Hello all. Mark here.
The MFF podcast is back! The superhero team up with Shark Dropper Studios will shake the foundations of this earth and revolutionize the art of talking. If you’ve been reading the site for sometime you know that John (The Horror Maestro/Leviathan/Bombardier) and I have created a unique style that integrates intelligence, cheekiness and a love of cinema. Whether covering mainstream/non-mainstream/incredibly non-mainstream horror or studying Nicholas Sparks movie posters we want to bring the readers something new.
This podcast will be a celebration of all things random (we give out random awards in the pod) and cinematic. The folks at Shark Dropper and our wonderful host John (O’)Lasavath embrace the random spirit and together we hope you build a podcasting empire that will be enjoyed for years to come!
You can download the podcast on Itunes or stream it on the Shark Dropper website.
We hope you enjoy! If you have any questions or want to hear us cover a certain subject let us know.
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John’s Horror Corner: The House at the End of Time (2013), a cerebral house movie that bends time, genres, reality and expectations.
MY CALL: A cerebral house movie that bends time, genres, reality and expectations. Venezuela’s #1 thriller of all time is truly a winner. MOVIES LIKE The House at the End of Time: I’ve seen my share of “house movies” and this one certainly stands out. House Hunting (2013) and Silent House (2011) utilize effective means of disorienting viewers creating a sense of tension and unease. Even Oculus (2014) serves as a house movie in the same manner despite its focus on an evil mirror. House (2008), however, should be skipped altogether. OTHER TITLE: La Casa del Fin de los Tiempos.
I recently had the pleasure of viewing this Venezuelan thriller when my girlfriend stumbled across it on Netflix. Being adventurous about trying new horror movies completely unknown to us—a quality I absolutely adore about her–she did some research and it turns out that this movie was actually a pretty big deal in Venezuela. Evidently it ranks as the highest grossing thriller (in Venezuela) of all time, selling 700,000 tickets during its 41 week run at the box office—which means that 1 out of every 42 people in the entire country saw this in theaters! A horror movie! That’s impressive. That would be about a $60 million box office gross if 1 in 42 people in the United States saw a movie assuming an $8 ticket (which may be on the low side). Not bad for first time writer, producer, editor and director Alejandro Hidalgo!
But even still, I somehow remained skeptical. After all, Venezuela is a country one-tenth the size of the United States with about 30 million people and loads of tropical forests. I questioned whether they’ve made enough thrillers (or movies in general) for me to be impressed with their “highest grossing thriller of all time.” But, being adventurous myself, I submitted to my girlfriend’s desire to see this figuring “we can just watch something else if it’s no good.” Let’s just say my expectations were very wrong…and hers were right.
Anyway, at its start I had low expectations. But, I do like a good “house movie” and the disorienting devices that often accompany them like protean or even labyrinthine architecture and plays on time (flashbacks, haunting visions of the past, actual time lapses). And a good house movie is exactly what we got! However, this house movie is far from being cut from the typical mold. This is neither scarefest nor gorefest. This is something so much deeper, so much creepier, so much more cerebral.
The House at the End of Time opens on an ill-fated evening set 30 years in the past when Dulce is convicted of the murder of her husband and missing son. Then we move to present day, after an elderly Dulce has served 30 years in prison and is returned to her home to serve the remainder of her life under house arrest. Almost as quickly as she gets home and sits down, she is visited by a priest who tries to help her remember exactly what happened that night 30 years ago.
Opening scene 30 years ago (ABOVE); Dulce and the Priest (BELOW)
The pacing was not ideal, often alternating between long scenes of kids playing and intense scenes of marital disorder during the first half of the film.
