Kurt and Allison Love To Rock

Few filmmakers merge music and film as well as Allison Anders and Kurt Voss. While other filmmakers have dabbled with the occasional rockumentary here or there, Allison and Kurt have made a careers out of it with films like Grace of My Heart and Down and Out with the Dolls. They make films about musicians, starring musicians and scored by musicians. Together and separately they have worked with everyone from Burt Bacharach and Sonic Youth to Lemmy Kilmister and Ice-T. They just can't help it. Film and music are simply essential parts of their souls.

Which is why (when they're not busy making films) they're busy watching them. Here are two "Top-5 Movies That Rock" lists created by Allison and Kurt exclusively for This Cinematic Life!

Allison Anders

• A Hard Day's Night
• The T.A.M.I. Show
• Two-Lane Blacktop
• Loving You
• Ladies and Gentlemen, The Fabulous Stains

Kurt Voss

• Unknown Passage: The Dead Moon Story
• Dig!
• Metallica: Some Kind of Monster
• The Filth and the Fury
• Lord Don't Slow Me Down

And now that you've seen their credentials, come on out to beautiful downtown Santa Ana this Saturday, July 12th to see their most recent collaboration, Strutter at The Frida Cinema! Allison and Kurt will be there in person to answer your questions!

Get Tickets HERE!

Galaxy Quest (1999)

Galaxy Quest is the story of a bunch of out-of-work stars of a once popular sci-fi show who get plucked from their appearance at a convention to go on a real space adventure.  This adventure involves actual aliens who based their whole federation on transmissions of the "Galaxy Quest" broadcasts, and the actors must live out the roles they once played on TV. A lot of the humor comes from referencing the well-known tropes of "Star Trek: The Original Series". This film really succeeds in that it is more than a simple spoof of Star Trek; it is also a love letter to it. This really surprised me when it came out. It seemed we were starting to see films that were more self-aware of their subjects (Scream, Austin Powers), and were even deconstructing them as we approached the end of the 90's. 

By starting the film off with our heroes as down-on-their-luck losers, this film easily could have relied on cynical humor about how washed up the cast was. This film, however, set its sights a little higher as it has a huge love for not only the cast's roles within the show and what their lives are like off-screen, but how much they mean to the fans. Fandom itself is a funny and integral part of the story, with a group of Trekkie-type fanboys using their vast knowledge of the show to help the crew out on their journey. Though full of laughs, these scenes never succumb to condescension or simple "nerds-are-lame" shtick,  and instead we feel just as rewarded as these geeks do when they find out that their favorite sci-fi show is real. This sweetness is all the more impressive since this film predates the geek-chic movement in pop culture of the 21st century. It was a truly pleasant surprise upon release to experience a film that not only joyfully mocked its subject, but also had such an obvious fondness for it. The Celebratory Comedy's (a sub-sub-genre I sort of made up) spirit would later be found in films like Hot Fuzz and Shaun of the Dead (and even Paul). This film certainly falls in line with what those modern classics did to their subjects: a little poke in the ribs, wrapped in a big reverent hug.

Bad Milo! (2013)

To say Duncan (Ken Marino) has a lot of stress in his life is an understatement.  His boss at work manipulates him into moving his office into the restroom, the pressure is on to have a child, and his inability to do so leads people to presume he has impotency issues, all of this in turn leads to him having severe gastro-intestinal problems.

Life’s obstacles can get us all down and we have to fight off our inner demons to move forward, but Duncan literally has to deal with his inner demon.  Bruce Banner had The Hulk.  Allan of “Monkey Shines” had his vengeful monkey Ella.  When Duncan gets too upset, a little demon, later named Milo, comes out of his butt.  Resembling an oddly-cute fleshly bobble-head and sounding like a mogwai, Milo is a little ball of uncontrollable id and fury, ready to kill anyone who gets in the way of Duncan’s happiness.

Bad Milo! easily could’ve been just a silly horror-comedy gore-fest that succeeded purely on its premise, but where the film surprised me was the decision to have Duncan (aided by his therapist Peter Stormare, in a clever stand out performance), try to bond with the little anal beast and learn to embrace his dark side. Marino ably carries this film, perfectly conveying the horror of Milo’s presence, his hope to move past his issues, and his worries about paternity and turning into his father. Also worth noting is the fact that, in the age of cheap CGI creatures, the filmmakers decided to go a bit more low-fi. Like the Muppets and Gremlins before him, the character of Milo is able to succeed through the charm of puppetry.

