DarrenLynnBousman Tagged Articles at Cinematical

Since last September, at Fantastic Fest, it became immediately apparent that Repo! The Genetic Opera was due for a cult following, and a successful roadshow run last November and December seemed to confirm as much. I wasn't the biggest fan of Darren Lynn Bousman's goth-rock horror musical at the time, and don't exactly see myself giving it another look any time soon, but when its DVD release hasn't prevented fans from organizing summer screenings with shadow casts far and wide, it's futile to deny that it has at least an audience beyond home video and into the realm of true theatrical cultdom.

Meanwhile, the sheer sloppiness of Tommy Wiseau's infamous The Room has it similarly garnering underground popularity. I settled for seeing it on Cartoon Network when Adult Swim aired it as their idea of an April Fool's joke, and it became much more of a chore to sit through than I could've possibly imagined (and it's not like the constant commercial breaks weren't helping).

Would it have been much better with a crowd? I couldn't say, as the appeal hasn't quite reached Central Florida yet, but I ask: just because a film has reached the ranks of something like The Rocky Horror Picture Show, does that mean it truly deserves to? What are your personal criteria for a proper cult classic? What's your fondest memory of audience partici... pation, and what other films do you feel stand to join the ranks of the modern midnight movie that maybe haven't quite crept up on the ol' cultural radar just yet?

Wow, what does Darren Lynn Bousman's mom get for her special day? News that her son is remaking Charles Kaufman's Mother's Day, a 1980 exploitation horror flick from Troma that follows the hilarious misadventures of two brothers whose mom likes to watch them rape and murder women. Wait, did I say hilarious? Sorry, I meant icky and effed up. (But that doesn't mean I'm not going to Netflix it.) And no, it's not an existential and tripped-out treatise on love and mortality a la Charlie Kaufman. Charles Kaufman wrote and directed Ferocious Female Freedom Fighters, directed and produced Sextasy, and wrote Squeeze Play. He also has uncredited roles in Mother's Day as a cocaine addict and Squeeze Play as "Man with Popcorn in his Nose."

Back in September, standing outside of Austin's Paramount Theatre, myself and a couple of others listened to Darren Lynn Bousman as he talked about the challenges he was facing in getting Lionsgate to properly release his Repo! The Genetic Opera. The studio had taken down rave after rave after a select screening several months before, and now the next night's Fantastic Fest screenings were as good a chance as any to prove the film's worth.

Well, I saw the film the following night amidst an impressive turn-out of die-hard fans, so while I may have already made my own thoughts clear, I cannot deny its growing (and all but inevitable) cult following, and it seems that neither can Lionsgate. Following a limited release and successful road tour, Bloody Disgusting reports that each will be expanded in the weeks to come to include the likes of Phoenix, New Orleans, Boston, Philadelphia, and Houston.

As for everyone else, you can either keep your fingers crossed for a third tour (though Bousman and co-creator Terrance Zdunich may want to see their families for the holidays, who knows) or just wait for the DVD, which will apparently still hits stores in January.

Repo! The Genetic Opera is tailor-made to attract a fan following in coming years. To an extent, this stage-inspired future-set goth-rock horror musical already has, and its limited release – not to mention a concurrent road-show tour – is fitting for a film unique enough to never worry itself (nor its studio) with a screen count in the triple digits. This is a cult classic in waiting for Hot Topic teens who still believe that Tim Burton directed The Nightmare Before Christmas and won't know who Joan Jett is when she makes an appearance; the emphasis here falls heavily on 'cult' and not so much 'classic'.

I defended the Saw franchise long past the point where most self-respecting cinephiles and even genre geeks abandoned it. It was only after the moronic, baffling Saw IV that I got off the bandwagon. But as someone who thinks the franchise has (had?) something to offer beyond the admittedly questionable thrills of what smug know-nothings call "torture porn," I'm anticipating this month's annual installment with an ever-so-slight glimmer of hope. The first three films took a gimmicky serial killer concept and expanded it to something big and increasingly baroque, piling on twist after twist that, to me, consistently seemed bold rather than (merely) ludicrous. They were gruesome, yes, but they were also moody and visually exciting; Darren Lynn Bousman, in particular, seemed to take painstaking care in the second and third films to construct a cruel, self-contained universe around the crazy-ass story.

So here, briefly, are three things Saw V -- which sees the franchise's production designer David Hackl take over directing duties from Bousman -- could do to avoid the pitfalls of its immediate predecessor and restore my faith in the series.

By Monday, we were more than halfway through Fantastic Fest. On the one hand, festgoers who were just there for the weekend had departed, thinning the crowds slightly. On the other hand, some of us realized that there were still tons of movies to see and only a limited time, so we had better try to get into as many films as we could. I know some people who managed to see 5 or 6 films a day. I'm not one of them -- too wimpy.

One movie I saw and liked on Monday was Santos, a superhero film from Chile. When director Nicolas Lopez took the stage before the movie, I recognized him as one of the judges from Thursday night's Air Sex Championships. He was a wonderfully unpredictable judge and turned out to be a charming speaker during the intro and later during the Q&A for his film (as shown in the photo after the jump). Santos is about a comic-book artist who doesn't realize he has the same superpowers as one of the characters he writes about -- and at various points in his life, he's called upon to use those powers. It's very funny, but if you get the chance to see it, bear in mind that many of the gags are not at all family-friendly. Santos was produced by Elizabeth Avellan of Austin's Troublemaker Studios (which produces Robert Rodriguez's films) -- no U.S. distribution deals as of yet, but I hope that changes.

