Adamma Ebo’s Honk For Jesus. Save Your Soul. places its viewer at the intersection of capital and religion. For pastor Lee-Curtis Childs (Sterling K. Brown) and Trinitie Childs (Regina Hall), this intersection has broken traffic lights. From the beginning, there is a fissure between the two forces, and a clear favoritism in this mega-church community toward capital. And at this broken traffic stop, problems are bound to occur.
Rather, a collision has already occurred at the point in which we meet the church owners. A scandal has rocked the church, which has caused Lee-Curtis to disappear from the public eye. But he sees Easter Sunday as the perfect time for his big comeback. With the church reopening set for that Sunday, Lee-Curtis commissions a documentary film crew to chart his return to prominence; his resurrection, if you will.
Following the profitable Epic Movie in 2007, Jason Friedberg and Aaron Seltzer saw two of their films released in 2008. If one was skeptical about the over-saturation of spoof films at the box office in the second half of the 2000s, that sentence should alleviate any further suspicion.
These parodies were being churned out like a factory assembly line product. Mere months after Meet the Spartans opened, it was announced that the pair were in pre-production on what would become Disaster Movie (the project started life as an ill-advised Superbad send-up). Disaster Movie filmed in late spring and was released before the year was out.
Here we go. This is the point after which discussing the works of Jason Friedberg and Aaron Seltzer becomes an arduous chore. Epic Movie signals the beginning of the end for the blockbuster parody film. This is not to say that the Friedberg-Seltzer movies stop making a profit after this movie. But Epic Movie embodies all of the things that detractors of the parody genre point to when they argue for its extinction. And while Friedberg and Seltzer (mostly) weather the severe backlash to their films through the 2000s, the parody genre as a whole starts to fade away.
Since 2007, major spoof releases have grossed the following worldwide, in millions (Friedberg and Seltzer titles in bold):
In the first installment of this ill-conceived series, which shamelessly adds on to the immense online discourse that has made writer-directors Aaron Seltzer and Jason Friedberg Hollywood’s favorite punching bags, we took a look at the 2000 film Scary Movie. The film was a massive financial success, and the amount that Seltzer and Friedberg contributed to that success is debatable. Some have questioned whether they had any creative hand in that film, at all.
No matter the case, the duo certainly used the writing credits they received on the film to launch themselves into the comedy film game. Date Movie, the pair’s first directorial effort, proudly displayed a slightly disparaging poster tagline: “From Two of the Six Writers of Scary Movie.” The home video release would go one step further in comically diminishing the writers’ prior credit by placing “2 of the 6” as a parenthetical caret above the tagline.
Imagine being trapped in a road stop bathroom with a Lovecraftian creature that has the voice of J.K. Simmons. Congratulations, you have found yourself in Glorious, the cosmic horror indie where there’s no toilet paper or paper towels but enough gooey surprises to satisfy some.
Rebekah McKendry’s film cloaks a character drama underneath the cosmic tellings of its mysterious visitor (whose name is as difficult to spell as it is for protagonist Wes to say, so I’ll just hold my tongue). As the ethereal mythology of Simmons’ creature is divulged, Wes (Ryan Kwanten) is weighed down by memories of his ex-wife. All the while, Wes must decide whether to continue trying to escape or help the thing on the other side of the stall door.
Bodies Bodies Bodies, on its surface, is a movie I should instantly fall in love with. It is a light horror comedy riff on the whodunit with a cast so stacked with great young talent that I almost couldn’t believe it when it was announced. Drop the cherry on top that it is an A24 picture, and my fears that this was a half-thought-out satire churned out as a genre programmer went out the window.
July Jung’s Next Sohee is a story told in two nearly equal halves. In the first half, high schooler Sohee (Kim Si-eun) is awarded an externship to work at a call center office. Conditions at the call center are tense and only get worse as Sohee tries to acclimate to a highly competitive environment and training which has her doing everything in her power to delay unhappy customers’ service cancellations.
As Sohee tries to weather the hostile work environment, she grows distant from her friends, suffers in school, and amplifies her alcohol consumption. When she hits the brink, the film fades to black and we switch perspectives to Continue reading Review: Next Sohee — Fantasia Festival 2022→
Megalomaniac, The Fifth Thoracic Vertebra and Incredible But True are screening as part of the 2022 Fantasia International Film Festival, which runs from July 14 – August 3.
Bjorn (Morten Burian) and Louise (Sidsel Siem Koch) are on holiday in Tuscany with their daughter (Liva Forsberg), where they meet a Dutch family of similar makeup. They share a day or two together and then part ways. Back home in Denmark, Bjorn and Louise receive a postcard from their newfound acquaintances with an invitation to come stay in the family’s home in Holland. They agree, and slowly, methodically, this second vacation becomes one of nightmares.
I’ve never seen anything quite like it. There’s so much visual noise in these dark shots that you have to squint just to make out the outline of objects in the frame. Camera placement is often very low or very high, capturing fragments of doorways and hallways. A child hits his head, we’re told, but he won’t require stitches. 15 minutes go by before we see a room in this house fully illuminated. The light at the top of the steps clicks off. Darkness. The boy calls out for his father. No answer. Continue reading Review: Skinamarink — Fantasia Festival 2022→
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