Film Monthly http://www.filmmonthly.com/ en Copyright 2012 Tue, 07 Feb 2012 21:23:09 -0600 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss Time Again Time Again I of course volunteered to take on the review. Unfortunately, there’s something extremely 21st century about writer/director Ray Karwel’s film debut. We live in a time when anyone with a camera and a dream can make a decent looking movie, and Time Again’s lazy scripting and stock special effects celebrate everything beautiful and tragic about these technologies being available to everyone. The story centers around two sisters, Marlo and Sam (Angela Rachelle and Tara Smoker), who work as waitresses at a crappy little diner. One day, a crime lord named Mr. Way (Scott F. Evans) visits the diner looking for a set of priceless rare coins and Sam ends up getting shot. Six months later, a distraught Marlo is visited by a mysterious old woman who sends her back in time to save her sister. This of course violates the first rule of time travel: no one can go back along their own timeline to alter their past, because it negates their need to go back in time in the first place and this creates a paradox. I have to give credit to Time Again for making an honest effort to create a logical (though broken) timeline, and I can almost make the argument that Ray Karwel was successful with this, but not quite. One problem is that every time Marlo goes back in time, she goes to the exact same moment, but never runs into past versions of herself trying to save her sister. This whole idea that the timeline apparently resets each time Marlo goes back makes no sense. This could be a problem with the rules of the world not being successfully established, but to me it felt like the coins manipulating the timelines are not consistent in their abilities. Another example of this is the idea that the coins were created for Julius Cesar to predict the future. The Roman emperor used them to escape three different assassination attempts, and the fact that he was finally killed by assassination is conveniently dismissed as a joke. Perhaps this is more of an homage to 80’s action movies than any time travel movie. The dialogue is playfully bad; almost giving the impression that the corny one-liners here were meant to satirize the lost art of campy action movie writing. Almost. Some scenes are more ridiculous than others. The first time Mr. Way comes for Marlo (6 months after the shooting at the diner), she is saved by Detective Lym (John T. Woods) and the two characters bicker back and forth like an old married couple; complete with Marlo criticizing Lym’s shooting ability (While he is trying to save her!). All of this just makes Marlo come across as an inexplicably mean-spirited person, and it’s hard to connect with her throughout much of the film. Each character’s inability to interact with the others in a believable, fluid way really pulls down the integrity of the film. But, on the plus side, we find ourselves left with a pretty great candidate for another cult movie so bad that it can’t help but be admired by those like me who enjoy sitting around their big screen with a group of friends and simply enjoy all the fun campiness that is Time Again Time Again is currently unavailable in theaters or on DVD as Director Ray Karwel is still shopping around for distributors.]]> http://www.filmmonthly.com/indie/time_again.html http://www.filmmonthly.com/indie/time_again.html Indie Mon, 05 Dec 2011 21:02:37 -0600 Ratline Savage Harvest in 1994, and won major acclaim in the underground horror community with the harrowing Scrapbook, which was named Rue Morgue magazine's "Best Independent Movie of 2001." Given the often punishing content and style of the films produced and released by his company Wicked Pixel Cinema, the relatively restrained, low-key horror of 2007's Deadwood Park came as a welcome surprise. Gone were the rough-edged "shot-on-video" look and claustrophobic interiors; Deadwood Park was a hugely ambitious undertaking for any independent filmmaker, a deadly serious horror film taking place in the present and WWII, shot on slick digital video in widescreen. The fact that Stanze pulled it off in grand style-- Deadwood Park is easily one of the best independent American horror films of the last decade-- meant that expectations for his next film among die-hard horror fans are ridiculously high. It should come as no surprise, then, that Stanze has zigged (after a fashion) where many would have predicted he would zag. Ratline, his latest feature, improves on the already impressive production values of Deadwood Park but uses them for a much different kind of horror story. Where Deadwood Park was often quiet and subtle, Ratline is loud and nasty. In other words, if Deadwood Park put a newfound maturity on display, Ratline is a reminder that this is still the same guy who made Scrapbook-- the picture may be prettier, but he still knows how to hit you in the gut. As the film opens, Crystal (Stanze regular Emily Haack) guns down the guys on the other side of an illicit deal involving a large bag of cash. She and Kim (Alex Del Monacco) take the money and hide out in a small Midwestern town. As it happens, this is hardly the sleepy, innocent town it appears to be-- aside from harboring a small but devoted Satanic cult, a powerful evil lies hidden here. The "Blood Flag," a Nazi flag used in arcane, demonic Nazi experiments, is being relentlessly sought out by Frank Logan (Jason Christ). It soon becomes clear that the arrivals of Frank and Crystal to this place are hardly coincidental, and as Logan moves closer to his goal, Crystal will be forced to make a decision that could seal the fate of all humankind. Ratline is full of surprises, and discussing much of the plot in any detail is bound to ruin them. Suffice to say that the storyline takes a few hard left turns and gleefully pulls the rug out from under the audience more than once. Stanze and co-writer/star Jason Christ treat the story's mix of horror fiction and historical fact seriously, but there is a streak of dark humor here that was notably absent from Deadwood Park. Horror fans looking for the old standbys won't be disappointed-- there is plenty of gore on display, and for the most part the makeup and effects are fantastic, but despite their queasy effectiveness, they're not the focus of the film. Ratline looks and sounds great, too, making it another technical leap forward for Stanze and Wicked Pixel, and the lead performances by Emily Haack and Jason Christ are excellent. It may lack the emotional heft of Deadwood Park, but there's no question that Ratline is another example of independent American horror film at its best. Ratline is available on DVD from Wicked Pixel Cinema and is available On Demand from Amazon.com. The DVD features two commentary tracks (one with Eric Stanze, the other with Stanze along with Emily Haack and Jason Christ), a lengthy behind-the-scenes documentary, deleted scenes, a gag reel and trailers.]]> http://www.filmmonthly.com/video_and_dvd/ratline.html http://www.filmmonthly.com/video_and_dvd/ratline.html Horror Indie Video and DVD Wed, 23 Nov 2011 08:37:33 -0600 Scalene Scalene has been getting attention recently from horror web sites like Dread Central and Bloody Disgusting, which is somewhat confusing since it is not a horror film at all. What Scalene actually is, however, is considerably more difficult to define. While not quite as graphically violent as Simon Rumley's recent Red, White & Blue, Scalene almost inevitably calls that film to mind with its three-character focus and depiction of extremely unusual and unpleasant human behavior. While Rumley's film was about dismantling the concept of the revenge film, Scalene examines both the fallout from and the events leading up to an irrational act that changes the lives of everyone involved. This is definitely not a fun movie. As the film opens, Janice (Margo Martindale) shows up at the home of Paige (Hanna Hall), forces her way in, and attacks Paige. From here, the film works backwards to show Janice's life falling apart and the events leading up to her attacking Paige. Janice is the mother of Jakob (Adam Scarimbolo), a young man who suffers from brain damage that prevents him from speaking or communicating with anyone. The audience is clued in early that something has happened between Jakob and Paige, who has been acting as Jakob's part-time caregiver, and the film runs on a parallel track back to that event as well. The structure of the film is explained by its title: a "scalene" is a triangle of three unequal sides. The three principal characters each have a section of the film in which their story is told, and each story is structured differently. To say much more would spoil the film's many surprises, but the film definitely demands careful attention to be paid. Some events happen differently in different sections of the film, which may reflect the characters' state of mind or suggest that they may be an unreliable narrator. Scalene also seems to suggest that in situations like the one depicted in the film, perhaps there is no such thing as a "reliable narrator." The fact remains, though, that at its center Scalene hinges on an act so unbelievably bizarre and irrational that any motive the surrounding story may provide is insufficient to explain it. It is, in fact, so outlandish that it is possible that it is derived from a true story in that it is often impossible to imagine what could drive a person to do things that are completely insane to anyone other than the person responsible. The attempt at depicting the situations and events that could lead a person to this kind of behavior is at the heart of Scalene, but this may be a case in which the filmmakers have simply taken a shot at the impossible: explaining that which is truly, fundamentally inexplicable. The film's structure is certainly unique and ambitious, and luckily the film's three leads are all excellent. Margo Martindale is devastating as Janice, the harried mother who desperately loves her son and cares for him at the expense of her own personal life. Honestly, she is often difficult to watch as Janice has more and more difficulties and misery piled on her already awful situation. Hanna Hall is excellent as Paige, and she has some traumatic scenes that she makes genuinely uncomfortable. Adam Scarimbolo has the unenviable task of making Jakob an actual character without using any dialogue, which he handles deftly. To his credit, director Zack Parker has unquestionably created a provocative, difficult, and unique film in Scalene. It's certainly not for everyone, but for anyone looking for a film that gives them plenty to think about after it's over, Scalene is worth seeking out. Scalene is available on DVD and Blu-ray from Along the Tracks Productions. Special features include teaser and theatrical trailers, featurettes on the film's reception at the Dances with Films festival, and the Blu-ray includes a 2.5 hour documentary on the making of the film entitled Perceiving Reality: The Making of Scalene directed by Jakob Bilinski.]]