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Red Christmas (2016) [Fantasia International Film Festival 2016]

redchristmasA mother wants to have the best Christmas ever with her family.  During the traditional day, tensions come to a boiling point when a stranger shows up at their door and wants to kill them all.  This sets the mother on a warpath to protect her brood.

This Australian horror film is written and directed by Craig Anderson who starts by building a family with lots of issues and strife between its members.  Most of their issues are the same as a lot of families while others are more unique.  This family cares for each other against these odds and when all hell breaks loose, their bonds are tested.  The writing here develops this family well and then brings some original kills to the table but the characters are not the most likable so it’s hard to root for them.  This is all well directed for most of the film so the few issues seen here and there are not entirely awful, but the film lacks a bit in fun.  Sadly, the killer’s motivation feels a bit preachy at times, making his condition a bit of a case of one too many things in the story.  The way the killer is portrayed is unfortunately a bit grating and not really menacing.

The cast does ok with the material but it’s hard to tell if their characters were written that way or if they were directed to do this or if the way they act leads to this, but almost all the characters come off as unlikable and just disagreeable, selfish people.  From the looks of things, it seems to be a combination of the three with other factors added to those.  Knowing that Dee Wallace can play mother so well, her performance here is not as expected which may be due to putting too much hope on her.  She is good, but some angles of her character are so dislikable, it’s hard to look over those.  The rest of the cast being less familiar, they did not have as much expectations put on them, yes they still come off as dislikable to despicable as well.

As Red Christmas is a slasher, the kills and their effects are of high importance.  The kills here are good with some original ones.  However, the effects are decent at best with some pieces being not so good to just bad.  The make-up and prosthetics on the killer look a bit like Toxie, with a low budget look and even somewhat of a family resemblance.  Also an odd choice is how the kill set pieces are shot.  In some cases, the lighting makes it hard to see what is going; on while in other cases, the shaky cam is nauseating, making the viewer look away and miss out on the scene.

This film has a lot of potential, but does not go for it.  It has good ideas for kills with effect that are just not good enough to support those ideas.  The characters are not people the viewers can get attached to.  The killer is one of those that could have been good but his background and reason to kill make him hard to get into or behind.  This reviewer wanted to love this as the last few years have given us so many good holiday themed horror movies, but even after giving Red Christmas as much slack as possible, it’s not a movie that can be considered good.  A few good scenes here and there do not a great movie make.

Fantasia International Film Festival ran from July 14th until August 3rd, 2016 and will be back in the summer of 2017.

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L’Élan (2015) [Fantasia International Film Festival 2016]

LelanIn a small French village arrives an elk (élan in French) that walks on two legs, wears a trench coat, and communicates telepathically.  Everyone he meets seems to accept him as if his presence is completely normal, except for a UFO fanatic who wants to meet and analyze him.

Director Etienne Labroue of Les Guignols de l’Info co-wrote L’Élan with Marc Bruckert and they created a marvelous fable here of a being on a quest to belong, finding a family ready to take him in and protect him.  The story here is touching, funny, and sometimes sad.  Bruckert and Labroue show a lot of talent in this sweet script that reminds the viewers of early Jean-Pierre Jeunet crossed with Quentin Dupieux.  As this is Etienne Labroue’s first film, it shows a lot of promise and directorial talent.

The characters built by Labroue and Bruckert are a little cartoon-y but here it works given the story and the settings.  The cast hired to bring those characters to life go for it with gusto and an impeccable sense of timing.  The whole cast does this so well, it’s difficult to pick a stand-out.  Aurelia Petit, Délia Espinat-Dief, Olivier Broche, Cyprien Dugas, et al deserve major kudos for fearlessly bringing their parts to life and not being afraid of looking a bit silly on screen.  It all works in the end and brings a village of kooks to life for our entertainment.  The narration is done in a way similar to Amélie but with a bit of a nuttier story which is told in a childhood story manner.

The way the film settings are and the way its shot ring out the ludique side of the story.  Everyone and everything is brought together in a way that creates a fairytale-like atmosphere.  The design of the élan himself is cartoonish with a touch of giant stuffed animal to the head’s look.  His whole being is a bit disproportionate from itself, giving him a sweet disposition and style even though he could easily have been a bad guy.  L’Élan is designed in a way to remind the viewers of childhood toys and TV shows, while his attitude and mannerism are quite child-like.  He brings an outward innocence and allows the viewer to connect on a different level with the story through nostalgia and comfort.

L’Èlan is an entertaining comedy with a lot to offer.  It takes a crazy, absurd idea and goes with it fully, giving the viewers a childhood fairytale but grown-ups.  It’s almost innocent but not quite.  It brings back a warm feeling while also reminding everyone of their need to belong.

Fantasia International Film Festival ran from July 14th until August 3rd, 2016 and will be back in the summer of 2017.