We also alternate between scenes from the past and scenes from the present as elderly Dulce wanders her home and begins to remember more…some of which she never recalled even 30 years ago. At times, she seems to be hallucinating her present day elderly self into these scenes from the past. But are they hallucinations caused by the house, are they suppressed memories, perhaps they’re her own delusions…or is it all something else? I even found myself questioning if we’d discover some manner of possession had occurred, or some other form of evil. Is this house movie or a ghost story? Is Dulce a ghost!?!?! Is Dulce guilty or innocent of her family’s murder? Is this house her own personal Hell where she relives visions of her past sins? Why is this priest interested in helping her solve the mystery? So many questions—it’s easy to get carried away. I wanted answers and so did Dulce (and so did my girlfriend LOL), and none of us cared what it was—as long as we had “an answer.”
At one point young Dulce visits a medium. The scene is creepy.
Now, please make no mistake and please distrust any reviewers who call this film “one of the most scary” movies of whatever. There are a few effective jumpscare moments, but this movie is more about a steady atmosphere of fear, tension, anticipation and disorientation. Writer/director Alejandro Hidalgo succeeded in creating a consistently creepy, engaging slow-burn that kept me watching the shadows for evil and thinking at the same time, trying to solve the time-based mystery therein. Without spoiling anything, I’ll reveal that time is played upon much as it is in Oculus, such that we don’t really know what is the present and what is the past…or future…or are two times meeting one another somehow… or even…. you get the idea.
It’s also easy to discount movies of apparently low budget. This film has the complicated story of a book, looks like someone filmed a play (with a huge set and special effects), and feels like a horror-drama-mystery telenovela.
During the third act of the film some things will make sense, others things maybe not so clearly. Just be advised that this film will end up proving that it’s a lot more clever than you think it is. Its story is elaborate to the point that I find no borrowed components from other stories. No. This story is unique and, much like its successor Oculus, it thrives on the audience’s fear of the unknown and things that may or may not be revealed.
This film was eerie, unpredictable, disorienting, and it pleasantly surprised me. Even though it’s a Spanish language film subtitled in English, the pace is casual enough that reading along will not compromise you’re ability to immerse yourself in the story and its chilling atmosphere.
Don’t be intimidated by subtitles. Don’t shy away from this foreign movie. Please, do give this a chance.
This article is dedicated to my girlfriend. She chose this splendid gem, she got me to stick with it and see it through, and she has stuck with me. Love you, baby.
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MY CALL: Short Circuit (1986) meets RoboCop (1987, 2014) in this visually striking and emotionally captivating take on artificial intelligence, humanity and a likeable robot. Chappie is vibrant, emotionally fragile and soulful; expect him to touch your heart. MORE MOVIES LIKE Chappie: RoboCop (1987, 2014), Short Circuit (1986, 1988), The Machine (2013), I, Robot (2004) all include critical elements we see echoed in Chappie.
Set in the near future, Chappie begins when artificial intelligence engineer Deon (Dev Patel; The Newsroom, Slumdog Millionaire, The Best Exotic Marigold Hotel) creates an AI program that is self-aware and conscious. Working for a weapons company, Deon previously pioneered the technology enabling a completely robotic and ever-growing police force in South Africa and he uploads his program into a damaged robotic unit scheduled for destruction.
One problem we encounter (and many reviewers are slamming hard) with the story is that it encapsulates too many sub-stories with too many antagonists (or, more like characters with conflicting motives). Chappie (Sharlto Copley; District 9, Oldboy, Europa Report) and Deon are clearly our “main” protagonists. The weapons company CEO (Sigourney Weaver; Alien, The Cabin in the Woods) and an ex-soldier-turned weapons engineer with a ridiculous mini-mullet (Hugh Jackman; The Prestige, Real Steel, Prisoners) are introduced to us as being of questionable roles (neutral vs antagonists). There is a sort of Mad Max: Road Warrior gangster lord who is pure evil and has no business being in the story. And some semi-likable criminals (Ninja and Yo-landi VI$$ER of South African hip-hop/alt band Die Antwoord, and Jose Pablo Cantillo of The Walking Dead and Sons of Anarchy) are introduced who usher Chappie through his development, but on questionable terms.