> http://www.filmmonthly.com/video_and_dvd/scalene.html http://www.filmmonthly.com/video_and_dvd/scalene.html Indie Video and DVD Mon, 07 Nov 2011 22:39:36 -0600 Interview with Haunted Sunshine Girl Haunted Sunshine Vlog There's a crud load of pretty young things all over the Internets, vlogging their miseries and joys, and occasional guitar strummings -- thanks lonelygirl15! And some of them have become quite famous -- no thanks Biebs! As usual, much of the stuff is pure nose goblins. So many people looking for stardom, and none of them with near enough talent to get on the local carpeting store's cable TV commercial. But then, sometimes you run across something that sticks out. Sunshine Girl (no real name given) is a 16 year old girl (now 17), who has decided to start a YouTube video blog (titled The Haunting of Sunshine Girl), to try and convince her Mom, and everyone else who will listen, that she has ghosts in her house. What follows is a list of video entries, totaling near 300 in a 10 month time frame, where Sunshine encounters a strange neighbor, Creepy Lady, who shows up unexpectedly with foreboding, eerie warnings; strange messages and photos of people with pillow cases over their heads; a Creepy Man who attacks her, while she investigates her estranged father's house; haunted house busting; and a cult-like sacrifice on a rainy, stormy night. But, let's not jump the gun here! This is no Blair Witch or Paranormal Activity. This ain't no creepy, scare the skinnies off you type of ghost story. It's really all quite unique. And that can be attributed to two factors. First, is show creator Nick Hagen (along with Sunshine's Mom) who has crafted an idea about a Gilmore Girls like mother and daughter, who are just so having some paranormal activity around their home unit. The show is primarily spun from the POV of Sunshine and her Flip-style phone. And what is genius about it isn't all the ghostly activity, but rather the relaxed pacing. It takes several episodes (all about 2.5 minutes in length, with some a bit longer) before we ever encounter anything remotely strange. And when Sunshine finally does share some of the activity with the viewers, it's all pretty much -- whatevs! It's like, hey there, I'm Sunshine, blah blah blah... This is my life, and stuff, and oh yeah -- I have ghosts. This is the second -- and key factor -- that Sunshine isn't your average TV show material. Yes, she's wonderfully adorable and very cute -- but she's not the latte chugging fashion slave (or a booze guzzling teen mom in the making), who is boy bait for the all the floppy-haired high school Casanovas (or rather, Troy Boltons) who we find on every other teenage show. No, Sunshine is holding to no one, but herself... and her Mom, who she adores. She's an individual. Strong, but flawed. And with a mind of her own. When she speaks to the camera (usually held at her own arm's length), she has a geeky, bubbly confidence, and a quick wit, that is endearing not just to the boys, but as well to the girls. She's like the protagonist in a Judy Blume novel, or that friend of the kid in those 70s After School Specials, who the boy has a secret crush on, but will never tell her, because she has no real interest in anything but having a good time with her friends. It's terribly refreshing to find a girl on a show that is just fine with who she is, with no need or desire to be defined by anyone else but herself (now, that's "girl power" for you Spice Girls!). The Haunting of Sunshine Girl is a gem of a show... and yeah -- it's a show. Part of the experience of watching and enjoying Sunshine Girl is the wild response it gets from some viewers. Like Blair Witch Project and Paranormal Activity, and the many caught-on-tape shockers, it doesn't announce itself as a fictional piece of work. It also doesn't announce that it's real, either. And this, of course, is by design. Part of the fun of these mockumentaries is the acceptance that they are not real, along with the giddy hidden desire that maybe, just maybe, they are!! Hell, no one went and saw Avatar and came out all steaming mad, because it looked so damn real, but was all animated. But, really, for a few good yucks, you should check out some of the, umm... non-fans of Sunshine Girl who work so diligently -- with blogs and other YouTube channels -- to "debunk" the fictional world of Sunshine. I had the brilliant opportunity to sit and chat with Sunshine and her Mom, to have a behind-the-scenes look at their little show (that I predict will blow up soon enough!!) We talk about ghosts, h8rs, Cheetos, and how to be a good role model... BadRonald – I know there are still a few people out there who have not seen your show. So, can you give them a tantalizing summery? Mom – The way we usually explain it is Paranormal Activity meets Gilmore Girls, with a little Easy A thrown in. It’s a girl who sets out to prove her house is haunted. And decides to record the videos and throw them up on YouTube, and low and behold, people are interested. BR – You know, I admire how you guys paced the show. You didn’t jump in, with the early episodes, with ghosts jumping out all over. It’s like a regular teen girl blog, and “Oh, yeah… I have ghosts…” Mom – Yeah, we rally wanted it to seem authentic, and very much like people would be watching a friend. We didn’t want to complicate it. We just wanted to keep it really simple, and that’s what are formula was. Nothing about it has been accidental. It’s all been very specific and on purpose. We like to call it “unscripted fictional reality.” It’s not scripted. It’s all ad-libed. There’s a story and plot lines, but Sunshine does not have (written) lines. Sunshine – Nope… I make everything up. BR – No dialogue is scripted? It’s all you? Sunshine – Yes. Mom – Yup. (to Sunshine) You’re a genius! She gives her a high-five. Then air-fives me. Mom -- A Skype high-five! BR—Ah! Skype five. Our timing is off so, I’m swatting at thin air. Mom – It’s all good. BR – So, the idea behind this all comes from the show’s creator, Nick Hagen. Mom—Yes, Nick Hagen. The genius behind the curtain. Sunshine – He’s Oz. Mom – He is Oz. And we were talking about this earlier, that he is totally cool with staying behind the scenes on this. You know, doesn’t feel like he needs credit for everything. Although, anyone who knows anything about the show, knows that… you now – it’s a show. So, he likes to let it be that. BR—Speaking of that it’s just a show (and not reality), some people have really gotten testy when they figure it out. Mom—Little bit. BR—Does that bother you – people who get mad when they discover that it’s fiction – but still need to debunk it? Or do you see it as part of the whole thing? Suddenly, Mom moves to the computer on another desk, and lets Sunshine take center stage. She taps away quickly on the keyboard, with Sunshine trying to peek over her shoulder. Mom—I’m gonna let Sunshine handle that. I actually have to delete something off the wall that somebody just said that’s… been posted (coincidentally) as we’re talking about this. Sunshine— Yeah, it’s just part of it. For me, it’s kinda like, I don’t get too invested in what people say about me, because they don’t know me as well – They think they do, but they don’t. BR—It’s very easy to be brave and write nasty things – like call you fake – while safely under the anonymity of the Interwebs. Sunshine— Exactly. Mom—We actually filter the comments, so Sunshine doesn’t see the really nasty stuff. She knows it’s out there, but you know – she’s seventeen. Let’s let her be seventeen a little longer. And honesty, we were shocked that anybody really believed it was real. We understand that very early, like maybe in the first five or so videos… But, since unicorn levitated…? Really? Really? They both have a chuckle at this. Mom—We never set out for people to think that it was anything other than Paranormal Activity. It’s the Blair Witch Project. So, when people started getting really angry about it… You know, we didn’t put it out there that we were actors or any of that. Nobody would have heard about Blair Witch if they had come out and said “This is just a story…” So, when it came down to people saying “This is fake,” and “You suck,” “You’re all liars,” -- we say -- hey we’re actors. We’re playing a part. BR—So, as actors, what then is next for Sunshine Girl? Mom—We have a ton of plans. Halloween is going to be busy for us. We have more channels. We just launched more channels. We’ve got Uncle Tommy’s YouTube Confessions. BR—I saw that. Good stuff. [Uncle Tommy is a recurring character from Haunting of Sunshine Girl, and friend of Mom and Sunshine] Mom—Yeah, it turned out that people really loved Tommy. Sunshine – I love Tommy! Mom—We were like – yes! We were thrilled! So we’ve got lots of big plans. Maybe, taking Sunshine to new mediums. Maybe see Sunshine in other forms… that’s all we’ll say about that. BR—Oh, no secrets revealed to me? Mom—Just a tease, there. BR—How about you, Sunshine. Would you, or are you, thinking of moving outside of Sunshine and maybe taking a try at other projects or possibilities? Sunshine—College is next year, so that’s exciting. But, with Sunshine, as far as that goes, we’re gonna keep going with that until people get tired of it. Mom—“Til their sick of Sunshine. Sunshine—Yeah, until they’re tired of me – which doesn’t seem to be anytime too soon, thankfully. BR—And you’ve been at this for nearly a year? Sunshine—This December it’ll be a