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  • Fantastic Fest Announces 2008 Winning Films

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    Under discussion:

    Ex Drummer  (2007)

    Santos  (2007)

    Cargo 200  (2007)

    Donkey Punch  (2009)

    Acolytes  (2008)

    JCVD  (2008)

    The Good, The Bad and The Weird

    Fantastic Fest announced their film awards late last night, even through we’ve still got three more days of movie watching and alcohol drinking to go. As expected, The Good, The Bad and The Weird took the Audience Award, although JCVD took third place in that category, which continues to baffle me. The much buzzed about Let The Right One In was named best horror film over Donkey Punch and Acolytes, and the Danish film How To Get Rid Of The Others took top award in the Fantastic Features category with Cargo 200 and Ex Drummer in second and third place. Thankfully they gave the wacky and fun Santos a special award in that category.

    We’ll have a lot more to say about these films and much more soon, so keep checking back for more festival information and news throughout the week. Heck, I’ve even enjoyed seeing Conquest of the Planet of the Apes at this thing. The complete awards listings can be found after the break.

    Animated Shorts:
    First Place: Bernie’s Doll
    Second Place: Muto
    Third Place: Violeta
    Special Jury Award for Technical Merit: Facts In The Case Of Mr. Hollow

    Fantastic Shorts:
    First Place: The Object
    Second Place: Spandex Man
    Third Place: Stagman
    Special Jury Award for Visual Invention: Rojo Red

    Horror Shorts:
    First Place: Electric Fence
    Second Place:. I Love Sarah Jane
    Third Place: El Senor Puppe
    Special Jury Award for sheer enjoyability: The Horribly Slow Murderer With The Extremely Inefficient Weapon

    Fantastic Features:
    First Place: HOW TO GET RID OF THE OTHERS
    Second Place: CARGO 200
    Third Place: EX DRUMMER
    Special Jury Award for originality and vision: SANTOS

    Horror Features:
    First Place: LET THE RIGHT ONE IN
    Second Place: ACOLYTES
    Third Place: DONKEY PUNCH
    Special Jury Award for most politically incorrect gore: FEAST 2
    Special Jury Award for best use of latex: JACK BROOKS MONSTER SLAYER

    Audience Award:
    First Place: THE GOOD, THE BAD AND THE WEIRD
    Second Place: CHOCOLATE
    Third Place: JCVD

    AMD Fantastic Fest Online:
    Best Feature Film: SOUTH OF HEAVEN
    Best Short Film: TREEVENGE

    AMD Next Wave:
    First Place: TOKYO GORE POLICE
    Second Place: DEADGIRL
    Third Place: LE CREME


    Originally posted on:SpoutBlog

  • Fallout Movie: The Dream Cast

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    Under discussion:

    Brazil  (1985)

    The Seventh Seal  (1957)

    The Road Warrior  (1982)

    Judge Dredd  (1995)

    The Matrix  (1999)

    Hellboy  (2004)

    Sin City  (2005)

    Max Payne  (2008)

    On October 28 the world will plunge into an irradiated nightmare, littered with the wreckage of civilization, overrun by savage super mutants. Or, my world will be, anyway. Next month is when the hotly anticipated new video game Fallout 3 will be released. It’s been over a decade since the first Fallout, a now classic post-apocalyptic role-playing game. How has the franchise maintained such a devoted fan base? Simple: great story, great characters, great setting, and killer cinematics.

    The games have always been deeply indebted to post-apocalyptic cinema. The opening sequence of the first game is almost identical to the one in The Road Warrior, and the similarities don’t end there. As the Max Payne movie is (hopefully) about to prove, there is an elegant solution to the problem of videogame movies sucking: make movies about games that are already steeped in cinematic influence. In other words, a Fallout movie would kick serious ass. It would have a similar feel to classics like The Road Warrior, but Fallout has its own brand of dark humor and retro-futurism.

    For the purpose of assembling a dream cast for such a film, I’m going to stick to characters from the first game, where it all began. The game follows The Vault Dweller, a young person raised in the safety of a large underground vault. The vault community intended on riding out the nuclear storm for 200 years, but their water purification chip broke, so our hero must go and seek another.