Another thing that many (generally negative) reviewers have honed in on is that much in this story will feel familiar. Scenes echo Johnny Five (Short Circuit) discovering new things, being excited about the world, learning new words and how to express himself and even being misled by gang members (Los Locos, from Short Circuit 2). The setting and mechanized law enforcement, the position of the weapons industry, and the ethical tug-of-war encapsulating it, smacks hard of RoboCop…and you’ll even see a larger, human-operated robot that will look like a newer version of RoboCop’s big bad ED-209. And the self-realization and emotional conflicts often mirror both I, Robot and Short Circuit. But while pieces of Chappie are “like” pieces of other movies, the final product creates a very new, intense and emotionally kinetic experience.
Chappie, meet the world.
Chappie learns about thug life.
Thugs teach Chappie to fist bump and look cool.
Despite some familiar components and the “problem” of too many antagonists (both of which I find forgivable given this film’s other powerful merits), the film remains exceptional and the story boils down to this… Chappie is created and falls into the wrong hands. His exploiters form strong relationships with him (some sincere, some not) and lead him down a manipulative path of crime. Like an adolescent, Chappie makes strong emotional connections and, like a rebellious teen having lost his child-like innocence, he scornfully pulls away from his loved ones when he discovers (or wrongly perceives) lies or mal-intent. We watch and hope as Chappie discerns right from wrong…and the true intentions of those who love him.
Thugged out Chappie preparing for battle with the gang.
The use of Die Antwoord’s music to score much of the film (Hans Zimmer rounding out the rest) was an interesting choice. Their music is edgy, often catchy, even just plain weird (but in a neat way), and this style of music creates an aura of playful menace as we see a naïvely gleeful Chappie being manipulated into performing crimes and harming (even killing) people without his knowing. This film is appropriately rated R for its violence, and the intensity of that violence never seemed overdone, even if quite brutal at times. I should add that the action was great and the special effects were top notch. However, this film is as much an emotional drama as it is an action film.
Chappie vs. the MOOSE (an ED-209 lookalike)
Above all, South African director Neil Blomkamp (District 9, Elysium) is tremendously successful at eliciting our emotional response to Chappie’s journey. When he is first imbued with consciousness, child-like and scared and unable to communicate, we feel tenderly for him. Chappie’s enthusiasm to learn about the world contagiously tugs at the muscles in our faces that make us smile. As he identifies a mother figure (Yolandi) we feel warm. When people try to take advantage of Chappie we want to right the wrong, and when a frightened and abandoned Chappie is beaten and damaged by street hoodlums, our hearts wrench and we come nearly to tears…it was difficult to watch.
In the end the lives of our protagonists are threatened and, whereas most movies may allow us to comfortably “expect” a happy ending, the direness of the final act infected me with a sense of anticipated sadness. I won’t reveal if I left the theater feeling warm and happy, or sad. But I will say that this film took me on a powerful emotional journey and I have every reason to recommend it. Some flaws may keep this from being viewed as a great movie in the eyes of many, but it is absolutely a great story. Chappie is vibrant, emotionally fragile and soulful; expect him to touch your heart.
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The Best Fights of Nicholas Sparks Films
Hello all. Mark here.
“There’s nothing more enduring than first love.”
That is the quote that opens up Nicholas Spark’s new movie The Best of Me. I reworked that quote to fit this post
“There’s nothing more enduring than watching Kevin Costner engage in an all out brawl in a romantic film written by Nicholas Sparks”
I recently watched the totally pointless 1999 film Message in a Bottle. The book was written by Nicholas Sparks and the adaptation cemented down a blueprint for the following Spark’s films (lots and lots of melodrama). Amid all the schmaltz there was one scene that really stuck out. During a morning breakfast at a diner Kevin Costner gets into a slugfest with his deceased wife’s brother that involves chairs, tables and butt kicks. It feels totally out-of-place and it got me thinking about other fights in Nicholas Spark’s films.
The fights go down like this. A one-dimensional jerk does something jerky and the hero punches him. I went through the fights and deduced that the Message in a Bottle brawl is the best of the bunch due to the sheer randomness of it. It is refreshing to have a brawl between two grown men who have a decent feud.