This film really has a lot to say about the anxiety of fatherhood, and is actually quite a sweet story about stress management…while of course while still delivering the carnage and laughs you would expect from a movie about an ass demon.

The Dark Knight Trilogy Ultimate Collection (Review)

The Completist: Jim Jarmusch

A few weeks back I read a tweet where someone was demeaning the quality of the film writing on Letterboxd. Seeing as 'Becca'lise and I are both huge proponents of the site (find us here and here) this came as a bit of an insult. I've personally read many fascinating and insightful pieces on the site and as a result have found certain reviewers that I make a point of regularly reading. One such critic is Simone. I'm not really sure where she finds the time to watch as much film as she does (in June alone she watched 100 films!) but boy do I appreciate the writing that comes out of it. Here's hoping that you do too!

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One of the signs you may be obsessed with cinema is that you like to complete the entire filmographies of notable directors. It's easy to knock out the directors who only have a handful of films, especially if they've been released in the past couple of decades. Last year I did Christopher Nolan, Paul Thomas Anderson, Quentin Tarantino, and Guy Ritchie. Sometimes a director's body of work is too large to get to everything, and other times it's too difficult to find the more obscure ones. In those cases, I like to pick 10 of their most well-known titles in the short term and dig into the rest over time. This year I've challenged myself by taking on directors with horror films (I’m such a wimp!) like Stanley Kubrick and David Lynch. I've steadily gone through the the Coens and Martin Scorsese over the past year and I’m hoping to be finished with both in the next month or so.

A few months ago, I randomly decided to watch Dead Man, a 1995 black-and-white western starring Johnny Depp. It's beautifully shot and endlessly stylish, but I found the story and tone too opaque to fully appreciate on a first watch. When I looked into the rest of director Jim Jarmusch's filmography, I was surprised to discover that I’d seen two of his films and formed wildly different opinions on them. I enjoyed Broken Flowers and hated Coffee and Cigarettes. It got me thinking that I should explore his other work. What's unique about his filmography is that almost all of his films are currently available to stream:

Hulu Plus
• Permanent Vacation (1980)
• Stranger Than Paradise (1984)
• Down by Law (1986)
• Mystery Train (1989)
• Night on Earth (1991)

Netflix Instant
• Dead Man (1995)
• Ghost Dog (1999)
• Broken Flowers (2005)
• The Limits of Control (2009)

Amazon
• Coffee and Cigarettes (2004)

With all of his works so easily accessible, I decided to make him my next project. It was strange to go into it without already being a die-hard fan like I’ve been in the past. This endeavor was more to understand why he's well-regarded, recognize his place in film history, and identify common themes and stylistic flourishes. I didn't really come out of the project more of a fan than when I started, but I suspect that if I go back and watch Dead Man, I'll have a better-informed and articulate opinion of it than "It's very cool, but I don't get it." His films move along at a languid, glacial pace and don't have much to say. The soundtracks are always excellent. There’s usually a diverse mix of people on screen and the stories he tells are often about people on the fringes of society. I mostly enjoyed the style and atmosphere, attributable to gorgeous cinematography and subdued performances from both amateurs and seasoned professionals. Even though it's hard to deny a lot of his films are deeply flawed, I find the majority of them unforgettable and extremely creative.

It was definitely a worthwhile experience, but what's missing from this and other projects I've completed is an understanding of the person behind the art. To be able to ground Jarmusch's unique style in a specific context and place in history would probably increase my admiration for him. Maybe one day I'll go deeper than his Wikipedia page and read a biography on him. Maybe I'll just leave him a mystery. As much as I want to go back and research him and the other directors I've looked at, I know myself too well. Faced with the choice between reading about films and watching them, I'd much rather spend my time on the latter.

-Simone

Pleading – The “Slain At Lover’s Lane” Campaign

We don't normally do this type of thing with the blog, but since Colin asked so nicely...

Over the years, I have been ever so fortunate as to meet and keep an eclectic group of very creative friends. I know actors, musicians, directors, artists, bloggers, dancers, writers and so many more. Each of these unique individuals has produced equally unique pieces of art. Right now my friend Matt Kollar, who composed the score for Bobcat Goldthwait’s film God Bless America (2011), is trying to make a short horror film...but he needs your help.  We are lucky to live in an age where artists no longer need to seek out studios or other mainstream forces. Thanks to the ever-widening reach of the Internet and social media, independent artists such as Matt can see their unique visions become a reality.

