For such a unique premise and concept, it’s surprising how unremarkable “Clown” ends up being, in the end. Despite its best efforts, “Clown” feels like a short film that perhaps should have stayed a short film, as most of its narrative feels spread out to fit a hundred minutes. And I don’t know how they’ll pull off a sequel, if the final scene is any indication. “Clown” probably watches a lot better as a short film, but it breezes through the premise in the first thirty minutes and stops being interesting by the end of the first hour. Kent is an average dad who finds out the clown he had booked for his son’s birthday has cancelled. Anxious to keep his promise of a clown, Kent goes rummaging through his basement and finds a clown suit locked in a mysterious chest.
Tag Archives: C
Creature Designers: The Frankenstein Complex (2016) [Fantasia International Film Festival 2016]
Film buffs will be elated to see “Creature Designers,” a very technical cogs and gears documentary that spotlights the grueling process of creating creatures for movies. Directors Gilles Penso, and Alexandre Poncet mold a love letter to the classic master creature creators, as well as a very down to business film that shows the technology behind some of the most iconic creatures and monsters of all time. It’s a thrill to see how the directors have such a reverence for these artists, as we get to visit with a ton of unique artists and concept designers that are enthusiastic about their work. Since the beginning of film, special effects and creature have found a wonderful marriage with filmmaking.
That’s thanks in part to Lon Chaney who was able to use his make up kit to build some amazing monsters out of his face and own features. From there it’s been a rising tide of artists and creators that have added to the cinematic experienced and helped advance storytelling as a whole. Both filmmakers visit with iconic masterminds like Rick Baker, Joe Dante, and Guillermo Del Toro, all of whom explore their love for special effects, and convey the process of building creatures for some of their films. What becomes apparent within “Creature Designers” is that the advancement of special effects would lead in to less and less necessity for suits and machines, and more need for computer technology.
This darker period is chronicled in “Creature Designers” where we’re able to view a more vulnerable side of these individuals, all of whom had to adapt to the shift in technology or risk losing their livelihoods. Thankfully, the documentary doesn’t depict the introduction of CGI and motion capture as the bane of the special effects industry. Directors Gilles Penso, and Alexandre Poncet explore some of the amazing advancements made in computer technology, from motion capture, facial recognition, and how they’ve used this kind of programming to bring to life amazing characters like Golum from “Lord of the Rings” and the T-1000 from “Terminator 2.” No stone is left unturned, as every interview is informative, exciting, and filled with amazing anecdotes.
For folks that are seeking a career in the special effects industry, or for films buffs very invested in the special effects element of filmmaking, “Creature Designers” is a wonderful documentary that brings us up close and personal from the fan viewpoint and a technical viewpoint.
Carnage Park (2016)
Two bank robbers take a hostage in rural California after their botched robbery attempt. They take her on the road where they run afoul of an armed man who likes to go hunting for a special kind of game. “Carnage Park” is written and directed by Mickey Keating, who also did the very good “Pod,” as well as “Ultra Violence,” “Ritual,” and “Darling” which have all been on this reviewer’s radar, alas victims to the classic situation of too many movies, too little time. Keating knows his craft and how to build an effective film. This one being well written and directed, however for all its violence, it is not as effective as it should be.
The movie starts with a bang and maintains its violence and tension for a while, however, once the character of Vivian finds herself on the mad man’s property, the whole thing becomes routine cat and mouse and fizzles out which is unfortunate as her character, up to that point, was built as someone the viewers can care about. The story here, once it finds its groove doesn’t go off course which means there are no real twists and turns to it and it becomes unfortunately predictable. The characters created by Keating are interesting but not given much of an arc or evolution except for Vivian who gets a more to work with. These characters are brought to life by a competent cast, including the very charming (and adorable) Ashley Bell as Vivian.
