Director Arthur Jones’ documentary is probably one of the most important and depressing films of the last five years. It’s mainly a movie that doesn’t just touch upon the snowballing of a mascot for pure hatred and violence, but the horrifying power of the internet and its litany of sub-cultures. It also explores the little known fact that its original artist never intended to give it the kind of purpose that’s given it a notorious unstoppable life inside and outside of social media.
Tag Archives: Indie Film
Hail to the Deadites (2019) [Fantasia Festival 2020]
Steve Villeneuve’s “Hail to the Deadites” is a documentary about “Evil Dead” that touts itself as not featuring any kind of footage from the original films at any point. You’d think that would hinder the experience, but that only benefits the feature in the end. “Hail to the Deadites” is an unabashed love letter to the fans and the fans only. It explores the various facets of “Evil Dead” fandom, how all three movies have affected their lives, and how Bruce Campbell has become a source of inspiration to many.
Clapboard Jungle (2019) [Fantasia Festival 2020]
Justin McConnell’s “Clapboard Jungle” is essentially about artistic pursuit and the search to grab even the slightest success in a world filled with artists. How does an artist make it in a world where millions of others are working night and day to make theirs heard? How do you thrive without competing or stepping over others? How do you stave off imposter syndrome? And in a climate of consistently rotating and interchangeable titles, is it even possible to deliver anything fresh or appealing in cinema anymore?
Morgana (2019) [Fantasia Festival 2020]
Isabel Peppard and Josie Hess’s “Morgana” is a documentary begging to be turned in to a feature film. It’s a wonderful and heartbreaking account of sexual repression, forced domesticity and using pornography as a means of re-claiming individuality. “Morgana” is short, but it’s an engaging journey in to the life of Morgana Muses, who suddenly found herself without the demands of a marriage that offered zero fullfilment. When she’s finally free she has no idea what to do with herself. That is until she realizes sex is a big part of what kept her from blossoming as a woman and adult.
A Night of Horror: Nightmare Radio (2019)
“On this stormy night, we are going to tell horror stories, because horror stories never end.”
I’m a big fan of the concept where studios or a collective of directors take various short films from indie directors and create anthology horror films in the vein of “Tales from the Darkside” or “V/H/S/.” The idea is a great one and opens up a broader audience, and allows them some great exposure. “A Night of Horror: Nightmare Radio,” is one of the many that’s come along, mixing seven stellar horror shorts told by a lone radio DJ in the middle of the night.
Nothing But the Blood (2020)
Intentional or not, when you go in to “Nothing But the Blood” you’re bound to have flashbacks of “Red State,” as director Daniel Tucker seems to be sewing his narrative from the same cloth. Ideas about religious fanaticism, the deadly cost of religious institutions, and the hypocrisy of religious leaders are all here. Les Best even seems to spend most of his time on screen channeling Michael Parks. Daniel Tucker tries hard to establish him as a source of evil, even beginning the movie with a fourth wall breaking prologue as Best’s character reads a long sermon and angrily preaches to us.
Why this should set up the story I was never entirely clear but—it’s black and white, so it’s eerie…?
Angelfish (2019)
Peter Lee’s “Angelfish” is a very good drama romance about two people with varying obligations and turmoil finding love with one another. Often times when it hits, it hits hard, but when it fails, it tends to ruin the momentum of the narrative and drag on for quite a while. Shocking enough, “Angelfish” can sometimes feel long in the tooth, if only because it often feels like it’s padding the narrative rather than using those opportunities to add more dimension between our characters Brendan and Eva. That said, even in its imperfections, Peter Lee’s Bronx set drama is engaging and often times emotional.