Slain At Lover’s Lane is more than a horror film—it is a revenge story, an origin story (akin to those of most super-hero flicks), and a wonderful homage to some classic horror films, most notably the iconic Vincent Price film The Abominable Dr. Phibes (1971). I’ve known Matt and many involved in this production for quite some time, and if one thing can be said about them it’s that they are determined...and damn talented. Okay, so that’s two things. Matt and his Space Barbarians Production Company have very little time left to try to meet their target goal for this project. As a writer and actor for Space Barbarian Productions, I am imploring you all, horror fans or not, to check out their Indiegogo campaign page and donate a little something to help out.

I believe in this film. I believe in Matt Kollar’s vision. I believe in the generosity of crowd-funding. Similar to Kickstarter, donors will be rewarded with prizes ranging from specially designed t-shirts, to DVDs and Blu-rays of the finished product, to even receiving producer credit. I thank you all for taking the time today to read this little plea and for following the bouncing link to join the cause. With your help, Slain At Lover’s Lane can become a reality. Thank you, and keep watching the screens.

-Colin

(the Devourer of Worlds)

Verisimilitude

Dear Hollywood Film Executives,

Long time fan, first time complainer. Like most Americans, I love to spend my hard-earned cash on seeing your movies in theaters while eating overpriced popcorn as well as buying every edition of certain movies on DVD and Blu-ray. Also, like many Americans, I love comic books and comic book movies. There is just something so fun about watching grown men and women run around fighting crime in suits made of iron or costumes that would put most fetishists to shame. Yet, as much as I love these movies you turn out, I have a beef with you — and it's a big one. Let me cut to the chase: Stop making comic book and superhero movies grounded in reality!

Wow, I feel so much better getting that off my chest. I will readily admit that I love the Christopher Nolan Dark Knight trilogy, but only so far. Those movies got a lot right where the Tim Burton/Joel Shumacher films got a lot wrong. Yet of course, where Nolan nailed Bruce Wayne as a man with personal issues, Burton and Shumacher succeeded in bringing big, bold comic book worlds to life on the silver screen.

When I read a Batman graphic novel, I love seeing the Dark Knight take on a psychotic mass murderer like the Joker or Victor Zsasz who are both grounded in a certain amount of reality. At the same time I also love seeing him grapple with Mr. Freeze, Solomon Grundy or Poison Ivy, who are characters so removed from reality it makes them a blast to read about.

Batman can have a dash of reality now and then, but think about it: he's a grown man running around dressed as a giant bat. Does no one in Gotham ever put two and two together, that the Caped Crusader has all the goods and equipment only a billionaire could buy? Yeah, that's real realistic. Now we have the upcoming Superman movie produced by Nolan, which you are so proud to tout as grounded in reality. Really? What the fuck Warner Bros.? Have any of you execs ever actually read a Superman comic? 

Damsels In Distress (2012)

I feel like I should preface this by saying that I have not seen any of Whit Stillman's previous films, so I had no preconceptions of what this film should live up to nor about his style.

I think the best way to sum up how I felt after first watching Damsels in Distress is 'delightfully bewildered'. I wasn't entirely sure what I'd seen but I knew that I liked it. I possibly even loved it.

The film centers on three college girls lead by Violet (Greta Gerwig) who take on transfer student, Lily (Analeigh Tipton) as their latest in a series of projects. They also run the suicide prevention center (where donuts and dance classes prevail in favor of more traditional methods) and have encounters with a series of men, including wannabe-womanizer Charlie (Adam Brody) and idiotic frat-boys like Frank (Ryan Metcalf).

This film is really just...odd. But in a nice way. The dialogue is awkward and stilted and there seems to be a lack of 'brain to mouth' filter in many of the characters but that's part of the overall atmosphere.

As fantastical as this world can be, it's still somewhat based in reality. Stillman seems to be drawing his inspiration from the American (east coast) University culture that he grew up in. And though my knowledge of this world comes entirely via cultural osmosis, this did not hinder my enjoyment in the least.

Its episodic structure appealed to me, too, as these kinds of films, especially as they tend to be slower paced, feel quite calming to me. Instead of jump-cuts and BLAH we are left to meander along with the characters like a whimsical stroll in the park.