Bell has some experience, however this is the first performance seen by this reviewer that brought her to the front and added her to a pack of newer actresses to be watched. As almost the entire movie rests on her performance, she did very well with only a couple of lesser moments. Playing opposite her are James Landry Hebert as Scorpion Joe, one of the bank robbers who take her hostage, and Pat Healy as Wyatt Moss, the gun happy mad man who’s made her his game for the day. Both turn in good performances, Hebert gives off a crazed desperation type of vibe, while Moss gives off a more calculated, calm performance. In a small cameo, viewers should recognize Ferris Bueller’s best friend, actor Alan Ruck, stealing a few scenes.
The setting here is its own character. In the sun-bleached desert of California in what looks like the 1970s, everything is perfect for the time period. From the décor, to the buildings, to the cars, to the clothes, et al., the production design by Angel Herrera and the art direction by Priscilla Watson are on point. Their work is highlighted by cinematographer Mac Fisker, a regular of Keating’s films, which shows the locations as perfectly deserted with well selected framing and focus on details most would not notice. Also worth noting is the music by Giona Ostinelli which works with the scenes and adds mood to the sometimes over-exposed images. The piece at the end of the film is very reminiscent of films like “The Texas Chain Saw Massacre,” perhaps even a bit too much as the film is already packed with homages to other films and art pieces.
“Carnage Park” is a violent, grimy piece of cinema with good performances. The story, based on a real crime, starts off very interesting but unfortunately becomes routine once the lead character starts being chased by the big baddie. The violence is well done and brutal, making the film an experience in itself; however it’s not enough to be fully engrossing. The first part of the film moves at a good pace, but it eventually starts to feel slow with a dew overly long sequences in complete darkness which are hard to follow and consequently hard to care about. The film seems to want to be a western, a horror film, a drama, etc but can’t seem to settle on a main focus.
For all its violence, Carnage Park brings a question: Can a film be both brutal and boring at the same time?
As with IFC’s other recent release, “Intruder,” “Carnage Park” has a mid-credit scene which feels out of place for this style of film.
On VOD and in select theaters on July 1st, 2016; it is slated for a limited run at San Diego’s Digital Gym Cinema starting on July 8th, 2016.
Creature Feature (2015)
Creature Feature was written and directed by Chase Smith, based on a story by himself, Lance Paul, and Edward Boss. Smith usually works in independent film where, as can be seen his this film and his other work, he makes the most of his low budget and crafts possibly his most fun title to date. The way he builds this film is fun and entertaining. He takes multiple classic horror and Halloween character, gives each a story to star in, then adds fodder for these to play with, and interconnects it all in a way that works really well, something that is not easy to do.
On Halloween night, friends go to a party and tell horror stories. The stories here are imbued with the spirit of Samhain and interconnect through characters and timeline, making it hard to tell too much about them without giving too much away. Part of the stories involves a clown, a zombie, a werewolf, witches, and a certain Jack. The characters are well written, the dialogue is decent, and none of the separate stories overstay their welcome. Being the writer and director of all the stories, it’s easier to keep them coherent in storytelling, visual style, and mood.
The cast for all those characters is good, none of them doing badly. However, with such a big cast, it’s hard to stand out from the crowd. That being said, this reviewer particularly liked the performance by Chase Smith regular Lance Paul as one of the partying storytellers, Jackson. He has a twinkle in his eye as he tells his story that just makes his presence shine. The rest of cast does well, looks good, and goes for it with their all in a lot of scenes. It must be noted that a few of the ladies have no issues being topless, showing what Mother Nature/God gave them (natural boobs alert here!), adding to the general fun and the Halloween film spirit.
As this is a monster film and a horror movie, there is gore and blood, quite the good amount of both. Most of the effects look to be practical, something that is always appreciated, and were done by Alex-Michael Petty, Amber Actaboski, Benji Dove, and Andrea Joe. These effects look good and not just “for the budget”; they look good and add a lot to the film. Practical effects always seem to be gooier and better to this reviewer. There is plenty here and it’s much appreciated. Adding to all this is the music by Brian Popkin which adds to the mood and atmosphere of the scenes it highlights.
Creature Feature is a fun, entertaining romp of an anthology set at Halloween time making it perfect for a seasonal or party setting viewing. It has a couple of issues but is a nice popcorn horror film which makes it easy to overlook those issues. If brings some scares but not enough to keep casual horror watchers away and the ambiance of it is not of dread, more like a spooky Halloween night. The stories have connections to classic tales making it easily accessible and they are often more than what they seem at first. The look and effects transcend its budget and the spirit of Samhain running through it will capture the attention of most viewers.
