, interviews]

Down [Blue Underground]

What is it? What goes up will kill you.

Why see it? Dick Maas’ US remake of his own Dutch original (The Lift) belongs in the small group of redos that actually improve upon the source. The core premise remains as a high-rise elevator begins taking people down (ie with murder!) leaving only a journalist and an elevator repairman to stop its reign of terror. The improvement here, though, comes in a far more fully developed embrace of its absurdity and a higher frequency of goofy mayhem. It’s bloody fun, and any movie that features an entertaining dog death is doing something right (because they’re normally painful and lazy). Like Blue Underground’s new Blu of the original, their Down release is restored and paired with some solid extras.

[Blu-ray/DVD extras:]

Junior Bonner [KL Studio Classics]

What is it? A rodeo champ long in the tooth sets his sights on a final blaze of glory.

Why see it? Sam Peckinpah’s filmography is best known for his tales of violence and misogyny, but nestled in among the likes of The Wild Bunch and Straw Dogs sits this sweet, calm tale of family and determination. Steve McQueen takes the lead with a warm, playful performance, and he’s joined by the likes of Robert Preston, Joe Don Baker, Ida Lupino, Ben Johnson, and more. There are the expected bar fights, but the film’s action is mostly focused in the rodeo ring. (Ring? Court? I clearly don’t know the terminology here.) The core relationship is one of father and sons, and while there’s friction to boot there’s also an undeniable love for each other and the thrill of the rodeo scene. It’s a good, relaxing movie that leaves you smiling.

[Blu-ray extras: Featurettes, commentary]

---

The Rest

Age of Kill

What is it? A military sniper is forced to kill six people in six hours to save his own daughter’s life.

Why see it? There’s an interesting puzzle box setup at the start of this little British action picture — would you take a stranger’s life to save someone you love? — but the inherent drama and conflict of the situation isn’t milked nearly as well as you’d hope. Sam jumps pretty quick into killing, and while there’s a mildly intriguing story behind it all it’s difficult to get caught up in it all as the drama, action, and effects underwhelm.

[DVD extras: None]

Beyond the Seventh Door

What is it? Think Raiders of the Lost Ark meets a Croatian acting class.

Why see it? This low budget Canadian thriller isn’t a good movie by most standards — or any, really — but that doesn’t prevent it from being head-scratching fun. The lead comes from the Tommy Wiseau school of “acting” and emoting, and he can’t help but to suck the energy from the suspense of the various traps. For all that, though, the movie is weirdly entertaining in its tale of a wealthy man who not only sets pitfalls to stop thieves but also gives them clues via audio recordings. Madness! It builds to a fun little ending too resulting in 77 minutes well spent for fans of the not quite right.

[DVD extras: Commentary, interviews, featurette]

Broken Sword Hero

What is it? A boy grows into a man who grows into a legendary war hero.

Why see it? Thai action movies focused on martial arts are almost exclusively Muay Thai- based when it comes to their fighting style, and that’s not a bad thing as it’s a visually stylish and powerful type of combat. This period piece follows suit and delivers some engaging brawls, but it lacks a Tony Jaa-like personality at its core to hold attention when people aren’t fighting. The script and performances don’t help as both feel sloppy in their execution, and while a 90 minute action film might skate by on that action this one runs a full two hours leaving lots of room for dull downtime.

[Blu-ray/DVD extras: None]

Cannon for Cordoba [KL Studio Classics]

What is it? A ragtag group of soldiers set out on an impossible mission during the Mexican Revolution.

Why see it? George Peppard leads the pack here as head of the squad tasked with destroying six cannons before they fall into enemy hands, and as westerns go this is one of the rowdier ones. Elmer Bernstein’s score propels the action as manly men face off, talk trash, and spend some bath time with lovely ladies. It’s a fun romp with lots of gunplay and explosions sending dirt into the sky.

[Blu-ray extras: Commentary]

The Dark Tower

What is it? A gunslinger seeks the man in black and needs the help of a young boy to stop him.

Why see it? Stephen King’s epic multi-book series was never going to work as a movie — an HBO series tackling one book per season would have been nice, though — and after multiple attempts this year finally saw an adaptation hit screens. As a King adaptation it’s hot garbage, but as a YA adventure? It’s actually pretty okay. The action is a mix of 90s style, cg, and slow motion antics, but there’s fun in the script, and both Idris Elba and Matthew McConaughey do interesting work. The more distance you have from King’s books the better you’ll probably like it unless you can just go in accepting its fate.

[Blu-ray/DVD extras: Deleted scenes, bloopers, featurettes]

Land of the Dead [Scream Factory]

What is it? A walled community meant to keep out the dead crumbles beneath the hubris.

Why see it? George Romero’s fourth “Dead” film is also, not so coincidentally, his fourth best of the six. The fun gore effects are still present along with a slightly one-note social message, but it’s hurt by the use of cg blood far too often. Still, it’s a fun ride as Simon Baker, Asia Argento, and John Leguizamo stand up to the wealthy bastards led by Dennis Hopper. There’s lots of gunplay to go with the zombie chomping, and it’s a fun, satisfying flick all things considered.

[Blu-ray/DVD extras: New 2K scan of theatrical version, interviews, deleted scenes, featurettes, commentaries]

The Lift [Blue Underground]

What is it? An elevator grows tired of life’s ups and downs and decides to add murder into the mix.

Why see it? Dick Maas’ high concept horror film has fun with a goofy premise, and its heroic pairing of a reporter and an elevator repairman also brings some entertainment of its own. As goofy as the premise is, though, the film doesn’t quite embrace it as well or as much as you’d hope. There’s a lot of downtime here as characters talk about things both related and not, and it leads to some thumb twiddling as we wait for someone else to wander into the elevator and get the shaft. It’s fun enough, though, and inexplicably unavailable on home video, so Blue Underground’s new Blu is a smartly restored gift.

[Blu-ray/DVD extras: New 2K restoration, commentary, interview, short film, booklet, reversible cover]

The Madness of King George

What is it? King George III is going mad, and it might just bring down a monarchy.

Why see it? This Academy Award nominated (and winner for Best Art Direction) costume drama is heavy on big performances and character drama, and it’s hard to find fault with its cast. Helen Mirren, Rupert Everett, Amanda Donohoe, and Ian Holms headline alongside Nigel Hawthorne as the mad king himself. There are comedic moments throughout, often at the expense of the king’s deteriorating mental health, but there’s a sadness that rears its head too.

[Blu-ray/DVD extras: None]

Person to Person

What is it? A day in the life of average New Yorkers, it isn’t.

Why see it? The cast here is appealing with the likes of Michael Cera, Abbi Jacobson, and Philip Baker Hall appearing throughout this ensemble piece of interwoven stories, but the whole is far less enjoyable. It’s eternally quirky, and while that’s not inherently a bad thing it just falls flat here as the characters seem to be trying so hard to stand out. The laughs suffer as a result, and even normally reliable funny folk like Cera and Jacobson are left feeling more awkward than humorous.

[DVD extras: Interview]

---

Also out this week:

Dawson City, Halo: The Complete Video Collection, Hermia & Helena, Scarecrow, Shadow Man, Stay Hungry

The article We’re Just As Surprised By Our Pick of the Week As You Are appeared first on Film School Rejects.

Read More

‘House of Cards’ Suspends Production On Its Final Season

By Victor Stiff

Netflix halts production after the Kevin Spacey scandal.

Netflix’s flagship series, House of Cards, is making headlines for the third time in 24 hours. After Anthony Rapp’s allegations against House of Cards actor, Kevin Spacey, came to light, Netflix announced they would end the series after its upcoming sixth season. Then Netflix announced that there are multiple House of Cards spinoff series in development. And today, Netflix and Media Rights Capital which produces the series, released a joint statement announcing that they are halting production on the show’s final season. The statement read:

MRC and Netflix have decided to suspend production on ‘House of Cards’ season six, until further notice, to give us time to review the current situation and to address any concerns of our cast and crew.

