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Nicolas Cage Talks Drive Angry

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Nicolas Cage is one of the coolest actors of this era and if you don’t agree, you can go straight to Hell. Oddly enough, that’s just where Cage comes back from as John Milton, the “badass mutherfucker” who burns rubber through Drive Angry (review here) this weekend.

At a Hollywood press conference, the Oscar-winning actor and self-described sci-fi/horror geek came out to speak about all things cinema.

On 3D: “I was very excited at first to see what I could do with the format. It’s my first live-action movie in 3D. I was like a kid in a candy store and I wanted to see if I could get my tongue in the fourth row of the audience in one scene. Thankfully they cut that out of the movie, but I wanted to try to do anything I could to mess with the format. And by the second week, it became clear to me that it wasn’t much different from making any other movie with a 35mm camera. And that’s really a credit to Patrick Lussier because he is a pioneer of the new wave of 3D and he really sorted out all the bugs might occur with it on My Bloody Valentine 3D.”

On gunfighting during sex: “I really had no idea how I would play that scene until almost 3 or 4 days before shooting it. If that scene works, it’s really because of Miss Charlotte Ross. What she does in that sequence is sexy but it’s more than that, it’s also quite tragic and heartbreaking, the nervous breakdown she goes through, and it’s a total credit to her acting ability to take us on that ride. It took a lot of guts…. I was thinking about kama sutra positions and what would be a position that would show Milton’s anti-divineness. Because he’s not a divine Hindu spirit, he’s a living dead man from Hell. Enjoying all the vices of the cigar and the Jack Daniels and the sex, to me seemed to ring true to a guy who just broke out of Hell. That’s how that scene came together. And then Miss Ross and I enjoyed a bucket of Kentucky Fried Chicken after the scene.”

On driving: “I’ve gone 180 mph on the 405 freeway on a motorcycle… I did it coming home from work at 3 o’clock in the morning from another film I did about cars called Gone in 60 Seconds … That’s really, really crazy but I did it.”

On acting: “I realized that I’ve developed my own style and process and school of acting called ‘nouveau shamanic.’”

On skull drinking:Believe it or not, I was reading a lot of Walt Whitman at the time, a poetry book called ‘Leaves of Grass.’ And somewhere Whitman says in a stanza: ‘drinking mead from a skull.’ And I thought to myself, ‘I like that! I’d like to find a way to drink beer from a skull in this movie!’… I put a lot of thought into [my presentation] and did a few takes, almost like a beer commercial, to find a way to make the beer slosh out of the eye in such a way that my cup runeth over and have it look really inviting and appetizing so the audience would go ‘Wow, I know this sounds kind of crazy but I’d really like to drink beer from someone’s skull right now!’”

On why he took the part:Initially what I was attracted to was the idea that I was gonna get my eye shot out. On Season of the Witch, I wanted to get my eye shot by a bow and arrow and the producers didn’t really go for it. When Patrick Lussier handed this to me on a silver platter, I don’t know why, but I immediately said ‘Yes, I’m in!’ It’s as simple as that.

On genre movies:My interests are an acquired taste that I have. The movies that I enjoy watching personally are movies that really frustrated my wife… It’s an interest in Roger Corman movies and midnight movies. I like Ray Harryhausen. I like fantasy, horror and sci-fi because I can get avant-garde with those performances in those movies. I can’t do that in down and dirty dramas, I can’t do that unless I go outside the box. Unless I’m playing a character on drugs, like Bad Lieutenant…then I can get pretty out there…otherwise I have to look at supernatural movies and science fiction movies to get more avant-garde. But again, I think the most inventive and creative and imaginative filmmaking out there is sci-fi and horror when it’s done intelligently.

Nicolas Cage Talks Drive Angry

Nicolas Cage Talks Drive Angry

Andrew Kasch

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Todd and The Book of Pure Evil: The End of The End Coming to Blu-ray

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If you were a fan of the kickass Canadian series “Todd and The Book of Pure Evil,” then you’re in for a real treat as the final chapter of the terrifyingly funny series, Todd and The Book of Pure Evil: The End of The End, is coming home.

Continuing where the critically acclaimed cult TV series left off, Todd & The Book of Pure Evil: The End of The End (review) returns to Crowley Heights to find Todd, Jenny and Curtis grieving the loss of their dear friend Hannah, whose death may or may not have been caused by Todd’s banishing of the Book. The three must reunite to fight evil when the Book of Pure Evil returns to Crowley High, bringing with it some familiar faces (Guidance Counselor Atticus Murphy Jr., Jimmy the Janitor, and The Metal Dudes) as well as some new foes, such as the Sweater Vest Beast and an Acidic Acne-Faced Teen. But these enemies are merely warm-ups to the final battle with their greatest nemesis yet: The New Pure Evil One, whose intimate knowledge of our heroes may ultimately lead to their destruction! Todd & The Book of Pure Evil: The End of The End is loaded with the same juvenile jokes, gore gags, and satanic sing-alongs that made the original TV series a world-wide hit.

