The Greatest Trailers of All Time (Halloween Edition) - EXORCIST II: THE HERETIC

I suppose it's easy to look at this trailer for John Boorman's EXORCIST II: THE HERETIC and say to one's self, "No wonder this thing turned out how it did", but I think that's beyond the point, really. Think what you want to about the film itself (I find it to be both insane and insanely watchable), but there's no way you can't look at this trailer and not be sucked in. Whoever cut this puppy (might it have been Boorman himself?) knew how to take a movie that no one would like and made a trailer that makes you say, "Whatever the fuck that is, I gotta see that!" EXORCIST II sure isn't THE EXORCIST (or EXORCIST III), but this trailer shows that whatever the hell it is, it's a one of a kind sort of thing, indescribable and crazy on one hand, but absorbing and completely watchable on another. The trailer actually makes the film seem a bit more like an EXORCIST rip-off (thanks to the fabulous Morricone score), but if you know the finished film, then you'll know that EXORCIST II is its own animal that by no means can it be confused with anything else, which is what I like about it.

Fantastic Fest: Five Films You Shouldn't Miss

Yes, Fantastic Fest 2009 has now begun, and we’re all buzzing about what films we want to see and what films might be the sleepers of the fest. Well, having seen more than a few Fantastic Fest titles already (part of the job), let me tell you that this is as strong a year as we’ve ever had, and some of the best films are (as usual) the ones that are flying under most people’s radar. They don’t come from major studios or big-name directors and aren’t adapted from comic books or graphic novels, but they’re all pretty awesome and damn well worth your time.

LOVE EXPOSURE
Sunday, September 27 @ 2pm
Monday, September 28 @ 1:45pm

Sion Sono’s LOVE EXPOSURE is still my favorite film of the year, and unquestionably one of the most unique, distinctive films of the decade. The first thing everyone mentions is the film’s four hour running time, like that’s a bad thing; all that really means is that you are in for a cinematic journey that’s going to take a lot out of you, but it also means that you’re going to get a hell of a lot more out of it. This epic tale of true love, religious fervor and upskirt photography is a true work of geek art that you’re never going to forget.

DOWN TERRACE
Sunday, September 27 @ 6:55pm
Wednesday, September 30 @ 9:15pm

Some may think that a small domestic drama like Ben Wheatley’s DOWN TERRACE would be out of place at a genre fest Fantastic Fest, and we would like to remind you that the “fantastic” in the title doesn’t just mean fantasy but also films that are downright fantastic in quality. DOWN TERRACE certainly is that. Produced by the Mondo Macabro DVD label, DOWN TERRACE is the kind of dark-as-night, pitch-black comedy/dramas that most film festivals or distributors don’t know what to do with, but genre cinema fans will easily understand and quickly embrace. Fantastic Fest is honored to host the world premiere of DOWN TERRACE, and we strongly encourage you to see this one and spread the word about one of the major finds of this year’s fest.

HUMAN CENTEPEDE (FIRST SEQUENCE)
Saturday, September 26 @ 11:59pm
Wednesday, September 30 @ 11:55pm

Fans of bizarre cinematic sleaze (and make no mistake, this is certainly that) should make a bee line for Tom Six’s HUMAN CENTEPEDE (FIRST SEQUENCE), easily one of the most whacked-out movies at Fantastic Fest this year, and we mean that in a good way. This is one that works best going in blind, because it really goes all over the map into some pretty sick and extreme places; but it’s also pretty damn hilarious and audacious to the hilt, anchored by a wonderfully strange performance by Dieter Laser as a mad scientist whose God complex has gone into overdrive. Outrageous doesn’t begin to describe this one, but fucked up beyond belief certainly comes pretty damn close. And again, we mean that in a good way.

A TOWN CALLED PANIC
Friday, September 25 @ 10:30pm
Sunday, September 27 @ 11:45am

On the opposite end of the spectrum, Stephane Aubier and Vincent Patar’s A TOWN CALLED PANIC is definitely weird, but it’s also squeaky clean and ideal even for kids, albeit hip kids who dig watching movies with subtitles. Based on the Beligian TV sensation, it’s like a feature-length version of playtime with your action figures when you were six years old and your imagination and sense of fun were limitless. It’s also full of wonderfully unsophisticated stop motion animation and anarchic humor that never lets up.