Netflix’s swift course of action is huge news that has ramifications throughout the entire entertainment industry. In the wake of the Harvey Weinstein allegations, there has been increased media scrutiny towards sexual misconduct in the entertainment business. As more and more sexual abuse allegations come to light companies are under pressure to cut bait with employees caught up in sexual misconduct scandals, regardless of their value to the company. Amazon Studio head, Roy Price, recently stepped down amid sexual harassment allegations and Amazon also pulled the plug on a $160 million-dollar David O. Russell project (poised to star Robert De Niro and Julianne Moore), due to The Weinstein Company’s involvement.

So what does this mean for the entertainment industry as a whole? It’s becoming clear that Hollywood is adopting a zero-tolerance policy for sexual scandal — it’s sad that this wasn’t always the case. Netflix halted production on House of Cards before the Spacey story was 48-hours old. When a content provider as powerful as Netflix acts so swiftly to distance themselves from a sex scandal involving one of their biggest stars, it sets a powerful precedent. For years, the entertainment industry conducted itself like an old boys’ club that looks out for its own. Now, men who habitually abuse their power and fame have been put on notice.

Here’s a moral quandary that comes with Netflix’s latest announcement: When an actor is caught up in a scandal, on what grounds should studios halt production or cancel the actor’s show? TV series employ dozens of actors and hundreds of people behind the scenes, so is it right for everyone involved in the show to lose their jobs because of one actor’s misconduct? What would have happened if Spacey had come out and refuted the claims rather than apologize? I don’t have answers for these questions but given the rate at which the entertainment industry is exposing incidents of sexual misconduct, it’s only a matter of time before we’re confronted with scandals that don’t appear so black and white.

The article ‘House of Cards’ Suspends Production On Its Final Season appeared first on Film School Rejects.

Read More

That Time Orson Welles Hijacked Halloween and The American Consciousness

By Cooper Peltz

How the mind behind Citizen Kane went a little too hard for Halloween.

Orson Welles yelled “fire!” in a crowded theater, and he parlayed the publicity from the panic into one of the most successful careers in entertainment ever. The Mercury Theater’s The War of the Worlds was broadcast across the United States by CBS radio on October 30, 1938, and harnessed the radio-listening public’s social anxieties of the time by utilizing radio’s unique ability to let the audience’s imagination fill in gaps in the story.

Marshall McLuhan’s term “Media Sense” refers to one’s ability to translate an idea into a communicable package by using the media that best fits the idea’s message. Writer, showrunner, and improviser Anthony King boils this theory down by asking this question: what can this form do that is unique to itself? In the case of improvisation, the unique property it holds is its ability to let the audience discover the comedy or drama at the same time as the performers. In the case of radio, Welles described it best by calling it, “The Theater of the mind.” The audience did most of the creative work, filling in details and settings with their own perceptions and anxieties.

Orson Welles possessed pitch perfect media sense before McLuhan ever had the chance to define it. The polymath’s ability to translate narratives from one form to another while augmenting the story’s impact grew with every project he undertook. No project exemplifies this ability more than the Mercury Theater’s rendition of War of the Worlds.

The radio play, adapted from H.G. Wells’s novella, uses the book as a launching pad. The accusation of literary plagiarism was among the many lawsuits thrown at Welles and CBS in the aftermath of the broadcast. The unfaithful adaptation occurred because Welles understood that simply copying the book’s narrative on the radio would not have the same impact. He showed similar savvy earlier in his career when his staging of Julius Caesar became the first full-length play ever recorded to acetate disc. Welles essentially rewrote the play from initial staging to recording because he understood that certain aspects of the show would not translate to an audio-only format.

The CBS show begins with an announcement of the show by a transatlantic accented announcer lasting about twelve seconds. Next, comes Orson Welles, painting the setting of the radio play, stating, “In the thirty-ninth year of the twentieth century came the great disillusionment.” This sentence eerily predicted Adolph Hitler’s move to occupy Poland the next year. Even with this narration, Welles was innovating on the auditory medium. Traditionally, radio plays utilized narration as a means of getting the audience from point A to point B. The Lone Ranger famously used the now cliché transition, “Meanwhile back at the ranch,” to great effect. However, Welles did not settle for pragmatic storytelling. In The Mercury Theater’s productions, the narration was only given by characters within the story. Instead of taking the audience out of the story to give them information, Welles delivered the information through the lens of one of the characters. This aesthetic choice evoked the radio show’s first (but quickly changed) name, First Person Singular.

After Welles concludes his monologue, the show dons the mask of a languid broadcast of an orchestra performance. Three minutes and thirty seconds into the broadcast, the first news bulletin is announced, introducing scientific developments on Mars. The news bulletins interrupt the orchestra show with greater and greater frequency until the narrative escalates into a total Martian invasion. Welles’s most powerful weapon in deceiving his audience was the fact that the Mercury Theater on the Air really wasn’t that popular. Critics had lauded the show, but it had not reached any sort of mass popularity. Most of the audience that eventually joined the Panic Broadcast (as it came to be known) arrived after the commentator introduced the dramatization and Welles set the scene. There was no indication that this was a dramatization of any kind for more than forty minutes.

The majority of listeners had no reason not to believe that Martians were descending upon the Earth in Grover’s Mill, New Jersey. Even those who lived in the real Grover’s Mill took cover from the apparent invasion. Firstly, radio was still a new medium, having only been popularized around 1922. In the 1930s President Roosevelt visited everyone’s homes by way of radio for his fireside chats, telling families they would get through the Great Depression. The year before the Panic Broadcast, Herbert Morrison recorded his firsthand account of the Hindenburg disaster which was broadcast across the country, echoing Joseph Conrad’s line, “Oh, the humanity.” No one had ever used the medium for anything other than sincere communication purposes. That is until Welles and his band of pranksters decided to co-opt both of these sincere broadcasts to add realism to their own.

When the Martian ship supposedly lands at Grover’s Mill, the Mercury Theater’s newsman is miraculously there seconds after. He describes the scene in a matter-of-fact tone until the ship unloads its deadly passengers. When the action begins, the actor announcing the attack does his best Morrison impression, with awkward wording and pauses included. To add to the broadcast’s verisimilitude, Welles invented new ways to record the dialogue and sound effects for his shows.

In an earlier Mercury Theater on the Air broadcast of Les Miserables masterminded by Welles, Valjean and Javert’s confrontation in the sewer was recorded in the bathroom of the studio with the microphone a few feet off the ground to suggest the cavernous and wet setting in which the scene was taking place. Similar techniques were used to create the sound effects of the Martian ship opening to reveal its passengers for the first time. In addition to the evocation of Morrison, another actor impersonates FDR in an address to the now decimated tri-state area. Welles and his repertory of actors knew exactly what they were doing, but the impact on the public was greater than they imagined.

The US public was a raw nerve. They were just barely seeing any improvement from the Great Depression (the experience of the Great Depression could have contributed to the defeatist attitude adopted by so many when listening to the broadcast), they were divided on the issue of isolationism in response to growing Nazi aggression in Europe (many thought the Nazi’s were masquerading as Martians), and (in the strangest contextual point of the time) extraterrestrial life on Mars seemed like a real possibility. While the notion that Martians were digging irrigation trenches on Mars to revitalize the planet was not subscribed to by many scientists, the theory took hold in popular (science) culture. The New York Times genuinely ran a story speculating that Martian engineers may be working on a way to travel to Earth. Even brilliant inventors like Nicola Tesla theorized that humans should be able to pick up Martian radio transmissions.

