Trailer: Hobo With A Shotgun


Feeling a bit like Spring 2007 today? That is because Robert Rodriguez’s Machete is dropping into wide release, and it was of course one of the ‘faux grindhouse trailers’ made to accompany Deathproof and Planet Terror in the (tragically) unsuccessful Grindhouse opus that debuted in early April 3 years ago. Those of you, particularly the Canadians, should remember that there was a contest for indie filmmakers to create their own fake trailers and easily the best of these was Jason Eisener’s Hobo with A Shotgun, which Alliance handily played with Grindhouse during its Canadian run. Much like Rodriguez did with Machete, Eisener took the concept and made a feature film. Replacing David Brunt with Rutger Hauer some Dario Argento inspired cinematography from Karim Hussain, the trailer just popped up online courtesy of AICN and it is a doozy. Behold the wonders of a broken-down and grizzly Hauer giving pithy yet ironic life lessons before handing the underworld its ass. Trash Spectacular with a Moral! I am digging the odd mix of classic 1970s ‘on the streets’ aesthetic with the modern DV look.

This new trailers makes me pine for a GRINDHOUSE II extravaganza with Machete and Hobo on the double bill, with fake trailers for potential third edition! Wishful thinking aside, check out the new Hobo With A Shotgun trailer, or go catch Machete, where supposedly this will be attached to most (if not all) of the prints, not just the Canadian ones this time!

The trailer (*NSFW* due to MASSIVE bloody violence) is tucked under the seat.

Would you like to know more…?

Flyway Film Festival Podcast [LIVE TONIGHT]

Heads up podcast lovers; with everyone talking endlessly about TIFF and VIFF around here, let’s not forget the smaller guys!

Our regular Cinecast co-host Matt Gamble is hosting a live podcast tonight featuring some great indie filmmakers including Bill Elverman (The Wintress), Gregory Kallenberg (Haynesville) and one of our “local” favorites, Gary King (What’s Up Lovely).

They’ll talk about some of the action that will be happening at this year’s 2nd annual Flyway Film Festival including some schedule announcements, film highlights and activities/gatherings taking place. Beyond that, there will definitely be some talk on the indie filmmaking scene straight from the horse’s mouths so to speak. Looks like there will be some good ol’ fashioned movie banter happening as well.

As mentioned, the show will be live, so feel free to call in when prompted and ask questions or make comments. The call in number is (347) 857-3783 and the whole thing gets underway at 7pm (I am guessing that is 8pm EST?).

Head over to the main podcast page for all of the details:


Handsome One-Sheet for MONSTERS


Gareth Edwards’ Monsters has been touring the festival circuit for a while, Jandy reviewed it at LAFF, and is making its stop in Toronto next week. To celebrate, Magnolia, who is releasing the picture commercially, have put together a very handsome, Criterion-esque, poster. Thus proving that while gas masks are a constant cliche in genre films, you can still find new and interesting ways to photograph ‘em.

Easy Riders, Raging Bulls: The Long Goodbye (1973)



Robert Altman’s The Long Goodbye was not on my original watch list for this marathon for a couple of reasons – I’d already seen it years ago in a college film criticism class, I already had a bunch of Altman films on the list and I wanted to diversify a little bit, and I didn’t particularly like it the first time around and wasn’t sure I wanted to revisit it, even though I suspected I would appreciate it a lot more if I did. But after I named Altman my favorite director of the marathon so far, Rot and David both recommended I give this film another look, and then it happened to be playing at a local rep cinema, and I figured it was a sign that it was time to rewatch Altman’s nearly revisionist version of Raymond Chandler’s 1940s crime novel. And I’m so glad I did.

I wrote recently about how much I love The Big Sleep, and I think my original distaste for The Long Goodbye was merely an inability to envision any other version of Philip Marlowe than Bogart’s, or any other take on Chandler than a straight-up noir detective film. But the brilliance of The Long Goodbye is precisely in how it takes the Marlowe character and the detective story and drops it into the extremely different milieu of 1970s Los Angeles, turning it into an ironic, knowing version of the very cinema that took Chandler straight in the 1940s.

Elliott Gould’s Philip Marlowe is a mumbling, ambling fellow who’s smarter than most everyone around him, but aloof enough not to bother pointing it out, except barely under his breath in a kind of on-going ironic mutter that feels more like an interior monologue than actual speech. He’s bemused at the spacey yoga-practicing girls in the apartment across the way, has little use for the police, and spends a great deal of time trying to please his cat. The cat is something of a substitute for human engagement; his general response to any human interaction is “it’s okay with me,” a detached statement of passive affability and implicit refusal to get personally involved.

Would you like to know more…?

Trailer: Kaufmanesque Canadian Micro-Indie YOU ARE HERE



This one is most definitely on my roster of TIFF selections, it was even in my Top 5. Video artist Daniel Cockburn kicks off his feature film career with this head-scratcher:

You Are Here is a Borgesian fantasy composed of multiple worlds, circling and weaving around each other in always-unexpected ways. At the centre of this narrative labyrinth is a reclusive woman (Canadian Indie-Icon Tracy Wright in her final performance) who searches for meaning in the mysterious documents that keep appearing to her. Her investigation begins when she finds a tape recording of a man giving a bizarre lecture: calming and sinister at the same time, he instructs how to “get where you need to go”. Is this a random find, or a message to her?