year. BR—So, you’ve got another whole year to do this, and then it’s off to College? Sunshine—Yes. BR—A haunted college? Are there any? Sunshine—Yeah! I’ll have to look into that. Mom—The plan is to keep right on going. If the audience is liking it, then we’re having a great time. We love it. We’re having so much fun. We love working together. We’re best friends. We’re having a blast! BR --What’s the schedule like on your show – shooting wise. Do you come up with an idea, and shoot? Or do you block off a bunch? Mom – We usually go a couple times a month, and shoot somewhere between 15 to 30 episodes at a time. It depends on how complicated the scenes are. Like the sacrifice scene was all in one night. Kind of a big production – we actually brought in rain towers. We hired a special FX artist to come in – who was also the stunt guy -- that Sunshine hits with the car [In another episode]. We had a special FX makeup artist who came is, as well, to turn me into the demon. That was not a mask, but makeup. BR – Nice! Real production value! Sunshine – Yes. Mom—And that’s where all the money goes to. The money we get goes right back in, to pay for these people who are willing to come in and use their skills to make it all work. You know, it’s not easy to get a guy to let your 17 year old daughter hit him with a car. Sunshine – Yeah… Hadn’t even had my permit for a year. Mom – Hey Jerry! How’d you like to have my daughter, who hasn’t been driving yet for a year, hit you with a car? You cool with that? He’s like “yeah!” And we’ll pay you for it! “Yeah, wohoo!!” BR – How many times did he get run over? Mom -- Yeah. Exactly! We’re really proud that we’ve been able to pay all of our actors and our crew. That’s a big deal. That’s where all of our money goes. You know, people say it’s really cheesy, and over the top. But, whatever it is – we’re trying to make a good webseries that breaks out and entertains people, and gets people to watch. We’re not out to say, you know… ghosts are going to hurt you. Or, that cults are “good.” We’re not trying to lead any children astray. Sunshine – Well… maybe. Mom – Yeah! Sunshine was! BR – That’s one of the qualities I like about Sunshine – that it’s generally good clean fun. Mom – Yeah BadRonald! High five!! Yeah, we really try. We try at making this as family-friendly as it can be, while still keeping it creepy. You know… Sunshine here – she won’t even wear a tank top. I’ve tried. Sunshine – She does try… Mom – You know, if I could get her in a bikini – I would! Sunshine – She does… try… BR – There was even a time, on one of the trip episodes, where an OMG slipped out. And you called her on it. Mom – Mhmm! There’s a lot of people who watch the show, together, as a family. And we love that! We love that moms and daughters are sitting down to watch it together. BR – Do you, Sunshine, see yourself as a role model, at all? I don’t mean that you set out to, or that you have established yourself as one. But, do you accept the idea that you could be a role model? Sunshine – Me! I didn’t expect to be a role model. But, then, this happens and I’m like “Yeah! I’m okay with being a role model.” I’ll be like Lady Ga-Ga. I’ll be cool like that. Yeah. BR – Good. It’s good to see that, in this market that’s saturated with all the Disney stuff, or Nickelodeon stuff, that you’re doing some good straight forward… you know… girl power stuff. They both get a nice chuckle at that. Mom – It’s been a happy accident. And she’s become a good role model. She’s brave, and she’s out-going, and she’s… different. You know, what you see is this girl – Sunshine. And it’s not fake. The ghost? Okay… okay, there’s no ghost in her house – you don’t have to print that if you don’t want to! Actually – who knows! There may be a ghost in our house. There have been a couple EVPs that we did not put in. Sunshine – It’s been weird, yeah… Mom – Not gonna lie to ya. Yeah! So, it is actually very possible that house is haunted… But, the real people seem so drawn to (The Haunting of Sunshine Girl) is because Sunshine is so genuine. The relationship that you see on the show is really the relationship that we have. [Looking to Sunshine and joking] You know, we’d look at each other and wonder why a camera crew isn’t always following us around! Sunshine – All the time. Mom – We’re hilarious! We should have out own reality show. Sunshine – We’re so funny, it’s ridiculous. Mom – And modest. Sunshine – Yes. So humble. Mom – Yeah, humble. And you can see, we’re both so much alike. BR – I’m seeing the Gilmore Girls. You guys are fans? They both nod their heads delightedly, and pump fists. Mom – We love Gilmore Girls. And Veronica Mars. Sunshine – [sing songy] Veronica Maaaars! For three. Short. Seasons! Mom – Our two favorite comments we get a lot is that no mother and daughter has that relationship. And we’re like, yeah, none. Sunshine – Yeah… none. Smile... Oh, uh nevermind Mom – And the other is that – couldn’t you find actors that look more a like? To this, they put their heads together to demonstrate the point. Sunshine – Really. My mother. Mom – I am. Sunshine – She gave birth to me. Mom – Yeah… painful, too! Sunshine – Oh my god. I wasn’t even that big. I was 6 pounds. Mom – But I didn’t have drugs, though. Sunshine – Well, that’s not my fault you didn’t get there fast enough. Jeez. Mom – We tried. BR – Yeah, see… you guys are so faking it. Laugh. BR – What shows do you like now? Mom – [To Sunshine] Go! Sunshine – Oh! NCIS. Nikita. Project Runway. Mom – That’s just her, because I don’t watch NCIS or Nikita. Sunshine – Nikita’s so good! Mom – We like the new Pan Am. Sunshine – Pan Am!! BR – I agree! Mom – We’re loving Pan Am. We’re still trying to catch up on Friday Night Lights. Sunshine – We’re so behind. Mom – We’re busy. She’s busy. BR – Chasing ghosts. Sunshine – Yup. Howdy Neighbor BR – So… Cheetos or Cheez-its? Sunshine – I’m gluten free. So – Cheetos. They’re made of corn. So, Cheez-its, I can’t. Made with gluten, so… and Cheese Nips – the off brand. Same thing. Can’t eat them. BR – Forget Cheese Nips. Cheez-its are the way to go. How about Cheese Doodles? Sunshine – I’ve never heard of those. What are those? Mom – That must be a NY thing. Sunshine – Oh, NY… I want me some Cheese Doodles! BR – So, you guys are not Horror fans, I understand? Mom – No!! Not the scary stuff! Sunshine – I’ve watched one horror movie, and it scared the heck out of me. BR – Just one! Sunshine – Haunting in Connecticut. “There’s bodies in the wall! There’s bodies in the wall!” Mom – No, we don’t watch that stuff -- that scary stuff. Sunshine – She didn’t even see it. Mom – I didn’t even see it. I saw Sixth Sense. That was scary. Sunshine – No it wasn’t. Mom – Yes, it was! Sunshine – Like, three seconds of it was scary. Mom – No, it was scary. Sunshine – I didn’t even finish it. BR – Because you were scared. Sunshine – Because I got bored. Mom – You should’ve finished it. Yeah – really, we wouldn’t have watched our own show! Sunshine – No! No no. BR – Okay -- one thing we don’t know abut you? Sunshine – One thing you don’t know about me…? Hmmm… [time killing sing song] I got nuthin’ BR – How about school – what’s you favorite class? Sunshine – In school, now? Or favorite class I’ve ever taken? BR – Ever taken. Sunshine – Human Biology. Mom -- Isn’t she weird? Sunshine – It was so good! It was amazing. I loved that class. BR – Did you have to do frogs or anything like that? Sunshine – We did a sheep’s heart… A cow’s eye… BR – Wha! Sunshine – Yeah, it was really gross. We had to take apart all these animal parts. We did a cat… BR – Cat brain? Sunshine – Yes, I think that might’ve been what it was. I don’t remember, but loved that class. Such a nice lad... BR – How about Literature. You like reading? Sunshine – Love reading. Reading is super fun. BR – What books? Sunshine – Hmm… you see this is where – I like scary books! I like mysteries, and stories that twist and turn. Not necessarily like death and gore, but… yeah, I have a huge bookcase full of all my books. BR – You’re a Jane Austin fan, right? Is she your favorite? Sunshine – The movie Pride and Prejudice is my favorite. But, I love Neil Gaiman. He’s my favorite author. He’s amazing. Probably, Neverwhere is my favorite book. BR – So, how many viewers does the Haunting of Sunshine Girl have now? Mom – Over 11,000 subscribers. And, we also have a lot of viewers who don’t subscribe, but watch. It’s funny with that, because we think there may be sort of a secret shame for watching the show. We kinda think there’s a bunch a people who watch, but don’t tell, you know, their friends. Especially boys. Sunshine – Yeah… Mom – Oh, and speaking of boys… we’ve had a lot of trouble with boys hating Nolan [One of the newer teen characters, who helps Sunshine and Mom with some of the mystery and intrigue]. Boys of all age. Sunshine – Adult men! Mom – Yeah, so many will say “He sucks…” When the word they’re really looking for is jealous! The girls love him, though. BR – Safe to say, there’ll be more of Nolan. Mom – Yes, more Nolan. Also, more Uncle Tommy. We also have some great stuff coming up for Halloween. On the 29th (of October), we’ll have a special live event. Sunshine – I’m wearing a costume!! BR – You gonna tell me what it is? Sunshine – No! You don’t get to see until you tune in. Gotta tune in. Mom -- October 29. Noon PST to see Sunshine’s Halloween costume. And… Sunshine – And live Fan Appreciation Daaaay! Mom – Sunshine will answer your questions – live. And! At the end, when she’s all tired and we log off, there will be a special... very creepy… scary video. Sunshine – [Ghostly voice] Yup! Mom – People will be able to write in their questions, whether it be via FaceBook, YouTube or Twitter. And Sunshine will take the questions and record her answers… Like, Barny asks… Sunshine – Barny asks, from Jimmiestown, NY – what’s your favorite cereal? And I say -- whatever it is! BR – What is it? Sunshine – Oh! Corn Chex. I’m so lame… BR – Chex Party Mix at Christmas? Sunshine – Except you can’t eat Chex Mix, ‘cause half of it’s not even gluten free. Pretzels. Full of gluten. BR – How about substituting with something, like bagel bits. But no – Sunshine – Yeah, bagel bits. Gluten, too. So hard being me. Mom – I think you have the title of your blog post – Sunshine – “Can’t Eat That Chex Mix.” BR – Will there be any cross-over action with your other shows? Sunshine – Well, two of the three are me, so the other is Uncle Tommy’s. Mom – I’ve been on Uncle Tommy, But, we have some stuff planned that we can’t talk about yet, with some other channels. We’re starting to expand to outside of Sunshine’s universe, too. BR – Now, Coat Tale Productions – was that previously established, or did that spring from Sunshine Girl? Mom – When we decided that we were going to do more that Haunting of Sunshine Girl, Nick and I formed Coat Tale Productions. The idea behind it was that we wanted to do this and bring along all our friends along with us. Oregon film is a very tight knit group, and we have people who we love to work with. The reason we have Creepy Lady in our videos is because we love the actress Adrianne, who plays her. Sunshine – I love Adrianne! Mom – Originally Nick wrote Creepy Lady as an old woman. And I was like, “No You know who’s creepy? Adrianne. Adrianne’s creepy. Let’s put her in!” Uncle Tommy is a great friend in our lives, so we waited until we could bring him in, in a way that would work and we could keep him around. So, we saw Coat Tail Productions as more of a family thing. We formed an LLC and we’re looking to produce in new media. Sunshine – And… what about your seventeen year old? Mom – My seventeen year old? Sunshine – Your seventeen year old producer. You forgot. Mom – My seventeen year old is a producer, yes. She’s the third part of out little production group. She’s a producer – which is gonna come in handy when she’s applying for colleges. It’s gonna be like, “Yeah… producer. What’ve you done?” BR – “World’s youngest producer – what’up? What’ve you done?” Mom – “Four million views on YouTube – ba-da-doosh!” Sunshine – [soto] “Ba-da-doosh?” Mom – Yeah, this has been good for her. She’s learning a ton. She’s taken to it like a duck on water. She’s incredibly, incredibly professional. When we were at the creepy house location, with the Creepy Man – Sunshine – Not be confused with Creepy Lady. Mom – (At that location) it was the first time we had a crew, instead of just her and I and Nick. At one point, we were all sorta like goofing off, and we Sunshine here was like “C’mon, let’s get this shot!” She’s totally in this, making creative decisions. She helps with the casting. She’s definitely the one who had final call on casting Maxwell as Nolan – which wasn’t easy, to try and cast a boy who was cute and could keep up with Sunshine – Sunshine – It’s very hard keeping up with me. I’m very riveting. Mom – And could do the ad lib. Which, is not that easy. Oh! And to hold the camera!! Sunshine – Not easy… Sometimes you get half the face, and other times you can’t even hear them. They forget that they had the camera, and suddenly [gesturing holding the camera at arm’s length] the hold it out and nobody's there. No one’s in the shot. Mom – It’s interesting bringing in other actors, because we’ve been doing this on our own for 8 months. BR – Pros. Sunshine – Yeah! Mom – …At this style. Sunshine – But, nothing else. We can’t do anything else. Mom – I’ve been acting since I was a year old. Sunshine – I’ve been since I was six. Mom – So… we’ve been doing this for a while. She’s done a lot of modeling. Sunshine – Foot model. Mom – I’ve done a ton of voice over. Stuff for Nintendo – I’m the voice of Princess Rosalina, for Mario Cart and Super Mario Galaxy 1&2. Lot of film – What the Bleep Do We Know. Lots of local stuff – Oregon. BR – Famous last words? Mom – Thank you! You’ve touched on stuff that a lot of other people don’t get to. So… Please, everyone stick around for October 29th!! We’ve got some really cool surprises. Sunshine – Thanks! Tune in!! ]]> http://www.filmmonthly.com/interviews/interview_with_haunted_sunshine_girl_1.html http://www.filmmonthly.com/interviews/interview_with_haunted_sunshine_girl_1.html Horror Indie Interviews Tue, 25 Oct 2011 10:33:44 -0600 The Telephone Game The Telephone Game tells the story of a theater in its attempt to put on a play called "The Invisible Ropes" in 1960s America. But when the talented but burdened director and lead actor falls in love with his co-star, tensions rise. The movie exposes the dangers posed to a production when relationships, be it romantic ones or family relationships, extend outside of the production. The entire film is unconventional and fresh. From the dramatic opening scene and soundtrack to the emotional moments and unusual use of camera angles, nothing in this movie is dated or boring. The acting is brilliant. There’s almost a documentary feel to the movie, and the viewer becomes a part of the play-making experience from the get-go. The philosophical script is so real, partly because it was ad-libbed rather than pre-written. From the dance rehearsals to the fittings to the auditions to the facial expressions and emotions, every little detail of the play-making process is captured. Though the characters are very different from one another, they are portrayed so that audiences everywhere can relate to them. In the words of the play’s director, Marco, “Everybody is a little bit of everybody.” Wes Tank plays Marco in the film, and he gives an incredible and haunting performance. He’s a young playwright who is blessed with two burdens: that of talent and that of love. He comes to find that combining these burdens only becomes a third burden. He’s mysterious, and the type of guy who, if he committed a crime, his lawyer could plead insanity, only because his mind is so advanced that the average Joe couldn’t understand it. The Telephone Game boasts a unique and realistic sense of humor. It is simple at times and complex at others, but all in all it balances out and works. The movie is so out of the box and all over the place, but in a good way because such is life. You never really know what to expect, and there’s no way to predict the ending. The Telephone Game is a stirring, heart-wrenching tale that teaches viewers that happiness doesn’t necessarily mean perfection, and that sometimes you just have to pick one or the other. ]]> http://www.filmmonthly.com/indie/the_telephone_game.html http://www.filmmonthly.com/indie/the_telephone_game.html Indie Wed, 10 Aug 2011 14:24:00 -0600 GGS Kickstarter website, you will find this description: "GGS is a thriller short film that explores issues such as government surveillance, food deserts, power dynamics, family loyalty, honesty and betrayal." Filmmaker David Holcombe has this to say about the film: "The script was built around this image to include many concepts involving the cycle of civilizations throughout history, but as it relates to experience on an individual level, as well as the nature of power and authority, of loyalty and greed, and of nature as nurturer. Once the script and many of the storyboards were completed in mid February, a lot of test footage was shot to explore various themes that would need to occur in the final film." Watching GGS evokes those very concepts and feelings, thanks in large part to a solid cast and, of course, the extremely hard work put in by the filmmaker himself. David wrote, directed, co-produced, lit, did make-up and wardrobe, and did sound design, mixing, and picture edit for the film. This was clearly a labor of love by a very talented artist. The actors, too, deserve much credit. Chief among them is Jill Oliver as the lead female, Kat. She is the one who bears the hope of a new society in her womb, and the one who suffers the most for it. Bryn Packard does a fine job as Clem, her lover and the father of her child. Together they are part of a resistance force which struggles to survive in a world crumbling around them. Although we are never quite told why, a lot is said about the world's food resources and the inability of big corporations to maintain any sort of feasible quality assurance so that its customers, the population, can survive and thrive. Speaking of big corporations, there is a shadowy "big brother" type of government which watches their every move. Celeste Burns is "She," the female watcher who seems to be rooting for the lovers in spite of having to carry out her orders. And John Gray does a fine job as "Him," a sort of Everyman for the corrupt, power hungry, self-centered CEO/nation's leader. His focus is never far from his own skin, which is how it should be if you're going to be a horrible leader to your people. Corruption and greed are the theme of the day, at least for now, and Mr. Gray's bad guy poster boy plays that tune perfectly. As I write this, David is preparing to send the film off to festivals and I hope the reception is positive. We need more filmmakers willing to speak out about moral injustice and to get people's thoughts stirred against being the couch-dependent lemmings we have become. Hooray for David Holcombe and his film GGS. May you soon have the opportunity to watch it at a festival near you! ]]> http://www.filmmonthly.com/indie/ggs.html http://www.filmmonthly.com/indie/ggs.html Indie Thu, 14 Jul 2011 16:47:59 -0600 Clacson Clacson is a cleverly-titled short film exposing the disadvantages of human error in an ironic and entertaining way. The film, whose title means “horn” in Italian, was filmed in Milan, Italy. The camerawork is nice, and definitely unconventional when compared to American films. Some of the angles are very unique. There is also a bit of an anonymous and mysterious feel to the film, evident in the way the first thing viewers see when introduced to a new character is that person’s feet. In this film, an impatient woman discovers her vehicle is surrounded by three oddly-parked cars. She looks around for someone to get them to move the car, but no one is in sight. She decides to display her frustration by honking her horn incessantly, much to the chagrin of a nearby resident. At first, there is no dialogue and no soundtrack. The viewer is forced to pay attention to the story and deduce what is happening from the clues the filmmaker decides to give. It’s bold, and it works really well with the story. Few words are used because few words are needed for the situation that unfolds. Another point that Clacson proves is that a movie doesn’t need to be two hours long for it to be worth watching. The film is