By the end of the hour-long broadcast, police were at CBS studios, an angry mob was outside, the New Jersey Turnpike was hopelessly backed up, and Orson Welles was a national superstar. He would spin this publicity into an illustrious film-acting career, but his best performance came only a day after the Panic Broadcast aired. On Halloween Welles dressed up as a remorseful man, wide-eyed and unshaven. Reporters grilled him on the ethics of broadcasting such trickery over the airwaves, and the actor feigned remorse, telling them it was only meant as a Halloween spook (he had sounded much more smug at the end of the broadcast the night before when he told the audience as much).

Legislation was drafted to censor the radio but was quickly thrown out when Congress remembered the first amendment. To placate the fuming lawmakers and public, radio stations vowed to increase self-censorship, but by that time Welles was on to bigger things. The aftermath of the broadcast was just as sensationalized as the broadcast itself. Reports of suicides were all found to be false. The worst effect the radio show had was simply frightening its listeners, and after all isn’t that what you really want on Halloween eve?

The article That Time Orson Welles Hijacked Halloween and The American Consciousness appeared first on Film School Rejects.

Read More

All Gassed Up: Celebrating The Chase in ‘The Texas Chainsaw Massacre’

By Geoff Todd

An in-depth analysis of one of the most terrifying chase scenes ever committed to film.

He nearly lost an eye while filming one of the greatest chase scenes in cinema history. Daniel Pearl was laying on a dolly track, filming an icon in the making chasing a helpless and terrified woman through dried and dead bushes and shrubs. The camera hit a tree, jamming the lens into Pearl’s eye. When you take a hit for the team, you want to be sure it wasn’t for nothing. Pearl was working on The Texas Chainsaw Massacre, history would reward him by declaring the film to be one of the best of its genre, applauding its composition and pacing. But why do we never seem to note the importance and perfection of the most thrilling scene in this storied film? Why does a chase scene which lasts six full minutes consistently fail to be mentioned alongside the likes of Se7en and Point Break?

The general consensus is that Se7en features the most celebrated foot chase in cinema. It’s wracked with suspense, contains little dialogue, a host of camera techniques, and the broken hand of Brad Pitt. What makes this chase work is the cat and mouse aspect. Our villain, John Doe, is constantly escaping the eyesight of Detective Mills. The only time Mills has a clear shot at Doe is the moment our villain opens fire, after that he’s largely out of Mills’ line of sight. The chase starts in an apartment building with an infinite number of hiding places and ends in the close confines of a narrow alley with Doe’s gun against Mills’ temple. The antagonist controlled the entire tempo of this chase in addition to deciding its outcome. The suspense delivered to the audience was two-fold: breathless thrills from the art and design of the chase, and the nightmare scenario of a true villain deciding your fate.

Beginning to end, TCM is a masterpiece of horror filmmaking. From the opening narration with John Larroquette doing his best Orson Welles and the haunting title sequence with cameras flashing on the horrors we’re about to discover, to Leatherface’s mad-dance with a chainsaw in the rising sun. The frights are now notorious, a part of popular culture. We remember the dinner table scene, the hitchhiker, the crash through the window, the… wait. Let’s stop there. “The crash through the window” happens during the chase. We talk more about a stunt, albeit an effective one, than a chase scene that could easily stand up to Se7en? Not today film fans.

The chase happens at roughly the 52-minute mark in the film and lasts around six minutes. At this point in the picture, Sally and Franklin have been separated from their group (who have been hooked, sliced, diced, and put on ice), the night is dark and hot. Real frustrations are boiling over (the two actors apparently didn’t care for each other and genuine anger was setting in at their situation). At this moment, when our two surviving characters are at a breaking point, Leatherface and his chainsaw interrupt the eerie quiet. After he dispatches Franklin, and honestly that kid had it comin’, the chase begins.

Se7en is a cat and mouse chase: action involving constant pursuit, near captures, and repeated escapes. Though TCM is technically that as well, it’s really more of a cat-already-caught-the-mouse-he’s-just-fucking-with-it-now chase if I can be technical. Leatherface isn’t afraid for one second that Sally is in danger of escaping, he pursues her to exhaust her, to toy with her. He’s the hind-legs of a cat kicking at his find.

A well-executed chase scene should contribute to the plot, easier said than done, but the action of the chase is only punctuated because we’ve bought into the narrative and the pursuit is now vital to our characters intentions. The chase in TCM not only is narratively important, but it delivers a visceral experience by making the viewer a participant instead of a witness thanks to fluid and impressive dolly shots matching the pace the actors.

A trope in horror films is the victim being pursued by an assailant, usually masked. only to trip and make the maniac’s job easier. TCM never falls victim to this, instead, they create tension through density and false sanctuary.

The first obstacle Sally faces during her marathon of madness is nature itself. While attempting to evade Leatherface, Sally runs into thick bushes which grow increasingly dense as she battles her way through. As she finds her way out, Leatherface cutting the dried branches with his chainsaw behind her, she runs into a home. One of two false sanctuaries she will find. But the chase briefly pauses here for a masterclass in editing that is worthy of equal praise.

As Sally is attempting to find help in the house, finding finely dressed corpses instead, we cut to Leatherface taking the chainsaw to the front door. We are cutting from one horrific scene to another, exhausting the audience as much as Sally must be. Once Leatherface is in the house and Sally, in a well-shot stunt, jumps out the second story window to evade him, the chase soon concludes at the same gas station we were introduced to at the beginning of the film. Only when Sally runs through the front door do we realize this is a second false sanctuary and the end of her escape… well, for now.

I remember when James Cameron was making Terminator 2 he said the one thing he wanted to do was to create a chase scene that would rival anything in The Road Warrior. The Wachowski sisters said the same thing about Terminator 2 when they were making The Matrix sequels. Car chases have a rich history in film, they’re far more prominent than foot chases because they’re generally more thrilling and allow for more spectacle. A foot chase has to be meticulously crafted and planned to be successful. It’s, even more, dependant upon a strong narrative to sell the chase. Perhaps that’s why filmmakers have never really taken the foot chase as a challenge. We’ve had some strong candidates pop up from time to time: Casino Royale, Hot Fuzz, that Tom Cruise movie.

Se7en is remembered for the reveal at the end, but the foot chase isn’t that far behind. The Texas Chainsaw Massacre is remembered for being a terrifying trip through the macabre as opposed to being defined by a single scene. And perhaps the volume of scares is so high we forget how beautiful and thrilling that chase scene is because we’re busy trying to collect our breaths or trying in vain to not close our eyes. But the next time The Texas Chainsaw Massacre plays, take note. At about the 52-minute mark, you are about to experience a masterclass in filming a chase scene. Se7en‘s chase is good, The Texas Chainsaw Massacre is better. Spoiler warning I guess?

The article All Gassed Up: Celebrating The Chase in ‘The Texas Chainsaw Massacre’ appeared first on Film School Rejects.

Read More

Austin Film Festival: Change is Tragedy in ‘Roman J. Israel Esquire’

By Natalie Mokry

The newest thriller from the Academy Award-nominated writer does not disappoint.

When thinking of a suspenseful film, it’s easy to jump to thoughts of mysteries and murders, and while this film has all of that, it also shows that sometimes the most intimidating situations in our lives are when we’re faced with change. And that’s what Roman J. Israel Esquire sets out to address.

