IT has been far too long since the last Christopher Guest feature, a decade in fact, with ‘Awards Season’ spoof, For Your Consideration. Short run television aside (2013’s “Family Tree”), Guest and the superb repertory group he has assembled over the years are back with fresh mock-doc, Mascots, courtesy of Netflix. Check out the trailer below.
Gary King (New York Lately, What’s Up Lovely, Death of the Dead) is one of our favorite indie directors around here. He’s supported us and we’ve supported his talent for years.
So we’re excited when he gets to the point of finalizing another feature film… especially when it’s a genre film releasing pretty close to all hallow’s eve. Unnerved builds the suspense for a couple after the mysterious death of their young son.
SYNOPSIS: Whatever killed their son continues to haunt Mallory (Katie Morrison) and Frank (Mark DiConzo) no matter which place they go. While hiding out at a remote lake house, Mallory struggles to keep her sanity and save her marriage as the supernatural activity grows more powerful. Finally reaching their breaking point, they elicit the help of Eleanor (Elena Sanz), a local clairvoyant, to end the terror once and for all. But will it be too late?
I know this has been in production for a long time and I know Gary King is very passionate about his work and also borders on the perfectionist end of the spectrum. All of this to say I’m looking forward to seeing what Mr. King does with a horror film.
This one’s designed to be scary as hell folks — a throwback to films from the 70s and 80s.
– Gary King
While his influences are Almodovar and Altman and PT Anderson, I know his true early passions are Carpenter, DePalma and Friedkin. So it will be nice to see these influences come to life with a good dose of chills and thrills.
Check out the newly released trailer below. Also the poster above is a premiere as well. Enjoy.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
We’re now available on Google Play!
Back in January when we looked ahead at the cinematic year to come, Kurt was pretty excited, rightfully so, about the prospect of the newest Kelly Reichardt film, Certain Women.
from the director of the quiet epics, Wendy and Lucy and Meek’s Cutoff comes this sprawling story following the lives of a handful of intersecting experiences across Montana.
Other than that, I know precious little about the picture. From the trailer, I gather that it is some sort of love letter or maybe better described as a support ticket to women everywhere struggling in what is still very much a (oblivious) man’s world.
Certain Women stars Reichardt regular Michelle Williams as well as Laura Dern and Jared Harris. And I’m not gonna lie; after K-Stew’s last couple three outings (particularly Clouds of Sils Maria) the main draw for me here is Kristen Stewart. Watching her grow and mature to become a powerhouse of an actress has been fascinating and exciting.
Have a look. The trailer is more poem than trailer – which is kind of what Reichardt’s films are – so this is appropriate.
I became an instant fan of director Sarah Adina Smith after seeing her debut film, The Midnight Swim, at Fantasia a couple years ago. She’s back with her second feature, starring Rami Malek (and there are no shortage of Mr. Robot fans out there.) Pitched somewhere between Memento and Talk Radio, the poster immediately offers cues of things not being right. The backwards clock numbers, the odd reflection of Malek’s eyes, and the mildew-brown colour palette, which are evocative of Barton Fink.
The film premieres at Toronto International Film Festival shortly.
Chalk this up to a cautionary tale. When Dale (Letterboxd), Colleen and I (Letterboxd) gathered last week to record this show, IMDb seemed to be having some sort of crisis of database management, showing movies that were already out as new releases and leaving out a bunch of other titles. This week, the glitch seems to have been fixed but as a result, we missed a number of titles which are (apparently) opening this month.
If anyone out there can recommend another release schedule which may be more accurate, please let us know. As for this episode… the movies we DID talk about are listed below.
Would you like to know more…?
It’s time for another battle episode. This time we go BACK TO SCHOOL with our pal Samantha Garrison and newcomer Kayla Tennity. The films all have one thing in common – they’re awesome. So sit back, grab your number two pencil, and enjoy this trip down memory lane!