roughly five and a half minutes long, and the story is developed pretty well for it being so short. Adding time might give the viewer more time to get to know the characters, and to know why the cars are parked so oddly, but in the end, none of that really matters. Short films give you the meat and bones of a story, and when a short is done right, that’s all a viewer really needs. ]]> http://www.filmmonthly.com/indie/clacson.html http://www.filmmonthly.com/indie/clacson.html Indie Short Takes Mon, 11 Jul 2011 11:20:33 -0600 Put Up Your Dux Bloodsport was released. All hardcore martial arts fans immediately lose any and all credibility if they do not adore this movie. It is the definition of a cult classic, a giant in the martial arts film genre. The film purports to tell the true story of a man named Frank Dux, who competed in and won a secret martial arts tournament known as the Kumite. Decades after the dust has settled, after the controversy surrounding this figure and his story is old-hat, producer/director Jesse Barrett-Mills offers the enigmatic martial artist the chance to weigh-in himself and speak his piece in the new documentary Put Up Your Dux. Now, with propaganda pieces such as this, it is imperative that one maintain a certain degree of objectivity. Documentaries like Put Up Your Dux attempt to play on your emotions, get you to ignore your gut feelings of idiocy and ridiculousness. And credit to Mr. Barrett-Mills, he is a very skilled documentarian, and in Frank Dux, he found a hell of a subject. While a preface like that may make it seem like I’m gearing up for a large-scale assault on the film and its subject, I’m actually not. I have a lot of respect for Frank Dux as a martial artist and as a teacher, and I believe his claims regarding his martial arts history are true to a large degree. I can’t say the same thing about his silly CIA stories, which make his life sound hilariously identical to the plot of Enter the Dragon, the granddaddy of all modern martial arts films and the film to which Bloodsport owes its existence. For those who don’t know, the controversy that resulted subsequent to the release of Bloodsport stems in large part from the skepticism surrounding the Kumite itself, the secret martial arts tournament depicted in the film and in which Dux claims to have competed and of which he claims to have become champion. In addition to questions of whether Dux’s martial arts background is true or false, his military history has also come under scrutiny, and a significant portion of Put Up Your Dux is dedicated to this aspect of the Frank Dux saga. Even though I believe a lot of his claims are completely made up, my purpose here is not to tell you what you should think. That’s what the film is for. Watch the film, read up on the history, and come to your own conclusions. What concerns me is not whether Dux’s claims about the Kumite are real or not, or even if his military history is accurate or not. Rather, what concerns me is what the film has to say about the sport of Mixed Martial Arts (MMA) and the premiere MMA organization, the Ultimate Fighting Championship (UFC). At several points in the film, Dux is referred to as some sort of founding father of MMA and people being interviewed imply that his “real-life” story is the basis of the UFC and, by extension, MMA, and that is not a matter of speculation, it is not something we can all decide for ourselves and then retire to our separate corners. This, I assure you, is 100% untrue. As documented in innumerable books and documentaries, chief among them the excellent chronicle of the early days of MMA competition No Holds Barred: Ultimate Fighting and the Martial Arts Revolution, the UFC was the creation of the Gracie family, a martial arts family from Brazil who competed in events in their home country that were known as Vale Tudo, the Portuguese term for no-holds-barred competition. Vale Tudo events go back to before Dux was born, and the patriarch of the Gracie family, Hélio Gracie, competed in Vale Tudo matches starting in the 1930s. Arguably the most famous Vale Tudo match took place in 1951 (Dux had still yet to be born) in a stadium in front of 20,000 people, including the President of Brazil, wherein Hélio competed against and ultimately lost to renowned Judoka Masahiko Kimura. Bringing up the Vale Tudo heritage not only brings to light the proper UFC lineage; it also allows for a different perspective on Dux’s claims regarding the Kumite. While it is difficult, if not impossible, to verify his claims, this is the case for a lot of martial artists without a documented record. The Gracie family was a pioneering family in many ways, and a great example is the way they were always documenting their fights. The famed “Gracie Challenge,” which goes back to Carlson Gracie’s open challenge to other martial artists in the 1920s, created a notoriety that allowed for a lot of witnesses as well as video footage once technology evolved. Not everybody had the same presence of mind, however; Bruce Lee is rumored to have had innumerable challenge matches during his lifetime, but without video of these fights, it is up to each individual to believe whatever they want to believe, and the strength of Put Up Your Dux as a documentary is in its ability to really make you want to believe Frank Dux. Thankfully, at the end of the day, it really doesn’t matter what is and is not true. The important facts of the case are all that matter, and they are as follows: First, Frank Dux is a skilled martial artist and a dedicated teacher; second, he is responsible, whether due to facts or ingenious storytelling, for the creation of Bloodsport, one of the quintessential martial arts films in the genre’s history and a defining cult classic of modern cinema; and lastly, he is the subject of an intriguing and entertaining documentary that everyone should check out called Put Up Your Dux.]]> http://www.filmmonthly.com/indie/put_up_your_dux.html http://www.filmmonthly.com/indie/put_up_your_dux.html Indie Video and DVD Thu, 07 Jul 2011 23:03:15 -0600 Attack of the Moon Zombies The Monster of Phantom Lake. A loving tribute to the 1950s creature features Mihm grew up watching with his father, Mihm's first film established the blueprint for his subsequent oeuvre: low-budget black & white features shot on the cheap that aim not to ironically appropriate the look and feel of 1950s genre cinema, but to actually replicate that look and feel as an end in itself. Each of Mihm's films-- with titles such as Cave Women on Mars and Terror from Beneath the Earth-- build on and add to an overarching mythology and world that has been earning his work a cult following of like-minded fans who grew up on and love the same b-movies that inspired him. Mihm's latest film, Attack of the Space Zombies, is no exception and may also be his most technically accomplished film yet. In the not-too-distant future on the Jackson Lunar Base, Dr. Vincent Edwards (Mike Cook) is on the eve of retirement. While training his young replacement, Glen Hayes (Michael Kaiser), the two men find a long-dormant plant hidden in a cave on the lunar surface. They return it to the laboratory of the Base Botanist Dr. Hackett (Shannon McDonough) and report the find to Base Administrator Ripley (Sid Korpi). Once removed from the lunar surface and its deadly radiation, the plant springs to life and the scientists learn the hard way that the plant's spores cause paralysis and death in short order, followed by reanimation as a plant-like zombie! Soon the Moon Zombies have overrun the Base, constantly thwarting Dr. Collins' (Douglas Sidney) attempts to propose to Dr. Hackett and resulting in the shutdown of radiation shields over two-thirds of the base. A small group of survivors must figure out a way to reach the shield controls and wipe out the Moon Zombies in time for the next supply ship to arrive and take them home. Too bad the base is absolutely crawling with monsters and time is running out-- can our heroes save themselves and end the Moon Zombie threat? Shot in "era-appropriate black & white" on digital video, Attack of the Moon Zombies looks a bit sharper than Mihm's other films, but that may be because it's almost entirely shot on sterile interior sets. The Lunar Base is all white walls, plastic lawn chairs and automatic sliding doors, probably making lighting a bit easier and more consistent than in the outdoor locations that make up much of Mihm's previous films. The cast is mostly made up of alumni from Mihm's previous films (and includes his wife Stephanie), and the lo-fi sets, costumes and monster make-up all add to the film's considerable charm. The Moon Zombies themselves are perfectly realized, looking exactly as cheap as they should (they appear to be masks and gloves) without being too goofy to generate some genuine tension. Mihm absolutely nails the tone and dialogue of his 50's inspirations, and the game cast does a great job across the board. Aside from the crisp DV picture, the only tip-offs that the film isn't from the same decade as It Conquered the World are the sly pop culture references (be sure to note all the characters' names!) and the use of some simple CG animation early in the film instead of cardboard-tube space ships and Christmas-light stars. While Attack of the Moon Zombies may be most fun for "Mihmiverse" converts-- it really does pay to watch all the films and pay careful attention-- any fan of classic sci-fi and horror films will find a lot to like, and this is a great introduction to Mihm's work. Learn more about Attack of the Moon Zombies and Christopher R. Mihm's other films at his official website: www.sainteuphoria.com.]]