After the lawyer, he worked alongside for decades gets into an accident and becomes unconscious, middle-aged civil rights attorney, Roman J. Israel Esquire (Denzel Washington), finds himself at a loss on how to continue the activist duties he has held onto since the 60s. When a younger, hot-shot lawyer, George Pierce (Collin Farrell) comes along and offers him a job at his financially successful establishment which appears to drain the money out of its clients, Roman is too principled and stubborn to take the job, even though he desperately needs it. Believing there is still a place in the world for his steadfast 60s activism, he goes on a search to find a new job working with civil rights. Much to his dismay, he finds himself out of touch with the modern world including modern activism, and in an attempt to change his self and his goals to better adjust, he begins working with George Pierce. But change does not come so easy, and his adjustment to a life of financial success and acclaim comes at a price.

The performances in the film are all around outstanding. Denzel portrays the aged, more righteous lawyer that perfectly juxtaposes Collin Farrell’s portrayal of a more practical and more arrogant one. Through their distinct personalities, the characters really jump out of the screen. And while both have their faults and more frustrating qualities, each can also be seen in a sympathetic light. At all times their motives are clear, but their complete thoughts are not fully laid out, which adds a little more nuance to the narrative and adds to the film as a thriller.

From a sound and visual and standpoint, the film does an excellent job at building suspense where suspense is needed and uses very simple but clever ways to construct character. Never at any point during the movie does Roman say exactly that he is an activist who still pines for the 60s. It’s clear in his language, his choice of clothes, and the fact that his apartment is full of old records that he still listens to on his record player. And though most of the suspense in the film derives from Roman’s own consciousness, it’s hard not to recognize the outside forces that are at play too. This is where Dan Gilroy’s storytelling abilities and directorial adeptness really shine. Never exactly knowing whose wrong and whose right, but still having a someone to root for and care about, is the best combination a thriller can have to keep audiences on their toes.

More than just a suspenseful thriller, however, the story works on a deeper level too, showing that it’s not meant to just keep audiences on the edge of their seats, but rather to make them think of the consequences of devoting oneself to a larger cause. This film could have worked with a number of genres, but in making it a thriller, the stakes and the more thematic aspects of the narrative were enhanced. In giving up so much of his personal life to better change the world, Roman’s character is an embodiment of sacrifice, showing that it’s not always a glamorous and widely acclaimed thing to do. At one of Roman’s more desperate moments, he tells someone that he gave up the opportunity to get married and have a family in order to keep his career going. And though he doesn’t follow up with this, it’s clear the next words he wanted to say were “it can’t all be for nothing.”

In true poetic fashion, sometimes our heroes must devote themselves entirely to a cause to see change, without ever really thinking of themselves, and whether or not that should be is what Roman J. Israel Esquire asks us to think about. Generations may differ, and activism itself may alter over time, but the passion for it is always alive.

The article Austin Film Festival: Change is Tragedy in ‘Roman J. Israel Esquire’ appeared first on Film School Rejects.

Read More

Hayao Miyazaki’s New Last Film Now Has a Title

By Sheryl Oh

Of all the people who can’t stay retired, he’s one of our favorites.

Earlier this year, it was announced that Hayao Miyazaki was officially out of retirement with a new full-length movie project. Over the weekend, the title of that film was finally revealed. The new Miyazaki film will be named Kimitachi wa Dou Ikiru ka (“How do you live?”), and is said to be his last one, a title that was once reserved for 2013’s The Wind Rises.

Miyazaki’s Kimitachi wa Dou Ikiru ka shares the name of a book written by Genzaburo Yoshino. Yoshino wrote children’s books during the 1930s to bypass the government’s heavy censorship of literature, and disseminated more liberal ideas in his work. Yoshino’s “Kimitachi wa Dou Ikiru ka” is about a boy who learns to think for himself, and includes the overarching themes of class equality and socialism. Miyazaki’s film will not be an adaptation of Yoshimo’s book, although it will directly reference it. “The film is about how this particular book featured prominently in the protagonist’s life,” Miyazaki said.

Miyazaki’s most famous works such as Spirited Away and Howl’s Moving Castle may lean more fantastical, but the acclaimed director and animator infuses politics in his work all the time. Miyazaki has used his platform to discuss wartime Japan specifically as well. The Wind Rises was a polarizing look at identity in World War II Japan. The fictionalized biopic of Jiro Horikoshi, the designer of warplanes used by the Empire of Japan, encapsulated Miyazaki’s pacifism which conflicted with his fascination with the construction of the Zero plane. Considering the influence of Yoshino’s writing in postwar Japan, it’s safe to assume that Kimitachi wa Dou Ikiru ka will at least tackle similar political standpoints.

Since the release of The Wind Rises, Miyazaki has kept busy making short films for the Studio Ghibli Museum and at one point worked on a samurai manga which always had an elusive completion date at best. io9 reported on Miyazaki’s desire to create “one more feature film” last year, and it was initially ballparked to be completed before the 2020 Tokyo Olympics. However, Miyazaki has confirmed a time frame of “three to four years to complete the anime.” That would instead place the film’s release around 2021. It’s a while to wait, but we’re certain it’s going to be worth it.

The article Hayao Miyazaki’s New Last Film Now Has a Title appeared first on Film School Rejects.

Read More

The Mind of a Master: Learning To Plan Through Tarkovsky’s Shot Lists

By Jacob Oller

Finding patterns in logistics and aesthetics.

Andrei Tarkovsky has created some of the most beautiful shots in cinema, even if they serve workmanlike purposes that might not hold the same striking quality as a stark Roger Deakins wide shot.

Achieving this through consistency, the director utilized similar shot lengths, camera moves, and framing choices throughout his filmography. Mastering these created beauty from unexpected sources.

To help encourage similar work in the future, Studio Binder analyzes Tarkovsky’s myriad shot designs for beginners and old pros alike. Understanding what he is doing in each shot is the first step to determining why. Then the “how?” and the actual execution become the final steps, but you’re already a lot closer than when you started. Slow progress creates lasting images and learning from the legends can offer plenty of practical tips along with inspiration.

The article The Mind of a Master: Learning To Plan Through Tarkovsky’s Shot Lists appeared first on Film School Rejects.

Read More

[The Daily] Hitch, Hooper, Romero, and More

In the latest entry in Reverse Shot’s symposium on time, Julien Allen proposes that “perhaps the most compelling display of Hitchcock’s bravura in Psycho [1960] occurs during one of its least discussed sequences, in which Norman Bates (Anthony . . .

Read More

Read More

Paramount’s ‘Pet Sematary’ Adaptation Has Found Its Directors

By Sheryl Oh

Another big Stephen King movie is being brought to life.

Variety has the scoop that Paramount is moving forward with their long-gestating adaptation of Pet Sematary with directors Kevin Kolsch and Dennis Widmyer.

Tapping into promising indie horror talent to adapt Stephen King books for the big screen seems to be the ideal way forward (look at how much success Andy Muschietti’s gotten for helming IT). Pet Sematary will undoubtedly bring a big crowd with it. The book finds its way on top 10 lists fairly often. It was first adapted in the late 1980s. Written by King himself and directed by Mary Lambert, the 1989 version of Pet Sematary divided critics but did well enough to spawn a sequel, Pet Sematary Two, which was much more poorly received.

The premise of Pet Sematary is effortlessly creepy. Almost anything involving dead animals in any capacity tends to tug at heartstrings as it is, but this one is just plain unnerving. The story follows the Creeds, a family of four plus their cat, who relocate to a rural town somewhere in Maine (much like in many of Stephen King’s other works). The Creeds later find out that they have moved in next to a pet “sematary”, which has the eerie ability to bring the creatures buried there back to life.

Kolsch and Widmyer are best known for making Starry Eyes, which premiered at SXSW three years ago. Starry Eyes, which was partially crowdfunded through a Kickstarter campaign, delivered a surprisingly entertaining horror gem about the insidiousness of seeking fame and fortune in Hollywood, combining great gore and impressive performances. The duo has also directed episodes for MTV’s modern-day take on Scream and helmed a segment for Holidays, an aptly-titled holiday-horror anthology film.