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Kaijyu Mono (2016) [Fantasia International Film Festival 2016]

kaijumonoIn the only logical location for Kaijyu attacks, Japan, a Kaijyu wakes up and eats teenagers in a forest.  A scientist and his assistants look into the event and get involved in the fight against the Kaijyu. The film is directed and co-written by Minoru Kawasaki who also worked on The Calamari Wrestler, a film with a very particular story line.  With his co-writer on Kaijyu Mono, Takao Nakano, they create a delightfully bizarre tale that only makes sense when screening at Fantasia.

The story they build here is full of surprises and twists, not all of which make sense but they somehow fit in this film.  It’s hard to explain, but it works, possibly because the whole premise is completely crazy.  The characters they have created are not particularly original or deep and they feel like crazy caricatures which brought this viewer to the conclusion that it’s a wanted thing.  They add so many odd selections to their film that it all has to be planned.

The cast for this is composed of Saki Akai, Bin Furuya, Shinzo Hotta, etc.  They all are a bit cartoon-y and definitely do so on purpose as this is what the story lend itself to.  That being said, the acting, within its confines and limitations, is quite good.  It cannot be easy to keep a straight face when the elder actor on set shows up dressed as Sailor Moon for example.

The titular Kaijyu us fun, but not particularly original.  It looks similar to many Kaijyus seen before, which is most likely a wanted thing as a throwback to old school Kaijyu films.  This particular monster is clearly a man in a suit and it shows, adding charm to its appearances and to its fight sequences.  In these sequences, the monster fights a giant man, made so by shots in the story and by using cool maquettes in the film techniques, bringing even more nostalgia to the proceedings.  The fights themselves are more like wrestling than martial arts even though they do through some of that in there, they are very exaggerated, but quite entertaining.

Kaijyu Mono is a fairly simple film, keeping proceedings to a minimum of locations and characters.  It’s fun and entertaining but doesn’t re-write the book on its genre or bring much new elements to the table.  It’s silly, many elements are just there to be funny or look cool, but it works in a sense that it’s entertaining non-sense with a strong sense of nostalgia.  Fans of old Kaijyu films should love Kaijyu Mono.

Fantasia International Film Festival ran from July 14th until August 3rd, 2016 and will be back in the summer of 2017.

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Little Sister (2016) [Fantasia International Film Festival 2016]

littlesisterColleen is a former Goth kid who has found her calling and is working towards becoming a nun.  After her brother comes back from war heavily damaged psychologically and physically, their mom pleads with Colleen to come for a visit.  A simple few days at home turn into a rediscovery of self, of her relationship with her family, and of her passion for her calling.

Written by Zach Clark from a story by Clark and Melodie Sisk, Little Sister is directed by Zach Clark who builds a family drama showing the real sides of people who start off by avoiding each other, then become closer through reminiscing and through getting to know each other again.  The characters they build here do feel like a family that lost touch and is learning to know each other anew.  The way this is written and done feels organic and natural.  This family is not perfect and neither are their relationships but the care and love they have for each other transcends their issues and differences.  The characters created are human, none perfect, none all bad, they are just trying to navigate life as best they can.

This Lunsford family is comprised of: Joani, Bill, Jacob, and Colleen who the story follows.  Ally Sheedy is Joani, Peter Hedges is Bill, Keith Poulson is Jacob, and Addison Timlin is the lead of colleen.  Ally Sheedy shows the viewers why they fell in love with her in the 80s by giving a touching performance of a stressed out mom who did all she could to give her two kids a great life.  She embodies the mom full of worries who doesn’t know how to handle her adult children.  Addison Timlin as Colleen shows growth for her character throughout the film, starting off as a timid young nun-to-be and ending as a confident woman sure of her path as a nun.

As the brother Jacob, Keith Poulson shows as much as he can under his full head prosthetic. Much of his performance rests on his voice and body language, which he uses very well. The prosthetics for Jacob’s burnt at war head and face was made by Brian Spears and Pete Gerner and is fairly well done but not great unfortunately.  For most of the film, it’s applied well, but in a few scenes, the application is not full and the second “skin” can be seen moving separately and un-sticking from the actor’s face, something that is annoying but not film breaking.

The cinematography by Daryl Pittman makes the family house look cozy, warm even.  The way interactions are framed helps focus the attention on what is important.  The music by Fritz Myers paired with the song choices underscore the action and add to Colleen’s personality.  They add to the emotions and make the film a complete experience.

Little Sister starts on a Marilyn Manson quote and ends on a much different note, following the evolution of Colleen’s life and her emotional growth.  This film is a wonderful study of family dynamics and personal growth.

Fantasia International Film Festival ran from July 14th until August 3rd, 2016 and will be back in the summer of 2017.