> http://www.filmmonthly.com/indie/attack_of_the_moon_zombies_1.html http://www.filmmonthly.com/indie/attack_of_the_moon_zombies_1.html Indie Video and DVD Wed, 01 Jun 2011 22:30:39 -0600 Make Believe by J. Clay Tweel Make Believe, directed by J. Clay Tweel, will make you believe in the power of magic. The film follows six teens competing in the World Magic Seminar's Teen Competition in Las Vegas. This prestigious competition is extremely tough to be accepted into, but once young magicians are in, they know they have talent. According to the documentary, magic is something that gives teens a voice and helps them find their true selves. It's a way to communicate. It's something that transcends the language barrier--all can be amazed and entertained by a good magic act. Watch the film to find out more about the world of magic and how it affects these teens’ lives. Make Believe is on Showtime and On Demand through the end of May. It premiered at the NY Friar’s Club in New York City on May 11, Facet’s Cinemateque in Chicago on May 16 and Laemmle Sunset 5 in Los Angeles on May 25. If you’d like a DVD copy, you can purchase it at www.makebelievefilm.com. ]]> http://www.filmmonthly.com/video_and_dvd/make_believe_by_j_clay_tweel.html http://www.filmmonthly.com/video_and_dvd/make_believe_by_j_clay_tweel.html Indie Video and DVD Sun, 29 May 2011 23:36:46 -0600 The Loneliest Road In America The Loneliest Road in America features a cast and crew entirely comprised of new-comers to the motion picture screen. Director Mardana M. Mayginnes and actor Colin Michael Day met at The University of Denver and later worked in a commercial house in Los Angeles. Disgruntled with the daily grind and script in hand, they gathered a group of like-minded souls, conjured up a severely limited budget by Hollywood standards and set out to make their first feature film. With the recent road-trip movie successes of Little Miss Sunshine and the Motorcycle Diaries, I wondered what substance this group of freshmen would bring to this well-established genre. The opening scene takes place along Interstate 70 in Colorado as the duo of two former college roommates, now in their late-twenties, heads towards L.A. Jamie (Colin Michael Day), a sensitive and fiscally-challenged vegetarian bartender and his consummate capitalist buddy Matt, (Chris Hayes), pass through the Eisenhower Tunnel and at the crest of the Continental Divide. This is literally the place where all things – as well as the rivers that flow from east to west - are drawn into the mysterious, magnetic pull towards the Pacific. Jamie, stifled in a relationship with clingy Amanda (Jennifer Devereaux) is craving a mind-expanding getaway, while Matt is expecting a balls-to-the-walls party affair. Along the way, Matt, in an effort to add some carnal spice to the outing, picks up party-girl Ashley (Abby Leigh), a former lover and harmless piece of eye-candy. Jamie strikes up a tryst with the sexy tag-along, thus providing a welcome distraction from his smothering girlfriend. Much of the movie’s mid-section takes place as the three meander a piece of Highway 50 between Utah and Nevada, a.k.a. “The Loneliest Road in America”. Decimated by former mining corporations and left to rot, both the skeletal remains of these towns and the large expanses of skies provide a strong visual backdrop for director of photography and award winner Tony McGrath to work his magic. Matt’s mouthy frat-boy rants and Jamie’s constant introspective, socially-conscious questioning provide some authentic banter from writer Mayginnes. Hayes gives an energetic performance as Matt which plays nicely against Day’s more subtle approach. The movie’s strongest moment comes when the three outsiders spend an evening at a local watering hole in one of the leveled mining towns. After the redneck townies brag about their loyalty to American-made beer, Jamie has to deliver the bad news that even their revered Budweiser has been taken over and is now owned by a European brewing conglomerate. Unfortunately, the wheels start to fall off as the trio reaches its destination. Upon their arrival in L.A. the travelers visit their long-time chum Girard (Isaiah Musik-Ayala), a moneyed sophisticated guru, and part-time coke head. In addition to his penchant for singing classical opera, he also enjoys playing beer pong with a younger, less heady crowd. This dichotomy seemed unlikely even in the often eclectic atmosphere of Southern California. The crowd continues to party on coke and booze and Jamie’s apparition in the form of a preachy cowboy does little to save the trip from its predictable, flat-tire of an ending. Indie music fans will appreciate the soundtrack offerings from Cat Power, Kaskade and a vintage gem from Nancy Wilson but overall, the intended theme of corporate power and greed failed to directly affect any of the characters and thus was rendered inoperable to the audience. ]]> http://www.filmmonthly.com/indie/the_loneliest_road_in_america.html http://www.filmmonthly.com/indie/the_loneliest_road_in_america.html Indie Video and DVD Sun, 08 May 2011 16:10:39 -0600 Megan is Missing Megan is Missing tells the story of a pair of teenage girls, BFFs Megan and Amy, two 14 year olds who virtually conduct their friendship in the virtual world. They have endless skype conversations, chat on their video phones, make home movies, and vlog about, like... whatever. And this is how the viewer watches them -- as voyeurs, sifting though their computer and cell phone files (and later, news footage and surveillance footage). And the stuff we see is the stuff that any parent would dread to find on their kid's laptop. The girls conversations are raw and intimate, revealing secrets to each other that they'd just die if anyone found out. Which is ironic, since they shelf their confessions on a medium that could potentially spread their private words worldwide within minutes. Their pursuit of adventurous vitrual living leads them to a online friendship with a stranger named "Josh." He tells them he's a skater dude, and the girls think his pics are hot -- but, they should pay attention to their mom and dad, when they tell them not to trust strangers. Megan is Missing is similar, in ways, to Adam Rifkin's Look, another mockumentary that follows the intimate lives of everyday people, told entirely through footage from surveillance cams. Both movies show (and in Looks case, often exposes) everyday people whose lives go from ordinary to extraordinary. However, in Megan, the viewer isn't just a voyeur, watching the lives unfold from a camera high above, but rather upclose, with the subjects talking directly to the camera -- almost like they're speaking directly to us. Megan is Missing is also very similar to Larry Clark's Kids, in that it goes after some hot button teen issues, and demonstrates a generation which has gone unchecked. Amy is the quiet, smart type, who lives vicariously through her best friend Megan, the wild girl to Amy's good girl. Megan catches a lot of hatin' from her friends, for hanging around such a loser. But, as in any good coming of age story, Megan's party-girl image is just a disguise to hide her very troubled and disturbing past, and she needs a goody-goody in her corner to help anchor her. Megan and Amy aren't nearly as bombastic as Clark's kids are. There are certainly a couple scenes in Megan that will make you shake your head, but it's fairly tame in comparison. And like Clark intended (questionably, it seems, at times), Choi wants to wake people up, by showing the way kids can be when they think they're adult enough to not have to listen to the adults. They want to shock us "grownups" into reality. To demonstrate what could happen to the kids if we become too comfortable and trusting. In Kids, the end result was quite unsettling (on different levels), provocative (on different levels), and highly controversial. Larry Clark used the salacious images of the teens to both prove they were out of control, and to clearly satisfy his own personal demons. The end result was jarring, in either aspect. Writer/director Michael Choi doesn't quite plum the depths that Clark swam in, keeping the shocking behavior tame in comparison. There is a scene in which Megan entertains Amy with a pretty graphic description of what she did, at the age of 10, to a 17 year old camp counselor (the shock of the matter is really less in what she did, as with the blase reaction from either girl), but that's about as blue as it gets. But, an earlier scene, that has both girls attending a drug and sex party, is almost made-for-TV in comparison to Kids party sequences. This lack of real shocks is likely because Choi was hoping his film would become an advocate for the cause of missing and exploited children (the film is endorsed by KlassKids, formed by the father of Polly Klaas), and he was aiming to inform, more than exploit. The major problem with Megan is Missing, however, is Choi's direction. These mockumentaries are a hard nut to crack, because the goal is realism. What happens in front of the camera has to appear to be happening as it's happening. Choi's mistake is that he tries to control the action too much. He's looking to force the dialogue to tell the story, and asking the performers to run through a list of moods and motions, instead of letting them experience the moment. The best of these types of movies use improvisation, where the actors are run through scenes so many times, letting the players live in that moment over and over, that it all becomes second nature. Choi, on the other hand, plays it too cautiously with his players, never trusting them to let their emotions run free. But oddly, for a director to tries to force so much into any particular scene, he goes all Blair Witch with the ending, showing the viewer the final footage found -- "uncut and unedited" -- that reveals the fate of Megan and Amy. Horror fans will find a treat in this portion of the film, but will have to excuse Choi's indulgence for "real time" (I won't spoil it, but one particular segment of minutia goes on tediously for near 10 minutes) in payment. Megan is Missing is an unsettling, at times, cautionary tale that comes off more as an Afterschool Special with naughty language, than the shocker it's marketed to be.]]> http://www.filmmonthly.com/video_and_dvd/megan_is_missing.html http://www.filmmonthly.com/video_and_dvd/megan_is_missing.html DVD releases Horror Indie Video and DVD Fri, 29 Apr 2011 17:49:28 -0600 Fagbug Update: Car Owner Receives Death Threats Last summer I reviewed the very thought-provoking documentary, Fagbug. Erin Davies had come out to her Volkswagen Beetle one day to find someone had painted "u r gay" and "fag" on it because of a small rainbow sticker she had on the car. While waiting for several days for the insurance company to view the car, Davies decided to take it in a whole new direction.