The success of IT has really opened the door for the development of more Stephen King adaptations, even though 2017 has seen a barrage of onscreen versions of the writer’s work as it is. 28 Weeks Later director Juan Carlos Fresnadillo was once tapped to bring Pet Sematary to life. Variety also reports that Sean Carter (Keep Watching) and Johannes Roberts (47 Meters Down) were in the running too.

The article Paramount’s ‘Pet Sematary’ Adaptation Has Found Its Directors appeared first on Film School Rejects.

Read More

AFF Review: James Franco IS Tommy Wiseau in 'The Disaster Artist'

There's nothing like The Room, right? A film so bad it's so good. The Disaster Artist is an attempt to tell the story about the making of Tommy Wiseau's The Room, and the friendship behind it, and their dream to become famous, and make a movie that everyone would love. Directed by and starring James Franco, this film is much more of an homage to the cult classic that is The Room, as well as a nod to the passion it takes to make something so terrible. To dream so big and yet fail so spectacularly, but still embrace that failure, and revel in the joy it (somehow) brings to some people. It's not an outright comedy, more of a drama with funny scenes, that also perfectly recreates The Room and pays tribute to the one-and-only Tommy Wiseau.

Full disclosure: I have never actually seen The Room, so I approached this film from that angle. I've heard all about it, I know about it, I just have never actually seen it (there's something that just bothers me about watching a very bad film to laugh at it). So, for me, watching The Disaster Artist was not only learning the story behind the story, but also getting a first look at some of the actual moments from The Room and how they were conceived. Suffice it to say, I now really want to see The Room, but perhaps only as a double back-to-back feature with this film - because they work so harmoniously together and it allows me to appreciate what actually happened here, what was really going on with this film (and why it is what it is). There's an understanding that The Disaster Artist provides beyond the "making of", a context to it being a failure of the dream of Tommy Wiseau, and his wild, crazy attempt to just make a film on his own without any experience.

The Disaster Artist has a helluva ensemble cast. James Franco is unbelievably perfect as Tommy Wiseau, and his brother Dave Franco is an endearing Greg Sestero, but it's all the people around them that make this film so special. There are excellent roles played by Seth Rogen, Jackie Weaver, Nathan Fielder, Josh Hutcherson, Alison Brie, Zac Efron, Eliza Coupe, Sharon Stone, Dylan Minnette, Melanie Griffith, Hannibal Buress, Paul Scheer, Judd Apatow, Ari Graynor, Charlyne Yi, and so many more. There's appearances by people playing themselves, including J.J. Abrams, Bryan Cranston, Adam Scott, Kristen Bell, Lizzy Caplan, and a few others. It seems all of these people gave their time to this film because they understand what it is, and appreciate The Room's cult status. Part of the enjoyment of watching The Disaster Artist is seeing these performances and appearances because they're all seamlessly worked into the movie, in just the right way.

The odd thing for me about The Disaster Artist is that I didn't laugh that much. Maybe it's just me, watching people say and do stupid things isn't really that funny to me, but the movie itself isn't a non-stop comedy. There's a good balance of humor and drama, because The Disaster Artist is actually a story about Tommy Wiseau and Greg Sestero becoming friends. It's actually quite sweet to see this, because it shows that as weird as Wiseau may be, Sestero saw something in him that and the two connected. It's basically all about the power of friends, and how that power can fuel encouragement to follow your dreams. It is also a love letter to being weird as fuck, and how important it is to stay true to your weirdness, no matter what that is.

To top it off, James Franco's performance as Tommy Wiseau is remarkable on so many levels. He deserves all the acclaim and accolades, because this performance is perfect. He really, truly becomes Wiseau, and never once breaks character or even so much as shows a tiny crack. (Word is Franco stayed in character on set, which makes all of this performance even more impressive and iconic.) In addition to the story about Sestero and Wiseau's friendship, The Disaster Artist is a character study and Franco gives us all the depth and nuance we need to attempt to figure out who this guy is. Honestly, by the end I still couldn't figure him out, but it seems ambiguity is part of him. Franco's performance is so real that you almost feel bad laughing at him, because there are moments where it's possible to feel the shame and sadness he feels when things go wrong. Overall, the film is as intriguing as it is funny, and a perfect homage to the disaster that is The Room.

Alex's American Film Fest (@American_FF) Rating: 8 out of 10
Follow Alex on Twitter - @firstshowing

Read More

Give ‘Em The Evil Eye: Horror Films and Eye Contact

By Jacob Oller

Jeepers Creepers, where’d you get those peepers?

There’ve been some truly terrifying figures created through film and one of the most important aspects in creature creation is in the eyes. They’re the window to the soul, so they should represent how black or empty these villains’ are.

Red, lifeless, black, ablaze – anything inhumane will seep into our nightmares because just as we connect with people through eye contact, we are also affected by uncanny or offputting eye contact.

Albert Gomez’s supercut of villainous, sometimes demonic eyes finds consistency in filmmakers’ attempts to disarm and disturb with modifications to and long takes of eyes. See how long you can stare into these cruel globes without breaking and you’ll be ready for whatever job interview life throws at you.

The article Give ‘Em The Evil Eye: Horror Films and Eye Contact appeared first on Film School Rejects.

Read More

Several New ‘House Of Cards’ Series Are In Development

By Victor Stiff

Are you ready for the House of Cards shared universe?

Yesterday Netflix announced they will wrap up their flagship show, House of Cards, after its upcoming sixth season. House of Cards fans shouldn’t fret over the announcement. For a moment it looked like Netflix was closing the door to the show’s cutthroat political world after lead actor Kevin Spacey’s departure. But in a move right from Spacey’s crafty House of Cards character, Francis Underwood’s playbook, when Netflix made the announcement they already had a contingency plan in place.

According to Variety:

The streaming service [Netflix] and producer Media Rights Capital are in very early stages of development on multiple ideas for a potential spinoff. One concept revolves around Doug Stamper, the political aide-de-camp played by actor Michael Kelly in the first five seasons of the political drama, with Eric Roth set to write.

The key takeaway here is “multiple ideas.” Netflix is in a similar situation to HBO who is also dealing with their most popular show, Game of Thrones, coming to an end. And rather than letting the property run its course, HBO also has multiple concepts for Game of Thrones spinoffs in the works. Competition in the television arena is as fierce as it’s ever been and studios would rather stick to producing programs based on hot commodities rather than original, untested material.

Even with the allegations against Spacey, there are many reasons why Netflix doesn’t want to end the House of Cards brand. House of Cards is the program that ignited the streaming TV series revolution, it’s considered prestige television, and the show consistently earns praise during awards season. And above all else, House of Cards is still one of Netflix’s flagship shows.

Variety is also reporting that, “At least two other spinoff ideas are also being explored, though writers have not yet been attached to all of them,” and that, “All the potential series take place in the same universe as “House of Cards.” The plans for these spinoff series have not been impeded by the sexual assault allegations against Spacey and sources are stating that season six was already intended to be House of Card’s final season.

There are plenty of interesting roads for writers to go down with a House of Cards spinoff. The show could follow another backstabbing, power-hungry, Machiavellian politician, in the early stages of their career — perhaps from a woman’s perspective this time — as they cut down everyone in their path and ascend to higher positions of political office. The show could also take a page from the excellent 1972 Robert Redford movie, The Candidate, which is about a hopeless US Senate candidate whose morals start to erode amidst his pursuit of office. The spinoff could even step away from politics and focus on reporters uncovering stories of corruption.

