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Exclusive: Director Talks Psychedelic Horror I Can See You!

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I Can See You posterChances are, unless you pay really close attention to the site and are able to remember every single news story we do, you’re probably not familiar with Graham Reznick’s I Can See You, one of the latest films to come out of Larry Fessenden’s Scareflix label. But that’s all right cause I’m here to school you.

While visiting the set for Ti West’s House of the Devil a few weeks back (full set report soon), I met Reznick for the first time and got to chatting with him about his directorial debut. First the nuts and bolts, i.e., what the hell is I Can See You about?

”It’s about three guys who are starting an advertising company that go out in the woods to get material for a pitch for the re-branding of a window cleaner, bang out ideas, get photographs, that sort of stuff,” Reznick told me. ”There’s a love triangle, a mysterious disappearance, and one of the guys starts to unravel. As the film goes on, we see the events more and more from his perspective, and that perspective gets more and more twisted. It’s filled will all sorts of sidesteps from reality…”

One look at the I Can See You poster will give you a good indication of just how twisted that perception really becomes. It kinda hurts to look at, no? Reznick was smart and took full advantage of the freedom granted him by Fessenden and the other producers to make the movie he wanted to make. ”I wanted to do something that I could break rules with and tell a story in a more abstract way than I would ever get to do again. I do have some things to say, thematically, about being a young professional and all that, but for me the way the story would be told was far more interesting, the different techniques I could try without being shot down. In a way it was very experimental. Some things worked, some things didn’t, but I learned from it.”

I Can See YouI Can See You had its beginnings when he and Ti West, whose films Reznick has done sound design for since The Roost, decided they wanted to pitch a movie from each of them to direct that began with the simple premise “three guys go into the woods”. ”Ti’s was Trigger Man, which was about three guys who go into the woods and get shot at; it’s a very realistic, verite approach. I Can See You is very psychedelic and psychological,” Reznick explained.

It’s only screened one time, in New York City, and Reznick said that since then the film has changed, but overall he was happy with the crowd’s reaction. ”I was actually happy with how many laughs it got; there’s a lot of very awkward comedy in it, and I was worried some might not get it. There was probably an appropriate amount of people who were perplexed, too, but overall the people who I thought would get it, got it.”

I Can See You posterSo where is I Can See You now? ”The film is just about done, submitted to a few festivals, and we’re just hoping someone grabs it,” Reznick continued. ”Larry [Fessenden] helps a lot with festivals and distro, when he can, and right now he’s very involved in getting it out there and drumming up interest.”

That’s a good sign that we’ll hopefully be seeing it at more than one of the upcoming summer film festivals (of which Fantasia is still my favorite), so of course we’ll be keeping you guys in the loop and let you know as soon as we hear more.

Check out the I Can See You trailer below, and learn more about the film by hitting up its official website!

Johnny Butane

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Reviews

Desolation Review: Campers + Lunatic = Simplicity, But Not Always a Better Product

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DesolationStarring Jaimi Page, Alyshia Ochse, Toby Nichols

Directed by Sam Patton


I’m usually all in when it comes to a psycho in the woods flick, but there was just something about Sam Patton’s Desolation that seemed a bit distant for me…distance…desolation – I’m sure there’s a connection in there somewhere. Either that or I’m suffering from a minor case of sleep-deprivation. Either way, make sure you’ve got your backpack stuffed, cause we’re hitting the timber-lands for this one.

The film focuses on mother and son tandem Abby and Sam, and the tragic notion that Abby’s love and father to her son, has passed away. The absence has been a crippling one, and Abby’s idea of closure is to take her adolescent offspring to the woods where her husband used to love to run and scatter his ashes as a memorial tribute. Abby invites her best friend Jenn along as emotional support, and together all three are planning on making this trip a fitting and dedicatory experience…until the mystery man shows up. Looking like a member of the Ted Kaczynski clan (The Unabomber himself), this creepy fellow seems content to simply watch the threesome, and when he ultimately decides to close the distance, it’ll be a jaunt in the forest that this close-knit group will never forget.