Director: Anthony Caulfield, Nicola Caulfield
Writers: Anthony Caulfield, Nicola Caulfield
Starring: Shahid Ahmed, Rich Alpin, Brian Bagnall
Running Time: 152 min
BBFC Certificate: E
A year or so ago I reviewed a crowd-funded documentary about the birth and growth of the British video games industry, called From Bedrooms to Billions. I was impressed by the film, which was much more than the fluffy nostalgia piece I expected. So when I heard they were releasing a follow up, focussing on the Commodore Amiga, I was eager to get a copy to review. It wasn’t only the quality of the previous film that attracted me to From Bedrooms to Billions: The Amiga Years though. Like a lot of Brits around my age, my introduction to video games didn’t come in the form of the Nintendo or Sega consoles. These tended to come out a lot later in the UK and weren’t the be all and end all that they were in the US. We had an alternative, and that was the Commodore Amiga. I had an Acorn Electron computer first, but the games on this were very basic and I was very young. Our family replacement to this was the Amiga 500 though and it opened the floodgates to video gaming for me. The graphics were great, many of the games fantastic and it was modelled on a PC in design, so was more flexible than a pure games console in terms of offering word processor or paint programs etc. I loved it and the computer/console has long held a special place in my heart.
The documentary opens by describing the early history of home video game consoles, particularly those offered by Atari and Commodore (with some mention of what Apple were doing on the home computing front). Some designers working with these companies at the time grew unhappy with the way things were moving and decided to branch out on their own to form a new company, called Amiga. They had plans for a console/computer that would blow their competitors out of the water in terms of power and capabilities, yet cost a fraction of the price of the expensive PC’s available at the time. They struggled for a time, coming up with brilliant ideas, but not having the backing to pull it off. After a successful demonstration at an important trade show however, Amiga got thrown in the middle of a bidding war between Atari and Commodore. This war was made even more messy by the fact that Atari had been taken over by Jack Tramiel, formerly one of the bosses at Commodore.
After the dust had settled and Commodore became the company to release the first Amiga, the computer was launched. The initial system, the Amiga 1000, came out in 1985 (though not widely released until 1986) and struggled to find a market. 1987’s cheaper model, the Amiga 500, was a huge success though (in Europe at least). The graphics and sound capabilities were groundbreaking, allowing for near arcade-quality games at a fraction of the price. The documentary goes on to praise the importance of some of the machine’s innovations and how they helped shape today’s video games industry.
Director: Andrei Tarkovsky
Screenplay by: Andrei Tarkovsky, Tonino Guerra
Starring: Oleg Yankovskiy, Erland Josephson, Domiziana Giordano
Country: Italy, Soviet Union
Running Time: 125 min
BBFC Certificate: 15
I‘m approaching the end of my Tarkovsky marathon. There’s still one to go (The Sacrifice) and I’m running out of ideas for my opening paragraphs. I’ll sum up my journey at the end of the month when I tackle Tarkovsky’s final film, so all I can say about my approach to Nostalgia is that, after working through most of the rest of the director’s oeuvre these past two months, I’ve come to expect a slow, thoughtful, dreamlike style with striking visuals. Nostalgia (a.k.a. Nostalghia) is no different, although I felt it worked better and worse than the other titles in various aspects.
Now, I won’t lie, and this is going to add to some of my comments on previous Tarkovsky reviews that suggest I’m not up to film-buff scratch to be reviewing such lofty titles, but I had to look the film up to put together a short synopsis. It’s not a complicated film, by any means. Scenes and on-screen activity are rather minimal, but, possibly due to writing notes during a key bit of exposition or simply being far too tired to take it all in as usual, I managed to miss the film’s setup and some of the later details were a bit sketchy. From what I gathered afterwards, the film’s protagonist, Russian poet Andrei Gorchakov (Oleg Yankovskiy) is visiting Italy with a guide/interpreter Eugenia (Domiziana Giordano) to research the life of an 18th century Russian composer who had killed himself (this aspect of why he was there is what I missed). In a small rural town he comes across a seemingly crazy man called Domenico (Erland Josephson), who is famous (or rather infamous) for having imprisoned his family in their house for seven years for fear of impending apocalypse. Andrei is strangely drawn to this man, sensing a link between them. Andrei’s dreams of his home and family that he deeply misses become intertwined with dreams of Domenico’s past and when the older man gives the Russian an unusual task he feels duty bound to carry it out.