We’ve already encountered characters like Peter Russo (Corey Stoll) and Zoe Barnes (Kate Mara) who fit these types of molds, so spinning House of Cards off into shows about characters with similar archetypes would be in step with the established world.

There is a popular saying that “The truth is stranger than fiction” and this statement aptly describes the current political landscape. I’m going to keep an open mind regarding new House of Cards programs and assuming they remain focused on politicians, I look forward to seeing how they continue to aggrandize, deconstruct, and satirize politics.

The article Several New ‘House Of Cards’ Series Are In Development appeared first on Film School Rejects.

Read More

11 ‘Homemade’ Costumes: Or, Sew Like The Wind Because Halloween Is Here

By William Dass

If I’ve learned one thing from this, it’s that you should always be yourself. And yourself should always be a World War I Flying Ace.

Happy Halloween! Do you do an apostrophe in there? That’s cool. Happy Hallowe’en! That’s a contraction for All Hallow’s Eve. And we’re learning. And we’re moving right along. I dig a homemade costume. I don’t have a crafty bone in my body. That’s all right, I’ve got crafty friends. I had a friend make a Frank’s Head costume from the movie Frank. You know, the one where Michael Fassbender wears a giant paper mache head for the majority of the movie. It was legit. When I take my kids out trick or treating these days, I mostly see store-bought costumes. Which, as a parent of three kids, I’m like as long as they’re smiling it’s all good. Also, I’m not casting stones. I see those store bought costumes on my kids, too. Like any craft project, a homemade costume tells us volumes about who you are and what you’re all about. Me? My mom once made me a Spaceman Spiff costume because I love me some Calvin and Hobbes. Whether your homemade costumes are intricate or MacGuyver’d out of whatever is around, or complete debacles: respect.

Today, on All Hallow’s Eve, I wanted to take a look at some of the homemade costumes we’ve seen at the movies. As discussed, that’s harder than you’d think. So, these are the ones I’ve seen at the movies. Hit us up on Twitter with your favorites that I missed!

---

Charlie Brown as Ghost? in It’s The Great Pumpkin Charlie Brown

Look. We’ve all had problems with our homemade costumes. Sometimes scissors are a problem. Poor Charlie Brown is so full of aspiration and imagination. Everybody decided to dress up as ghosts. Everybody else understood that when it came to eye-holes, the proper amount was two. One for each eye. Alas. Charlie Brown wound up with many eye holes. I tell you what though, he still shows up and goes trick or treating. The travesty of his experience is that the adults in his neighborhood apparently think it’s funny to hand out rocks. This Halloween, Charlie Brown is the many-eyed Ghost Who Gets Rocks.

---

Lily and Jarrod as Shark and Eagle in Eagle Vs. Shark

Eagle Vs. Shark is a movie about some socially awkward folks coming out of their shells. Jarrod throws a Come As Your Favorite Animal party to try and impress a woman. Lily, who works in the same shop as the woman and has a bit of a crush on Jarrod herself, decides to come along. On the prowl to make a move, she comes as a shark. Ready to impress. Jarrod considers himself more eagle material. In It’s The Great Pumpkin Charlie Brown, Lucy declares that the perfect costume is the exact opposite of who you are as a person. In this sense, these two have picked animals that represent who they want to be in that moment. Dress for the job you want, right? Plus, these are legit, simple homemade costumes where it is immediately apparent what animals are their favorites. Shark. Meet Eagle. Good luck.

---

Jenny Dennison as Madonna in Hocus Pocus

Dani: “Mom? What are you supposed to be?”

Jenny: “Madonna. Well. Obviously. Don’t you think?”

Hocus Pocus was a childhood favorite. It’s a scary story with re-animated cats, singing witches, and dumb virgins who play with fire. The costume party is the first scene I recall. I mean, I dig the skeleton-clad Sinatra cover band vibe and Bette Middler’s song is legit fun. But, in particular, I come back to this costume. It’s clearly referencing one of Madonna’s costumes during her Blond Ambition world tour. Express Yourself, come on people! You have this movie lightly referencing the power of virgins and teenagers and kids trying to fight a coven of witches. And then, here’s this moment. Jenny is fully embracing her independent-woman identity and is suddenly met with her kid’s withering stare. “Mom.” Ugh, kid statements. “What are you supposed to be?” Imagine all those hours she put into that costume. She’s grooving on the dance floor right before Dani walks up. She is Madonna. And, then that kid statement. Jenny questions it for a second and then leans into it. She’s Madonna. The only improbable thing about the whole scene, witchcraft included, is how literally all of the guests have amazingly well-crafted homemade costumes.

---

E.T. as Ghost in E.T. the Extra-Terrestrial

Okay, so you’re an extraterrestrial. That don’t impress me much. I like 90s era, Shania Twain. Deal with it. But, you can’t go out on Halloween dressed as yourself. I mean, if you’re a three foot tall alien with a body shaped like an upside-down capital L, it’s going to be hard to make a case that you’re just dressed up for the day. This is not a friendly werewolf scenario. Well, let’s say you’ve made friends on the third rock from the sun, but they’re all children. How would they solve this problem? Classic ghost costume moment. Now, your ten-inch glowy fingers can stay under mom’s destroyed guest linens and the gang can go out in search of the mythical full-sized candy bar houses. Everybody wins!

---

Daniel Larusso as Shower in The Karate Kid

Daniel Larusso wants to be invisible. He’s moved to a new coast, state, town, and school. For his trouble, he’s made a couple friends and a karate dojo’s worth of enemies. Fortunately, his friend Mr. Miyagi is looking out for him. Mr. Miyagi hears there’s a school Halloween dance and asks if Daniel will go. Daniel sarcastically agrees so long as he’s invisible. Mr. Miyagi, truly a master of pragmatism, puts on his thinking cap on and, presto chango, Daniel is a Shower. Like a magic trick, suddenly Daniel has enough confidence to go to the dance. He isn’t hiding, but he doesn’t have to stare down all the strange faces or worry about Kobra Kai Jerk Johnny spying him. Ali, who has a bit of a crush on Daniel, is delighted by his costume. Daniel even feels confident enough to flirt back when she comes over. Success! And then, too much success. Feeling super confident, Daniel pours water all over Marijuana Smoking Johnny and promptly gets chased down by the Kobra Kai Jerk Squad for a no holds barred beat-down.

---

Scout Finch as HAM in To Kill A Mockingbird

Poor Scout Finch is dressed as a Ham for her school’s Halloween pageant. In classic homemade costume style, it conveniently features a label, HAM. This way, we can’t mistake her for a jug of moonshine. See how that works? What are you? Oh, it says right there you’re a ham. Now, what would obviously be social suicide in every other way turns out to be a boon for her. This HAM costume was designed to withstand stress tests worse than elephants on a trampoline. When she’s walking home with her brother, they are attacked. Due to the ridiculous over-construction of this costume, she’s practically the Juggernaut. In terms of filmmaking, it’s an upsetting scene. Once the attack happens, we’re as limited by her view as she is. Every time I see this scene, it makes me concerned for her safety. She’s being knocked around and she can’t keep her balance. It’s tense. But, still. That HAM costume is strong. Hip hip hooray for the classic over-constructed, homemade costume.

---

Cady Heron as Ghost Bride in Mean Girls

Cady’s mistake was to be herself in high school. Never be yourself. Okay, that’s terrible advice. But, I’m pretty sure her nemesis had to get hit by a bus after a rumor war escalated to a schoolwide riot. Which, I guess, made the point about being yourself a pretty good one. The truth is, you gotta do you. And, yeah, sure. I think we’ve all had that moment where we’ve anticipated a party will have a certain kind of vibe and we were totally and wildly off base. That’s okay. As long as you’re being you, it will probably be fine. If you are, in your heart of hearts, a murdered bride with Hillbilly teeth, then by god. You be the best damn murdered bride with hillbilly teeth you can be.