PRIVATE EYE
Tuesday, September 29 @ 1:10pm
Wednesday, September 30 @ 6:30pm

South Korean cinema has provided some of the best commercial cinema over the last decade, a tradition that continues with Dae-min Park’s PRIVATE EYE, which is part of our Next Wave competition. It’s one of the freshest takes on the private eye tale I’ve seen in a while, set in 1910 Korea, a time when private investigators were relatively new to the Korean landscape, with a mystery that goes deep into the heart of the Korean government and crime world. The setting certainly makes it unique, but PRIVATE EYE is also a fresh piece of commercial filmmaking, energetically directed by Dae-min, with delightful performances from Jeon-Min Hwang as the private eye of the title and Ryu Deok-hwan as the med school nebbish who desperately needs his help. It’s a lot of fun.

The Greatest Trailers of All Time: STUNT ROCK (1978)

Brian Trenchard-Smith's STUNT ROCK, which I wrote about in the early days of HQ 10, has finally shown up on domestic DVD (courtesy of Code Red), and to celebrate this I figure it's time to run the film's now-famous trailer all over again, since it was a major force in getting the film rediscovered. Alamo Drafthouse founder/my boss Tim League likes to tell the story of buying this trailer in his early days of print and trailer collecting and programming it at many of the early Alamo Drafthouse screenings. It became a staple of Harry Knowles' annual Butt-Numb-a-Thon, where the film itself was finally screened in December of 2005 to an unsuspecting (and rather unimpressed) audience.

I'd never seen the trailer (or heard of the movie) until I saw it on a now out-of-print trailer compilation DVD called TRAILER TRASH, and pretty much like everyone else I was literally gobsmacked by what I saw. It's impossible to tell what the film is about (I thought it was a straight documentary), but that's the charm of the trailer, as it's just this bizarre barrage of images and sounds that make absolutely no sense but are also unquestionably appealing. What's this band? What do the stunts have to do with them? Is this just a bunch of crazy stunts set to rock music? What's going on? As stupid as it is, this trailer really does pull you in and make you want to see just what the hell STUNT ROCK is really all about, like great trailers do. The fact that STUNT ROCK itself doesn't exactly live up to this magical trailer is beyond the point. They sold this fucker and they sold it well; years later, those who see this trailer still want to see the movie and that makes this one great trailer.



Now if I can only get the soundtrack...

The New Awful: Mark Region's AFTER LAST SEASON

There is a fine line between clever and stupid, as the saying goes, and there is an equally finer line between parody and legitimate outright awfulness. If something is so amateurishly put together that it comes across as being awful, like Ed Wood’s body of work, it’s an also incredibly difficult thing to do something like that in an intentional manner. There is a sincerity to amateurism, in how those involved really did try their best but proved to have no real talent, that you can’t fake, so those who try to poke fun are always at a disadvantage. It’s certainly possible to parody these kind of things so that they come close (SCTV being the true masters of this art), but no matter who you are, no matter how talented you may be, you simply can’t fake being awful. That’s something that has to come straight from the heart.

This is what I’ve been keeping in mind when I think about Mark Region’s AFTER LAST SEASON, which has become a bit of an internet sensation of sorts after the film’s inexplicable trailer somehow ended up on Apple’s trailer page. There’s no way this thing could be real, people thought, looking so inexplicably bad that it had to be a phony, and there’s no way this thing is ever going to come out in theaters, they believed, too. Well, on June 4 AFTER LAST SEASON actually opened in four markets in the U.S., one of them being Austin, TX, and there really wasn’t any way you were gonna keep me away from this one, not in a million years. I have a real fascination with cinematic car wrecks - the more obscure, the better – and I figured that whether it was fake or the real thing, I had to check this one out while I could. The first word on the film from someone who saw it (and the first review to pop up online) came from my friend Rodney Perkins, who writes for Twitch and is a pretty smart guy who can spot a fake when he sees one, and Rodney came back with the news that AFTER LAST SEASON was the real deal, not only a legit piece of The New Awful, but a memorable one, at that. And then the weirdness on this one intensified: First, an e-mail interview with Region that seemed to raise more questions that it answered ($5 million? Really!?!), followed by word from one of the cast members that the film was not just legit but that Region, apparently an Asian who did not speak perfect English, was 100% the real deal, a guy with no actual filmmaking skills who lucked into getting to direct a movie.

