Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight; Bumper Contest Details Announced - Dread Central
Connect with us

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight; Bumper Contest Details Announced

Published

on

Source Name:

Fantastic Fest

Source Url:

http://fantasticfest.com/

Post Thumb:

/jun12/fanfs.jpg

More details have been announced for the upcoming Fantastic Fest in Austin, Texas, including the 2012 AMD Next Wave competition films and the event’s bumper contest, where filmmakers are invited to create outrageous and entertaining 30-second videos.

From the Press Release:
Fantastic Fest, the largest genre film festival in the U.S., is pleased to announce the 2012 AMD Next Wave competition, which recognizes outstanding new talent in genre film directing. Eight films from seven different countries have been selected to compete in the latest installment of this annual international competition.

These up-and-coming filmmakers are at the beginning of their movie careers and may well become the next generation of talent to shape the film industry for decades to come. The AMD Next Wave competition films will debut at Fantastic Fest, many in world and U.S. premiere screenings and compete for the highest honor of the festival.

The winning filmmaker will be awarded a $1,000 cash prize and AMD based computer hardware featuring their latest Accelerated Processing Unit (APU). The AMD Next Wave awards will be the final presentation at the annual Fantastic Fest Awards presentation on Monday, September 26th, at the Alamo Drafthouse South Lamar.

“The AMD Next Wave helps foster and support today’s most exciting debut directors who may become tomorrow’s industry leaders,” said festival Founder and Creative Director Tim League.

“AMD technology continues to be utilized by top movie makers worldwide, including director Robert Rodriguez. We created the AMD Next Wave award along with our great partners at Alamo Drafthouse to recognize up-and-coming directorial talent across the globe. Fantastic Fest has become the premier genre festival in the world,” said Charlie Boswell AMD Director of Digital Media and Entertainment.

Although only a couple of them are true horror films, below you’ll find brief descriptions of and a few photos from each of the 2012 AMD Next Wave competition films:

COMBAT GIRLS (2011)
North American Premiere
Director – David Wnendt, 103min
The debut feature from director-writer David Wnendt is a bleak tale of two girls who, for very different reasons, get swept up in the resurgent Neo-Nazi movement in Germany.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - Combat Girls

THE CONSPIRACY
World Premiere
Director – Christopher MacBride, 85min
Two young documentary filmmakers are drawn into a shadowy world of secret societies when the subject of their film simply disappears. Have his investigations led to his demise?

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - The Conspiracy

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - The Conspiracy

CRAVE (2012)
U.S. Premiere
Director – Charles de Lauzirika, 113min
Crave follows a mentally unstable crime scene photographer on his descent into violence and madness. Crave won the New Flesh Award for Best First Feature at the 2012 edition of the Fantasia International Film Festival.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - Crave

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - Crave

ERRORS OF THE HUMAN BODY (2012)
U.S. Premiere
Director – Eron Sheean, 101min
Plagued by the memory of the infant son he could not save, geneticist Geoff Burton plunges into a web of intrigue, jealousy and lies in this icily precise thriller.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Errors of the Human Body

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight - Errors of the Human Body

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Errors of the Human Body

FLIMMER (2012)
North American Premiere
Director – Patrik Eklund, 99min
Oscar-nominated short film director Patrik Eklund’s feature debut showcases the wry wit that made his shorts so hugely popular in this tale of a small town telecom company plagued by anti-radiowave anarchists.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Flimmer

FUCK UP (2012)
North American Premiere
Director – Øystein Karlsen, 135min
Clearly it’s all the moose’s fault. Jack had everything under control until his best friend crashed into a moose on the Swedish border. With a trunk full of cocaine. Now it’s all gone to shit.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Fuck Up

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Fuck Up

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Fuck Up

THE KING OF PIGS (2011)
Texas Premiere
Director – Yeung Sang-ho, 97min
The King of Pigs is an emotionally punishing animated indie film about a group of friends whose brutal childhoods continue to haunt them as adults.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- The King of Pigs

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- The King of Pigs

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- The King of Pigs

PLAN C (2012)
World Premiere
Director – Max Porcelijn, 95min
Detective Ronald Plasmeyer has a problem in need of a solution: A ten thousand Euro debt to the Chinese mafia. Plan A didn’t work. Plan B made things much, much worse. Now it’s time for Plan C.

