Totally Tubular Trailers

It's been like FOREVER since I last did a Totally Tubular Trailers, or, as the kids call it, TTT, which is not to be confused with KFC, Boyz II Men, ABC, BBD: the East Coast family. You know, just to be clear. Anyway, I have here some wonderful trailers to share with you all, some of which I've had sitting in this saved draft for far too long and a few more that have come out recently and are what I would like to call, dope.

Starting things off on an apocalyptic note is the trailer for Battle: Los Angeles. Set in the present day, the film focuses on an alien invasion/battle through the eyes of a group of military personnel. Now, there have been so many shitty alien invasion films (I'm looking at you, ID4) that I am very skeptical about most films of the genre. And with Jonathan Liebesman at the helm, the director behind such dreck as The Texas Chainsaw Massacre: The Beginning and Darkness Falls, things aren't any more promising. Nevertheless, this is an awesome trailer, and as well worn and often disappointing as this genre type is, Battle looks like it might actually deliver the goods. Plus, that title is bad-ass, and I fully expect some Frank Black to be fit in somewhere in the film.

 

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While we're on the subject of the apocalypse, might as well go post with the trailer for Davi de Oliveira Pinheiro's (yep, that's a mouthful), Beyond the Grave. Made in Brazil, Beyond the Grave is a good verses evil tale focusing on a police officer who is on the hunt for a possessed serial killer. The trailer is very interesting and appears to be a western influenced road film with a mixture of fantasy, revenge, horror, and of course, there are zombies. Cool trailer, and I specifically dig the music quite a bit.

 

 

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Speaking of great music, our last trailer for the evening, Tetsuya Nakashima's Confessions, looks like a film that will deliver all those things we love about dark and twisted Japanese cinema with a touch of quirkiness. Confessions is a revenge film about a teacher that has lost her daughter due to the actions of her classmates. Being a teacher, the grieving mother concocts a plan to take revenge on those students that were responsible for her daughter's death. And I would gander that insanity ensues. Confessions looks darkly humorous, and there's sure to be some mean-spirited and taboo situations with the whole teacher seeking revenge on school children thing. And that, dear reader, is a recipe for success. 

That does it for now, but I do hope to do these a little more than I have been, if not for the pure fact that trailers are always fun to discover and watch. Hope you found something interesting you haven't seen before! Until next time…

Amer: Sexual-eye-zed

You often hear the term style over substance thrown around within the verbal and written persuasions of cinema speak by genre fans. I feel like that statement is a bit tricky. In my opinion, substance can mean many things when pertaining to cinema and that term is, at times, almost used as a descriptive crutch. This really comes into play with co-directors Hélène Cattet and Bruno Forzani's Amer, a French language Belgian film that takes much of its stylistic influence from the earlier works of Dario Argento (among other Italian influences), who WAS a director often cited as the definition of style over substance.

Outside of the Argento influence, Amer is a heavy nod or, better yet, a love letter to the Italian Giallo film, a style of cinema that is known for its specific traits. Sexuality, fashion, mystery, violence, John Saxon possibly wearing a funny hat and, most notably, style. Of course, with this did come many films that would showcase bad acting, nonsensical plots and lame attempts at misdirection with red herrings. This would be where the whole style over substance thing comes in to play. Nevertheless, even when the films weren't filled with "substance," what the genre did more often than not was to tantalize the viewer. Whether it be with beautiful women, intricate sound design, amazing scores and a visual pallet that would often keep the viewer biting the tip of their thumb.

Amer captures all of these attributes (as well as a bit of the 3 B's - boobs, blood and black gloves) and carries them up a few levels, however, the film is far from a typical Giallo. It avoids a distinct narrative to show the journey of a woman throughout the span of her lifetime. Told in a vignette fashion, Amer's sole focus is Ana (played by three actresses: Cassandra Forêt as young Ana, Charlotte Eugène Guibeaud as teen Ana and Marie Bos as adult Ana), who is shown during three key stages in her life. Ana is a female that is intrigued by the world that surrounds her. Living under an oppressive mother, she is forced to live in what seems to be a fantasy world. A place where curiosity mixes with sexuality and fear.

Amer doesn't follow an actual story line so much as it creates a series of moments for Ana. Moments that are so intricate and pronounced, that it's difficult not to be swept up in them. Ana's journey is told through incredible editing and camerawork, with a seductive sound design that will do no less than draw one into each little moment even further. Sounds of doors creaking, the scuffing of a bare foot on a wood floor, the stretching of a leather belt. It's all there to bring the viewer in at full attention. Amer is an exercise in pure unadulterated style and the way in which it is put together is simply masterful. The use of gels, perspective, editing and points of illusion, all of which are draped over a set design filled with a tangible worn-out texture.