If you’ve seen the trailer to AFTER LAST SEASON (embedded below), then you have a very good idea of just what kind of film it is, because what you see there is truly what you get. It’s a movie of small talk, lame acting, inexplicable plot lines and amateur filmmaking of the highest order, and it’s like this for 90 minutes solid. I was trying to actually piece together just what the film is about (there’s an experiment in mind reading and the ghost of a murdered grad student) but by saying that it makes AFTER LAST SEASON sound like some kind of genre film, which it most definitely is not. It’s incredibly slow and ponderous due only to Region’s obvious lack of filmmaking abilities, possessing absolutely no concept of plotting, pacing or storytelling, and it prods on filled with scenes of characters discussing little things that don’t have anything to do with the events that eventually transpire, so when the plot kicks in, it’s so amazingly far-fetched and ridiculous (and so poorly thought out) that you slap you head in astonishment. Then there are the scenes filled with 1993-era CGI that take up a large part of the third act, all so bizarre and out of left field that you’ve got to wonder what the point is. And then when they supposedly get there in the final scene, you’re not only left wondering just what was going on, but what kind of lines did Region use to convince a clueless Christian or New Age church to pay for this thing? One hopes they haven’t been bankrupted by their funding of AFTER LAST SEASON.

But there’s always a “but…”, and for AFTER LAST SEASON it lies in it's unmissable sincerity. At the very least, AFTER LAST SEASON tries to be about something meaningful, though I’m really at a loss as to just what that something is. The level of storytelling amateurism on display here is preferable to the fanboy amateurism to be found in the latest zombie or comic book hero wannbe flick because there’s an attempt to say something from the heart here that would be admirable if it weren’t so incoherent and dumbfounded. I’m reminded of a playwriting course that I took in high school that wielded numerous plays about parental troubles, peer pressure, and relationship troubles that were by no means good, but the authors meant every word that they said 100%, and that gave the plays some value. Region believes in his message (which I think is about the power of memory and how those we love never leave us after they’re gone), so at the very least he seems to be trying to say something meaningful (at least to Region), so I can cut him a tiny bit of slack for not making something soulless. If Region knew what he was doing and had some real imagination and storytelling skills AFTER LAST SEASON could have been something interesting and possibly worth discussing, but let’s face it, Region doesn’t really possess any talent, so the point is moot. There’s no question that AFTER LAST SEASON is memorable, and awful, and most likely 100% legit. I feel bad for Region because he’s going to get mocked at for the rest of his life when all he wanted to do was tell a story that, it turns out, he had no idea how to tell. Despite all this, I honestly have to say that as bad movies go I have definitely seen a lot worse, and most importantly, that sincerity is what saves the film from being a slit-your-wrist kind of film going experience. At least they tried.

Fantastic Fest 2009: The First Titles

What you see below you (or at the end of the post, to be exact) is the first official press release for Fantastic Fest 2009. Obviously, there’s some pretty good stuff here, but if you’re looking for Hollywood blockbusters and big name stars and directors, I suggest you hold tight and wait for further announcements (they will be coming, believe you me). This fest has pretty much been my lifeblood for the last year and the work that’s gone into it from myself and the rest of the staff (along with the work yet to come) will hopefully bring one of the most memorable film festivals of all time, no question. That may sound like a totally bullshit statement, but honest to god, if things pan out like we want them to (and I have a good feeling that they will for the most part), 2009 will be the year Fantastic Fest makes a big motherfucking name for itself.

What you see below you is a lot of the international and independent selections, and it’s a pretty good lot, complete with Sion Sono’s amazing LOVE EXPOSURE, still my favorite film of the year, and a few other goodies (check the website for my write-ups on that and JOURNEY TO SATURN). BREATHLESS, which has won numerous awards throughout the year, is quite good (very Kim-Ki Duk-ish, which I like) while the likes of BUARTINO are outright bizarre (my boss does like the weird stuff). Not much here that hasn’t already been seen on the international scene already, but they haven’t been around too much and there’s no question that they all fit in quite well.

Sponsorship-wise it hasn’t been all that easy a year (not much of a surprise). However, as of this writing I’m ahead of where I was last year and there are some excellent prospects on the horizon that give me a lot of hope that we’ll have a sponsor roster that looks a lot like the kind I want it to look, though I’m not going to get too much into that yet until I really know for sure. No question the economy has been kicking my ass (when one major beverage company can’t even supply you with free product, you know things are in the shitter), but there have also been a lot more folks who want to work with us and are even making an effort to support Fantastic Fest. Again, I’m not going to count all my chickens before they’re hatched, but I like how things are looking and am saying nightly prayers that they pan out. And I am not a religious man.