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Plan C

Fantastic Fest 2012: AMD Next Wave Filmmaker Spotlight- Plan C

Now, as for the contest:

Fantastic Fest, Alamo Drafthouse, and Badass Digest are thrilled to present the Fantastic Fest 2012 Bumper Contest! Every year Fantastic Fest hosts a bumper creation contest where filmmakers are invited to create the most outrageous and entertaining thirty second video possible. Fantastic Fest will use as many entries as possible and play different bumpers onscreen before every single screening during the festival with two goals in mind: 1) to represent the creativity (and often bizarre sense of humor) of the Fantastic Fest community and 2) to ensure that unlike other festivals, the audience at Fantastic Fest won’t have to sit through the same six or seven bumpers over and over again.

Your bumper can be almost anything you can imagine, but there are three ground rules:

  • The theme this year is Time Travel Is Fantastic. Feel free to interpret that in whatever manner you choose.
  • The video must be between 15 seconds and 45 seconds.
  • The last line of dialogue or narration in the video must be, “That’s fantastic!”

    All 2012 Fantastic Fest bumper videos selected by our programming committee will be screened in front of an unsuspecting audience during Fantastic Fest (September 20-27, 2012). Each of those audiences will include visiting filmmakers from around the world, numerous press outlets, plus a legion of the most devoted and intelligent genre film fans on the planet. And as if that weren’t enough, there are more prizes!

    The Fantastic Fest programming committee will select the Top 4 bumper finalists, and members of the Filmmaking Frenzy voting community will select the 5th finalist. The Top 5 bumpers will play at the Fantastic Fest 2012 Awards Ceremony, and the audience will select the grand prize winner. That winner will receive two VIP badges to Fantastic Fest 2013! These VIP badges are always sold out by the end of the previous year’s festival, and they are seriously hot ticket items. VIP Badges include an exclusive limited edition t-shirt and poster plus a souvenir Fantastic Fest shoulder bag filled with tons of fun swag. The main benefit of the VIP badge, however, is guaranteed admission to the movie of your choice at any given show time at next year’s Fantastic Fest.

    Fantastic Fest runs from September 20 through September 27, and because time is needed to build the festival’s preshow, Fantastic Fest Bumper Contest entries are all due no later than Saturday, September 15, 2012. Any videos received after that date can’t be guaranteed to play during the festival and won’t be eligible for any prizes.

    Visit FilmmakingFrenzy.com to read all rule submissions and guidelines and to submit your bumper.

    Fantastic Fest 2012: Bumper Contest Details Announced

    VISIT THE EVILSHOP @ AMAZON!
    Got news? Click here to submit it!
    Be fantastic in the comments section below.

    Image Type 1:

  • Continue Reading
    Advertisement
    Comments

    Reviews

    Hell Night Blu-ray Review – Mischief & Mayhem At Mongoloid Manor

    Published

    on

    Starring Linda Blair, Peter Barton, Suki Goodwin, Vincent Van Patten

    Directed by Tom DeSimone

    Distributed by Scream Factory


    1981. Prime time for the slasher film, when studios were more than content to pump out one after another since production cost was often so low. The downside, though, was that many wound up being formulaic and, eventually, forgotten. Time has allowed the cream to rise to the top of that crop and while Hell Night (1981) isn’t among the best it does stand out due to some novel choices made by director Tom DeSimone and executive producer Chuck Russell, the man responsible for some of the most consistently entertaining horror films of the ‘80s. A dilapidated mansion, oozing with gothic atmosphere, stands in place of a college campus or generic forest setting. Characters are dressed in formal costume; a stark departure from typical ‘80s teen garb. The film is half haunted house, half crazed killer and there is a not-entirely-unexpected-but-definitely-welcome twist at the end providing a solid jolt to a beleaguered climax. Fans are rightly excited to see Hell Night makes its debut in HD, though the final product is still compromised despite Scream Factory’s best efforts.