Within the bookends of what has tones of a horror film - outside of the tense and eerie (and very psychedelic) first act and the few brief moments of intense brutality at the end - Amer does much more than try to scare its audience. Amer is a movie about a girl that is quietly fascinated and curious about, among other things, sexuality. In many ways, Ana is sensual creature without even having to try and that is much like the film itself. Amer is, quite frankly, the sexiest movie I have ever seen, and it's done so all with technique as there is little to no nudity or sex. It's created with little touches, slight movements from the wind teasingly being flirtatious with a skirt, or a piece of hair breaching Ana's overly succulent lips. This is a film that seduces the viewer as even the tiniest of detail is driven by a sense of arousal. It's film foreplay that dances with the excitement that can come from both sex and fear.

Many will not enjoy Amer for its style over substance appearance, but sometimes substance is something that has to be worked for by the viewer, not served up for easy consumption. As an exercise in art-house experimental cinema that is meant to engage its audience with both a visual and audio assault, Amer will certainly alienate many filmgoers. If you love Gialli, then you will certainly enjoy the nod to the genre with how the film is crafted as well as the wonderful score compiled of songs that will ring familiar to Giallo fans. If you have an intense love for style and technique, this is a film that will bring you into the story using those attributes in a way unlike any other. If you have patience and don't mind being asked to fondle through subtext, you will enjoy the ponder that comes with Amer.

Salute Your Shorts: Smoke (AKA Dym)

Written and directed by Grzegorz Cisiecki, Smoke is a 2008 Polish made short film budgeted somewhere around twenty three hundred U.S. dollars. Described as: "The story of the person who became the captive of surrealistic madness," Smoke has a short synopsis, but with that comes a film that runs at just a hair above 7 minutes. However, quite a bit happens in that 7 minutes, but none of it forms to serve any real purpose toward a proper narrative. Even if it almost appears that the film progresses as if it could be unfolding to something, it plays out more like a dream (or a nightmare), more than anything.

What the description also promises is surrealistic madness, which is only added to by avoiding a specific plot. In fact, even without anything to grasp onto narratively, Cisiecki comes at his film with what is an artistic eye that's focused enough to captivate the viewer. The film is, quite frankly, very impressive technically and looks nothing short of professionally done. From the Dawid Rymar Cinematography and the solid score by Rashid Brocca and Aleksandr Poroch, to the nice color pallet that holds throughout the equally attractive art design, Smoke is visually eye enticing.     

Essentially, the film is a collage of beautiful imagery, which depending on your taste may or may not be a good thing. Despite being a bit too ambiguous, I enjoyed the short for how it was crafted, and I think that even without a traditional story there is some semblance of meaning there to grab onto. It's all right there in the film's title, Smoke, which is something that cannot be grasped and has no specific path in where it flows, which would be the case with this short film.

Take a look for yourself, and please, feel free to share your thoughts.
 

The 2010 Horror Box Office

2010 played out as a year where studios cashed in on the box office draw of the horror genre based off the previous year's numbers. There were quite a few horror films that made their way into theaters in 2009, and overall the numbers were not too bad as far as performance goes, which reflects greatly on 2010 where there were even more cinematic horror releases for moviegoers to choose from.

As was the case with 2009, the horror seemed to come in droves. With an overload of bloody releases coming in the months of August, September and October, the horror genre was once again competing with itself. Still, there were a few genre films that made an impact, however, the non-sequel/non-remake movie presence could have been better on the higher grossing end of the spectrum, but remakes weren't exactly the biggest splash this past year, either. Alright, lets take a loot at the (domestic) numbers and positions for the films that made an impact at the box office in 2010. 

Unsurprisingly, at the number 4 spot, Twilight Saga: Eclipse simply pulled in straight cash, homey, with over 350 million bucks. As much as people will cry about it not being "their" type of horror, it's still a vampire story, which makes it something that shouldn't be ignored in this situation. The previous Twilight film also came in at number four in 2009 but made under 300 million at the box office, so it looks like the Saga will continue to grow, despite the discontent for it by so many.

Balancing out the Twilight scales a little bit was Martin Scorsese's Shutter Island, which pulled in at a solid number 16 for 2010. Regardless of some genre fans debating its validity as a horror film, Shutter Island was able to scare up a nice chunk of change with 128 million dollars. This is something that reflects upon the fact that there is still an audience eager for something original and made with some sort of respect to their intelligence.     

