Remember Volumes of Blood? Remember how much I loved it? Well, P.j. and the gang are back for Round 2 and if you’re so willing, they’d love your help. They have an Indiegogo campaign up right now full of fun perks so if you have a couple of extra dollars and love indie horror, head on over and give ’em a hand!
So the cool thing about The Second Coming: Brought To You In Low Definition is that it was filmed on VHS, resulting in an interesting vintage look and feel to the film (like do you remember the quality of VHS?? So spotty!). Unfortunately, that’s really the only good thing I can say about this one. I have absolutely no idea what the point of this film was.
I mean, the tagline reads: “Two 20 some-things, Halibar & Peggy, meet and bond trying to find the owner of a lost cat.”, and this is true…I guess…They DO meet when Halibar finds a lost stuffed animal in the shape of the kitten that he spends some time talking with and whom Peggy helps him return to it’s owner. Whether this stuffed animal is supposed to be a “live actual cat”, I don’t know. They certainly treat it as such. After returning the stuffed animal to it’s owner though, nothing happens except a whole lot of boredom and really uncomfortably strange bits that go on too long. You know what, let’s go back to the beginning…
When a film opens with two people pissing on each other in a non-erotic way whilst taking a bath together, it’s probably a good sign that the film you’re about to watch is not going to be up there in the best of the best category. When the same film continues on so that one of your main characters gets constipated, decides his “poos are like his babies” and then talks to them while on the toilet, it’s definitely a sign that you’re in iffy territory. When said film has no plot and is absolutely non-linear, just random moments, it doesn’t necessarily mean that it’s on the “not so wonderful” end of the spectrum…except in this case where it does. Random moments are awesome. Random moments where a grown man hugs a child he doesn’t know for 5 minutes straight in silence; decides he’s Jesus and dances in his underwear to remixed gospel music for 5+ minutes (including pole dancing whilst wearing socks and sandals); decides he’s the next Hitler and pens a second Mein Kampf; and is obsessed with his bowels? Really, really not so awesome.
A big part of the problem here was that each of these bits went on for WAY too long – like that dying sketch on SNL that just won’t end. You think you’re “sexy Jesus”? Fabulous. I don’t need to watch you dance in your underwear for more than 5+ minutes though especially when there’s no point to it. Which is the main problem I have with this film – there’s no point. Nothing happens. No one evolves. Two people get together but it’s not an actual relationship, more of someone taking care of a child. Nothing moves forward (or sideways or anyways). It’s just two people (but mainly one guy) acting like a very annoying, whiny man-child with delusions of grandeur. It’s not experimental. It’s not avant-garde. It’s not artsy. It’s not ANYTHING. And therein lies the problem.
While very cool with the filming on the VHS, there were still issues with the cinematography – long shots that didn’t match with close-ups, too many uncreative camera angles – it was stagnant. I wish I could say more about this film, better things about this film, but I really can’t. I love that someone had the passion to create a film in the first place; it’s hard work, I know. I think the writer/director here would benefit greatly from a bit more mentoring and learning, and I think it would be interesting to see what he brings in the future.
“For never was a story of more woe, than this of Juliet and her Romeo.” Romeo & Juliet, Act 5, scene iii
What would’ve happened had Romeo & Juliet NOT died at the end of Romeo + Juliet? That’s the question upcoming film, The Enemy tries to answer. In this world, Romeo and Juliet are alive. For eighteen years and nine months, less a day, the star-crossed lovers have lived in exile far from Verona. Now their hiding place is known, and their epic warring families are out for blood. The safe life Romeo and Juliet have built belongs to the past, and the greatest love story ever told is about to be reborn. OUR question then, is does The Enemy successfully take one of the greatest love stories ever told and expand upon it, making it better? The answer, unfortunately, is not necessarily so.
We open upon Romeo & Juliet bitterly fighting and being interviewed by the cops about causing a domestic disturbance. R&J continue to fight and argue throughout the film – getting married at 13 and 14 definitely has it’s drawbacks, it seems…However, this night they’re also celebrating the 18th birthday of their daughter., Kate Yep, R&J had a kid (pretty much immediately too). Kate shows up for dinner with a man in tow, Theo, which Juliet is none too pleased about. In fact, Kate and Juliet really don’t get along that well. Like, AT ALL. The rest of the evening becomes Romeo & Juliet retelling their love story, one Kate truly never knew, while Kate tries to build HER love story, all while everyone from their past in Verona decides to descend upon the house in one night (Paris, Balthazar, and more).
Every actor in this film is absolutely wonderful. From Paris and his sing-song narration to Juliet’s vitriol, they are fucking fabulous. My problem here is a matter of choice of casting, I guess, in that several characters do NOT look age appropriate. Kate is supposed to be 18 but looks MUCH older. Paris had a line about them all being children back when R&J ran away (and we already know R&J were 13 and 14) but he looks like he’s in his late 40s. Just, everyone in this film looks to be in the 30s to 40s age range, and it doesn’t work. ESPECIALLY Kate. Her not looking anywhere near 18 took me out of the film so much.
