TheImmaculateConceptionOfLittleDizzle Tagged Articles at Cinematical
Northern Exposures: FanTasia Report #1
Filed under: Comedy », Documentary », Horror », Independent », Sci-Fi & Fantasy », Thrillers », SXSW », Mystery & Suspense », IFC », Festival Reports », Shorts », Fantastic Fest », Other Festivals »
After a long flight on my part and a far longer drive for both of us, Scott Weinberg and I have finally arrived in Montréal for the FanTasia International Film Festival (their thirteenth, our first). The genre-heavy festival lasts for nearly three weeks; alas, we've but one to spare, so without much further ado, here's a look at what I've seen already and what I hope to see before Scott tips his own hand with a title or two to recommend.
Of the features playing, I can highly recommend Michael Paul Stephenson's Troll 2 doc, Best Worst Movie; the Aussie revenge thriller, The Horseman (not to be confused with the barely-seen Dennis Quaid vehicle, Horsemen); and Paul Solet's beautifully bloody baby horror, Grace. Those looking for something a bit stranger might end up being a bit more fond of Black and The Immaculate Conception of Little Dizzle than I was, though I also seemed more easily pleased by the Nazi zombies of Dead Snow than most, so I guess it all balances out. My enthusiasm for the ultra-kitschy likes of Alien Trespass and Lesbian Vampire Killers, not to mention the admittedly boundary-pushing Deadgirl, is all a bit less than what's already been mentioned, so let's just leave those at that.
Read the rest at HorrorSquad!
Live from SFIFF: Wrapping Up with the Indies
Filed under: Foreign Language », Independent », San Francisco International Film Festival », Cinematical Indie »
My other two San Francisco International Film Festival dispatches focused mostly on mainstream business: popular documentaries, future commercial releases, and Butch Cassidy and the Sundance Kid. But it's a sin to spend a festival only watching – and talking about – commercial fare. So for my farewell SFIFF post, here's a look at two off-the-beaten-track entries I was able to catch.
Sadly, neither indie quite worked for me, which makes me feel like a philistine, I assure you. Ursula Meier's Home, for example, exposed one of my most enduring weaknesses as a cinephile, namely my intolerance for movies that operate entirely on an abstract level – as pure metaphor. Home, a French-Swiss co-production with good arthouse buzz and a wagonload of foreign Oscar equivalents under its belt, tells the "story" of a family that lives peacefully by the side of an abandoned highway, until the highway reopens and all hell breaks loose. The family's response bears no resemblance to the way real human beings would act, and Meier does not make any attempt to render any of it plausible – within the universe of the film or otherwise. And so you're left trying to decipher Meier's big metaphor, which I ultimately decided was either Israel-Palestine or more generally human stubbornness in the face of transformative change (e.g. global warming). It's all very intriguing, even interesting – but deeply unsatisfying as a cinematic experience, at least for me.
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Indie Roundup: 'Sweetgrass,' 'Clarkworld,' 'Broken Embraces'
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