    It’s Hell Night, every fraternity brother’s favorite evening; when new recruits are tormented in hazing rituals from, well, Hell. Peter (Kevin Brophy), president of the vaunted Alpha Sigma Rho house, comes up with the brilliant idea to have four pledges – Marti (Linda Blair), Jeff (Peter Barton), Denise (Suki Goodwin), and Seth (Vincent Van Patten) – spend the night in a decaying mansion. But this isn’t just any old house, as Peter regales a rapt audience – this is where former owner Raymond Garth killed his wife and three malformed children before hanging himself, sparing only the life of his son, Andrew, who was rumored to reside within the place after the murders. The pledges enter Garth Manor and quickly pair off, with Marti and Jeff getting intellectual while Denise and Seth take a more physical path.

    A few hours pass and Peter returns with some of his bros, planning to initiate a few good scare pranks they set up earlier that week. The chuckles don’t last long, though, because Jeff and Seth quickly find the shoddy wiring and poorly placed speakers rigged upstairs. What they don’t know is that there is an actual killer on the loose, and he just decapitated one of the girls. Leaving the labyrinthine home proves difficult, with Marti & Jeff getting lost within the catacombs beneath the estate, evading their mongoloid menace however possible. Seth, meanwhile, has to scale a massive spiked fence if they hope to get any help way out here. Wait, didn’t Peter mention something about Andrew having a sibling?

    The production team on this picture was a beast, and I’m convinced that’s the chief reason why it came out any good at all; specifically, the involvement of Chuck Russell and Irwin Yablans. I give a bit less credit to director Tom DeSimone, who up to that point (and after it) filled his filmography with lots and lots of gay porn; storyline and direction are usually secondary in that market. Hell, they even had Frank Darabont running around set as a P.A. which is just a cool fact because nobody listens to P.A.s on a film set. Music is just as important, too, and composer Dan Wyman is a synth master who worked with John Carpenter on his early films. His score here is reminiscent of those lo-fi masterpieces.

    Solid atmosphere and rounded characters make all the difference. Instead of a roster of stereotypical sophomoric faces the bulk of the film focuses on four individuals with personality and a bit of depth. Blair makes a good turn as the bookish good girl type, while Barton is a charming match for her mentally, showing interest in more than just a drunken hookup. Denise and Seth are both superficial, and their interactions inject the most humor into the film. Denise continually calling Seth “Wes” is one example. A good horror film gets the audience invested in who lives and dies, and while I won’t go so far as to say these are exemplary characters the script does make them three-dimensional and not so paper thin.

    The 1.85:1 1080p image is sourced from a 4K restoration of an archival 35mm print with standard definition inserts. This is a step up from Anchor Bay’s old DVD but not by leaps and bounds. Colors attain greater saturation and definition is tightened but the picture looks awfully soft too often and the jump between HD and SD footage is plain as day. The print displays vertical scratches and white flecks. Black levels are decent but there is clear room for improvement across the board. To their credit this is the best image Scream Factory was able to produce but fans should temper expectations going in because this is not a pristine picture by any means.

    There is nothing wrong to be found with the English DTS-HD Master Audio 2.0 mono track, which does a fine job of carrying the dialogue alongside Dan Wyman’s sinister synth soundtrack. Direction is limited and the presentation is routine, but no problems were detected and the track capably supports the feature. Subtitles are available in English.

    Here is where Scream Factory does their best to make up for the shortcomings of the a/v presentation: a ton of extra features.

    An audio commentary track features actress Linda Blair, director Tom DeSimone, and producers Irwin Yablans & Bruce Cohn Curtis.

    “Linda Blair: The Beauty of Horror” – This is a recent discussion with the actress, who covers her run in the genre in addition to diving deep into this film’s difficult production.