The film is largely dialogue driven so you need to be able to keep up with that. I feel that watching a lot of older films is a great way to get used to dialogue heavy scripts.

Overall highlights: the ridiculously roundabout description of anal sex that went over my head for a good while; the awkward dance sequence to 'Things Are Looking Up' an homage to A Damsel in Distress (1937) presumably the inspiration for Stillman's title; Violet's obsession with dance crazes and the closing scene with her own dance craze, The Sambola.

Oh, and I've fallen more than just a little bit in love with Greta Gerwig.

Bill & Ted's Bogus Journey (1991)

Bill & Ted's Excellent Adventure was already a comedic romp rife with creativity. So how do you follow up a film whose climax featured Ghengis Kahn wreaking havoc in a sporting goods store and Sigmund Freud cock-blocking Billy the Kid and Socrates in a mall food court? How about having your heroes get killed by evil future robot doppelgängers then challenge the grim reaper so they can escape their own private Easter Bunny-filled hell and return to the land of the living with a pair of martians to build good robot versions of themselves from parts bought at Home Depot. You got to admit, that's some bold storytelling right there. That's the screenplay equivalent of a Salvador Dali painting. Think about The Seventh Seal scene where our protagonists play chess (and Clue, and Twister...) with Death himself. The sheer amount of balls that screenwriters Ed Solomon and Chris Matheson had! To write a script that references a film 98% of its target audience hasn't even heard of? That earns my respect...and a little air guitar.

When You're Here, You're Cinefamily!

I have a Black Card. It may not get me expensive jewelry or allow me into the most exclusive lounges, but it does make me a member of one of the coolest independent cinemas around. That's right, I'm talking about The Cinefamily in Los Angeles. The only thing that would make this non-profit group of movie-lovers better is if they operated out of Orange County so I could go to more screenings.

You don't have to be a member to enjoy their showings though, and most events are a mere $12 — the same price as going to your local AMC. But if you can spare the scratch, it's definitely worth getting a Black Card (annual membership). It comes with some nifty perks, such as priority entry, free popcorn, neat swag and guest passes, plus you get the extra satisfaction of knowing you're donating to a worthy endeavor. And if you go often enough, you get to know the regulars and the programmers alike. It really is a welcoming, family dynamic. I'm a bit shy, myself, but this is the kind of place where you can strike up a conversation with the person next to you in line (true, said conversation usually begins with, “Is this the Black Card line?” but it hardly need stop there).

One of the great things about The Cinefamily is that they care about making their screenings fun. It's an experience, not just your typical theater outing. Part of the fun appears in the form of food (doesn't it always?). It's such a nice surprise to show up for a film and find that there are complimentary tie-in refreshments. For the midnight screening of Alien, for instance, they made their own "Android's Blood" to drink. My personal favorite snack provided so far was the Green (hardboiled) Eggs and Ham (bacon bits) to munch on while watching prints of Dr. Seuss' cartoons and the only version of The Lorax I choose to acknowledge.

Side By Side (2012)

As a film-lover and as an opinionated nerd who loves a good debate/discussion/argument, I was greatly looking forward to watching Side By Side. A film where Christopher Nolan, Martin Scorsese, Robert Rodriguez, David Lynch and countless others weigh in on the pros and cons of digital filmmaking versus the classic celluloid approach? Sounds like catnip for cinephiles! I went into this film expecting multiple interviews on the subjects of digital cameras and shooting on film, but what this film offers is so much more than that.

Couched within this central debate is a chronicle of the digital filmmaking movement, from the hesitantly-received early days of Chuck & Buck and 28 Days Later, to its wider and wider acceptance via films directed by the likes of David Fincher and James Cameron. This film was a nice stroll down memory lane, reminding me of what an exciting and frustrating time the 2000s were. How far we had come in such a short time. In the span of just a few years we went from a few indie films being shot on grainy camcorders to “Did you hear? Digital cameras are going to take over! Film is dead. George Lucas said so!” Almost a decade later we know that wasn't exactly the case, but scary times they were nonetheless.