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Lowlife Love (2015) [Fantasia International Film Festival 2016]

lowlifeloveA lowlife, 39 year old film, director uses his position to sleep with young actresses under promise of making them stars.  While doing this, he’s trying to get his next film produced and cast.  Around him: His best friend makes porn films to gather money for a filming budget; a young film writer wants to get his script produced; a young actress falls in love with the film writer, et al. Everyone seems to be out for their own careers and selves, not caring about others.

Lowlife Love is written and directed by Eiji Uchida and is a study of people doing everything they need to get to their ends, to get fame for themselves, no matter the cost to others and themselves.  Uchida crafts a study of what drives people, some people, to go to ends some never would to get what they want.  His style is a bit in your face, showing events and how they affect everyone involved but never truly getting to the bottom of the reasons and the feelings behind it all.

To bring this to the screen, Uchida has a cast of 30 or so, most of them giving decent performances.  Unfortunately, most of the characters feel a bit thin and one dimensional at times, with a very few standouts.  Thankfully, one actress shows nuance and layers in her performance, Maya Okano as Minami shows the best arc, the best performance.  She shows great talent and becomes the best part of the film.  Her performance shows naïveté at first and then a form of regret as she has lost her innocence throughout the events of the film.

The cinematography by Kenji Noguchi follows the tone of the film, framing the scenes in ways to enhance their feeling of despair and of need for fame.  The film feels almost dirty some times, claustrophobic at others times, all through the look the images’ framing give it.  He adapts his style to what the scene needs, showing versatility.  However, the film’s story not being exactly great, this is a bit lost in the shuffle.

Lowlife Love is an attempt at making a dark dramedy about what goes on behind the scenes of some films but it makes it sound like it’s what goes on behind all films.  The story could have been great but its execution, starting with the story’s writing, is not on point.  A lot of it feels as though the filmmaker is trying hard but not hitting his mark, the characters feel exaggerated, and this all leads to a less than fascinating film.  Unless one is really into director Eiji Uchida’s films, it may not be worth watching.

Fantasia International Film Festival runs from July 14th until August 3rd, 2016.

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Slash (2016) [Fantasia International Film Festival 2016]

slashA teen discovers slash fan fic and writes some about characters from his favorite series Vanguard.  After an older girl reads some of it and he gets in trouble in school for its graphic nature, she pushes him to post it online for all to see and to get feedback.  This gets him noticed by one of the moderators of the forum and he’s encouraged to go read an excerpt at a Comic-Con type convention. Writer/director Clay Liford adapts from his own 2012 short of the same name, changing the lead’s obsession from Harry Potter to a fake series called Vanguard.

Here he builds a coming of age story where the two leads, Neil and Julia, are at different points in their teenage evolution and in their sexual awakening.  Both characters feel real and have natural interactions with each other and with the adults and teens around them. The characters and situations are believable, especially for someone (like this reviewer) who has encountered many a fan fic writer and read a few horrendous and other decent bits of it.  Setting the film partially at a comic-con works here as it puts the two nerds in what feels like their natural environment, where they fit in better than in their school or home settings.

Both leads here are talented and natural at their parts.  Michael Johnston plays up Neil’s awkwardness, creating a very human 15 year old nerd with dreams, aspirations, worries.  His character is never a caricature of emerging teen writers and never a send up of nerds as is often seen in these types of movies.

Playing opposite Michael Johnston is Hannah Marks as Julia, the less sheltered and more experienced fan fic writing 16 year old who shows him the ropes in terms of getting out there and finding himself.  Marks plays her character full force, never skimping on any emotions, yet never exaggerating or hamming it up.  The viewers feel with her, go through her emotional roller coaster with her.  The supporting cast, including a great Michael Ian Black leaving his sarcastic persona behind, does a great job and let Michael Johnston and Hannah Marks shine, not over shadowing them while also turning in good performance.

The film’s cinematography by Ellie Ann Fenton makes it look a bit like it belongs on current MTV or on a big screen at a convention, which is not a bad thing as this style lends itself to the subject matter at hand.  The way the scenes are shot, their settings also add to this.  The film looks good and is well framed, making it easy to concentrate on the two leads.

Slash is a well-crafted film about teen experiences and sexual awakening for the teen nerd, mainly viewed through the eyes of a fifteen year old boy.  His experiences and feelings are relatable, making even the uncomfortable moments work.  The film is touching in parts and a bit cringe-worthy in others, which are both good things here.  The film is entertaining and a glimpse into two slash fan fic writers’ lives.

Fantasia International Film Festival runs from July 14th until August 3rd, 2016.

