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i did this in photoshop. let me know what you think. The above picture is the sign on the Erwin Rado Theatre at Johnson Street, Fitzroy, where the MIFF has its headquarters. The building's nothing much to look at from outside, really! But the sign well, THAT has character! Below the MIFF offices, the theatre, named after the director of the Film Festival from -has a charming old 69 seat cinema that can screen 16mm and 5mm film as well as DVD, LaserDisc, VHS, Data and MiniDV. Still, the office itself has now moved to a more central location in Melbourne, which is handy!
This continuously violent South Korean animated adult feature presents a future where human excrement is an energy source. Citizens have a monitoring chip attad to their arses and particularly productive individuals are rewarded with addictive drug laced munchies called Juicy Bars.
The story begins with a roadwarrior highway battle as the swarming blue mutant Diaper Gang! attempts to truckjack a cargo of Juicy Bars, only to encounter a devastatingly lethal cyborg enforcer who makes Judge Dredd look like a human rights campaigner. The latter is extensively overmined for one tunnel chase set up. The animation is quite stylistically vigorous while the off the wall social commentary reminds me a little of the kind of thing that animator Ralph Bakshi attempted in his Fritz The Cat days, well before the likes of South Park and its shock-anime kin.
Quelques Jours en Septembreis a laid back but quite charming French spy thriller that makes espionage a family affair and a realistically bickering family at that. He hopes to trade the information for a stake that will enable him to reunite and live with his biological daughter and step-son, legacies of two seperate cover identity marriages in France and the U. The potentially overwhelming meta-story takes a back seat to the character relationships, which makes a nice change to the usual breathless adventures that would normally puff up this kind of story into a by-the-numbers action thriller.
What IS it with the French anyway? Always gorgeous, the actress pits the character as being adept enough at her deadly trade so that she can afford to enjoy herself while she works.
and also an equally obsessive relative of the title character in the television series Monk. Although this film lingers perhaps a little too lovingly on the wrangling entanglements of its main characters I still found it pleasant and rewardable viewing.
Amigorena certainly knows how to inject off-beat life into his characters. When down on her luck small town waitress Agnes White played by Ashley Judd invites eccentric drifter Peter Evans into her seedy motel room she receives much more than she bug-aned for!
Michael Shannon is gauntly convincing as Evans, a role that he pioneered in the original stage play and intially at least, reminds me a little of a young Steve McQueen or perhaps, Joachim Phoenix. Speaking of Star Trek, Ashley Judd also played Ensign Robin Lefler in Star Trek: Next Generation.
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Bug is a film that creeps up on you and by its final scuttling rush will definitely get under your skin one way or another. along with its natural companion piece, The Holy Mountain.
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This comprehensively startling but compelling film begins, not unlike the Lone Wolf And Cub Samurai series, with the black clad, flute playing gunslinger El Topo played by the director himself riding across the wastelands in company with a taciturn child companion.
After a blood drend encounter with drunkenly bestial bandits El Topo replaces the boy with a seductively manipulative woman who urges him to become the greatest shootist in the world by seeking out and defeating four master gunfighters.
As with the wuxia martial arts films that this story frequently references the quest for the masters proves dangerous, difficult, baffling and wonderous. This visual melange is supported by Jodorowskys and Nacho Mendezs evocative music which, by turns soothing or jarring, echoes across the many desert based sequences and permeates the locations, which frequently read more like artistic installations than sets grounded in any kind of mundane reality.
In fact, there is a timeless anachronistic feel to the desert that makes you question whether this is nominally a period Western or indeed set in some kind of post-apocalyptic Stephen King future.
El Topo is rendered even stranger by its renowned mid-film gear change, one of several enigmatic transformations that can be interpreted as Buddhist inspired reincarnations of the title character. Just imagine what might have been if Jodorowsky had pulled off his mids adaptation of Frank Herbert's Dune, with its intended cast of Salvidor Dali as the Emperor, Mick Jagger playing Feyd Rautha and Orson Welles as Baron Harkonnen?
As it is the Acid Western tradition at least got another outing in Jim Jarmusch's more recent film, Dead Man, which, for all its many remarkable charms, by comparison to El Topo is cast into monochrome shade.
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A bizarre chimera even by Zero-G's notoriously unhinged standards El Topo is a cult classic given gloriously grotesque new life by its own recent transfiguring restoration.
Fido fiendishly expands upon the gag featured in Shaun of the Dead amongst other films that zombies could be domesticated to perform simple tasks.
Zombies helping in the kitn? Uh-oh, better make sure they keep those rotting fingers are kept hygenically away from food preparation surfaces with a pair of crisp, clean white cotton gloves In an alternate s the all encompassing ZomCom, which apparently helped win the Zombie War, protects and serves the walled small towns of America. Now, we all know that the only reason to provide zombies with clever electronic control collars is so that the gadgets can malfunction; cue zombie outbreak!