So there you have it – doesn’t beg a long, descriptive, bled-out dissertation – Patton tosses all of his cards on the table in plain view for the audience to scan at their leisure. While the tension is palpable at times, it’s the equivalent of watching someone stumble towards the edge of a cliff, and NEVER tumble over…for a long time – you literally watch them do the drunken two-step near the lip for what seems like an eternity. What I’m getting at is that the movie has the bells and whistles to give white-knucklers something to get amped about, yet it never all seems to come into complete focus, or allow itself to spread out in such a way that you can feel satisfied after the credits roll. If I may harp on the performance-aspect for a few, it basically broke down this way for me: both Abby and Jenn’s characters were well-displayed, making you feel as if you really were watching long-time besties at play. Sam’s character was a bit tough to swallow, as he was the sadder-than-sad kid due to his father’s absence, but JEEZ this kid was a friggin malcontented little jerk – all I can say is “role well-played, young man.”

As we get to our leading transient, kook, outsider – whatever you want to call him: he simply shaved down into a hum-drum personality – no sizzle here, folks. Truly a disappointment for someone who was hoping for an enigmatic nutbag to terrorize our not-so-merry band of backpackers – oh well, Santa isn’t always listening, I guess. Simplicity has its place and time when displaying the picture-perfect lunatic, and before everyone gets a wild hair across their ass because of what I’m saying, all this is was the wish to have THIS PARTICULAR psycho be a bit more colorful – I can still appreciate face-biters like Hannibal Lecter and those of the restrained lunacy set. Overall, Desolation is one of those films that had all the pieces meticulously set in place, like a house of cards…until that drunk friend stumbled into the table, sending everything crumbling down. A one-timer if you can’t find anything else readily available to watch.

  • Film
2.5

Summary

Looking for a little direction way out in the woods? Look elsewhere, because this guide doesn’t have a whole lot to offer.

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New 78/52 Clip Showers Off

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To celebrate the UK DVD release of the Psycho doc 78/52, we have a brand spanking new clip for you cats to go crazy over. Watch it quick; you don’t want to keep Mother waiting!

The flick, from director Alexandre O. Phillipe, features interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Marli Renfro – body double for Janet Leigh in Psycho, Karyn Kusama, Neil Marshall, Richard Stanley, and many more.

An unprecedented look at the iconic shower scene in Alfred Hitchcock’s Psycho, the ‘Man behind the Curtain’, and the screen murder that profoundly changed the course of world cinema, 78/52 references the number of set-ups (78) and the number of cuts (52) in the shower scene from Alfred Hitchcock’s Psycho. One entire week out of the four weeks scheduled to shoot Psycho — a full quarter of the film’s production schedule — was dedicated to the infamous shower scene.

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Joel David Moore to Write and Direct the Remake of Hit Korean Film Hide and Seek

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Joel David Moore is an actor we all know from his roles in James Cameron’s Avatar and Adam Green’s original Hatchet film. But did you know he also co-directed Adam Green’s psychological thriller Spiral? Well, he did and now the man is stepping back behind the camera for CJ Entertainment’s upcoming remake of the 2013 Korean Movie Hide and Seek.

Moore will write an adapted feature English-language screenplay for Hide and Seek in addition to directing the film. The original Korean version was written and directed by Huh Jung.

“Hide and Seek is a sharp, sophisticated thriller that created a lasting imprint on me,” said Joel David Moore. “I wanted to explore what could happen if we retold this story to an American audience, using the tools from the original story. We found a rich and complex world, relevant to our current race, class and power struggles we’re seeing here in America. I’m excited to partner with CJ Entertainment, perfect partners on this journey.”

CJ Entertainment is developing, financing and producing the film.

We’ll let you know when we hear more!

Synopsis:

Based on a phenomenon that actually happens, the film centers on a man searching for his long-lost brother stumbles upon a secret world of squatters living in the homes of unsuspecting tenants – a revelation that becomes all the more menacing when his home becomes the next target.

Hide and Seek is a social horror-thriller that builds upon themes related to the widening gap between the upper 1% and the lower class. As the population in urban areas balloon and real estate prices skyrocket, lower-income segments of society are finding themselves continually getting pushed out. This film explores the question of “what if” when those left marginalized decide to take matters, and homes, into their own hands.

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