In what I would have never expected, the number 34 film, Paranormal Activity 2, did very well at the box office with a gross of over 84 million dollars. I also never expected it to be any good, either, but the general consensus with horror fans was that it was a solid sequel to a film that didn't really need a part two attached. Either way - no matter what the fans thought - even if the budget was much higher than that of the first film, it still made all that dough with a measly cost of 3 million bucks. So I think it's safe to say we can keep a look out for PA3 next October. You heard it hear first! Or probably somewhere else, but I'll just pretend like I broke the story.

Sleepwalking in at number 46, A Nightmare On Elm Street received harsh criticism from most horror fans and critics alike. I know it's that negative talk that has kept me from taking a chance and seeing the film yet (but it is inevitable), and I think that word of mouth spread to box office as the film only dreamt up a measly 63 million dollars. In comparison to its 35 million dollar production budget, it's a modest hit, sure, but I think the return of Freddy was expected to be a lot bigger than it was.  

After a long and difficult road to the big screen, The Wolfman won over more horror fans than I think most people would have ever expected. However, sitting not so pretty at number 48, with an intake of 61 million dollars, the film didn't do so hot. Especially in comparison to an estimated budget of 150 MILLION BUCKS! Train wreck, indeed. Taking the 50th spot in 2010 was the never say die franchise, Resident Evil: Afterlife, which I think might still have a long afterlife with a 60 million dollar domestic run. Now, that doesn't sound great since it had a 60 million dollar budget, but with a worldwide gross of over 233 million bucks, it's a sure bet that Alice isn't going anywhere anytime soon.

The mostly welcome non-vs. Predators did modestly pulling in 62 million to nab the number 62 spot for the year, which isn't too bad when compared to the 40 million dollar budget the movie movie was made for. And with the addition of a new dimension and the possibility of it being the final film in the franchise, Saw 3D came back from 2009's poor showing, bringing in almost 46 million dollars (more than double the 20 million dollar production cost) to take the 66 spot.

Hitting the final stretch at 72, The Last Exorcism showed a strong presence with a 41 million dollar intake. The film was budgeted at less than 2 million, so there's really nothing but upswing there for both the cash generated as well as for lower-budgeted horror. Box office intake-to-budget factored in for both the 74 and 75 spots, Legion and The Crazies. The former pulled in 40 million over its 26 million dollar budget, with the latter hitting just under 40 million with a budget of 20.

There were plenty of other theatrical horror films that came out in 2010, but they, unfortunately, did jack shit when it came to nabbing any sort of audience. When I did this look back in 2009, the (higher end) horror box office had seven original films, three sequels and only two remakes. In 2010, we had three original films, five sequels (Predators being a sequel, in my correct opinion *wink-wink*) and three remakes. I can't say if it looks much better than it did last year as the remakes all didn't do the greatest, but there were a handful of original films that couldn't even make the cut in 2010. Sequels, on the other hand, may have showed just why they will always be a part of our lives, which is okay with me. Kind of. It'll be interesting to see what 2011 brings us (more sequels), and hopefully what it does bring is a few quality horror films for us to look back on in a year from now.

New Year's Revolution!

First off, I quickly wanted to say that I hope everyone had a great New Year's Eve. I know I did with a disturbing amount of alcohol and the eventual breakout of what I like to call, Matt's Moves. The dance floor will never be the same again.With the year known as 2010 being over and done with, it's time to look forward to the future here at CNAMB. Now that the year has passed, it's time to start thinking about my best (and worst) films of 2010. I figured I would wait until the year was actually over to put something together, which gave me some more time to catch up with a few films that I wanted to see, even if I missed way more than I would've liked to. Either way, that should be making its way to these here parts in the next week or so as well as a few other year end thingies.

As far as the blog goes, there will be a few changes, mostly with the exclusion of a few key segments that have been around for nearly as long as this blog has been kicking. I will more than likely do one last Freddy's Friday Night Dance Party to send it out on a fun note, and it's all but a big bye-bye for The Horror Hangover, too. They seem to have lost their luster and become a choir more than anything. It's fun to come up with various ways to do segments like those but, at the same time, nothing sucks worse than having to feel obligated to do them. Also, spending up to an hour trying to find some of the videos for FFNDP is nothing short of time consuming and frustrating.

