It’s a crazy, mixed up world and we are thankful for movies, sans New Moon, that offer proof. Weekend Weirdness cocks its disoriented, nappy head to examine such flicks, whether in the form of a new trailer for a provocative indie, a review, or news of an excavated cult classic. The works discussed herein tend to make cinema a little more interesting, and in the best and worst cases do the same for life. In this installment: a doc on Norwegian black metal; a doc on the first Asian member of the Black Panthers; a forgotten Dennis Hopper outlaw flick from Down Under; and a dumb-catchy rap song from the Sudan about movies, birds and popcorn.
With the possible exception of Forever21-styled country music a la Taylor Swift, no other music genre is as stigmatized and sensationalized by acts of church burning and murda as Norwegian black metal. The documentary, Until the Light Takes Us, is a dedicated and almost clinical look at how Norway’s black metal scene was permanently transformed—and magnified—in the early ’90s by what are now infamous acts of violence and rebellion.
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This week, Dave Chen, Devindra Hardawar and Adam Quigley celebrate Fight Club’s 10th anniversary by diving into the film’s newly released Blu-Ray, praise Park Chan-Wook’s Thirst, express ambivalence about the upcoming Uncharted film, and dissect the Twilight phenomenon as best they can. Special guest Jen Yamato joins us these evening.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next Monday at 9 PM EST / 6 PM PST at Slashfilm’s live page as we review The Fantastic Mr. Fox.
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Today was a special one-off Frightfest event, which saw the return of the festival to it’s seedbed cinema, The Prince Charles, on Leicester Place in London. There are four separate Film 4 Frightfests a year – a full weekender in August, a Glasgow satellite event, an all-nighter at the ICA and, finally, what would usually be an all-Lionsgate fixture. This was the Lionsgate date, but this time only one of their pictures was on the program and some other distributors were called upon to make up the numbers.
As well as the UK premieres of Embodiment of Evil, Shuttle, and Repo! The Genetic Opera, the fest also featured the world premiere of Lesbian Vampire Killers and a special double bill of Not Quite Hollywood and Turkey Shoot. There’s something brief on each of those, as well as news bits from or about Darren Lynn Bousman, Dario Argento, Terrance Zdunich, Phil Claydon and MyAnna Buring after the break.
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History books say that Australia was founded by criminals, crabs and derelicts, so why shouldn’t the land’s cinema reflect such ribald and humble beginnings? The new documentary, Not Quite Hollywood, takes a look at ’70s/’80s “Ozploitation” (what a sweet word) from the eyes of endless players (Jamie Lee Curtis, George Miller, George Lazenby) and admirers—yeah, you just knew that Quentin Tarantino would be available to tell you how it be and how it used to be. When it comes to docs like this (btw: you must Netflix Z-Channel!), QT’s that lone guy in the theater whenever you walk in 25-mins early.
The NQH trailer overfloweth with priceless Fango-gasm gore, supple eroticism, and the always lovely Stacy Keach saying “rape” and pontificating about his and Curtis’s 1981 hitchhiker thriller gem Roadgames. I’ve seen a lot of B-movies, but I’m not sure just how much altered-state Aussie celluloid has floated through my brain over the years. Off the bat, I’d recommend seeing Peter’s Weir’s mindfuck, The Last Wave, and recommend knowing about (but not seeing) the only killer feral pig movie, Razorback—sounds great, I know, but it plays like a neverending Duran Duran video. Also: you pretty much see all of the feral pig footage in that entire film in this trailer. All in all, this is a colorful-looking doc from sometime director Mark Hartley. Film history, for your health.
CLICK HERE TO VIEW THE NOT QUITE HOLLYWOOD MOVIE TRAILER.
Discuss: Favorite Ozploitation flicks besides Mad Max? Anyone, anyone? Any riotous defenders of Razorback (besides AICN’s Verne, way off on this one, dude)?