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Tony Timpone’s Elegy – AFM: A November to Dismember

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It used to be that the toughest thing about visiting the global cinematic bazaar known as the American Film Market was squeezing in as many movies as humanly possible before your eyes exploded like Cameron Vale’s in Scanners. At this year’s 38th annual AFM, held November 1-8 in Santa Monica, CA, I watched 17 movies in five days. Don’t be too impressed. That’s a big drop from past years, where I’d see as many as two dozen films during that span.

This year marked my 21st AFM jaunt, and change has been in the air for some time at this industry confab. Two screening days have been shaved off the program, and theater screenings have lost the 5pm and 7pm slots. Much of the Z-grade schlock has been whittled away and there does seem to be a higher level of product on display. No longer does every other movie star Joe Estevez. Now it’s Nicolas Cage! Sales companies feverishly hawked Cage’s VOD-bound Primal, The Humanity Bureau and Looking Glass, in addition to a plethora of cute puppy and sappy Christmas cable-ready movies.

So where’s the horror, you ask? You can still discover it at AFM, but 2017 offered a disappointing allowance for the most part. To put it into perspective, the opening day of my first AFM in 1998 yielded John Carpenter’s Vampires and Spain’s Abre Los Ojos (remade as the mediocre Vanilla Sky in the US) back-to-back (not to mention The Big Lebowski from the Coen brothers). For 2017, I did not see one film as good as those (well, maybe one…). Not a total washout, mind you, as I’m sure you will add a few titles to your watch list after perusing my AFM 2017 screening report.


I Kill Giants:
A lonely teenage girl (Madison Wolfe) defends her coastal town from invading goliaths in this somber tale directed by Denmark’s Anders Walter and written by Joe Kelly from his graphic novel. Not exactly a feel-good movie, I Kill Giants deals with bullying, depression, isolation and terminal illness. It intersperses the somberness with some excellent FX scenes involving the giants, who emerge from the surf and dark woods to taunt our young heroine. Not only is I Kill Giants too downbeat for my tastes, last year’s underrated and underseen A Monster Calls covered many of the same emotional beats much more eloquently and movingly than here.

** 1/2



Errementari:
Spanish helmer Alex del la Iglesia (Day of the Beast, Witching & Bitching) produced this Terry Gilliam-esque dark fantasy, about a cursed medieval-age blacksmith and his battle of wills with a demon out to claim his soul.

Directed by Paul Urkijo Alijo, the movie is like a Hieronymus Bosch painting come to life. Its climactic trip to Hell stands out as a highlight, pitchforks and all, as do the superb practical makeup FX.

***


Bad Samaritan:
A parking valet (Robert Sheehan) at a ritzy restaurant borrows the patrons’ cars to rob their homes while they’re eating in this thriller directed by Dean (Godzilla) Devlin and written by Brandon (Apt Pupil) Boyce. As he rummages through the house of the arrogant Cale (former “Doctor Who” David Tennant, cast against type and looking like a less seedy Charlie Sheen), valet Sean discovers an imprisoned woman, the waiting victim of the rich serial killer. The cops don’t believe the robber, but the bad guy catches onto him and soon begins destroying Sean’s life and those around him. Though Bad Samaritan builds some good suspense and remains moderately gripping, Devlin (late of the embarrassing Geostorm, which Irishman Sheehan also appeared in) is no Hitchcock. And at 107 minutes, the movie overstays its welcome.

** 1/2


Anna and the Apocalypse:
Christmas, teenagers, music and zombies… Anna and the Apocalypse has it all. As the snow falls and Yuletide cheer builds, a living dead outbreak hits the quaint British town of Little Haven. Can teen Anna (Intruders’ Ella Hunt) and her friends make it to their high school auditorium for presumed safety? Well, they’ll try, singing and dancing (and bashing in undead heads) along the way. OK, so the movie’s cute and a raucous scene of zombie mayhem in a bowling alley scores a strike, but the problem with Anna is the songs just aren’t that memorable. Where’s Richard O’Brien when you need him?

** 1/2


Cold Skin

Cold Skin:
Xavier Gens terrorized us with his Texas Chainsaw Massacre pastiche Frontier(s) in 2007 and explored postapocalyptic horror in The Divide (2011). Now he tries his hand at a Jules Verne-style creature feature. In the early 20th century, a weather observer (David Oakes) arrives for a year-long assignment at an isolated island near the Antarctic Circle where he meets the misanthropic lighthouse keeper (Ray Stevenson). A race of pale-skinned fish people dwells in the seas and raids the island at night in several bravura action set pieces, their motive unknown. The real threat here may be Stevenson, who keeps one of the creatures as a pet/sex slave. Gens plays the story like a fable, but ultimately I had a hard time warming up to Cold Skin. Where the movie succeeds is in the creature FX and photography departments.

***


Let the Corpses Tan:
French directors Hélène Cattet and Bruno Forzani won over the horror arthouse crowd with their giallo tributes Amer and The Strange Color of Your Body’s Tears. Their latest flashy exercise tackles the much-loved Italian Spaghetti Western genre, but relocates the story to modern day and a Mediterranean hilltop villa. A gold-robbing gang holes up in the scenic, sun-drenched location, with a woman artist and her friends get caught in the crossfire when two cops arrive. The filmmakers do a fine job of paying homage to Sergio Leone and Ennio Morricone here, but we’re talking style over substance. None of the characters really pops, and the whole thing grows a little tiresome. Fans of Cattet and Forzani and arty shootouts will still dig it.