With segments leaving equals more time to do other shit. I don't have anything specifically planned, but I would like to do different things like the True Grit/Winter's Bone post or the Brundlefly Christmas gift guide, which were posts that I wrote instead of wasting time throwing Dance Parties and having Hangovers (which only made the previous decision all the easier). I also want to try and scale down the length of my reviews. I have an incredibly difficult time writing short reviews, only because I usually have so much to say and it's hard for me not to say it all (and yet I hold back so much!). However, I think these over a thousand word reviews may be a bit alienating to some of you kids out there. The comments have dropped drastically, and I would assume that it was either due to A) my reviews suck, or B) people see the length and for the hills they run (that's not what she said). I can at least try and fix one of those issues.

Now this post is suddenly getting too long, so I leave you with this, a thank you to everyone that made 2010 a great year here at CNAMB, as well as a massive thanks to all of the awesome people that have breached the internet to become good friends. And now, onto 2011…

Winter's Grit: These Boots Are Made For Walking

As I sat in the theater watching the latest Coen brother's film, True Grit, I quickly noticed a certain familiarity with the character of Mattie Ross (Hailee Steinfeld). The film's main focus, Mattie is an intelligent and determined 14-year-old girl who will stop at nothing when it comes to finding the man that murdered her father in cold blood. This young female character immediately brought me to thoughts of Ree Dolly (Jennifer Lawrence), the lead protagonist in Debra Granik's incredible film, Winter's Bone. Much like Mattie, Ree is a smart and unwavering female character that also has a difficult task that she is faced with. But as opposed to finding her father's killer, Ree is trying to find her father - who may or may not even be alive – so she can save her family from an uncertain fate.

Two very different women that both share a single goal, armed with a drive that would dwarf even the largest of obstacles. Mattie and Ree are inspiringly strong female characters who share many qualities despite their cultural differences. They are what you could call survivors in a way, but one is forced to do so out of necessity, while the other does so to see that justice is served for the one that she has lost. Both have what I would like to call true courage, though, in Mattie's case, she may be too young and naïve to see the danger in which she is putting herself. Then again, maybe she does in fact see it and simply doesn't let it topple her strong spirit. Ree, on the other hand, has to have courage. She has to because if she doesn't, not only will it affect her, but her defenseless family, too.

Even at the age of 17, Ree is already a world-weary woman due to living a very difficult and hardening life. She is not well educated, but her smarts come from the survival instincts formed by living in the very difficult world that she was born into. She has grown up in a place where it is a necessity to endure, and she is using that strength to fight tooth and nail to keep from losing her home. A home that would be lost if her bail-jumping meth-cooking father isn't found. This isn't a story about a girl trying to find her father to save him. Instead, it is about a girl that will risk her life in a dangerous world (that many of us are not at all familiar with), not to keep a roof over her head, but the head of Ree's two younger siblings and ill mother. In this situation, Ree has become the mother, the one that has the ability to take charge and keep her family from situations that no one should ever have to be confronted with. Including herself.

Mattie has a lot more going for her as far as a future goes. An incredibly quick witted and sharp young lady, she has the ability to make things happen with her tenacity for verbal deliberation. She is so young, which makes it easy to underestimate her but it's also something that works to her advantage when she is able to get the best of unsuspecting adults. She understands laws, she understands her rights, and has no problem with letting people know that she will not be easily pushed around. She rides down a road that is never made any less difficult for her due to her age or sexuality, but it is just those qualities that seem to feed her aggressive posture, making her a stronger force because of it. She is driven by despair for a father that was wrongfully taken from her and will stop at nothing to see that his killer pays for his crime.

What Mattie and Ree share as characters is simply how resilient they are to the oppression that faces them. There is no wall that either of these "girls" cannot scale because their drive is too intense, too important. These are fantastically written characters and are brought to life by equally amazing performances. In a movie where Jeff Bridges shows just why he won an Oscar, Hailee Steinfeld is able to stand out in what is a wonderful performance for such a young girl. In fact, it may even be good enough for an Oscar nod, in my opinion. As far as Jennifer Lawrence goes, well, lets just say that in a world where someone like Sandra Bullock can win a sympathy Oscar for playing a hallow character, then it would be a travesty if Lawrence wasn't granted the shot to win for a character and performance that truly should be applauded.

Snowbeast: Fur is so 1980

Deep in the frigid mountains of Colorado, the proprietors of the Rill Lodge Ski Resort have come under attack by a creature so vicious, even John Denver's succulent voice cannot stop it. A monster that feels not the pain of the winter's biter cold as it is driven by a thirst for blood that can only be quenched by that of yuppie skiers decked out in Fluoro ski suits. Many have heard of Bigfoot, Yeti, the Abominable Snowman, but they all fail in comparison and can do nothing more than bow down before the ultimate elemental survivor, the Snowbeast! What's the difference between all of these creatures? Actually, outside of coat color, I don't think there really is, but the name Snowbeast does have a badass ring to it, now doesn't it?  One thing I am sure of is, things are about to get rocky up in these here mountains. 

