Jason Roberts’ science fiction thriller was a thinker, and by that I mean that I simply didn’t get it. At all. I sat there in the end dumbfounded, confused, and ultimately unsatisfied. And then I thought, and thought, and then figured out that perhaps writer Aretha Donnelly was asking the audience to decide for themselves what she was trying to get across.
Hi, I’m Felix, a movie critic who, you may know, has been a hardcore Superman fan since before I could read. Superman is a character that’s meant a lot to me over the years, and I take great humor in folks who pay homage or poke fun at the character because Superman is a versatile creation that’s ripe for any context. “The Asian Superman Myth” is a mock documentary that begs the question: Is Superman really Asian? It’s possible, is it not? Claveria makes a great case for the notion. In Claveria’s film, the world shown is a world where Superman exists, and Superman is not only just a popular comic book character, but an anomaly that may or may not exist among us.
There’s not much to say about “Square Pegs” other than it’s probably one of the most surreal, and yet most powerful short films I’ve ever seen. Not only does the imagery spark a head trip of pure acidic proportions, but it’s such a fantastic statement about faith, and the ongoing war of good and evil and the religious belief of the human soul being wrestled with even after we die. Though I’m not sure I agree with the overall statement Ben Hicks makes about the atheists role in the “war” that ensues for our state of being after our death, “Square Pegs” is nonetheless a powerful little film that makes the best of its low resources.
The apocalypse. I love it. I love everything about it, I love the potential for story and human study is presents, I love the whole idea of society crumbling under the threat of some force, and I revel in writing about it. “After” is yet another take on a zombie apocalypse, except this time… it’s through the eyes of a zombie. After a presumably horribly bloody death, three survivors, held up in a large house, draw their attention elsewhere as their father lays in the next room slowly dying. Through his eyes, we watch his last sights as his children run back and forth planning an escape from the zombies outside. He then emerges and begins wandering the house, with his children struggling to fend him off without killing him.
Now living as an online cult gem, “Hobo with a Shotgun” has an interesting history. Around the time the craze for the Tarantino-Rodriguez “Grindhouse” rolled around, there was a lot of excitement. Fake trailers, the Grindhouse feel, and two big movies, and then they offered young filmmakers at SXSW a chance to create their own fake trailer to be featured during the actual movie. “Hobo with a Shotgun” won out. Granted, it only was featured in a few theatrical showings across the US, it was praised as one of the few entries to capture that truly trashy atmosphere that made Grindhouse so much fun. And shockingly, Eisener captures the time much better than Rob Zombie’s trailer did.
I still don’t see why it’s so difficult to turn two of the coolest superheroes into a full fledged action franchise to this day. If anyone is more deserving of a movie franchise it’s The Green Hornet and his assistant/sidekick Kato, who, with the right director, can be turned into a blockbuster franchise that could easily be put in the same consideration as Batman.
Writers always put themselves into their work, be they articles, reviews, and especially fiction. The stories we tell are a part of us, they’re our personality, our inner most desires, and our greatest wishes. What “A Work in Progress” does is feature a storyteller in search of her own friend. She’s a girl who sits watching many other children play while she’s forced to basically write and create her own characters. And wouldn’t you know it, she begins to tell the sad story of a brown bear in search of a friend.