This film also covers more than just the advent of digital cameras. It focuses on all the different aspects of moviemaking that went digital over the last decade ie: editing, on-set playback, digital color grading and digital projectors. You are able to get a sense of how it affected not just directors of photography, but also how editors and visual effects artists had to adapt (whether they wanted to or not) to the new challenges of this new technology. Suddenly, directors were able to keep the camera rolling longer (thus allowing more creativity with their actors) and theatrically trained actors were reveling in the lack of standing around time. No longer having to worry about the dollars being spent every time a film was running through that camera resulted in new relaxed moods on set, and cinematographers were given greater control than ever thanks to digital color timing. So what if you didn't hear, "Cut!" as much?

Though much is touted about all the varied directors who contribute their thoughts in this film, it's the thoughts of the cinematographers that I found most interesting. Certainly detractors of the digital wave get their share of screen time, but I was immensely fascinated by the well-reasoned advantages that were pointed out regarding various digital production details. While I may not be the biggest fan of the way early digital films look, I understand the appeal of how much easier certain aspects of shooting became. For example: being freed from cumbersome film magazines and camera equipment made Steven Soderberg's jungle-based shoot for Che much easier. Like I said, you might watch this expecting just a debate about whether film is dead or not, but you’ll be getting SO much more.

My personal stance on the subject (one that thankfully is shared in the documentary) is this: Why does there have to be a debate? Why can’t they both be an option? It should simply be a filmmaker’s choice which way to go. The dynamic range of the image, the ease or cost of production, how much imagery you’ll be handling with digital effects, etc. There are benefits on both sides. This film’s information on the history of film and the explanation of various aspects of digital technology is very accessible and well laid out, so whether you’re an informed film nerd or casual viewer with no knowledge of filmmaking, you’ll totally understand what’s being discussed at all times. So sit down with a few friends, watch this film, then grab some coffee after and debate the night away.

Document This! - Part II: Electric Boogaloo

Long time no see, kids and cadets. I know it's been a while since my last foray into the world of obscure documentaries but here's the best bit of news you'll hear all day; I'm back and ready to share some documentaries with you all. Now that the introductions have been made once again, let's dive right on in. 

Best Worst Movie (2009) My love for bad cinema knows no bounds, just ask my fiancé. Growing up on a steady stream of 1950s and 1960s B-cinema as well as the hijinks of Joel, Mike and the Bots on Mystery Science Theater 3000, has infused me with a love for some of the strangest and worst Hollywood has to offer. If you've never seen Troll 2, I can only feel sorry for you. The 1990 horror film, Troll 2 is without a doubt, one of the worst movies ever made. This film, much like The Room, defies belief. Many a scientist has sat down with complex scientific equipment to try and understand what makes Troll 2 so lovably bad, only to never be seen again. Best Worst Movie is a loving look at not only the rabid fans of this cult film, but at the actors who helped to bring this epic story to the big screen. Directed by Michael Stephenson, the young star of Troll 2, we follow George Hardy, a dentist turned actor (and another of film's stars) as he and others involved with the film come to terms with the movie's cult status and rising popularity. This film is both hilarious and touching. I suggest you try watching Troll 2 before watching this documentary and then maybe watching Troll 2 again afterwards, if you can handle that much Nilbog.

The People Vs. George Lucas (2010) Alexandre O. Philippe is a bold, bold man for provoking the ire of Star Wars fans the world over. In this documentary, he dares to pit George Lucas, godfather of the Star Wars Saga against his fans and those who grew up with his iconic films. Passions flare as nerds (not unlike myself) duke it out when it comes to the Prequels, Special Editions, and all the other decisions Lucas has made in his one-man attempt to ruin something so beloved by so many around the world. Just as the film's title implies, this is truly the fans against the man who gave them their very reason for geeking-out in the first place. The love/hate relationship of the fans is what truly drives this film. You can argue about the artist's rights to continue to change their work until the Banthas come home, but you cannot deny the passion of a Wookie scorned.

The Atomic Café (1982) This collection of propaganda and safety films from the 1940s to 1960s is a fascinating and very often, creepy look at America's fear of a nuclear holocaust during the height of the Cold War. Presented without narration, this film quite literally speaks for itself. If you take anything away from watching this documentary, it's this; duck and cover and you'll be a-okay when the a-bombs start to drop.