1. Message in a Bottle
The fight in Message is a sudden blast of middle-aged violence. Costner is enjoying a morning coffee when an unnecessarily angry man walks into the restaurant and starts running his mouth. The two obviously have a past and by the look of the restaurant owner’s face they’ve fought before. Costner says something snarky and the dude runs towards the table. Here is where it gets interesting! In a true veteran moment Costner kicks a chair at the guy then picks him up easily and slams him on a table. Costner gets pulled back by a restaurant patron and because of this he gets kicked in the butt. A couple more punches are thrown and the two go their separate ways.
I couldn’t find the fight so I will show you a picture of Kevin Costner in The Postman. How cool would it be if his Postman character found the message in the bottle? Mind blown! You are welcome Hollywood.
2. The Last Song
The fight scene from The Last Song exemplifies the one-dimensional jerk character of Spark’s films. In this instance of fisticuffs we get a druggy named Mark interrupting a fancy wedding via all around jerkiness. He throws water in his ex-girlfriend’s face then pulls a crowbar out of his old truck to go to work on Liam Hemsworth. Liam disarms the jerk then engages some solid clinch work and lands several uppercuts which push the jerk to the ground. He then throws some unnecessarily angry ground and pound which leaves the jerk with a legit bloody nose. The problem is that once Liam saves the day his mom totally punks him out in front of the crowd (Spark’s parents are always a pain in the butt).
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3. A Walk To Remember
Incredibly jerky teenagers mock poor Mandy Moore because of a circulating picture. These kids are really really really mean. Not in the normal way. They are mean in the “we were written for the screen” kind of way. However, the tides turn quickly as Shane West walks into the room and gives the bully a solid two-handed push. The bully pushes back, then turns and yells at his girlfriend (worst kid ever). The good news is that when he turns around West pops him with a legit sucker punch. Some guy comes in to break it up and he gets pushed into oblivion (seriously, I don’t know where he went after the push). Then, the bully does some rock fingers and says “we’re through.” He calls West a “chicken sh#t” which doesn’t make sense because he is the one bullying women and throwing rock fingers. Did I mention he was throwing rock fingers whilst looking like a Puddle of Mud über fan (no offense to casual Puddle of Mud fans)?
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4. Dear John
Channing Tatum wipes out poor Randy (Scott Porter) and ends up breaking little Tim’s (Henry Thomas) nose. The fight is the quintessential jerky friend zone guy battling the quiet and intense love interest. Poor Randy is in the wrong place at the wrong time and he gets taken down with a punch and a head/leg sweep. It is really embarrassing for the poor friend zone guy. However, Randy was out of his league and is dealt with in a very Tampa sort of way (way too violent).
I couldn’t find the fight but you can see most of it in the trailer.
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5. The Best of Me
The Best of Me is garbage. It takes excellent actors James Marsden and Michelle Monoghan and gives them a script written by a romance sociopath. The fights in Best of Me revolve around the Boyd Crowder wannabe father beating up an old man and his 17-year-old son (who is actually a 25-year-old Australian). The only good moment in these punch fests is when the 25-year-old Australian catches one of his father’s punches. PLEASE do not watch this movie. It hurts the soul. I understand if you are a Sparks completest but know it is almost worse than Nights in Rodanthe.
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Runner ups!
1. Zac Efrons dismantling of Biff’s (angry ex-husband who is an angry cop) gun. it is quick, slick and prevents further dust ups.
2. Julianne Hough’s incredibly violent and deadly bunkhouse brawl with another massive jerk in Safe Haven.
3. James Marsden’s wrench work in Best of Me. He is sneaky like Mr. Deed’s butler but it is all for naught. I really don’t like this movie.
4. Paul Newman’s shove work in Message in a Bottle. He is great in Message. The ending is absolutely insane.
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Predestination: A Man Walks Into a Bar
A man walks into a bar……ouch.
Predestination tells the joke like this: A man walks into a bar and unloads a doozy of a story on the bartender…….Your brain hurts.