Make Sense? The trailer will not enlighten you as to what is going on, but it will entice. It is tucked under the seat.

Would you like to know more…?

Toronto After Dark: Alien vs Ninja Review




Toronto After Dark


Among the major awards that the Toronto After Dark Film Festival recently announced are numerous smaller awards dedicated to special fan voted categories. Alien vs Ninja won (deservedly so) the “Best Fight” award for its rather epic 10-minute fight sequence near the end of the film. Using old school monster costumes and slime effects, a good sense of humour and some spiffy ninja moves, the whole fight is a bucket full of fun and goo and drew a great crowd response. The film’s opening sword fight in the woods is also well choreographed and wastes no time jumping right into the thick of things. So why do these terrific bookends have to keep afloat a rather dull, cheesy and rather pointless centre?

Granted, I was pretty tired the night of the screening, but shouldn’t a movie called Alien vs Ninja be able to entertain me enough to keep my eyes open? Especially when the title was exactly what I expected and exactly what I wanted from the film? Instead, there are long stretches of, well, nothing. Characters say and do things with little rhyme or reason, provide exposition that is relatively irrelevant and try to be funny. To be fair, there are little bits of humour sprinkled throughout that showed the filmmakers weren’t taking themselves too seriously, but we also had to deal with the “comic relief” ninja going about his business by being a complete failure as a ninja. I suppose this might come down to personal taste in finding what’s funny and what isn’t, but I can almost objectively say that this guy was NOT funny. He pretty much diluted the whole idea of how powerful ninjas are supposed to be.

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“Mad Max” Announced for Blu-ray

That title takes on a whole new meaning these days. Still, this is the type of good looking movie that should translate awesomely to a nice, hi-def, 1080i transfer. MGM has announced their plan to release the disc on October 5th.

This Blu-ray disc will include a new 5.1 digital soundtrack and an additional 5.1 dub track that makes dialogue more comprehensible to American audiences (wft?).

Special features include:

  • Filmmaker commentary by Jon Dowding, David Eggby, Chris Murray and Tim Ridge
  • Documentaries:
    – Mad Max: The Film Phenomenon
    – Mel Gibson: The Birth of a Star (on the DVD)
  • Theatrical trailers
  • TV spots
  • “Road Rants”: Trivia & Fun Fact Track (on the DVD)
  • Photo gallery (on the DVD)

Cinecast Episode 181 – The Charm is the Smarm

Returning for yet another shot at the horror genre is our own mistress of the macabre, Serena Whitney from Killer-Film. We get into a fairly civilized (but **SPOILERY**) review for the misleading but ultimately enjoyable The Last Exorcism as well as Matt Gamble’s first thoughts on Robert Rodriguez’ grind house flick, Machete. On the home screens this week it was apparently fairly documentary heavy; from warring whale ships to the corruption of the third world to prisoner force feeding, it all gets pretty heavy. Lots of Olivier Assayas talk ensues with a viewing of demonLOVER and retrospective on the (tragically below-the-radar) director in Minneapolis. Last but not least, James Cameron and his megalomaniac 3D Uber-Booster attitude gets our podcasters talking about the state of 3D (again! sorry!) and other theater amenities. Stay tuned to the end for some left field DVD choices as well as some other plugs which you may just find more interesting than you might think. And finally Nicolas Cage sings a song to close us out… what more can you ask for from a podcast!?

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

To download the show directly, paste the following URL into your favorite downloader:

ALTERNATIVE (no music track):

Full show notes are under the seats…
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Trailer: The Freebie


A couple days behind the internets on this one, but to be frank, the gawd-awful title just let this item linger in my inbox without actually checking it out. Foolish me. The Mumblecore to Mainstream train continues to roll onward with this low key romantic drama that features an out-of-left-field dramatic turn from Dax Shepard. Will the film be a compelling look at the ebb and flow of a long term relationship or indulge in high-concept and melodrama? It’s hard to tell, but the lo-fi intimate aesthetic seems to indicate the former, not to mention that Mark Duplass is producer here and his recent foray into multiplex fair, Cyrus (Kurt’s Review) was a pleasant surprise which also took a (relatively) restrained approach to its own rather ‘so-easy-it-writes-itself’ high-concept. And while Shepard is certainly no John C. Reilly, he looks to be turning in some surprisingly good work along with his co-star and Duplass regular (actually, his real life wife) Katie Aselton. This is probably no shock or revelation, but The Freebie is about as ironic of a title possible!

Darren (Dax Shepard) and Annie (Katie Aselton) have an enviable relationship built on love, trust and communication-they still enjoy each others company and laugh at each others jokes. Unfortunately, they can’t remember the last time they had sex. When a dinner party conversation leads to an honest discussion about the state of their love life, and when a sexy bikini photo shoot leads to crossword puzzles instead of sex, they begin to flirt with an idea for a way to spice things up. The deal: one night of freedom, no strings attached, no questions asked. Could a “freebie” be the cure for their ailing sex life? And will they go through with it?

The trailer is tucked under the seat.

Would you like to know more…?