It’s yet another recent release From Spirit World Films to add to the Halloween playlist for this year and years to come.
The Crush (1993) [Blu-Ray]
There are a lot of allusions made to Nabakov’s “Lolita” with “The Crush.” Whether intentional or not, it’s interesting how the film parallels certain themes and scenes. When Nick decides to move in to a sort of run down house as he prepares to begin a new job at a magazine, his first look at fourteen year old stunner Adrian is almost beat for beat when Professor Humbert sees young Dolores for the first time. Rather than walking in on her in her yard, she’s in short shorts, a tee, and rollerblades. When we see Adrian, she’s dressed in about the kind of seductive attire she craftily saunters around in as a mode of luring in potential mates, and Nick is hooked.
Except unlike Humbert, he gains something of an awareness of what trouble he’s walking in to, as Adrian literally begins throwing herself at him. She shows up in his room while he’s showering, and does little to deflect sexual come ons and innuendo she’s not shy about giving him. By the time Nick realizes Adrian has taken their sexually playful relationship one step too far, he becomes his own worst enemy and digs himself in to a massive hole that seems inescapable by the finale.
“The Crush” is a very good look at the destruction of a simple man thanks to the wiles of a young girl, particularly a young Alicia Silverstone. Silverstone gives a very good performance, and handles her sexuality with pitch perfect precision making it an alluring trait, and a remarkable weapon that only hampers every and any attempt Nick makes to push her out of his life for good. Though its never explored outright, Nick almost finds the come ons and aggression by Adrian charming and even erotic.
One scene involving a botched attempt to steal back picture from her room that turns in to a strip tease clearly indicates Nick isn’t completely troubled by her fixation on him. Only when people begin getting seriously injured and nearly killed by Adrian’s manipulation and smart staging of events does Nick eventually have to ensure that he ends her obsession before it becomes all too fatal. “The Crush” is a solid thriller filled with strong turns by Cary Elwes and Alicia Silverstone. It’s also one of the stronger thrillers cut out of the cloth of “Fatal Attraction.”
The Blu-Ray release from Scream Factory includes the two minute theatrical trailer for the film, and a thirty second TV spot. There’s an audio commentary with writer and director Alan Shapiro who is joined by Mondo Digital’s Nathaniel Thompson. The pair of hosts trade questions with one another, and Shapiro discusses changing Silverstone’s characters name from Darian to Adrian.
If you watch the original trailer, you can hear Elwes calls the character Darian. “The Doting Father” is a ten minute interview with legendary character actor Kurtwood Smith, who plays Adrian’s father in the film. He discusses his large career and his experience working with Silverstone. “Stung by Love – An Interview with Jennifer Rubin” is a brand new thirteen minute sit down with with actress Jennifer Rubin who discusses how she was hired for the movie, and filming the infamous wasp sequence.
Captivity (2007)
Roland Joffé’s “Captivity” is another title in the utterly exhausting torture genre from the early aughts that died in death grip of the heinously awful “Wolf Creek.” Dark Sky and Roland Joffé ape everything that garnered “Saw” success, along with gambling on and likely over-estimating Elisha Cuthbert’s appeal. “Captivity” is another torture film with a woman in peril that involves a masked madman in the shadows, and a young woman that must be forced to self reflect in a cheesy morality theme, all the while avoiding certain death under his traps.
Cellblock Sisters: Banished Behind Bars (1995)
Henri Charr’s “Cellblock Sisters: Banished Behind Bars” (aka “Banished Behind Bars”) is one of the most nineties straight to video movies ever released. It’s a rip off of “Bad Boys” that pits nothing but gorgeous blond women against one another in a women’s prison and forces them to fight it out for control and petty grudges. Henri Charr’s crime thriller is surprisingly convoluted, but one that also gets a free pass for being one of the last of its kind before the early aughts indie resurgence of women in prison films.