Where do I start? When you attempt to explain the plot of Predestination it leads you through a rabbit hole of moments that will undoubtedly leave the listener/reader scratching their head. The film is rife with twists and turns that demand the attention of the viewer. It is ambitious film making that expands upon Robert Heinlein’s short story All You Zombies without stretching it thin. The Australian production reunites directors Michael and Peter Spierig (Daybreakers) with Ethan Hawke and introduces the world to the wonderful Sarah Snook
You could call this a 12 Monkeys, Cloud Atlas, Primer and Looper hybrid but that would be all wrong. You could call it a deep film or simply a kiddie pool disguised as an Olympic swimming pool. The ending will either blow your mind or make you smack your forehead because you hadn’t predicted it. To discuss the plot in length would give away too many spoilers. I will say that Predistination starts with a conversation inside a bar and builds from there.
The following 90 minutes packs in several lifetimes of story within one streamlined movie. It is ambitious film making that lives and dies upon the performance of Sarah Snook. Snook is able to pull off humor, despair, confidence, physicality and several hair cuts. She is incredible and you can tell she trusted the directors 100%.
What I appreciate most about Predestination is the adherence to big themes on a budget. The rumored budget was $17 million and you can see it all on-screen. The directors and production designer created multiple worlds that look believable and original. The props like the guitar case time travel machine and guns are wonderfully designed and add a neat layer to the film. The combination of location shooting and set building stretched the budget to the limit and allowed the directors to shoot various scenes while Snook went through hours of makeup. They shot in 50 different locations and somehow packed it into 32 days. I’d wager that each day pushed to 16 hours in order to achieve the ambitious film.
I love that Predestination exists. It pushes the genre boundaries and stresses performances instead of set pieces. the limited budget forced creative set design and you can see the love poured into it. I can’t wait to read the various fan theories that will undoubtedly be released.
If you’ve watched the film here is a timeline I found on reddit.
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The MFF Podcast is Here!
Hello all. Mark here.
The MFF podcast is here! We’ve teamed up with Shark Dropper Studios to bring you a podcast that will shake the foundations of this earth and revolutionize the art of talking. If you’ve been reading the site for sometime you know that John (The Horror Maestro/Leviathan/Bombardier) and I have created a unique style that integrates intelligence, cheekiness and a love of cinema. Whether covering mainstream/non-mainstream/incredibly non-mainstream horror or studying Jason Statham movie posters we want to bring the readers something new.
This podcast will be a celebration of all things random and cinematic. The folks at Shark Dropper and our wonderful host John (O’)Lasavath embrace the random spirit and together we hope you build a podcasting empire that will be enjoyed for years to come!
You can download the podcast on Itunes or stream it on the Shark Dropper website.
We hope you enjoy! If you have any questions or want to hear us cover a certain subject let us know.
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Horror movies are so much better when you like the characters being harassed. It is a very simple formula. When you add likable three-dimensional characters to a terrible situation you become invested.
You know a movie is good when you can remember the character names. Whether it be a villain (Leatherface, Freddy, Jason, Norman Bates or those damn birds) or a survivor (Laurie Strode, Ripley, Rosemary, Ash) you know the people made an impression when you can remember their names. I just watched the terrible film Annabelle and I don’t remember any of the character names and am actively trying to forget the name Annabelle.
That being said I felt really bad for Bea (Rose Leslie) and Paul (Harry Treadaway). They are a likable newly wed couple who simply want to spend a week in a remote cabin. What could go wrong? What director/co-writer Leigh Janiak does well is use her location and excellent actors to perfection. Leslie and Treadaway have a lived in chemistry that feels real which allows the proceedings to break your heart and make you cringe. The stripped down and streamlined aesthetic of this indie film works fantastically with the two character story.
Their honeymoon moves along swimmingly until one night when Paul finds Bea standing hypnotically in the woods. She starts acting differently and forgetting how to do the most mundane things. She can’t make coffee, doesn’t understand the basics of French toast and won’t make love to her husband. Things only get more depressing as the film movies towards its inevitable yet unexpectedly squishy finale.
