Wednesday, 29 August 2012
Tuesday, 28 August 2012
As well as the films we also saw Ross Noble miming the picking up of an orphan by slotting a testicle into its emptied eye socket, we saw Alex Garland get increasingly uncomfortable as he struggled to answer simple questions about Dredd ("How did you choose the director?", "um... er.... fuck...") and we saw Simon Pegg ram his nose so far up Greg Nicotero's ass it's a wonder that Nicotero was able to walk afterward.
Dario Argento's hour long interview on the Friday meandered between unintelligent Italian mumbling and softly spoken scathing comments (on the Suspiria remake: "they think they can do better? Let them try"), it's a terrible shame he didn't bring a film with him but to see him have a stumbling natter was (occasionally) illuminating none the less. It's a shame the Q&A at the end descended into passive-aggressive attention seeking mingled with unashamed arse snogging. With tongues if they could.
Nearly every film this year had cast and crew in attendance, which meant nearly every film had an audience Q&A at the end, which in turn meant nearly every film had some idiot flapping their useless jaws and allowing the baffling bullshit that should really be kept inside their little heads to just flow out. One chap stepped up at the end of The Seasoning House and proclaimed "It was unconvincing. Any chance of a recut?" What a prick.
The short film showcase was once again superb. The best was Gargols, a Spanish short about an invasion of giant snails. There was also telekinetic children, tentacles and heavy metal demons on offer. Probably the most memorable moment (for all the wrong reasons) is when a man a few rows back had a seizure just as, on screen, a lady was sewing her mimsy shut. He had to be taken away in an ambulance.
And the films. After a slow start the quality really began to pick up. The programming order was a touch odd (2 comedies and a film about rape for opening night), and the amount of rape featured in the films caused twitter voices to get shrill despite the fact that there were only really 2 films that went down that route. Nobody got angry about the amount of times we had to watch male genitalia get torn off and then dangled in our face though, there's equality working a treat.
However the biggest surprise to be had this weekend was that the best film we saw was a remake. Lists:
1) Maniac [2012 Remake]
2) American Mary
5 not favourites;
2) Outpost II: Black Sun
3) Dead Sushi [Deddo sushi]
5) The Possession
Thanks to Ali, Joe and Ted for keeping the migraines in check. More next year?
Monday, 27 August 2012
Sunday, 26 August 2012
Saturday, 25 August 2012
(Frightfest Day 3)
There was no point during this movie where I had a particularly clear idea of what the fuck was going on. This was either because it was a total ballsack of a movie or because I micro-napped through a great deal of it.
(Frightfest Day 3)
Excellent documentary about seventies poliziotteschi movies. Carries itself primarily on its massive levels of enthusiasm for the genre, bolstered by some exceptionally fine clip choices.
I now want to see all these movies.
Friday, 24 August 2012
Thursday, 23 August 2012
Wednesday, 15 August 2012
An attempt to join in with the Neo-Grindhouse business, particularly Rodriguez's side of things.
Which means far, far too many characters all of whom are introduced by scratchy freeze frames and a lazy twang of surf guitar before being stylishly murdered by a grumpy nun, who is sometimes nude.
Monday, 13 August 2012
Sunday, 12 August 2012
Friday, 10 August 2012
Thursday, 9 August 2012
Wednesday, 8 August 2012
Monday, 6 August 2012
Saturday, 4 August 2012
A pair of young, attractive, successful people living a fantasy lifestyle decry the fantasy reality of romantic comedies and instead try to live a very different (albeit with many similarities) fantasy reality all the while growing to realise that they actually are living the romantic comedy fantasy reality and maybe they should just embrace it.
Wednesday, 1 August 2012
A simple story of a man struggling with the onset of adulthood, instead choosing to pursue a childhood dream whilst trying to maintain a relationship with his abused, paraplegic girlfriend, all rendered through Jodorowsky's kaleidoscope of surrealism.