Davies took her car on the road to raise awareness of hate crimes and bigotry. The filming of her travels became the basis of the Fagbug documentary. While Davies did great work and definitely changed many people's thoughts and attitudes, it seems there might still be more work to be done to reach a time when everyone can be accepted for who they are.

The following is a press release of the latest news surrounding Erin Davies and the Fagbug car. Let it be known that that bigots apparently aren't known for their spelling or grammar.

NK13453PLATTSBURGH, NY - Prior to Erin Davies's presentation at SUNY-Plattsburgh, where she showed clips from the film that is dedicated to whoever vandalized her car, a student came running in to give her the news.

“There’s writing on your car. I just went out to put a note on your car and saw It.” said Alex Fauchet, the treasurer of the GLBT club on campus. Erin asked what type of writing, and the students showed her pictures they took. She ran out to assess the damage.

“Faggets + Dikes Must Die” was written on her driver’s side window with black dry erase marker in the same place “fag” was spray painted nearly 4 years ago. “It wouldn’t have been so shocking in the beginning, but after four years and not having it happen, it’s a shock now. It amazes me what people feel comfortable doing when no one’s around. If someone thinks that, I’d be open to having a face-to-face conversation about it. But writing on my property when I’m not there to defend myself is just cowardly.”

After showing clips from the film, Erin opened up the conversation by asking what students thought the response would be to having the fagbug on their campus. No one guessed that it would be targeted the way it was. Ten out of around eighty people who were in the audience knew already what had happened. Erin informed the remainder of the audience by putting up a photograph she took of her window, “Faggets + Dikes Must Die.”

 

"This is what was written on my car on your campus about an hour ago. It’s the first time in four years this has ever happened. It didn’t happen on my road trip and I put the car in every vulnerable position you could imagine around the entire country. It hasn’t happened driving the car in my everyday life. It hasn’t happened at any other campuses I’ve been to and I’ve been to almost 100 schools with the car over four years. How does this make you feel?”

NK13453

“I was shocked that anyone would do such a thing on a vehicle in plain sight. What would they have done if it had been out of sight? The thought of what could have happened if the car had been farther from campus is unsettling.” –Alex Fauchet

 

“I'm embarrassed by the actions of the individual who vandalized Erin Davies's car. I feel that this will only contribute to the stereotype that small cities and towns are close-minded and intolerant based on the actions of either a student who wasn't even raised here or a local resident.” - Kathryn Castillo

 

“It was incredibly upsetting to hear that this was the first time negative graffiti
has defaced the Fagbug since the original incident, and I was saddened but
not surprised that it could happen here.” –Jocelyn Cook

 

“Although, I'm surprised that it happened. Plattsburgh is not an area that I believe to be very educated on diversity.” -Sarah Wild

 

“I have lived in Plattsburgh, NY for 3 and half years. Being a gay man I have experienced homophobia all too often in this town. Unfortunately, this also happened to Erin while she was here to give her presentation. I wish the place I call home would evolve and realize that homophobia is a severe problem here. I hope homophobia and acts of violence against gay people in Plattsburgh, NY will change in time for the better. I guess we can all have a dream.” -Dan Sturrock

 

“This person clearly does not represent the whole campus; however, this will be the memory that will be taken away from that night.  What this person did has not only affected Erin, but has also affected the entire campus community.” - Hayley Gentner

 

A student who was physically attacked as part of a hate crime introduced Erin at the beginning of her program. Erin spent a majority of the evening talking about the incident and climate in Plattsburgh.. There was fear in the audience and many stories were shared that backed it up. “At the same token places that are more remote appreciate my presence that much more. The students were so excited to have my car on their campus. They were all outside cheering as I arrived.”

A police officer circled the outside of the auditorium asking Erin, “Would you like to make a report?”
“Well, it’s not the way I planned to spend my evening, but of course. I’m a firm believer in documenting things like this. How can you change or fix a problem if no one knows the problem even exists?” The incident was filed as criminal mischief and hate crime.

 

Once Erin returned to her car after the event, a smile came to her face. She had 12 new hand-written notes left on her car to add to her collection. One included a pastel colored bracelet and the note said, “Here’s a bracelet to remember me and your journey to Plattsburgh. I made this bracelet in my first Day of Silence, the same day your car was vandalized.”

 

“Things like this make it worth every discomfort or struggle I have or may continue to endure.”

 

Erin sees the message she received as another teaching moment. “It doesn’t make me feel afraid. I feel even more motivated to educate people on the intolerance that exists. It’s everywhere. People need to know that.”