The film hit home with me because I am a recent newlywed and couldn’t imagine going through this scenario. If a body snatcher infects my wife with something funky I would be destroyed. How do you deal with that? Especially, when the person is there but not really there. Honeymoon plays with your emotions via solid acting and an adherence to tension.
Little horror films like Honeymoon don’t come around very often. They take a familiar subject (body snatching) and make something original out of it. It doesn’t reinvent the wheel but it gets a lot of mileage out of its story. Rose Leslie and Harry Treadaway fully commit themselves to whatever is thrown their way and they draw you in with their chemistry. First time feature director Janiak handles the tension building well and you can tell she has thought this movie out with great detail.
Watch Honeymoon. Hate squishy things. Hope Leslie holds her own in the upcoming Vin Diesel witch hunter movie.
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Did Ti West seriously just sit back and let the marketers put a spoiler on the movie poster!?!?! “Live as one. DIE as one.”
MY CALL: Very much a mixed bag. The ending…so terrible…the cult leader’s mid-movie performance…so effing beautiful…it’s like watching a unicorn thrashing around in a puddle of shit. You hate the smell, but you can appreciate the beauty of the beast. MORE MOVIES LIKE The Sacrament: There are better films about cults out there, I’m sure I just can’t think of most of them. It’s not horror, but how about the mysteriously atmospheric Sound of My Voice (2011)? It was great! And I’m no fan of Red State (2011), which is more on the brutal side, but it has no less to offer than this film.
A recent review (by our MoviesFilmsandFlix founder) rightly summarized this film as predictable and “middle of the pack” and something which veered far from the Ti West standard of atmospheric suspense. While I totally agree with the first part of this criticism (not the atmosphere part), I feel there were things that West accomplished making this film worthwhile. The Sacrament is a film that begins with good intentions, middles into an effective brainwashed atmosphere of a delusory paradise, but ends poorly.
Our story begins when a film crew (including A. J. Bowen of The Guest, You’re Next, Chillerama and Joe Swanberg of V/H/S, Cabin Fever 2) travels to another country (probably in South America) where a crew member’s sister (Amy Seimetz; You’re Next) has traveled with her commune to set their roots in Eden Parish and give up all their worldly belongings to the financial discretion of a man they call Father (Gene Jones; Oz the Great and Powerful). Father, how about that? That’s not shady at all, is it? Father is a southern, mild-mannered, elderly fellow who feels like a mix of a tent evangelist-soul healer, a plantation owner, and someone you’d find on a park bench in Midnight in the Garden of Good and Evil (1997) sipping a mint julep while walking an overly-groomed terrier. The air about him wreaks of pleasantly-mannered manipulation and overtones of a semi-humble Messiah complex. He seems, at times, to be simultaneously simple yet clearly quite methodical.
He comes out into the crowd like a humble rock star.
“Father is a southern, mild-mannered, elderly fellow who feels like a mix of a tent evangelist-soul healer, a plantation owner, and someone you’d find on a park bench in Midnight in the Garden of Good and Evil (1997) sipping a mint julep while walking an overly-groomed terrier.”
He warms up the crowd with a lot of hand waving and applause like one of those electric guitar-toting ministers.
The film crew sets out to investigate the nature of Father’s paradise Eden Parish, and Father does a fine job manipulating his interviewer into joining his audience as he grandstands (in lieu of answering questions) about the villainy of their past materialistic lives of sin and their enlightened way of life and togetherness in which they now bask. And the lord of the baskers, Father, is so pleased with himself as he presents his sermon–like a well-fed lizard warming its belly on a hot stone. But as our crew meets more parishioners, there are a few red flags in paradise denoting that the peacekeeping and serenity may be managed more with fear and brainwashing than a happy sense of community. All of this is executed very well and it crafts an unnerving atmosphere, even when they present the obvious mute girl who would undoubtedly reveal something later (i.e., a classic harbinger trope). But this is where we lose sight and things falls apart for both Father and Ti West alike.
