The Slumber Party Massacre (2021) is screening as part of the 2021 Fantastic Fest.
The original The Slumber Party Massacre, written by Rita Mae Brown and directed by Amy Holden Jones, holds a special place in my heart, as it does for a number of slasher fans. The 1982 cult film was delightfully subversive, coming in the midst of the glut of slashers from the 1970s-80s
V/H/S/94 is screening as part of the 2021 Fantastic Fest.
V/H/S/94, the fourth installment in the cult horror anthology film series, follows the franchise’s weakest entry, V/H/S: Viral, a forgettable and occasionally downright lazy film. 94 marks the return of Simon Barrett and Timo Tjahjanto, the former of which had a hand in both V/H/S and V/H/S/2 and the latter of which directed a segment in the second film. It seems evident that this film is meant to be a course correction of sorts.
Homebound is screening as part of the 2021 Fantastic Fest.
Sebastian Godwin’s debut feature, Homebound, is a lean domestic thriller with a transfixing tone and a less-than-satisfying conclusion.
Holly (Aisling Loftus) is off to meet her fiance Richard’s (Tom Goodman-Hill) ex-wife and children in the countryside. On arrival, most of the family is nowhere to be found. Eventually, Richard’s estranged children come out of the woodwork. However, they are cagey and distant. The ex-wife, Nina, is apparently not planning on showing up at all. By dinner, even Richard is acting somewhat strange, exhibiting mood swings which Holly is off-put by.
Cannon Arm and the Arcade Quest is screening as part of the 2021 Fantastic Fest.
Seth Gordon’s 2007 The King of Kong: A Fistful of Quarters has become something of a cult doc. It depicts a classic underdog story within the arcade gaming community. An unknown family man who plays a Donkey Kong cabinet in his garage at nights goes after the world record set by video gamings biggest name at the time, Billy Mitchell. (Mitchell was later accused of cheating and falsifying his achievements. His world records were temporarily stripped from him and ultimately reinstated in 2020. There remain open legal cases on the issue which have yet to be resolved).
Much has been made of Bong Joon-ho’s genre hybridity, or rather his “genre unto self” mythos—the director himself has referred to it as an ambiguity of genre. At the risk of belaboring this idea, Parasite is a perfect example of Bong’s ability to elude the walls of genre. The film has flashes of gritty horror and a pervading sense of Hithcockian suspense, as well as tropes of the family drama and social problem film (used in entirely unconventional ways). A premise hinging on gaslighting adds a psychological layer on top. And a somewhat bitter sense of humor provides a dark comedy element.
It may be cliched to refer to beautiful-looking films with the phrase “every frame is a painting,” but in the case of Robert Eggers’ latest, The Lighthouse, many of the shots are picturesque. The introduction of our two characters, lighthouse keepers Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe), looks like a stoic portrait. The reverse shot that follows, depicting the lighthouse on the black ocean, looks like a Gothic landscape piece.
Galder Gaztelu-Urrutia’s The Platform concerns not so much the platform as it does the pit, a pit descending hundreds of stories down through a concrete prison established by “The Administration.” Two people are housed on each level of this enclosure. Some are volunteers, others are criminals, but they are all prisoners. Each day, a platform descends housing a bounty of food and drink. The people at the top can eat as much as they want; those down below get what’s left, if anything. And every month the prisoners switch floors.
Jack Henry Robbins’ VHYes begins straightforward enough. On Christmas morning, 1987, young Ralph (Mason McNulty)—he can’t be older than 13—is gifted a VHS camcorder by his parents (Christian Drerup and Jake Head). With this gift, the film buzzes to life, as Ralph finishes scrambling to find a tape on which to record—his father asks if the tape is blank, and the footage promptly cuts to the answer: Ralph is recording over his parents’ wedding footage.
Ralph learns that he can use his new toy to directly record programs off of the television set, prompting him and his friend Josh (Rahm Braslaw) to spend holiday season late nights banking these various programs. As we are housed explicitly within the world of this tape, this television footage becomes an increasingly Continue reading Review: VHYes – Fantastic Fest 2019→