So anyway, here’s the first official press release, complete with a lot of talk about our 3-D sidebar and Jess Franco retrospective and lifetime achievement award (whoever came up with that idea must be damn handsome), along with some chat about The Highball, our new hopefully douchebag-free nightspot. There’s another one of these coming August 17, with a hell of a lot more goodies on that one!

The Greatest Trailers of All Time: NAKED LUNCH

It was pretty incredible that a film version of William Burroughs' NAKED LUNCH ended up getting made in the first place. Despite the film's lack of adherence to the actual novel, the resulting film (one of David Cronenberg's finest) is a pretty extraordinary achievement in it's own right. No, what truly strikes me as most surprising about the film version of NAKED LUNCH was that the film was distributed by 20th Century Fox, whose marketing department astonishingly came up with a trailer that not only did a remarkable job of selling the film, but also sold it properly. Not only did they not hide the film's literary origins, but they also didn't make the film out to be anything that it wasn't. They could have sold it as a thriller, a horror film, or even a straight drama, but instead they sold it as what it was: NAKED LUNCH, a weird, one-of-a-kind hybrid of the visions of Burroughs and Cronenberg and a damn great film. Even stupid people would look at this trailer and say to themselves, "Damn, this I gotta see!". Although the film was nothing more than an arthouse success in the U.S.(unsurprisingly, much more successful overseas), you sure as hell can blame the marketing department for the box office on this one.

"The Good News is Your Dates Are Here..."

(Originally posted on the Alamo Drafthouse blog.)

Man, let me tell you about the weekend I had last week.

When my good friend, Michael Felsher of Red Shirt Pictures, called to let me know that he was producing the long-awaited DVD for the 80’s horror favorite NIGHT OF THE CREEPS, I knew we had to do something. Michael was already thinking the same thing and suggested the Alamo host a cast & crew reunion screening (not unlike the 2006 MONSTER SQUAD reunion screening), which would be filmed for the DVD. Writer/director Fred Dekker was already on board, and it was no problem getting stars Tom Atkins, Jill Whitlow, Steve Marshall and Jason Lively to agree to come in. The good folks at Sony Pictures Home Entertainment agreed to let us screen the original director’s cut that will be made available on the DVD (which hits stores on October 20), Mondo Tees and Jon Smith put together an outstanding glow-in-the-dark poster, and we got Ain’t It Cool News’ Eric Vespe (aka “Quint”) to host the show. And with this, the stage was set for a memorable weekend for all concerned.

If you were at the show (which sold out in a matter of hours), you saw how much fun these people were having on stage, obviously enjoying each other’s company and the thrill of meeting just some of the film’s many fans. But I happened to have the pleasure of hosting this group all weekend long, and let me tell you what a blast we all had. On top of the thrill of meeting the cast and director of a longtime favorite movie, everyone turned out to be super cool and just a pleasure to spend time with, and since it was the first time in 23 years they all saw each other, it was also a major kick to take part in their reunion, even though I was never there the first time out (although I actually saw NIGHT OF THE CREEPS during it’s very brief theatrical run in August 1986). Yes, Tom Atkins is as cool as you think he is (and that’s pretty damn cool), while Jill Whitlow remains a dream girl and Steve Marshall and Jason Lively are cut-ups of the highest order. And what can I say about Fred Dekker except that he’s one of the good guys, as nice as he is talented, smart as a whip and someone you could spend days talking movies with like he’s an old friend. After this weekend I’m convinced that the world desperately needs more Fred Dekker movies.

Alamo pal Heather Leah Kennedy took these fantastic pics that perfectly capture the fun that everyone had that evening (even with that biker rally going on outside), so we encourage everyone to check them out. Big thanks once again to Michael Felsher and the Red Shirt Pictures crew; Jason Allen of Sony Pictures Home Entertainment; the Alamo Ritz crew; everyone who attended, and, of course, Steve Marshall, Jill Whitlow, Jason Lively, the great Tom Atkins, and the man himself, Fred Dekker.

I guess we better that ROBOCOP 3 reunion screening going, huh, Fred?