This 1977 made for television horror film uses the often imitated Jaws formula but does add a whole lot of skiing to the mix. Not water skiing, mind you…that was in Jaws. I mean real skiing. Not that water skiing isn't real skiing or anything, I just mean the kind of skiing that is done on slopes that are made of compacted snow and ice. I would hate to insult my waterskiing readership in any way. Anyways, it's the 50th Annual Winter Carnival at the Rill Lodge and Ski Resort and a record turnout is expected for this festival of fun in the clouded sun. Things are going just peachy, that is, until two girls are attacked by a SNOWBEATS (sorry, I'm so pumped I can't even seem to spell it right!)! One of the girls gets away, which is hysterical because without even a hint of hesitation, she takes the fuck off at the first sound of this mythic creature, leaving her so called friend behind to get her ass eaten up.

Now, this poses a serious problem. You see, generally when people are killed by Snowbeasts, winter carnivals are cancelled, right? Wrong. Don't forget, this is the 50th winter carnival and there is no way in hell some Snowbeast is going to stop such a joyous event. It's the 50th, man! That shit only comes around every few years, so there is no chance that it can just be cancelled due to some human hungry creature - with an incredible fur coat - ripping skiers to shreds. The resort's owner, Carrie Rill (Sylvia Sidney), convinces her grandson and resort manager, Tony (Robert Logan), that if they just tape off the area where the Snowbeast attacked and possibly may have KILLED the girl, all would be just fine. Tony begrudgingly goes along with it because it is his grandmother's place, and who knows…maybe the MURDER is just a fluke. Nothing to worry about at all.

While all of this nasty Snowbeast nonsense is happening, one of Tony's old friends, Gar (Bo Svenson) and his wife Ellen (Yvette Mimieux), show up in the hopes that Gar can find work at the resort. Gar - an Olympic ski champion, not the guy from Mask - has fallen on hard times, but thankfully for him, Tony's got a spot for him and apparently, Ellen has a spot for Tony. A hot spot, if you will. You see, at one time Tony and Ellen were a thing, but life happens, they separated ways and Ellen went off and married Gar. Now it seems very clear that Ellen is ready for a little ride down Tony's ski pole, but Tony avoids the advances, and I think I know why…

See, Tony and Gar share a whole lot of one-on-one time together in Snowbeast. Enjoying meals together, swimming in hot springs together (in their underwear, naturally), lounging around in bathrobes together and had it not been a made for TV affair, I'm sure they would have tried to make cute little snow resort babies together too. It was the track in which they were on, there is no denying the signs.   

 

 

 

 

 

 

The only thing that can keep these two man thirsty bears focused on something outside of each other is hunting down a massive, hairy, powerful monster with big feet that would love nothing more than to eat them right up. Oh, my. These mountains are vastly rockier than I would have expected. Yeah, that's three Rocky Mountain High joke attempts. What of it?

Snowbeast came out in 1977, and with that comes a nice retro aesthetic filled with stylish ski clothing, some great hair and a ski lodge that is to die for. And I am a sucker for 70s fashion and décor, so Snowbeast gets a few easy points right there. However, much like many films from the time, Snowbeast moves pretty slowly overall, with multiple scenes where you simply just watch assorted characters skiing for what seems like days on end. Granted, the skiing is actually nicely shot, but a solo-search scene via skis that lasts for a good five minutes is a bit much to ask of from an audience. Skiing is great to watch and all, but I'd prefer a little more Snowbeast in my Snowbeast.

As I mentioned beforehand, Snowbeast is essentially a Jaws rip-off, so with that comes the less you see, the scarier it is approach. I'm not too sure that director Herb Wallerstein was able to obtain that less is more quite like the classic killer shark film. What worked in Jaws was how perfect the tension was built, but also the characters and their interactions with one another were all more than enough to keep most people on that hook during the non-shark moments. Nevertheless, when on screen, the Snowbeast looks cool enough, and I love me a good old cheap claw attack here and there if not for how silly it is. There are a few decent pay off scenes, one in particular being when the titular creature attacks the snow queen ceremony, as well as a decent little cabin attack. 

It's a made for TV movie from the 70s, so it's pretty much what you would expect, I suppose. It's not too violent, not too scary and not all too good but it isn't terrible either. It works as a nice little winter horror film that makes for a perfect background watch while you're doing something else. Like skiing.