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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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Krampus (2015)

Krampus-1Michael Dougherty is brilliant at completely rethinking and reformatting our image of popular holidays and the lore the masses have subscribed to for centuries. After doing an amazing job with Halloween, Dougherty tackles Christmas with what is easily one of the most demented holiday horror films ever made. “Krampus” is an intelligent horror comedy based around the lunacy of the holiday and how the hollow rituals and traditions practiced can build a sense of cynicism and pure hatred for what is supposed to be a fine time of year.

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Knock (2015)

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I have to give it to Joseph L. Martinez, “Knock” is a fun and scary Halloween treat that should be watched by folks that like their scares short but sweet. “Knock” is based around a simple premise but ends on a delightfully clever bang. Murielle just spent Halloween night with her friends in an abandoned mine. Said mine allegedly houses the spirit of an ancient witch who stalks you if you knock on the mine walls three times.

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Knock Knock (2015)

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I’m stunned it took two screenwriters and Eli Roth to write what is a remake that steals bits from “Funny Games.” This time rather than the nemeses being petulant snot nosed young guys, the villains in this instance are two gorgeous young girls. “Knock Knock” is the least incompetently made film from Roth’s ever growing film library, and that’s due to the fact that it borrows a lot from “Funny Games,” despite being an admitted remake of 1977’s “Death Game.” There isn’t the sly self awareness, but Roth and co. do eventually realize how stupid their story is and then completely ride off the rails by the second half.

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Kuffs (1992)

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I have a long history with “Kuffs.” Back when I was a kid I didn’t have cable so I watched movies on local television. “Kuffs” was one of my favorite movies as a child. It was that kind of kick ass crime thriller and buddy comedy that I loved. I must have seen it a thousand times as a child, and I loved how bad ass Christian Slater was in it. He was just so cocky and charismatic that it always kept me coming back again and again. Yeats later, watching “Kuffs” without the nostalgia glasses on, it’s a movie that’s just… pretty okay. It’s not a masterpiece, but it has its merits.

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Kids (1995)

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What’s the difference between kiddy porn and art?
The Lighting.

One of Larry Clark’s many infamous “Kids are Evil Monsters” movies, “Kids” is one of those films I’m proud to admit I despise with every inch of my being. And to this day I’m still trying to forget I ever saw it. In 1995, Larry Clark made the scene of indie and art house film by showing the world, the ecosystem of kids and what they do when adults aren’t looking. And while he was somewhat accurate in that regard concerning their penchant for sex and drinking, he forgot to include one crucial film detail: A narrative.

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Kung Fury (2015)

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And everywhere, eighties geeks just had the largest orgasm after watching “Kung Fury.” In fact, if you’re an eighties geek, I dare you not to break down in tears while watching. David Sanberg’s “Kung Fury” is bleeding eighties ephemera from every orifice. It’s a sweet eighties homage that mixes every cliché imaginable right down to the screaming police sergeant forcing a new partner on his rebel cop. Triceracop. There’s actually a goddamn Triceracop.

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