Things have changed a lot since Jennifer Aniston starred in Leprechaun in 1993 -- Friends, tumultuous romances, and a whole non-horror career. But what if she went back to the fold?

During a discussion with MTV, Darren Lynn Bousman, the man behind Repo!, wishes he could follow the rainbow. "I would do Leprechaun in a second. If Lionsgate is listening, give me Leprechaun." But he wouldn't get too serious with the material if given the chance to reboot it: "It's just one of those fun popcorn movies. I would love to bring back the fun popcorn movie -- extreme violence, extreme absurdity -- but make it fun." His idea of fun -- the little bugger in the old west with gold and gun fights.

Personally, I think this could be great if they get Aniston back in on it, and just go wacky. How about you?

Ah yes, Charles Kaufman's Mother's Day. A fine vintage of 1980 sleazoid cheese that was absolutely one of the "dare you to watch it" horror flicks from my childhood. (My friends had such an aversion to explicit gore. What kind of twelve-year-olds was I pals with?) The Drano scene. The TV smash. The filthy mess, the incessant slobbering, the omnipresent threat of grungy rape. Such fun. It was actually one of Troma's earlier efforts, back when they made bad flicks by accident instead of on purpose. But there's no denying that Mother's Day is a sick and twisted little puppy, and a flick that any serious horror fan should definitely check out...

Especially because Brett Ratner wants to do a remake!! Whaaaaat? Yes. According to Shock, Ratner will produce and Saw-maker Darren Lynn Bousman is quite interested in the director's chair. And feel free to toss writer / producer Franck Khalfoun into this crazy mix. (He did that P2 flick with Alex Aja last year, and apparently has a remake of Silent Night Deadly Night in the works.) Details are slim at this early stage, but to be honest ... my opinion of Brett Ratner just raised a few points. Who knew he was a fan of such awesome crap?

Wonderful as the classic family Christmas movies can be, the overwhelming sugary sweetness in most of them can be a little off-putting to adult audiences. I know my friends tend to gravitate more towards the R-rated holiday fare -- Die Hard, Bad Santa, The Ref, etc. Lord knows Hollywood doesn't want to be bothered coming up with original ideas, so I'm proposing seven remakes of Christmas family classics -- souped up for 2008 and aimed at the 17+ crowd. I've set up the plots and even suggested a possible director for each. Enjoy...

Michael Moore's A Christmas Carol

In Michael Moore's return to narrative filmmaking, George W. Bush plays with his shiny new train set, sets out cookies for Santa Claus, and falls asleep in his footie pajamas while watching Power Rangers. He is awoken in the middle of the night by The Ghost of Christmas Past, who takes Georgie through his days of frat parties, draft dodging, drunk driving, and cocaine abuse. Even faced with hard evidence, Bush denies any involvement. The Ghost of Christmas Present takes Bush deep into a post-Katrina New Orleans, where Bush cracks jokes and enjoys some caramel corn. Stunned by Bush's lack of feeling, the ghost takes him to Iraq, where he sees what Christmas is like for U.S. soldiers. Bush yawns. He is sleepy. The Ghost of Christmas Future shows Bush a world ravaged by the effects of global warming and America hated by countries all across the globe. "Not real concerned about my legacy, Future Dude" chuckles Bush, and he falls asleep safe in his bed. Bush wakes up twelve hours later, having learned absolutely nothing. As the movie ends, he runs over a homosexual couple with his truck and kicks a sick orphan in the face.

Rogue

I don't care how many times they push it back, or how much potential for hackneyed disaster there is in a film about a killer crocodile -- I'm looking forward to Rogue, mostly because there was a lot that impressed me about Greg Mclean's debut film, 2005's Wolf Creek. For one thing, it was bold enough to defy several horror cliches, such as foreshadowing dread in the early scenes -- the first thirty minutes of Wolf Creek could be part of an Aussie road drip dramedy, with three aimless kids taking their rickety car way too far into unsafe areas of the Outback. It's also a film that's completely unrelenting in the psychic trauma it wants to inflict on the audience. By the time the slaughtering starts, we know these characters -- we care about them. Frankly, Mclean seems like he'd be completely bored with making a standard slasher/monster film with paper-thin characters. Therefore, I'm going to be first in line for his killer croc movie, and wait for my enthusiasm to blow up in my face.

Friday the 13th

I have no idea if this will get to theaters by late 2008, but I know that Platinum Dunes does have the gears grinding, so it's a possibility. In fact, a little birdie recently told me something hilarious -- Corey Feldman went in and pitched himself as the star of this thing. For those who don't remember, Feldman played Vorhees foe Tommy Jarvis in two installments of the original series, and he apparently had designs on making the Friday remake his newest comeback vehicle. There's really nothing you can do with Jason at this point other than remake him, but how? Word is that PD wants the remake to feature both Jason and his trademark mask -- two elements that didn't congeal until Part III of the original series, so I'm imagining a smelting together of the first three films, set in modern day and with a lot of in-jokes. I guess it will be a film about a little boy who drowns in a lake and immediately morphs into an overgrown, lumbering killer with a machete. Sounds intriguing.