Amateur Porn Star Killer (2005) (DVD)

This is our third consecutive review of Alter Ego Cinema’s “Amateur Porn Star Killer,” and by now with our record number of reviews for one film, it’s obvious that we pretty much support this film and Alter Ego Cinema’s methods of filmmaking. No, they’re not paying us to shill for them. Long ago, “Amateur Porn Star Killer” arrived at my doorstep and I viewed the press materials, viewed the packaged films and pretty much procrastinated reviewing it, writing it off as a home video that was filled with gore in an attempt to shock indie audiences. Trust me, I’ve come across too many movies like that. But upon viewing this film finally, Shane Ryan just blew me away and he convinced me to never prejudge a film however unusual it may be.

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Ratatouille (2007)

ratatouille_2007_1One of my favorite modern storytellers in the animation genre happens to be Brad Bird. Not only is the man a wonderful writer, but he gets modern story themes and basic characterization, all the while building on adult themes that children can understand but will also appeal to adults as well. One of the most underrated and innovative filmmakers in film today, Brad Bird only seems to get better with every film. “Iron Giant” was a masterpiece of friendship and alienation, “The Incredibles” was a wonderful take on the dysfunctional family in modern suburbia, and now Bird yanks Pixar from its horrible “Cars,” with this fantastic follow-up “Ratatouille.”

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Superbad (2007)

superbad-movieMore of the same buddy comedies running rampant in theaters, “Superbad” is less a comedy about teens trying to get some, and more a story about coming of age and realizing that with age means shedding childish things and sadly having to part with some of your best friends who will likely disconnect from you once life comes into play. Rogen’s comedy is very much in the tradition of great films like “American Graffiti,” and “Dazed and Confused,” in which we follow one night in the lives of three soon to be college freshmen enjoying antics and hilarity in their town as they prepare to part ways. “Superbad” is hysterical, but it’s also touching in its own ways, accurately depicting friendship at such a young age.

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30 Days of Night (2007)

2007-30_days_of_night-2Vampires. I’ve suffered for many years of sheer abysmal vampire sub-genre crap thanks to the likes of different “twists” that was dead in the water. From suffering through the frilly angst ridden vamps thanks to Anne Rice that bred a thousand MySpace emo teens, to the Matrix carbon copy leather clad models a la Len Wiseman, it’s nice to see vampires be horrifying creatures (on film) once again. Thanks to David Slade, and Steve Niles, “30 Days of Night” makes a great transition from the page to the screen. David Slade who made his debut with the masterpiece “Hard Candy” shifts tones and completely amps his energy with what is one of the better horror movies to come around in years.

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The King of Kong: A Fistful of Quarters (2007)

What with all the documentaries about global warming, the Iraq War, the horrible medical system in the US, the environment, and protests, sometimes we want a documentary that’s compelling and fun at the same time. With documentaries there aren’t many out there that provide both for the American audience. “The King of Kong” is that documentary. It’s escapist without sacrificing brain cells. “The King of Kong” is that movie that places a great deal of importance around something that most of us would deem irrelevant and absurd.

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Urban Legends: Bloody Mary (2005)

Kate Mara is a surefire saving grace for “Bloody Mary” as she turns a potentially annoying and whiny heroine into a sympathetic and highly entertaining central character. She has an innocence and genuine charisma to her that makes this film rise above a typical horror sequel, and I cared about her journey. All the clues and hints to the potential unveiling of Mary’s next targets always worked for me, and Mara really had me right there with her, wondering what surprises were next.

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The Return (2006)

The_Return

Asif Kapadia’s supernatural drama likes to model itself after “The Machinist,” in which our main character has a reality that may not be everything she assumes it is, and is constantly haunted by mysterious figures while always in a dream-like environment where music fades, and space and time are easily bent to every scenario this mystery wants our character Jo to be. “The Return” isn’t the worst movie of 2006 as most others have reported, but is instead a weak and rather dull little drama that really breaks no new ground. Gellar’s performance here ranges from flat out mediocre to as wooden as a stake. Gellar is far from the primary flaw of this picture, as Kapadia can never seem to keep the audience at attention.

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