You Have to See This! Bikini Academy (1996)

Odds are you probably saw “Bikini Academy” in the heyday of late night cable television. It was once a proud institution. Otherwise known as “Babe Watch: Forbidden Parody,” the adult comedy likens itself as a “Baywatch” spoof. In reality there isn’t anything that spoofs or satirizes “Baywatch” save for the fact that most of the movie is set in the beach. In fact almost every shot is filmed during the middle of a sunny day smack dab in the middle of a beach. Not that I’m complaining, mind you.

Lucki and her friend Ty-Dy work day to day in a bikini shop and aspire to compete for a job as their local beach’s lifeguards. Training with an uptight drill instructor and hunky trained lifeguard Brock, the two pursue the opportunity in hopes that it can open up their aspirations for modeling and acting. Meanwhile rival Bodacia seeks the job in hopes of improving her modeling career, and will do whatever she can to win, including rigging the contest. That doesn’t sit well with Lucki who has a genuine affection for him, despite his indifference toward her.

And there are boobs. Lots of boobs.

I can think of worse things than watching Kelli Hoffman or Tane McClure for ninety minutes. With small budgets and some pretty crummy actors, Rick Sloane has been able to pull of a pretty great film career with some entertaining schlock. Everything from the silly “Vice Academy” series to the craptastic “Hobgoblins” has managed to achieve some bit of cult fame down the road; especially the latter. Seriously, go watch the “Mystery Science Theater 3000” episode of “Hobgoblins.” It’s one of the funniest two hours of television ever made. That said, “Bikini Academy” is not a spoof or satire, it’s just a really silly C grade sex comedy set on a beach.

I think Rick Sloane probably assumed this kind of beach sex romp would fare well in 1996, which is too bad since movies of this ilk became painfully out of style by 1990. I think in 1986, this might have been just a slight cult classic, rather than simply a cheap sex comedy that you wouldn’t miss, either way. Mind you, “Bikini Academy” is a rare movie from Rick Sloane that is softcore schlock and embraces that fact, but it’s not an experience you have to have. There’s no real up and comer like Johnny Depp in “Private Resort.” It’s just a very raunchy comedy that pulls off some occasional giggles and splashes almost every scene with curvy women in small bikinis.

It doesn’t really try to be anything else but a cheapy schlock, putting gorgeous women in the film front and center, while they compete with one another for a position as a local lifeguard. Sloane’s movie is so thin in concept that he apparently runs out of story after the first forty five minutes and begins staging softcore sex scenes set to library music. You know the kind of scenes I talk about if you ever watched Cinemax After Dark. Yes, it was probably good fodder for late night cable syndication, but it becomes obvious writer-director Sloane is padding the run time as much as he can to fit a ninety minute running time.

bikiniacademy-2 “Bikini Academy” revels in its low budget to deliver some of the goofiest comedy and action ever put to film. The characters have to go through a series of “Revenge of the Nerds” like trials and performances that will make them eligible for a big position as a lifeguard and a highly coveted job that will grant them some opportunities. This is especially fortunate for villainous Bodacia, who is hell bent on winning the contest to improve her modeling career. She takes every measure to win, including bedding a judge or two. Along the way the potential lifeguards also have to help the occasional swimmer, including one woman who very nearly gets dragged in to the water by what is obviously a rubber giant squid.

And in case you doubt director Sloane, you can make out the fake wobbling squid under the water as our stunt actress tries to desperately break free from its tentacles. It’s such an inexplicable scene tacked on for absolutely no rationale that you’ll giggle for a bit and then scratch your head baffled. The laughs don’t stop there. As villain Bodacia looks for a cause to bring to the competition to compete for the job of lifeguard, she conveniently finds a single marlin on the beach covered in oil, and decides to use it as an issue to fight for. Forget how nothing else on the beach is covered in oil, but the fish is so obviously a prop that it’s stiff as a board.

bikiniacademy-3Who knew fish get rigor mortis? Or maybe Tane McClure is just that hot. Rick Sloane must know what everyone watching this movie does, because Kelli Hoffman is not only the hottest woman in the movie, but she manages to steal every single scene she’s shares with the cast. Despite only having a small supporting role, and popping up every now and then, every time she does, it’s a treat for the eyes. The real attraction though is Steven Todd Lange as love interest Brock. His performance here is so stilted and rigged, it feels like director Sloane pulled him out of his office during lunch to read some lines and pretend to be invested in his role.

Rick Sloane relies on a steady formula of repeating the same beats again and again: there’s some kind of cat fight between Tane McClure and heroine Raelynn Saalman, someone makes a few sex jokes and double entendres, there’s a few peeks of women in tight bikinis and Kelli Hoffman looks for any excuse to stroll by on screen. In the end, it all feels like Rick Sloane was still stuck in the mid-eighties, and what comes up is a fairly solid diversion that drips gratuitous schlock at every turn. There’s big breasts, big squids, and a running gag centered on corn, for some reason. It’s a classic Rick Sloane oddity.