I enjoyed the sense of being a fly on the wall in the way the movie was filmed. It was fun and intriguing and I really felt like I was watching these people in their every day lives. Unfortunately, over a quarter of the film involved night or dark scenes that were TOO dark and I couldn’t see what was happening. I didn’t even see Paris’ face until the very, very end and he was in the movie from the very beginning. So, the lit scenes are great; the dark scenes could really use a bit more light.
The dialogue was a lot of fun in places because they kept to the use of iambic pentameter a lot, particularly in Paris’ narration (yay!!), and there were lots of plays upon words (I’m a language nerd. Totes). If you’re anything like me in that regard or if you just love Shakespeare as much as I do (and I carry his complete works in my car at all times), then you’ll definitely dig that. Things did get a bit boring, however. It felt like the film was aimed at people who’d never seen or read Romeo & Juliet before because they seriously did go through that story. It wasn’t just a matter of – “oh, this is how I met your mother!” – it was a long drawn out flowery murderous tale (you know, basically the play but in conversation form). It didn’t leave much room for The Enemy to have it’s own story and what story it did have was almost a re-telling. So they retold the story via R&J, then they retold the story AGAIN via characters & action.
The Enemy started out strong but it lost its way. The idea of Romeo & Juliet having escaped with their lives and building a life elsewhere is truly fascinating and I REALLY love it. I just didn’t really love THIS version of it. While it wasn’t really for me, if you do love Shakespeare or language, or a bunch of Italians yelling at each other (made me miss Jersey! *sighs*), then this just might be the film for you. The acting really is excellent; you really do feel like you’re there; it just needs a bit of tightening up perhaps?
“No Woman” by Afghan directory, Yama Rauf, has got to be one of the most beautiful films under 3 minutes I’ve ever seen. Shot entirely in black and white, out in the desert, it shares a beautiful message about women leading women, women following in the footsteps of those who fought before them for equal rights, etc. Seriously. Under 3 minutes. It’s amazing.
A girl walks alone in the desert on a road that has a sign that indicates that no women are allowed. She reaches a person in the middle of the road with an evil looking mask, holding a gun. Clearly things aren’t going to end well…except she rips the mask off and keeps walking as the person weeps in the road behind her. Then comes the next day where a group of girls come to the same road, unsure of what to do. Then they see the mask floating in the wind.
There’s no dialogue so you’re free to get lost in the beauty of the music and scenery. I love it, without a doubt. Films like these that make you think and that are done in such an artistic way are a true treat.
Um, what? What am I talking about? David Hasselhoff and lightsabers? Am I drunk? (No) Did I fall and hit my head? (Always a reasonable question, as clumsy as I am) Am I simply talking about Rogue Cinema’s cool new retro video feature? (YES!)
What is it exactly? It’s Instantly Dated, hosted by McQ, a look back at olden times (ya know, the 70s and 80s) when things were simpler and cool things happened more frequently (like Hasselhoff playing with lightsabers). Have a look, then go check out the other episodes we’ve got going on in this issue! (E, there’s one about a Star Trek guy being in a Star Wars ripoff!)
Tag Line: It finds the bug in you…
Guys. *pssst* Hey, guys! I have a secret. Know what it is? That this movie is f*cking awesome! (What? If you didn’t know, then it counts as a secret…) This is, hands down, one of my new favorite movies. Not gonna lie – I wasn’t a fan of the ending but it doesn’t detract THAT much from the “WHAAA-?” factor going on here.
So ya know how we live in the age of “Big Brother” (hello, 1984!)? Drones, people listening in on phone calls, Facebook messenger needing access to our birth certificate to work kinda stuff? That’s what this is about. Except what if “Big Brother” isn’t a person (or group of people) but rather…dun, dun, dun…a NIGHTMARE CODE???
“Nightmare Code” is a psychological sci-fi thriller about computerized behavior recognition, behavior modification and 24/7 surveillance.Our main guy, Brett, is this wicked hacker who’s also a whistleblower, who’s in a heck of a lot of trouble, who gets recruited to work on this super secret project that needs to be finished STAT. It’s called ROPER and it’s an all-seeing behavior recognition program (think Minority Report – the TV show at least, I haven’t seen that movie) intended to predict future behavior. Brett got recruited super fast for this project. Why? Oh, just because the last lead programmer went on a murder/suicide spree. Yeah, no big. Cotton was his name and he was apparently a genius – a MAD genius, mwhahaha. Now Brett’s holed up in this office building (seriously, he can’t leave for some reason, not even to get lunch apparently? Weird…TOTES) with a super small team of 4 other people trying to race against time to get this baby done. His only contact with the outside world is via video chats with his wife & daughter and his programming counterpart in India. Fun job, eh? One small, itsy bitsy problem though…the code he’s working on? It’s kind of alive. Yeah.