“Something’s just not right about these people.”
“Something’s just not right about the third act of this story!”
Eventually the shit hits the fan and, with it, so does all of the cult credibility that “the interview scene” had so strongly edified with a tone of unflagging fanatical mania. I can’t help but to think that Father’s protective and paranoid nature wouldn’t have circumvented the invasive film crew’s motives and their effect on his proselytized followers. Surely Father would have previously overcome other investigators, cult de-programmers, concerned family members and the like, and probably more savvy ones than we meet in this film who come unprepared to another continent in a wilderness seemingly devoid any law or rule outside of Father’s word.
To avoid dwelling on the particulars of the tragic ending, I’ll just say that by the middle of this film I was captivated by Father’s ability to deceive and distort and misguide, and by the end I was completely underwhelmed by a weakly executed massacre that came about with all of the preparation and build-up of someone randomly pulling a middle school fire alarm. I was waiting for the grand revelation behind Father’s cult…a demon of some sort, devil worship, human sacrifices (perhaps the invited film crew), possession, preparation for the apocalypse…? There was none; no mystery at all to be found. Very disappointing. VERY.
Directed by Ti West (The Innkeepers, House of the Devil, V/H/S, Cabin Fever 2: Spring Fever) and produced by Eli Roth (Hostel, Green Inferno), The Sacrament is a found footage-style mixed bag based on (or, more accurately, strongly modeled after) the true story of a cult that relocated to Guyana and committed mass suicide, known as the Jonestown Massacre of 1978. In the end, the only thing this film brought to the table was a great mid-movie performance by Gene Jones and a solid culty atmosphere. And while these positive aspects do occupy about the middle 50% of the film, they alone don’t make this film recommendable to the general horror audience. It was worth it to me, though.
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Trailer Talk: The Void, an unfinished Lovecraftian horror labor of love that needs your help
This is an article from 2015 and only assesses the short film that was used to crowd-fund the making of the feature length film: The Void (2016).
CLICK HERE to read the full review of The Void (2016).
So, there’s a new concept trailer for a horror movie that is so fresh you won’t even find it on IMDB yet from the writer/director team Steven Kostanski and Jeremy Gillespie, the guys who made Manborg (2011) and ABCs of Death 2‘s “W is for Wish” (2014)….which was probably the most balls-off-the-wall bonkers short film of the anthology. Remember the short with the kids playing with some “Castle Greyskull” looking toy set and action figures who are then magically transported into that fantasy/horror world? Yeah, that was the one.
This new film coming up called The Void @VoidMovie. The concept trailer just dropped and it is creepy, dark, and smacks of Cthulu! The effects are all practical and they compare themselves to The Thing in that respect. Please take a look:
The scenes they have shot utilize beautiful camera work with creepy imagery. Words that come to mind are dark, creepy, gory, gross, atmospheric, Lovecraftian and tentacular!
Learn more about this film and how to be a part of making it happen visit here: https://www.indiegogo.com/projects/the-void–10
I am normally not keen on supporting crowd-funded indie projects, but the work they’ve shown me in the trailer has me excited. So today I’m making an exception!
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The MFF Random Oscar Winners!: A Collection of Great Hair, lounging and Accessories
Hello all. Mark here.
The Oscars have come and gone and we are left with the emotional dump that comes from such an important night (joke). While everyone is discussing Birdman, we here at MFF are buzzing about the MFF random Oscar winners.
The awards were full of close races and some surprise runaways. It was full of intrigue, drama and a back and forth battle for Biggest A-Hole.
Here are the winners!
Best Butt-Kicker
John Wick – He kills 76 people via close combat gun work and supposedly could murder the boogeyman. Keanu Reeves is an underrated action star and I am so happy that John Wick took off.
Runner-up: Rita Vrataski – Runner up seems weird for a person who saved the world and mastered yoga.