Featuring the original award-winning cast providing their voices – Alex House, Maggie Castle, Bill Turnbull, Melanie Leishman, Chris Leavins and Jason Mewes, among others. The animated flick is directed by Craig David Wallace (co-creator and showrunner of the live action series) and Richard Duhaney, with a script by Wallace and co-creator Charles Picco, and original music by Shawn Pierce.

Raven Banner’s limited edition includes a 3-disc Blu-ray/DVD/CD combo of the feature film (all region), a “Mini Book of Pure Evil” 20-page colour limited edition “making of” booklet, English commentary, never-before-seen artwork, exclusive special features, bonus CD soundtrack, and more!

Order your copy here!

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Metro Exodus Gets a Haunting New Cinematic Trailer

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One of the biggest horror games of 2018 is Metro Exodus, the third installment in the critically acclaimed post-apocalyptic first-person franchise based on the novel by Dmitry Glukhovsky. We haven’t heard much about the game since it was announced at E3, although a brand new cinematic trailer debuted at the Game Awards ceremony. And while it didn’t show any actual gameplay footage, it did give us a look at some of the hideous monsters we can expect to encounter in the Russian wasteland when Metro Exodus launches on PS4, Xbox One, and PC late next year.

Like the previous entries in the franchise, Metro Exodus will be developed by Maltese developer 4A Games and published by Deep Silver.

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Children of the Fall Review – This Israeli Slasher Gets Political

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Starring Noa Maiman, Aki Avni, Yafit Shalev, Iftach Ophir, Michael Ironside

Directed by Eitan Gafny

Reviewed out of Utopia 2017


Slashers are a subgenre of horror that are often looked down upon. After all, what can a movie about a killer slaughtering multiple people have to say about, well…anything. Those of us in the community know full well that this is nonsense and that any kind of horror movie can be a jabbing (no pun intended) commentary on society, culture, politics, art, etc… And that’s precisely what Eitan Gafny aims to do with Children of the Fall, one of the few Israeli slashers ever created.

Set on the eve of the Yom Kippur war, the film follows Rachel (Maiman), a young American woman who comes to Israel to join a kibbutz after suffering some serious personal tragedies. Her goal to make aliyah (the return of Jews to Israel) is however hampered by some rather unpleasant encounters with local IDF soldiers and members of the kibbutz. Pushing through, she makes friends with others in the commune and her Zionistic views are only strengthened, although they do not go untested. Once Yom Kippur, one of the holiest holidays in Jewish culture, begins, a killer begins picking off the kibbutz workers one by one in violent and gruesome ways.

Let’s start with what Children of the Fall gets right, okay? As slashers go, it’s actually quite beautiful. There are wonderfully expansive shots that make use of the size and diversity of the kibbutz. The film opens with a beautiful shot of a cow stable, barn, water towers, and miscellaneous outbuildings, all set against a dark and stormy night. The lighting of this scene, and throughout the film, is also very good. I found myself darting my eyes across the screen multiple times throughout the film thinking I’d seen something lurking in the shadows.

The kills, while unoriginal, are very satisfying. Each death is meaty, bloody, and doesn’t feel rushed. In fact, the camera has no problems lingering during each kill, allowing us to appreciate the practical FX and copious amounts of blood used. And if you believe that a slasher needs to have nudity, you won’t be disappointed.

The acting is middle of the road. Maiman is serviceable as Rachel but the real star of the film is Yafit Shalev as “Yaron”. His range of emotion is fantastic, from warm and welcoming to Rachel when she arrives to emoting grief and pain during his Yom Kippur announcement where we learn that he was a child in a concentration camp. The rest of the cast are perfectly acceptable as fodder for the killer.

So where does Children of the Fall stray? Let’s start with the most obvious part: the runtime. Clocking in at nearly two hours, that’s about 30 minutes too much. The film could easily have gone through some hefty editing without affecting the final product. Instead, we have a movie that feels elongated when unnecessary.

Additionally, the societal and political commentary is very in-your-face but the film can’t seem to make up its mind as to what it’s trying to get across. Natalia, a Belarussian kibbutz worker, raises the concept of Israeli racism, misogyny, and xenophobia, her hostility unabashedly pouring out in the midst of IDF soldiers, locals, other kibbutz members, and more. Is there validity to what she’s saying? Undoubtedly. But there is also validity to Rachel’s retorts, which include calling this woman out on her own vitriolic views. This back-and-forth mentality frustratingly prevails throughout the film, as though Gafny was unwilling to just commit.

The dialogue is also quite painful at times, although I attribute this to difficulties with translating from Hebrew to English. Even the best English speakers in Israel don’t get everything perfect and the little quirks here and there, while charming, are quite detracting. Also, why is this movie trying to tell me that Robert Smith of The Cure is a character here? While amusing, it makes absolutely no sense nor does it fit in Smith’s own timeline.

Had this film gone through a couple rounds of editing, I feel like we’d have gotten something really great. Eitan Gafny is definitely someone that we need to be watching very closely.

  • Children of the Fall
2.5

Summary

While Children of the Fall has a lot going for it, it has just as much working against it. Overly long, you’ll get a really great slasher that is bogged down by uneven social and political commentary.

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