---

Zoe as Picasso’s Blue Period in Fanboys

You need to understand one thing about me. And I don’t care what you think about it. Puns are awesome. This is, by far, my favorite costume in a movie. No. I’m not talking about the stormtrooper. Although, I’d love a dope suit like that. I’m talking about Zoe. What’s that she’s wearing? Tampons. Dyed blue. What is she? Picasso’s Blue Period. It’s an art joke wrapped around base humor and served up on a pun. It’s homemade and clever. More importantly, it’s simple. So, you need a costume quick. What can you do? Tampons. Blue water. Tape. Bangarang. And, you know what? It’s totally fine if people don’t get it because holy shit the ones that do will love it.

---

Christopher as Cardboard Knight in Murder Party

Much like Charlie Brown, Christopher is an oddball. He gets pushed around. Occasionally, even, by his cat. When he sees an invitation to something called a Murder Party, he decides what the heck-fire? And, much like Charlie Brown he goes to work on constructing a costume. However, he’s got some crafting skills. His Cardboard Knight looks solid. Plus, he makes a pretty sweet cardboard broadsword for himself. He even thinks to bring along a loaf of pumpkin raisin bread to offer his fellow Murder Party attendees. Unfortunately, it isn’t a friendly gathering. It’s an actual Murder Party. Don’t go to parties on fliers you find on the street. Especially if they’re called MURDER parties. It probably isn’t ironic. My man has some legit homemade costuming skills. But, that isn’t all it takes to have a happy Halloween. Be safe. Make good choices!

---

Wednesday Addams as Homicidal Maniac in Addams Family

I really can’t recommend that just anyone try the “Oh, this is my costume. I’m a person who likes to wear sports shirts.” Or, whatever. However, in very rare instances, strong personalities can pull off a moment like that. In The Addams Family, when asked what she’s dressed as, Wednesday declares that she’s dressed as a homicidal maniac. They look just like everyone else. That look. Those eyes. Her already slightly unusual get up that approaches the deranged. She crushes it. And she might crush you. Besides, homicidal maniacs do look just like everyone else. Get the wrong haircut. Buy some awkwardly sized glasses. You might yourself looking like Jeffrey Dahmer. I’m not saying that happened to me. I’m just saying. It can happen.

---

Snoopy as World War I Flying Ace in It’s The Great Pumpkin, Charlie Brown

My man Snoopy. Always at ease. He knows who he is and what he’s about. Live in the moment. Imagine greater fun. If there’s anyone you’d personally want to listen to for advice regarding costume choice, Snoopy is your guide. He’s got a doghouse. A cap and goggles. And a boss scarf. GAH GAH GAH GAH GAH, PHEWOMMMMMM. World War One Flying Ace! You can do so much with a good cap and goggles set. Honestly, if you want to be prepared to costume on the fly, invest in your imagination. I told you. I like puns. Even mediocre ones. Be like Snoopy, my friends. Happy Halloween!

The article 11 ‘Homemade’ Costumes: Or, Sew Like The Wind Because Halloween Is Here appeared first on Film School Rejects.

Read More

The Duffer Brothers Talk Post-‘Stranger Things 2’ Plans

By Sheryl Oh

The duo behind the Netflix smash hit explains how the ending of ‘Stranger Things 2’ sets up the show’s third season.

The second season of Stranger Things, or Stranger Things 2, has been out for less than a week. But whether we’ve already binged the new season or not, we wait with bated breath for nuggets about the next one. Stranger Things co-creators Ross and Matt Duffer are here to assure fans of the future of everyone’s favorite Netflix obsession, specifically how the final episode of Stranger Things 2 sets up possibilities for Season 3.

[Spoilers]

If you recall, Season 1 of Stranger Things ended on Will Byers‘ (Noah Schnapp) unnerving remaining connection to the Upside Down. There’s a whole lot of ominous tension going on in the finale of Stranger Things 2 as well. We arrive at a point of closure for some of the show’s mythology, such as where exactly Season 1’s Demogorgon sits in the food chain of the supernatural in the Upside Down. We’re also given a taste of Eleven‘s (Millie Bobby Brown) true strength and power as she manages to close the gate between the Upside Down and Hawkins. However, the Mind Flayer, a towering Cloverfield-esque monster that seems to be running the show on the other side, is more adamant than ever to cross over and engulf Hawkins for good, even as the kids dance the night away at the Snow Ball.

“Yeah, we don’t end it on a totally happy note, do we? [Laughs],” the Duffers recently told The Hollywood Reporter. “There were discussions about that, but then we went, ‘Nah, we have to hint at what’s to come.’ The hope we wanted people to get out of it is that this thing [is still out there].

“They’ve shut the door on the Mind Flayer, but not only is it still there in the Upside Down, it’s very much aware of the kids, and particularly Eleven. It had not encountered her and her powers until that final episode. Now, it knows that she’s out there. We wanted to end on a little bit of an ominous note on that level.”

For the Duffers, the ending of Stranger Things 2 presents the opportunity to explore fresh ground again. Much of the season may have answered several questions posited in Season 1, but the inherent mystery of the Big Bad remains unsolved. The Mind Flayer was barely addressed in Season 2, echoing how the Demogorgon was simply dealt with in Season 1 without too much of an explanation. The finale serves as a back-to-basics approach to the show in order to keep the mythology blossoming:

“Last year, we had a lot of little cliffhangers at the end of the season. We didn’t want to do that again. We didn’t want to box ourselves in for season three. We wanted to be able to start season three on a very clean slate. It felt totally unnecessary, when we had the Snow Ball. Once we had the Snow Ball, we didn’t know [if we wanted to do] anything else as an ending.”

Season 3 would be the perfect place to set up something different, given the Duffers’ desire to end the show a lot sooner than most of us would like. Many of the characters would benefit greatly from a clean slate too. ‘Justice for Barb’ was a thing that Seasons 1 and 2 focused on, but the opportunity for Nancy Wheeler (Natalia Dyer) to explore a storyline outside it and apart from the love triangle she’s been caught up in for far too long is too good to pass up. Sadie Sink‘s Max Mayfield had a strong introduction in Stranger Things 2, and it would be great to see her continue to grow as part of the group of kids in the following season. (No one wants her brother Billy to come back though, sorry Dacre Montgomery.) And although I loved Bob and he deserved better, Joyce Byers/Jim Hopper needs to happen in Season 3. I’m sure David Harbour will agree, given all the fanfic he’s read.

“It’s a balancing act. If you tell too much, it loses a little bit of that mystery. We obviously will shed more light on it moving forward, but we want to do it a little bit at a time. Even at the end, I don’t think we’re going to answer all of those questions, and I don’t think we even necessarily need to. We’re telling this story from the point of view of very human characters.”

There is one other nugget to garner from the Duffers’ THR interview, and that is yes, time jumps are pretty much a given for the upcoming season: “Even if we wanted it to be static and we wanted to continually recycle the same storyline — and we don’t — we would be unable to, just because the kids are changing. It’s cool, though. The audience is going to be able to watch these kids come of age every year.”

Stranger Things 2 has already garnered plenty of positive reception, and the hype shows no signs of slowing down. The pressure is on to create a satisfying follow-up to the introduction of the Mind Flayer, but it’s great to see that the Duffers are deeply considering the humanity that makes Stranger Things great. We’re not just here for the 80s nostalgia and a constant deluge of cultural references, although no one’s complaining about those things in the slightest. What matters is the Duffers have clearly mastered the art of the circus that is Stranger Things and we can’t wait for more.

The article The Duffer Brothers Talk Post-‘Stranger Things 2’ Plans appeared first on Film School Rejects.