Fido is filmed in full, glorious technicolour, complete with ginormous finned automobiles, two toned shoes and compliant Stepford housewives who wait at the front door for their patriarchal hubbies to take the martini from their submissive, manicured hands. Happily, Carrie Anne-Moss in one of the main roles, as Helen Robinson, is more of a buddingly feisty Desperate Housewife after the armed and dangerous example of Bree Hodge.
From The Matrix to a zombie packed Pleasantville is indeed an ironic career path! Connolly plays the long suffering Fido with toothy glee, moaning and groaning and lurching in the throes of what could easily double as a hangover of fatally heroic proportions.
Keep an eye out easy to do in a zombie film for Dylan Baker, as the nervously erful Bill Robinson. Baker has had the sleeper part of Doctor Curt Connors in the Spider-Man films and, as comic book fans anticipate, should eventually get to mutate into the super-villain, The Lizard.
If you go down to the woods today Deliberately lost? How do you think the kids got to be wandering around in Blair Witchburg in the first place? Sometimes tactfully omitted from modern retellings of this familiar story is the neglected element of child abandonment, a practice forced upon starving families in situations of plague, famine, wars and other social upheavals.
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a much more useful cautionary tale for parents to use as and Awful Threat when disciplining naughty anklebiters. Leaving aside observations about how Hansel and Gretel underlines the historical distrust of skilled single women of independent means this is actually a moderately creepily staged film.
The woods are suitably threatening, and the witch herself, though certainly not up to Buffy The Vampire Slayer standards is a reasonably nasty albeit dimwitted piece of work I never can figure out quite why witchy poo needed to go Hannibal Lector on kiddies when she was capable of whipping up enough food to fatten a small army, not to mention all that square footage of gingerbread real estate.
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Coyote yearning after Roadrunner drumsticks in spite of the fact that he had enough credit to order truckloads of expensive gadgets from the ACME Corporation. though their step mother has obligingly dropped dead in the meanwhile. Like El Topo, The Holy Mountain has also been recently, lovingly restored, all the better to trip out on the eye bulging psydelic imagery!
Again, as with El Topo, the nominal protagonist is on a messianic quest to achieve enlightment.
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Even more ironically symbolic in this case since the central thief character bears a strong and exploitable resemblance to the traditional representation of Jesus Christ. Horacio Salinas plays the hapless thief, leaving Jodorowsky himself the catalytic role of a tower dwelling almist who charges him to accompany seven influential but materialistic powerbrokers to Lotus Island where they will achieve eternal life once they have climbed the eponymous Holy Mountain.
Politics, art, sexuality, and filmmaking, amongst many other subjects, all cop a satirical hiding in this extraordinary film which relies heavily upon fantasy imagery drawn from tarot cards, astrology and religion.
A screaming man lies covered in tarantulas no big acting stretch there! The Invasion of Mexico is renacted by lizards dressed in Mezoamerican costumes battling frogs wearing Conquistador armour and missionary robes. I have my doubts about this sequence, it sure looks like the poor frogs are really being blown up by explosives?
A mulitple amputee writes cryptic messages in the dirt with a severed animal leg.
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Parading prostitutes turn out to be just as holy as priests. Roman soldiers cast the thief in plaster and create a line of life-sized crucifiction merchandise. Art factory paint coated nude backsides stamp out images on a production line while live body painted nudes are built into installations so they can be fondled by gallery patrons.
Gas masked soldiers attend dances and machine guns and hand grenades are painted in rainbow colours. Spartan like warriors pursue a cunning plan to emasculate heroes to create a shrine of testicles and nevermind what they did with the other !
Eviscerated victims spill chicken guts well, if a theramin was played by a giant dildo! Landmark or landfill experimental film? The Holy Mountain remains an obvious precursor to movies like Eraserhead, The Cremaster Cycle, and The Qatsi Trilogy. Clementine Olivia Bonamy and Lucas Michael Cohen live happily in pastoral rural isolation in a rundown chalet in the Romanian woods, until one night they are attacked by No, not by lurching giant ants from a s horror film but by well, that would be telling.
The adept direction and unrelating pace set within the atmospheric confines of the old chalet a dream of a location to create nightmares in is ramped up by genuinely unnerving sound effects design, an evocatively tense soundtrack, solid if necessarilly Spartan performances by the two leads, and the teasing revelation of the nature of the besiegers.
Commentators seem uncertain about the veracity of that, but in this case it adds to the overall feel of unease that permeates the ending of this film. A big budget supernatural fantasy for young adults that's part Spielberg, part Lucas, with an added dash of Harry Potter, but which ultimately wears its ample CGI well to create an enjoyable and in a few places reasonably scary film.
When two children move to a quiet country town the last thing they expect to find is a haunted island plagued by a supernatural confluence of kidnapped souls.
When a young girl taps into the mystic mayhem it results in her brother being possessed by the spirit of a centuries dead member of an ancient order of sorcerous crimefighters. Khadak is underpinned by a hypnotically compelling narrative fascination with magic realism that often contrasts the shabby reality of the concrete high rises with the colourfully organic traditional nomadic traditional yurt dwellings.