That’s right, the big bad of our thriller is computer code! You’re sitting there going, that doesn’t sound scary or thrilling at ALL. NO. You just watch the movie because ROPER is freaking terrifying. It’s like “Robopacolypse” terrifying. The entire movie is told from the viewpoint of the CODE. Yep, it’s the first movie told from the view of artificial intelligence. This ended up being a small problem for me at times, actually, because this involved a lot of security camera footage being shown on 4 split screens at a time. There was way too much going on for me to concentrate when different things were happening on those screens so I don’t know if I missed anything important. Otherwise, it’s wicked cool watching our protagonist, Brett (Andrew J. West), slowly lose his mind while unwittingly (at first) battling this entity.
As I said before, I wasn’t a fan of the ending. It was entirely too expected; it was exactly what you knew was going to happen. I spent the last half of the film praying it WOULDN’T happen but to no avail. It doesn’t take away from the overall kickaewsomeness of “Nightmare Code” but a less archetypal ending would’ve set this film so much further apart from other sci-fi thrillers than it already is.
Guys, this is some good, clean fun right here (and by “good, clean” I obviously mean blood + sexy naked time), and y’all need to get your asses in gear and go watch “Nightmare Code” NOW. Remember, I’ll know if you don’t, because someone’s always watching…😉
I was lucky enough to see Alan Rickman on Broadway in SEMINAR four or five years ago. The play was amazing anyway but he – he was fabulous. All he did was walk on stage and stand there and pretty much go, “I’m Alan Rickman.” and the theatre went wild, lol. We were going to go out back after the show to try to meet him and the rest of the cast but alas, they were having a charity auction that night. So, so grateful to have gotten to see one of my favorite actors live. In honor, I present Alan Rickman making tea (otherwise known as the best 7 minutes of your life).
Happy Thanksgiving, y’all! Hope it was super fabulous and delicious! As always, THANKSKILLING is an absolute *MUST* to follow up all that food, family, fun & dysfunction so ENJOY!
Stand Up Guy is a short crime thriller featuring a mafia-like organization (or “Family”, as they’re referred to). With only a handful of characters, the film keeps things nice, neat and concise, which works well in it’s favor, and the script is fairly tight. Things flow quickly with the end being reached before you know it, which is a shame in my opinion, as I could definitely watch more of this world and these characters.
Stand Up Guy starts with a federal agent coming to speak with the head of a Family at his “recording studio” about ratting out other people, then turns to a man freshly out of prison who seems to have a need for revenge with said Family head. The rest of the film is mostly dedicated to Roman (just out of prison guy) and Angelo’s (Family head guy) confrontation, with a small interlude that was there to…I’m actually not entirely sure why it was there. To show us how Angelo operates his business? There were definitely a couple of places where it felt like scenes could have been cut without affecting the Roman/Angelo storyline but doing so would have also left the film incredibly shortened – so I guess those scenes were there as filler. The only other scene like this was the scene with the agent at the beginning. Not having that scene wouldn’t have changed the main plot at all, in my opinion. These scenes neither detracted nor distracted; they just weren’t particularly necessary. I would have enjoyed seeing more about Roman (because he was obviously totes cray!) and finding out who Sarge (Serge??) was. For such a small film, I though both the acting and cinematography were top notch so kudos to the team for that.
Overall, it was highly enjoyable and I was a little sad to see it end. Go become a part of the Family and watch it, so you don’t end up swimming with the fishes (or something like that…)!
Ahhh, now THIS was a film I enjoyed! Total Performance was the total package, y’all. It had the right amount of comedy and drama; the acting was fab and I REALLY dug some of the camerawork, yo. So what’s it about? Well, that’s part of what makes it so fun…
The film is about Cori, an actress, but her main gig is a little bit different. She works for a company that employs actors to play opposite real people who want to rehearse a difficult conversation. A breakup, a firing, or even an embarrassing confession: the company that she works for provides a living, breathing ‘sparring dummy’ for their clients. Essentially, she gets paid to go around fighting with people. It’s awesome. There are some obvious pitfalls, of course, like with ANY job, but for reals, how easy is this gig?? We see Cori on a few jobs…we see her on a date…we see her on an actual audition…we see hope in the comedic yet oddly touching and sad ending. The film is under 20 minutes but as time flew by, it felt as if it was only 5 minutes.
I found Tory Berner (Cori) utterly fantastic. Her face is SO expressive and she has this almost wide-eyed naivete about her that’s completely charming. I would watch her in just about anything. My favorite shots were done during the date scene. They weren’t anything fancy but something in them resonated. In fact, I think you’ll find that the whole film resonates as it’s so easily relatable to all.
That said, you should head over to Facebook and give ’em some love, and to find out where you too can watch this stellar TOTAL PERFORMANCE!