Director Todd Kaufman’s short film named “The Key” is a film that I really couldn’t help but flip over. In only eighteen minutes it manages to speak sounds and waves of romance, and life more than any other film can attempt, and Kaufman really knows his characters. “The Key” is a beautiful short elegy about breaking out from your shell and being forced to confront the outside world you fear so heavily. In this case, it’s a girl named Miriam.
Stephen King's Desperation (2006)
I mean sure, “The Stand” had many biblical themes to it, and I don’t hold that against it basically because it’s my favorite television movie of all time, and my favorite King mini-series, but that’s because it never used the biblical themes so blatantly before. I have to say “Desperation” is one hell of a disappointment. It’s a cheesy, ridiculous, and utterly un-scary practice in babbling, that actually required a considerable amount of effort to sit through. After weeks of anticipation and excitement, I finally tuned in and basically zoned out by the second hour. If there’s any indication that producers have run out of material for Stephen King min-series, it’s “Desperation”.
Roll Bounce (2005)
Hey, I won’t lie, I admit I wrote off “Roll Bounce” since the first trailer, and I didn’t even consider it would be a remotely watchable film, only because it looked like a complete replica of “Drumline”. But, when I began watching this, I realized I’d written it off unfairly. “Roll Bounce” is an admittedly cheesy, but utterly entertaining film that takes place in the fleeting period of disco, and roller disco. For those of you who have no idea what either of these things are you’re an idiot, but in simpler terms, roller disco was the fad you see on screen, and it was huge. “Roll Bounce” captures the essence of this fad with sheer charisma, while serving the kitsch and fantasy value of “Grease” and I had a lot of fun. Lee’s films is a lot like “You Got Served” except watchable, with a brain in its head, and actually exciting dance sequences about a young roller skater from the suburbs who goes to the roller rink with his friends every weekend.
Spartan (2004)
Leave it up to David Mamet to write and direct what a true spy film should be and has to be. What starts off as a full procedural evolves in to a film in the spirit of “Three Days in the Condor”. As per usual Mamet, his film rapidly evolves from scene to scene, and what I thought would be a cold procedural film that would usually be a stupid show on CBS, quickly evolved into a very well characterized thriller. And films with Val Kilmer have, of late, left me skittish to enter it, but Kilmer really leads a truly well drawn thriller that I had fun with.
Big Boobs, Blonde Babes, Bad Blood (2006)
I was admittedly surprised with “Big Boobs…” because judging by the description I expected a glimpse in to making underground films, but surprisingly enough Alter Ego flaunts its most prominent director Shane Ryan with a compilation of his experimental and horror films. The films by Ryan featured are a mixed bag of weird, ridiculous, and very appealing. So, in turn I did get what I wanted, because the film enthusiastically boasts all of Ryan’s short films, while featuring making-of featurettes that many times last longer than the actual film. In one instance one of Ryan’s ten minute films is followed up by a twenty five minute making. It’s insane, but oddly watchable. “Big Boobs…” is never ashamed to admit it’s cheap and self-congratulatory, which adds to the fun experience of watching these films.
Journey of the Dead (2005)
Who do you call when rock star zombies (what’s the difference?) attack your house? Steve Perry. Seriously. A couple of “The Darkness” loving yuppies arrive home one day to find their home under siege by the living dead. Living Dead Rock Stars. It makes sense. You like “The Darkness”, you should be killed.
Zombie Honeymoon (2004)
A few months ago, I saw a film called “Boy Eats Girl”, about a young man who dies and comes back as a zombie. The people who love him are willing to ignore his ravenous potentially murderous behavior because they just are that committed to him. “Zombie Honeymoon” is basically along those same lines. Except, in spite of its evident camp it’s much more in the vein of a tragedy, and it works. Can you love someone who is uncontrollably murderous? Can you love someone beyond circumstances that are not in your control? Do you fight the tide, or welcome it with open arms? “Zombie Honeymoon” in spite of its ludicrous title is actually much more classy and straight-faced than its moniker would dictate to audiences; which would also attribute to the lack of interest from many I’ve come across.