]]> http://www.filmmonthly.com/indie/fagbug_update_car_owner_receives_death_threats.html http://www.filmmonthly.com/indie/fagbug_update_car_owner_receives_death_threats.html Indie Erin Davies Fagbug Fri, 11 Mar 2011 09:38:26 -0600 Let Me In Let Me In as a replacement of the brilliant 2008 Swedish import Let the Right One In. Instead, he wants you to think of it as the American companion piece, that would sit along side the original. In other words, the original movie gave you a brilliantly understated horror story with deeply etched characters and nuanced performances, but Reeves version drops all that to give you all the blood and CGI mayhem that you didn't get -- or even need. The basics are all there... The bleak Swedish snowscapes are traded in for a wintry New Mexico, but the lonely, bullied boy, Owen (Kodi Smit-McPhee), remains. He befriends a mysterious new neighbor, Abby (Chloë Grace Moretz), who moves from town to town with the man who appears to be her father (Richard Jenkins). The new neighbors have a dark secret, and it has a lot to do with the bizarre killings that have plagued the small community. In great contrast, though, to the original, there is the inclusion of a police detective (Elias Koteas), who is searching for clues to the brutal murders. With remakes, there are sure to be changes made to the original. But, at the pen of Matt Reeves, the emotional underbelly of the original story (written for the screen by John Ajvide Lindqvist, from his 2004 novel) has been ripped away. It starts with Owen's mother. She may be just another complicated part of the boy's bigger picture, but in the original story, they had a relationship. Tenuous and tried, but still very strong. In Reeves version, she's downsized to the equivalent of a Charlie Brown cartoon parent, minus the mwahh mwahh dialogue. The boy's father is even more edited. He only ranks the cliched "Don't have time now, kid -- but we'll get together soon" phone call. The trip the boy makes out to his father's place, in the original, was a much needed respite for the boy, as well as the audience. And the eventual betrayal he gets from his dad didn't come from simple rejection. Instead, we got a glimpse of where the boy's weaknesses may stem from. Reeves worst offense, though, is the removal of storyline that involved Jocke and Virginia. The characters still remain in his script, but only as victims to Abby's violence. In the original story, they were much more than simple victims -- they were the true heart behind the story. The boy and the girl were the main relationship, and the ones that the audience came to care for. But, it was Jocke's losses and his search for vengeance that really pulled at the audience's emotions. Jocke was the one who reached out to the girl's guardian, inviting him to join him and his friends. The attempt only exposed the strange man's painful alienation. His life had become so much about serving the little girl that he could no longer have friends. Jocke also lost the most in this story. He lost a dear friend to the heinous murders, and then witnesses the brutal attack on his girlfriend Virginia. Unbeknownst to anyone, the attack was slowly turning the woman into a vampire, herself. Her detached behavior, and her eventual death from exposure to sunlight, left Jocke confused and bitter. He never gave the woman the respect she deserved in life, so he swore to seek revenge for her death. His search leads him to the girl's hiding place, and this is where the moral dilemma arises. The audience has invested so much in the little girl's plight, and in the relationship she has forged with the boy. But, the heartache and anger that Jocke feels are truly genuine. We know the girl deserves to die for ll the pain, not just of Jocke, but of every person who fell into the wake of the murders she and her guardian have perpetrated. It's a genuinely riveting scene. And the man's suffering is felt as we watch him die, unable to requite his love. All of this emotion is stricken from the script, and replaced by the well worn chestnut of a police detective, hot on the trail of the killers. There's no attachment between the character and the audience -- he's just the guy who is trying to catch up to the girl and her guardian -- so, when the detective finds her hiding place, he becomes yet another victim. Reeves makes a huge misstep when he attempts to draw emotion out of the detective's death, having him reach up towards the boy for help, and into the camera lens towards the audience. The moment means nothing, because, after all, when did we ever invest anything into his character? He was just a cop doing his job. He had no emotional investment. The only moment I connected with, in the movie, was when the boy feigns reaching for the man's hand, and instead closes the door. I chuckled. And I'm sure that isn't the response Reeves had hoped for. It's these flat emotional gimmicks that kill the story. Just as he did in Cloverfield, Reeves tries to control the audiences emotions by dictating what they should feel at any given moment. The subtly in many key scenes from the original are replaced by expository dialogue, as if he saying "Hey, remember this scene? This is what they didn't say, that I thought maybe you guys were too simple to pick up on." When the girl asks the boy to verbally invite her in, the boy teasingly doesn't abide. She eventually steps in, and soon she starts to quiver and blood pours from her head and body. The boy, horrified, learns that the vampire lore is indeed true, and shrieks out his invitation. The audience understands, from the girl's willingness to put herself through such pains, that she would go to any lengths for this boy. In Reeves world, however, there has to be a conversation about all this, that spills out every drop of sentiment, sapping the real emotion from the moment. It may seem unfair to compare Let Me In to the original film, or the novel. But with the remake coming barely two years after the original, the filmmakers are clearly trying to capitalize on the popularity of Let the Right One In by pumping out an "Americanized" version. And if you listen to Reeves and his producers,however, in the DVD's extra featurette, they'd have you believe that their film bears no connection to the original. Not once do they mention it. Reeves does talk about Lindqvist and his novel, and of how he has a special connection with the author, and the producers boast of how Reeves always carried the book around, all as if it was the novel that drew them all into this project. It doesn't matter that Reeves had swooned in past interviews that he'd fallen in love with the story after seeing the original movie, and that he at first thwarted the remake, because he felt the movie had already been make perfectly. Beside all of that, Let Me In begs comparison to the original, because, as Reeves said, the story was told perfectly already. And, also as Reeves said, Let Me In is simply a companion piece to Let the Right One In. It would never stand alone as a singular film, for it relies too heavily on what the audience has already gleaned from the original. Reeves took no chances with his retelling, and despite his declarations that he would amp up the suspense, he had simply poured on the effects. Some effects were a treat for the eyes, but he missed the point of the original -- that subtly and nuances built the suspense much better. It's as if he fell in love with the movie, and then forgotten what it was that made it all work. Releases on DVD and Blu-Ray on February 1st from Anchor Bay. Subtitles in English SDH and Spanish. Bonus Features: Audio Commentary with Writer/Director Matt Reeves From the Inside: A Look at the Making of Let Me In The Art of Special Effects Car Crash Sequence Step-By-Step Blu-ray™ Exclusive: Dissecting Let Me In Unrated Deleted Scenes Trailer Gallery: Greenband Trailer, Redband Trailer Poster & Still Gallery Digital copy of the film]]> http://www.filmmonthly.com/dvd_releases/let_me_in.html http://www.filmmonthly.com/dvd_releases/let_me_in.html DVD releases Horror Indie Video and DVD Fri, 21 Jan 2011 12:34:33 -0600 Scumbabies Scumbabies, the writer/director Lewis decided to debut his finished film with a variety show. There were musical performances by artists whose songs appeared in the film, comedy bits, short films, and some extemporaneous carny-style storytelling about the man supposedly behind it all, Liver Boyle. Leading up to the show, Lewis had been posting short videos related to the film's creation and guerilla marketing, as well as creating "3-D comics" art pieces that act as companions and extensions of the film's world. When the time came to actually show the film, the audience had already gotten considerably more than their money's worth. Luckily, the film itself is even more entertaining and engaging than the show leading up to it. Lewis clearly immersed himself in the world of this film, and while watching every video clip and playing with all the "comics" certainly adds to the experience, Scumbabies is more than strong enough to stand on its own as a fascinating and highly unique filmgoing experience. Tru Holliwood (Emilia Richeson) is having a Halloween party. The first surprise guest is her estranged ex-boyfriend Ash Wednesday (Paul Brindley) dressed as Groucho Marx, followed quickly by the mysterious Gabe (Brandon Lim) in a monkey mask. Gabe collapses dead in Tru's doorway, and in a panic she decides the best thing to do is hide the body until the party is over. The situation becomes more complicated with the arrival of surly Izzy Sue (Casey Dzierlenga) and oblivious Francis Poof (Eric Peck). Rounding out the party are the twins Anne and Andy Desmond (Rachel Castillo and Tyler Jenich) and, unfortunately, Gabe's Mom (Elle Ritchie). The setup is traditional farce, which is clearly one of the main strands of the film's DNA. But Lewis mixes up so many different styles of storytelling that the film comes out looking like classic slapstick as reinterpreted through the machine-gun editing of Moulin Rouge, an irrepressible "let's put on a show!" enthusiasm, and the low-budget grit of 70's exploitation cinema. Characters might break out into song in one scene and engage in foul-mouthed screwball patter in the next, all while bright colors pop off the screen and the quick cutting keeps the audience's eyes glued to the screen. Like similarly frenetic films, Scumbabies can be an exhausting watch. However, also like the best of those films, Scumbabies is also exhilarating, especially as an independent film. The cast is fantastic, especially Eric Peck as Francis, who has a couple of particularly difficult and emotional scenes that he absolutely nails. Scumbabies radiates a wild, infectious energy that few films, independent or otherwise, ever manage. In short, if there's a Scumbabies party coming to your town, you should make it a point to attend. You'll be in for a filmgoing experience unlike anything else out there. Learn more about the film and see trailers, behind the scenes videos, and the ongoing "Apotheskary" series at the Scumbabies site and The Underground Multiplex. As of this writing, Scumbabies is available as a set with a DVD and soundtrack CD at Quimby's at their Chicago location and through their online store.]]> http://www.filmmonthly.com/indie/scumbabies.html http://www.filmmonthly.com/indie/scumbabies.html Indie Thu, 23 Dec 2010 15:23:15 -0600