The Devil and Daniel Johnston (2005) This film follows the life and career of one of the most prolific singer/songwriters in recent musical history and you've probably never heard of him. Musician and artist, Daniel Johnston is a genius and manically-depressed. At the height of his popularity, even Kurt Cobain, wore a shirt featuring one of Johnston's most iconic drawings. Never has a film so strongly reaffirmed the notion that genius and madness are two sides of the same coin. This film can be hard to watch at times, but observing Johnston's slow decent into madness collide with his steady rise to stardom, is like watching a train wreck you can't turn away from. This is a film worth looking into, just be sure to keep a box of tissues on hand.

I think that about wraps it up. There will be more documentaries soon, so keep your chins up and keep watching the screens.

- Colin (the Devourer of Worlds)

RoboCop (1987)

Seeing this film as a child was my first exposure to satire in an action film. The commercials in the film trivialize real threats, while at the same time televised entertainment successfully distracts the working-class from the horrors right outside their doors. Private enterprise pulling the strings of government institutions in order to exert control over people’s lives for the sake of profit? My 9 year-old mind was BLOWN! Sci-fi films exploring such themes were a dime a dozen back then (it was the 80’s after all, and Greed was good) but few films of the decade were able to make those ideas so damn entertaining! With over-the-top violence, a triumphant score, and tons of blood and gore, you hardly notice the subversive message. But In the end, the real reason I dig this film is because Robocop is simply a great hero. Not just because he upholds the law and protects the innocent, but because he does so with a really cool gun. I dare you to watch it and not have fun.

Starstruck (1982)

Craig & 'Becca'lise would like to formally introduce you to a new guest contributor. Everyone say hi to Andi! 'Becca'lise first came across this little lady via her vintage blog Andi B. Goode. Admiration for her blog lead to Facebook/Twitter friendship which has in turn evolved into a mutual admiration between blogs and bloggers. Seeing as Andi is from Adelaide, Australia, her first piece (will there be more?) is an appreciation of her favorite Australian film Starstruck! For more of her film writing please check out her film blog, The Sofa Cinephile. And now without further ado...

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I can't really say what most people outside of Australia think of when they think 'Australian cinema'. Drag queens driving through the desert in a converted bus? Crazed serial killers? Young girls mysteriously disappearing? (Which, and it tickles me, some people still think is a true story. Too funny). I know a lot of my Australian cinema-loving friends will quote The Castle as a favourite, though it doesn't seem to have done so well in America? Perhaps it's 'too' Australian? (I know a lot of the jokes were changed to 'translate' for American audiences. But maybe something on that another time...)

Well, one of my own personal favourites is Gillian Armstrong's 1982 offering, Starstruck. It combines so many things that I love: the '80s, great new wave music, fun costumes and an homage to Busby Berkeley. And yet there is still, somehow, that understated quality that I love about Australian cinema. (There are exceptions, of course, like Baz Luhrman's Australia...which I don't actually like very much.) Well, understated is a matter of opinion, of course...

It's referred to by at least one IMDB user as a 'cult film' in the US but I'm not sure it's much more well known in Australia, to be honest.

Starstruck is the story of Jackie (Jo Kennedy), an aspiring singer, and her cousin Angus, her manager and songwriter, and their quest to raise Jackie to star status including the adventures and mishaps along the way that culminate in a New Year's Eve performance at the Sydney Opera House.

It's directed by Gillian Armstrong who has directed a lot of period movies (like Little Women and Charlotte Gray) including My Brilliant Career, a film I found slightly dry but very important (a word that is well open to interpretation). Starstruck is a surprising follow-up to My Brilliant Career in some ways, yet both are about young women struggling to overcome their situations in life to 'make it'.

Starstruck is hardly a masterpiece of cinema, but I think it illustrates Australia's affinity for the underdog just as well as so many of our other films. And it does it with appearances from The Swingers, great new wave music (including a cover of a Split Enz song), creative use of locations, colourful costumes and genuinely likeable characters. It's just a really fun movie!

I could be wrong: maybe Starstruck is a lot better known than I think it is – I tend to be a fairly isolated/insulated movie watcher at times. Either way, it's one of my all-time favourites (not just of Australian cinema) and one I come back to time and time again.

The Cabin In The Woods (2012)

A bunch of kids spend a weekend in a cabin.  Think you've seen this all before?  That’s what this film is hoping.

What were once original motifs in classic horror films from the mid/late 70’s to early 80’s, quickly became retreaded and watered down clichés for the next few decades’ worth of slasher films.  Cabin builds on that familiarity with everything that’s wrong (or right, depending on your view) with the horror genre, and deconstructs it.  It takes all the tired tropes and dumb choices these films make, and causes you to view every scary movie you've ever seen from a fun/new angle.