"Polar Bear Fell On Me" OR "Pain Don't Hurt" OR "I Used To Fuck Guys Like You In Prison" - 20 Years of ROADHOUSE

Thursday nights at the old HQ 10 were usually the most fun night of the week for the theater staff, because almost always meant an after-closing screening of the new films for that weekend, which could sometimes mean an all-nighter of movies that I was always up for. We would call this process "checking prints", meaning that we had to make sure that the prints were suitable for showing to the general public, but this was pretty much bullshit, because in all my time there this kind of problem only occurred once, when a lab fuck up gave us a print of HALLOWEEN 5 that repeated a scene twice (fitting for such a repetitive movie). These screenings would usually just contain a few of us (usually those who didn't have school the following day), but some of the bigger movies brought in more than a few folks, and our Thursday night showing of PULP FICTION damn near packed the house with staff, managers, and their friends. I wouldn't necessarily say that any of these screenings were among the greatest movie going nights of my life - memorable as the were, it was never a substitute for seeing a film in a packed theater - but there is always one that will stand out in my mind, and it happened 20 years ago last night: ROADHOUSE. Rowdy Herrington and Joel Silver's ode to beatin' up rednecks that has endured a hell of a lot longer than anyone would have anticipated, though it shouldn't have been a surprise, as indicated by that HQ 10 screening.

First off, let's get this out of the way: ROADHOUSE is not a good movie. I know a lot of people love it and it's their favorite movie, but it's so colossally stupid that, as entertaining as it is (and it's pretty damn entertaining), it should not be mistaken for anything of quality. Hell, I seemed to know that even then, as a chubby brat fresh out of high school, though I definitely enjoyed myself and would occasionally stick my head in to re-watch some of the better moments during the film's relatively brief HQ 10 run. It's a very LCD kind of movie, made to appeal to the idiot in all of us, that's also a pretty cynical one; ROADHOUSE knows what it is, knows what it's audience wants, and delivers it all in heaping doses - tits, blood, fights, explosions, macho dialogue, you name it. There's a moment where Ben Gazarra, referring to his mistress's choice of music, shouts, "I can't stand that crap. It's got no heart!" and that pretty much nails down what's wrong with ROADHOUSE. As much fun as it is, it's a rather soulless thing that I've only ever enjoyed on a superficial level, like a cheeseburger. While it's silly to ever expect anything more out of it, I've seen numerous other films of its type that have done much more with much less that I've never really been a fully-fledged member of the cult of ROADHOUSE. Sure, it's a slick and professional exploitation movie - nothing wrong with that - but anyone who tosses the word "classic" before or after this title hasn't a single idea what they're talking about. You want a moronic action movie that's worth remembering? Take a look at Brian Trenchard-Smith's THE MAN FROM HONG KONG, then watch ROADHOUSE again, and let's talk. There's stupid done right for you right there.

OK, so I've aired my grievance about ROADHOUSE, but I must also take this opportunity to confess that I've seen the damn thing several times, have shown it to friends who have never seen it before, and even saw a not-very-good camp Off-Off-Off Broadway theatrical production starring Timak from THE LAST DRAGON in the Patrick Swayze role. It's definitely so bad it's good, even if it is a piece of shit in some ways at least it's a watchably entertaining one. That's been my reaction all along, but this is a movie that the Spike TV audience has taken to heart in ways that I'm not 100% comfortable with and that's always been the problem. That HQ 10 screening 20 years ago was memorable in part because all of us employees - Kev, Cahill, Bender, Strat, Bev, Hatley, Moriarity and whoever else I may be forgetting - were the proper age for enjoying that movie and enjoy it we did, making for a fun night of hooping and hollering and having a good time. But what got to me was that when it was over, everyone loved it so much they decided to run it again, the first and only time that ever happened at HQ 10, while I decided I couldn't do that and watched Savage Steve Holland's HOW I GOT INTO COLLEGE instead (which I also decided I couldn't do either and left halfway through). I won't deny anyone their love of ROADHOUSE, but for God's sake get it out of your head that it's anything more than enjoyable trash. There are better action movies, better hicksploitation movies, better uses of Sam Elliott and, hell, even better Patrick Swayze movies out there to enjoy. The fact that ROADHOUSE is still remembered fondly 20 years later certainly shows that the dumb guys won this battle, but let's not kid ourselves about it. I enjoy a good, stupid movie as much as the next guy - and I enjoy ROADHOUSE - but I also got my standards and I know I've seen better. Yet, I also know I will probably watch it again at some point before I die. Such is it's power.