Best Beard
Brendan Gleeson – Calvary – Gleeson’s beard in Calvary is a true man’s beard. It has a multi-colored nobility to it that says “I’ve seen some things.”
Runner up: A tie between Chris Evans (Snowpiercer) and Nic Cage (Joe). I would give the edge to Evans because his beard is more practical in his cold and dreary train world.
Worst Travel Companion
Laura – Under the Skin – If you get into a car with Laura you are done. You will be sucked into some goo and become a human jellyfish. She gives you hope and then she gives you death.
Lou Bloom – Nightcrawler – Imagine sitting in a car with this guy. He is all about himself, hates others and does not like it when you try bargaining with him.
Best Lounging
Rob and Steve – The Trip to Italy – They look comfortable, relaxed and ready to unleash impersonations. This is strategic lounging that shows off their personalities and surroundings
Runner up – Thanos – Guardians of the Galaxy – For a guy that could destroy the universe he sure likes to lounge a lot. Who built that chair? Does it have a cup holder?
Huh?
Pompeii – Pompeii is a quirky little thing that is loaded with unintentional laughs, wonky accents (British? Irish? Italian? I think Sutherland made up an accent) and the greatest bro-hug ever. Imagine if 2012, Gladiator, Bloodrayne, Titanic, Romeo & Juliet, Tristan & Isolde, Centurion, In the Name of the Kingand The Three Musketeers were mixed together then rewritten by Paul W.S. Anderson. Pompeii is an amalgamation of illogical weirdness and irrelevant fluff.
Runner up – Left Behind – I understand why Left Behind was made. Pompeii still has me confused.
Best Couple
Rocket and Groot – Guardians of the Galaxy. I can sum up their victory in three words. WE ARE GROOT!
Runner up – Seth Rogen and Rose Byrne – The dynamic duo couldn’t scare away a tree and a raccoon.
Funniest Moment
Channing Tatum goes wild in 22 Jump Street – Tatum going bananas around Ice Cube’s ice cube office never gets old.
Runner up – Seth Rogen loses fingers in The Interview – I am kinda bummed that poor Rogen lost the award. The moment was hilarious.
Best Usage of fish
HTTYD2 – A cute dragon eating fish always trumps post apocalyptic dead fish.
Runner up – Snowpiercer – The fish plays a pivotal role in a pivotal fight yet didn’t get enough love.
Who won 2014?
Chris Pratt – Guardians of the Galaxy and The lego Movie – Everything is awesome for Chris Pratt. The guy pulled off a Jackson Pollock black light joke. Much props.
Runner up – Scarjo – After Lucy, Captain America: The Winter Soldier and Under the Skin I thought she was a lock .
Best Driving
James Franco – The Interview – Do you ever feel like a paper bag floating through the wind? Well, Franco sure did. He saved the day via tank driving and Katy Perry
Runner up – Sam Jackson –Cap 2 – I seriously want to know who built his SUV of doom.
Biggest A-Hole
Tie between Matt Damon in Interstellar and The Guy With the Hair (Dominic Cooper) in Need for Speed
Matt Damon gets enough love. People need to respect the guy with the hair more. Dude was a major A-hole.
Runner up – Ronan the Underwritten – It was sorta gangster how he punked out Thanos.
Best Scoot McNairy
Tie – Gone Girl and Frank – Scott McNairy is awesome. This was the closest race of the tournament.
Runner up: Non-Stop – He almost didn’t fall prey to Liam Neeson’s skill set.
Best Accessory
The Walkman from Guardians of the Galaxy – The Walkman was a brilliant idea and it actually became a member of the cast. It also almost single-handedly brought back the cassette.
Runner up – Chris Pine’s Pompadour – It looked great but didn’t play music.
Best Hotel
John Wick’s Assassin hotel – I love how the John Wick creators created a new world via one very cool hotel. Also, the hotel served great bourbon.
Runner up – Grand Budapest Hotel (AKA a place full of wonderful stuff).
What do you think about the winners? Leave a comment!
Movies, Films & Flix 