    “Hell Nights with Tom DeSimone” – Shot on location at the Garth Manor (actually Kimberly Crest Estate in Redlands, CA), DeSimone reflects back on shooting the film there over 35 years ago.

    “Peter Barton: Facing Fear” – The actor offers up expected discussion, covering his career in horror and navigating the Hollywood scene.

    “Producing Hell with Bruce Cohn Curtis” – This covers more of the behind-the-scenes work that went into making the movie.

    “Writing Hell” – Screenwriter Randy Feldman offers up some insight into his process for creating the story and writing the script.

    “Vincent Van Patten & Suki Goodwin in Conversation” – The two actors, who have not seen each other in quite some time, sit down together for a back-and-forth discussion.

    “Kevin Brophy & Jenny Neumann in Conversation” – This is another chat conducted the same way as Van Patten & Goodwin.

    “Gothic Design in Hell Night” – Art director Steven Legler talks about his process for turning Garth Manor into how it is seen on film; evoking the right chilling atmosphere.

    “Anatomy of the Death Scenes” – Pam Peitzman, make-up artist, and John Eggett, special effects, scrutinize each of the film’s kill scenes and discuss what went into achieving them.

    “On Location at Kimberly Crest” – DeSimone guides viewers on a tour of the “Garth Manor” as it can be seen today.

    A theatrical trailer, two TV spots, a radio spot, and a photo gallery are the remaining features.

    Special Features:

    • NEW 4K Scan of the film taken from the best surviving archival print
    • NEW interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann
    • Audio Commentary with Linda Blair, Tom DeSimone, Irwin Yablans and Bruce Cohn Curtis
    • Original Theatrical Trailer & TV spots
    • Blu-ray Disc Exclusives:
      • NEW interview with Director Tom DeSimone
      • NEW interview with Producer Bruce Cohn Curtis
      • NEW interview with Writer Randolph Feldman
      • NEW – Anatomy of the Death Scenes with Tom DeSimone, Randolph Feldman, Make-up artist Pam Peitzman, Art Director Steven G. Legler and Special Effects artist John Eggett
      • NEW – On Location at the Kimberly Crest House with Tom DeSimone
      • NEW – Gothic Design in Hell Night with Steven G. Legler
      • Original Radio spot
      • Photo Gallery featuring rare, never-before-seen stills
    • Hell Night
    • Special Features
    4.0

    Summary

    “Hell Night” overcomes being lumped in with standard slasher fare thanks to dripping atmosphere, unique production design, and characters that elicit some empathy. The a/v presentation leaves much to be desired but a plethora of bonus features softens that blow.

    Sending
    User Rating 0 (0 votes)
    Comments Rating 0 (0 reviews)
    Continue Reading

    News

    Video: The Shape of Water Q&A with Guillermo del Toro and Doug Jones at Hollywood’s Egyptian Theatre

    Published

    on

    This past weekend at the Egyptian Theatre in Hollywood, CA betwixt a double screening of The Shape of Water and the classic The Creature from the Black Lagoon, the former’s director Guillermo del Toro (and star Doug Jones) sat down to discuss the latter’s influence on the film, Gill-man sex, “one sock movies,” his career in the genre, and more with moderator Jonah Ray, and we were there to film a portion of it.

    Our sincere thanks to American Cinematheque general manager Dennis Bartok for extending the invitation.

    For more Cinematheque screenings, visit the official website here.

    Continue Reading

    Reviews

    The Open House Review – Abandon Hope All Ye Who Enter Here

    Published

    on

    Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

    Written by Matt Angel and Suzanne Coote

    Directed by Matt Angel and Suzanne Coote


    Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

    Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

    To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

    This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

    Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

    If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

    Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

    • The Open House
    1.0

    Summary

    Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

    Sending
    User Rating 0 (0 votes)
    Continue Reading

    Recent Comments

    Advertisement

    Join the Box of Dread Mailing List

    * indicates required

    Go Ad Free!

    Support Dread Central on Patreon!

    Trending

    Copyright © 2017 Dread Central Media LLC