Do you ever wonder why there’s always a beefy jock and some horny blond in damn near EVERY horror cast?  Do you facepalm over why characters are stupid enough to split up in the middle of being trapped in a desperate situation?  Or are you the type that smiles and enjoys it when stock victim goes outside to check something out and meets their untimely end when clearly they should've just stayed inside?  Whether you love these tropes or hate them, you’re bound to get something out of this film because writers Joss Whedon and Drew Goddard love them and hate them too.

The prerequisite sex scene, the virginal Final Girl, etc.  Whedon & Goddard not only deconstruct the genre, but they do so in a refreshingly post-Scream NOT self-aware manner.  The narrative doesn’t stop to have its characters point out some horror convention that it is post-modernly eschewing.  The filmmakers are smart enough to know audience are in on the joke (we don’t need it spelled out for us) and the film itself still plays it straight, and that is what makes it so crafty and lets the jokes land so well.  It’s not just what this film has to say; it’s how it says it.  Not only do they know how to gleefully subvert your expectations, they also know to really earn a climax.  This film has the best third act I've seen in a long while, both in how fascinatingly the truth is revealed and in how delicious a spectacle it becomes.

If I’m being cryptic about the film’s story, I’m doing you a favor.  I have a real hard time praising all the clever and witty things about this joyous film experience without spoiling the bejesus out of it. The less you know about the plot points, the better.  Just know that if you've sat through the good and the bad, from Evil Dead to Friday the 13^th part VII, then you will find this a genuinely gratifying experience.  This film is like a reward for a contest you didn't know you entered.

In A World...

Imagine yourself in a darkened theater; the scent of popcorn wafting through the air as the projector hums to life, slapping the screen with the MPAA green band (or if you’re naughty, a red band one). For many of us cinephiles, this is the best part of the movie-going experience. For a few minutes we are presented with a few fleeting images from movies we’re anticipating, film’s we’ve yet to hear about, and others we have zero desire to ever see. What often makes these little babies so nifty is how well put together. It’s hard to deny that there is a true art to creating a good, compelling trailer.

In the old days, people not even remotely involved with the finished film were hired by studios to slap together whatever footage they had on hand to create a trailer. The results were mixed. More often than not, the finished two-minute preview showed too much or gave off the wrong tone. However, in this day and age, more and more filmmakers are taking a more hands-on approach with this phase of the process. While the results are still a bit mixed, it’s nice to know that those creating the film are now able to choose what they present and how they present it.

I’m going to share with you a slew of movie trailers, many of these trailers are brilliantly done – some even better than the finished film. And then there are the others… 

Halloween on Screen

Unlike Christmas, which has a large smattering of holiday-themed films to enjoy, Halloween has but  a meager few. Oh sure there are plenty of spooky films to enjoy to celebrate the macabre, but there are only a handful that actually take place on that most unholy of eves.

Aliens mistaken for trick-or-treaters. Wondering if one is too old to trick-or-treat anymore. The wrath of blowing out a jack-o-lantern before the holiday is over. The stupidity of having a seance in a mortuary. It can all be found in this Top-7 of Halloween Films: 

7. Hocus Pocus

The Horror...

Like the creeping shadows cast by the fall's waning sunlight, Halloween will soon be upon us. For those of us here at This Cinematic Life, 'tis a season like no other. While many children eagerly await Christmas morning and all the goodies under the tree from that jolly, obese elf, we can hardly wait to hang the cobwebs while watching our vast collections of seasonally appropriate movies. Hell, I’m listening to Danny Elfman’s score to Nightbreed as I write this piece!

Oh how I revel in any chance to watch films like The Cabinet of Doctor Caligari and Something Wicked This Way Comes while the leaves outside drift from the trees in a silent cascade of red, orange and yellow. There’s no better time of year to enjoy Bubba Ho-Tep, all four Phantasm movies, and Re-Animator — all in the same day. Yet growing up, my family would never dream of sitting down and watching the original Texas Chainsaw Massacre or Halloween. They’re just not those kind of movie viewers. And yet, on the weekends with my friends, I soaked up all manner of scary films like a pop culture sponge.

He Said/She Said: Hotel Transylvania & Frankenweenie

He Said/She Said: Dredd 3D/Looper