Micro budget films often have a great charm. They’re under lit, gritty and really ambitious at times. They’re made for and with love, and it often shows. But then there are those in this genre that are overly ambitious to a fault, and the whole package ends up suffering a great deal. You can’t make a great film without a great script, I don’t care how much money you have, or don’t have.
Read MoreReviews
The Horns of Mr. Radcliffe – Horns, Fantastic Fest 2014
Where to begin with Horns? The new movie has quite the pedigree: It’s directed by Alexandre Aja (of The Hills Have Eyes remake fame), based on a novel by Joe Hill (the famed author and son of horror titan Stephen King), and stars Daniel Radcliffe (the Harry Potter dude) in a performance removed from his acting legacy.
Read MoreA Sexually Transmitted Haunting – It Follows, Fantastic Fest 2014
There are few things as satisfying as a fresh and exciting new horror film. It’s rare these days to find one with a story that stands on its own, one that honors its influences without falling back on post-modern meta genre commentary, and one that genuinely gives you the creeps. With David Robert Mitchell‘s new indie horror flick, It Follows, we find such a rarity, with well-placed, jump-from-your-seat scares and bona fide unsettling chills that sink in and stay with you long after the credits have ended.
Read MoreA New Milestone For Kevin Smith – Tusk, Fantastic Fest 2014
Welcome back, Kevin Smith.
We just finished the Tusk screening at this year’s Fantastic Fest, and I’m filled with the warmth I can only liken to a lapsed Catholic being moved by mass. Once a die hard Kevin Smith fan (and, as such, a Kevin Smith apologist), I enthusiastically wore Jay and Silent Bob t-shirts every day, tracked down every international Chasing Amy movie poster I could find, attended every Vulgarthon film festival, and many, many other nerdy endeavors. Over the past decade that enthusiasm waned as Smith’s output declined in quality. When I heard he was retiring from filmmaking, my reaction was little more than a shrug.
Read More'Heathers: The Musical': An In-Depth Review (By a 'Heathers' Super Fan)
Heathers is the holy grail of teen-angst comedies. It’s dark, funny, endlessly quotable, and more on point than any other film of its kind (sorry Mean Girls). Filmed at the rise, and possible height, of Winona Ryder and Christian Slater’s Hollywood moments, director Michael Lehmann couldn’t have chosen two more perfect people for his stars. Collectively, they delivered a movie unlike anything created before or since. Writer Daniel Waters gave lines for days, ones that live on twenty-one years after the film’s release. He created a perfect, mirrored world where good intentions go to hell and motives are ambiguous at best, devious at worst. Needless to say, Heathers is an untouchable cinematic icon.
Like all beloved cult films, there’s always someone out there who wants to remake the story with their own hands. Sometimes these notions come in the form of a musical. Inspired, retooled, these films make their way to Broadway, both on and off, and incorporate songs and dances that sometimes add to the beloved experience – Young Frankenstein, Hairspray, and Evil Dead comes to mind. Other times, like with Re-Animator or Grey Gardens, the experience is fun, but ultimately unnecessary. Heathers :The Musical falls somewhere in between.
Read MoreRocky on Broadway: An In-Depth Review
Let’s just get it out of the way: Rocky is a milestone in America cinema. It’s a flawlessly realized character study that balances a somber tenderness with moments of humor and a visceral finale with every element seemingly in place. Every frame is marked by an aching sincerity. This sincerity was carried over into the first sequel, but unfortunately largely absent until the sixth entry in the series, 2006’s Rocky Balboa. It is the sequels in between the decades where the legacy of Rocky was constructed around training montages, the Rocky III introduction of Survivor’s “Eye of the Tiger” and the overall cheesiness and jingoism of Rocky IV, losing sight of what made the original film so powerful.
Read MoreThe Ink and Code’s Top Films of 2013
2013 was a great year for film. While it wasn’t an endless barrage of awesome, there were some that outshone the rest in big ways.
The Ink and Code’s Top Films of 2013
(This list is later than most, but I refuse to apologize)
'Grand Piano' Review
This year’s Fantastic Fest had some incredible entries. From thrillers to horror films to documentaries, it was pretty much the best time one could have in the dark aside from…well, you know. This was my first time there, and will be an ongoing tradition from this year on. I loved every God damn second of it, and I was heavy-hearted to see it end.
We saw an impressive eleven films in four days, and yet we barely scratched the surface. There were so many films and, sadly, so little time.
The best film of those eleven was inarguably Grand Piano. The film stars Elijah Wood in a career turning performance as a famed pianist being terrorized onstage during the night of his much-anticipated comeback. Frodo no more, this is the role that’s going to put Wood back on the marquee. Thankfully, though, he might be too cool for crappy mega-mainstream films. He was at Fantastic Fest not only looking stylish, but just hanging with fans and drinking beer like he was one of us. Because really, I think he is one of us – a movie lover through and through. he even got tattooed at the closing party! I have a newfound love for this guy.
Read MoreJodorowsky’s Dune - A Fantastic Fest 2013 Review
An adaptation of Frank Herbert’s Dune by filmmaker Alejandro Jodorowsky was perhaps too bold, too incredible to ever come into existence. The jovial and boisterous Jodorowsky, the director behind the surreal cult classics El Topo and Holy Mountain, set out to make a film he believed could change the world, perhaps the cinematic equivalent of the monolith in Kubrick’s 2001: A Space Odyssey, heralding the birth of a Star Child in our reality.
Read MoreMichel Gondry’s 'Mood Indigo' Review
As I said, Fantastic Fest 2013 was pretty much one of the best events I’ve been to. It wasn’t swank, it wasn’t “exclusive,” and best of all, it catered to film lovers on every level. Held at the infinitely awesome Alamo Drafthouse, it served as a mecca for cult lovers and film buffs alike. There were celebrities there mingling with the crowd like it was no big – and it was awesome.
Among the many world and first premieres was Michel Gondry’s latest opus, Mood Indigo. Hopelessly quirky, fun, colorful, upbeat, and even silly, the film starts off almost as an assault of cuteness. It is an adaptation of Boris Vian‘s 1947 novel Froth on the Daydream and its American edition Foam of the Daze, and perhaps the book is just as over the top. Nonetheless, it took me a moment to acclimate.
Read More