Read More

Full International Trailer for Nimród Antal's 'The Whiskey Robber' Film

"Viszkis was one of the most famous bank robbers in Hungary. He drank whiskey before every robbing. This is his story." An official trailer has debuted for a film titled The Whiskey Robber, also known as The Whiskey Bandit or A Viszkis in Hungarian. This is the latest feature film from Hungarian-American filmmaker Nimród Antal, of Kontroll, Vacancy, Armored, and Predators in the past. The Whiskey Robber tells the true story of a Hungarian man named Attila Ambrus, also known as "Viszkis", who robbed 29 financial institutions in Budapest between 1993 and 1999. The only clue left behind at the crime scenes was the distinct aroma of whiskey. This looks like a fascinating, thrilling story of a man who just wanted to be happy and realized the only way to feel that was to collect money - mainly by robbing banks. Check this out.

Here's an international trailer for Nimród Antal's The Whiskey Robber, on YouTube (via Quiet Earth):

Attila Ambrus was a legendary Hungarian bank robber in the nineties. A Transylvanian, Ambrus grew up in Ceausescu's Romania and the hopeless situation there made him later flee over the border in search of a better future. But even as an adult, many of his childhood problems continued - only now in Hungary. Soon confronted with the fact that you only "matter" if you have money, Ambrus realised he needed money. A lot of money. He became the so called Whiskey Bandit .He never wanted to be a hero - the media turned him into one. His celebrity reached its peak when he escaped from prison. The whole country was rooting for him. Here was someone who was able to make a laughing stock of authorities. The Whiskey Robber, or A Viszkis in Hungarian, is written and directed by Hungarian-American filmmaker Nimród Antal, of the films Kontroll, Vacancy, Armored, Predators, and Metallica Through the Never previously. This first premiered at the Warsaw Film Festival this fall, and also played at the Chicago Film Festival. The film opens in Hungary in November, but does not have any US release date set yet. Stay tuned. Interested?

Read More

‘Thor: Ragnarok’ Brings Much-Needed Zaniness (and Closure) to the MCU

By Matthew Monagle

Just when you thought the MCU was out of surprises, director Taika Waititi and company deliver one of the best superhero movies of the decade.

These days a brand new Marvel can feel somewhat like an obligation. Just like a long-running television series you’ve come too far to quite – where later seasons disappoint even as individual episodes are capable of shining – the bulk of films in the Marvel Cinematic Universe often feel like they’re taking up valuable real estate in your heart that could otherwise be spent on indie movies or prestige television. So I wouldn’t have been surprised to discover that Thor: Ragnarok was fine; what I wasn’t ready for, however, was one of the more fun comedies of the year, regardless of setting.

Thor: Ragnarok picks up from the events of Thor: The Dark World, with a dimension-trotting Thor (Chris Hemsworth) returning home to discover his father (Anthony Hopkins) missing, his brother (Tom Hiddleston) still alive, and his sister Hela (Cate Blanchett) plotting the death of the entire universe. In the ensuing battle, Thor is left for dead on a distant planet alongside Valkyrie (Tess Thompson) and the Hulk (Mark Ruffalo) and forced to fight for the entertainment of The Grandmaster (Jeff Goldblum). Together with his ragtag band of Revengers, Thor must figure out how to convince his new allies to fight in his name, escape from The Grandmaster’s prison, defeat the unstoppable Hela, and protect the civilians of Asgard from complete and utter destruction. Oh, and he must also do all of this without mjolnir, who Hela breaks almost immediately. Throw in a nebbish rock monster (Taika Waiti), a hesitant executioner (Karl Urban), and the missing-in-action Heimdall (Idris Elba), and you’ve got one fantastic space adventure, not to mention about five pounds of movie in a three-pound bag.

Given how many times we’ve seen Chris Hemsworth suited up as the God of Thunder, it was somewhat of a surprise to hear early reviewers describe Thor: Ragnarok as the movie where Hemsworth finally locked into the character. They were right. Thor has always been at his most interesting when he is an arrogant (but well-meaning) mimbo, and Thor: Ragnarok allows the actor to play to his absolute strengths. Meanwhile, Tessa Thompson is a welcome jolt of energy to the film’s supporting cast. Every move that Valkyrie makes aligns perfectly with the cartoonish violence and humor of the movie; should Hemsworth hang up his tattered red cape at the conclusion of the Avengers movies, then Thompson proves herself more than capable of taking over the franchise in his stead. Her character is swaggering arrogance and brashness in equal amounts, and the screen rather literally lights up whenever she appears.

Tonally, Thor: Ragnarok is a step above anything we’ve ever seen from Marvel. Fans of Hunt for the Wilderpeople and Things We Do in the Shadows know that Taika Waititi has a comedy styling all his own – best described, perhaps, as big set-ups followed by gentle punchlines – and Thor: Ragnarok holds nothing back when it comes to showcasing its director’s personality. The film begins with a record scratch, pauses twice for comedic effect as a chained Thor helplessly spins around to face his captor, and then pivots to Karl Urban playing with a Shake Weight to impress eligible Asgardian bachelorettes. This all occurs in the first 10 minutes. There are callouts to Willy Wonka & the Chocolate Factory, a tongue-in-cheek cameo from one Hemsworth brother, and a Jeff Goldblum performance that riffs so hard on the actor’s own public persona that it’s almost shocking the film didn’t collapse into itself like a dying star. This is a comedy first and foremost, and one that treats every story beat from the other Thor films as fair game for riffing.

Perhaps what impresses the most about Thor: Ragnarok‘s comedy, however, is how capably Waititi and his writers maintain the film’s humor against the not-insignificant demands of the story. Fans loved Guardians of the Galaxy because it marked the beginning of something new in the Marvel universe, but Thor: Ragnarok is more interested in bringing closure to the franchise than spinning it off into uncharted territory. Secondary characters – characters who have battled alongside Thor since the first film – are unceremoniously killed off after only seconds onscreen, and the movie ends with such a fundamental change to the Thor universe that whatever follows cannot possibly be more of the same. In this manner, the manic energy of Thor: Ragnarok is almost sweetened by the sound of the minutes ticking down on these particular characters. Thor: Ragnarok is the first film to truly embrace the end of the Marvel Cinematic Universe as we know it, and given how little we’ve been made to care about Thor up to this point, the whole affair is surprisingly effective.

Which isn’t to say that everything in Thor: Ragnarok works. While the film manages to juggle its competing narratives much better than anticipated, there’s still too many characters and not enough movie to allow everyone their time in the spotlight. The odd person out in Thor: Ragnarok is Cate Blanchett, who seems to have been brought in specifically to compensate for her character’s minimal development. Marvel may not have the best villains, but they’ve always banked on the idea that bringing in A+ acting talent will allow them to wallpaper over any cracks in the screenplay, and here Blanchett is no exception. Given carte blanche (get it?) to take on the campy supervillain performance of our dreams, the actress delivers, but her ultimate importance is the story is secondary to Thor’s journey of self-discovery. She may have a few memorable fight sequences, but we’re always more enthusiastic about seeing Cate Blanchett onscreen than we are Hela, the Goddess of Death.

In the end, Thor: Ragnarok is a movie that plays to the absolute strengths of its cast and crew. It knows how to let Hemsworth be fun, how to lean into Thompson’s general badassery, and how to make Goldblum… well, his absolute Goldblum-est. And at a time where the Marvel Cinematic Universe needed to reinvent itself as it closes one set of doors and opens another, Taika Waititi and company proved that there’s absolutely nothing wrong with punting on the things that don’t work and keeping what does.

The article ‘Thor: Ragnarok’ Brings Much-Needed Zaniness (and Closure) to the MCU appeared first on Film School Rejects.

Read More