** 1/2


Downrange:
After the weekly US shooting sprees of Vegas and Texas, this was the last movie I wanted to embrace. A group of friends find themselves stranded in the middle of nowhere after a sniper cripples their car. Said sniper then begins blasting away at the college kids in graphic fashion, brains splattering the asphalt in gruesome close-up. Director Ryûhei Kitamura (The Midnight Meat Train, Versus) does some flashy camera things, but the movie is so damn mean-spirited that it just left a bad taste in my mouth. The lowdown on Downrange: the story’s not very plausible nor the characters very likable.

* 1/2


Ghost Stories:
Just when I gave up on AFM 2017, the last movie screening I attended turned out to be not only the best genre film of the market but one of the best of the year period (IFC releases Ghost Stories next April). Supernatural debunker Professor Goodman (Andy Nyman, who co-wrote and co-directed with Jeremy Dyson) examines three extreme hauntings which just might make a believer out of him. Adapting their successful London play, Nyman and Dyson riff on past British horror anthologies Dead of Night and the ’70s Amicus flicks, but with a modern sensibility. Ghost Stories achieves its scares with class and distinction, as well as terrific makeup FX and a memorable supporting turn by The Hobbit’s Martin Freeman.

This one will send you out singing too; the “Monster Mash” plays over the end credits!

*** 1/2


So even though this year’s AFM was a bust, you will likely spot me canvassing those comfy Santa Monica theaters (kudos for solid projection, luxurious seating and friendly staff at the Arclight, AMC, Broadway and Laemmle) again next fall. On the market and festival beat, hope springs eternal!

For more information on the AFM, go to www.americanfilmmarket.com.

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Oy! HANNUKAH THE MOVIE Aims to Get Made After Nearly a Decade

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This menorah has nothing to do with the story but, c'mon! It's a freaking T-rex menorah!

As a Jew, seeing holiday-themed horror movies is both a wonderful and bittersweet occasion. I love seeing my friends celebrate the holidays that are near and dear to their hearts but elevated with the viscera, gore, and terror that I so dearly love. But while Christians have films like Black Christmas, Santa’s Slay, Gremlins, Red Christmas, Krampus, etc…, the amount of horror films centered around Jewish holidays is slim to none. Don’t get me wrong here, okay? I’m well aware of population dynamics and, therefore, interest in a given subject/life experience. It’d just be nice to see something like that now and again.

Oh, but what’s this? Looks like writer/director Eben McGarr is ready to move forward on his near decade long project Hanukkah The Movie, a “TORAH-fying new tale of HORAH!” I get it. Sensible chuckle awarded.

Obediah Lazarus is the son of Judah Lazarus, the original Hanukkiller. In 1983 Judah terrorized NY for seven nights and was preparing to sacrifice his eight-year-old son, Obediah, on the eighth night. Judah was convinced it was God’s will, like Abraham and Isaac, to sacrifice his only son to God. Luckily for Obediah, police tracked Judah down and stopped the sacrifice, but Judah was gunned down in the process. Warped by hatred with no guidance, Obediah Lazarus becomes a religious extremist, intolerant of non-Jews, “bad Jews”, and those he perceives to be enemies of the Jewish faith. He is about to unleash eight nights of horror.

A group of Jewish teens are getting ready to party for the holidays but are in for a Festival of Frights. With the help of a wise rabbi, they deduce that the murder victims have violated Judaic law and that their only chance at survival is to embrace their faith.

The film has supposedly taken care of the majority of pre-production, so they’re now on Indiegogo with the goal to raise $100,000. Not a small amount but certainly not an unachievable goal. If a potato salad Kickstarter that wanted $10 ended up with nearly $56,000, I think this has a chance.

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Trailer: Man-Made Ghosts Invade OUR HOUSE This July

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IFC Midnight will be unleashing director Anthony Scott Burns’ feature debut Our House come July 27, 2018. The film stars Thomas Mann and Nicola Peltz and today we have the flick’s spooky trailer for your viewing pleasure.

You can check out the poster to the right and the trailer below and then make sure to hit us up and let us know what you think in the comments below or on Facebook, Twitter, and/or Instagram!

Our House is directed by Anthony Scott Burns from a script written by Nathan Parker and stars Thomas Mann and Nicola Peltz. It’s produced by Lee Kim, Martin Katz, Ulf Israel and Karen Wookey. Executive producers are John Davis, Nick Spicer, Kyle Franke, Derek Dauchy, Noah Segal, Adrian Love, David Kehrl and Reik Moller.

The film hits via IFC Midnight this July 27, 2018.

Synopsis:

The story of a young genius who accidentally invents a device that amplifies the paranormal activity within his family’s house, possibly bringing back the spirits of loved ones — and unleashing things that are far worse.

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AMERICAN HORROR STORY 8 Begins Filming This June

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American Horror Story Season 6It was just the other day that we let you guys know that Billie Lourd will be back for the upcoming 8th season of Ryan Murphy’s American Horror Story.

And today we have word via Deadline that the new season, rumored to be titled AHS: Radioactive will begin shooting around June 16.

Are you excited to hear filming will soon begin on AHS 8? Make sure to hit us up and let us know what you think in the comments below or on Facebook, Twitter, and/or Instagram!

AHS Season 8 stars Sarah Paulson, Evan Peters, Billie Lourd, Kathy Bates, and new cast member Joan Collins, who will play Peters’ grandmother. Murphy has revealed he’s interested in casting Anjelica Huston (The Addams Family) as well.

 

 

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