    The Vault Dweller

    The badass wanderer of the wastes could be almost anyone, as Fallout gave the player the option of creating an entirely original protagonist. The game also provided three pre-made heroes, any of which could translate well to the screen.

    Albert – Leonardo DiCaprio

    The option to play Albert lets the player capitalize on charisma, while still doing a fair amount of damage with small arms and unarmed combat. Albert’s strength is talking his way out of tough situations, but some situations require action when words fail. DiCaprio has a great way of wearing frustration on his face, which is perfect, as I imagine that killing ghouls while fighting an addiction to radiation-resisting drugs would be quite frustrating.

    Max Stone – Ron Perlman

    Max Stone is set up in the game to be a big dumb bruiser, but Perlman could give the character depth beyond that stereotype. This choice is obviously informed by Perlman’s work in Sin City and the Hellyboy movies. Also, Perlman had to be on the list somewhere, given his involvement in the games. He provided the voice-over narration for the openings of Fallout 1 and 2, and provided character voices.

    Natalia – Carrie-Anne Moss

    While we can all agree that the Marix trilogy went downhill, that shouldn’t ruin things for Ms. Moss. She has a lot of potential as an action star, and the role of Natalie, a thief/assassin daughter of KGB spies would serve her nicely.

    The other Vault Dweller option: use all three as a team! It would break from the lone-wanderer feel, but it would be pretty cool.

    Other Characters

    In the spirit of all great role-playing games, Fallout let the player wander around at his or her own pace, exploring, doing quests, making friends and making enemies. It wouldn’t make sense to include all the characters in the film, but here are some essentials:

    The Overseer – Brian Cox

    The Overseer is the leader of Vault 13, the hero’s home up until this point. He sends the Vault Dweller on a mission to save the vault by finding a replacement water purification chip before it’s too late. The Overseer starts out as a kindly father figure, offering advice and encouragement. But in the final scene of the game, he betrays the Vault Dweller in a way that’s so maddening, the game designers actually included a rare alternate ending in which the Vault Dweller blows the Overseer’s head off. Cox is really good at being both fatherly and a total dick, example: The Bourne Supremacy.

    Harold – Harry Dean Stanton

    Whole regions of the scarred world of Fallout are populated by ghouls, most of them mindless flesh-eaters. The Vault Dweller encounters one ghoul who’s different, who provides him with some key information. Harold was once a vault dweller like our hero, but was infected by a virus that both killed him and kept his consciousness alive in his animated corpse. That pretty much explains the choice to cast Harry Dean Stanton.

    Morpheus – Michael Palin

    Morpheus is the leader of The Children of the Cathedral, a sick cult that worships The Master (see below). Michael Palin is the natural choice, because he seems like a nice and funny guy whose religion you’d join, until you find out that he’s completely nuts. He pulls off this double role in Terry Gilliam’s dystopian masterpiece, Brazil. Also, there are only two people that could pull off that mustache, Michael Palin and Salvador Dali, and Dali is dead.

    General Maxson - Max von Sydow

    General Maxson is the leader of the Brotherhood of Steel, a league of soldiers with incredibly high-tech weapons and armor. With luck and a fair bit of skill, the Vault Dweller joins their ranks and gears up for the final confrontation. Max von Sydow is one of those actors who can bring the clout he carried in The Seventh Seal to a movie like Judge Dredd. Perfect.

    The Master – James Earl Jones and Angelia Jolie

    The Master is a pulsating mass of human flesh and machinery with the ability to capture and incorporate intruders into its body. It speaks with multiple voices, representing the unlucky souls who are now a part of its writhing conglomeration of body parts. The Master would have to be CG of course, but what better voices than Jones and Jolie for that perfect mix of ominous and seductive?


    Originally posted on:SpoutBlog

  • Cargo 200 Review, Fantastic Fest 2008

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    Under discussion:

    Cargo 200  (2007)

    In its depiction of mid-80s Eastern European Communist social hell, Cargo 200 makes 4 Months, 3 Weeks and 2 Days look like Sesame Street. There are plenty of films that use real history as the jumping off point for genre fantasy (and even a couple of others at this festival), but Aleksei Balabanov’s brutal, fetid vision of personal sadism and political policy intermingled is the only work of serious, modern social criticism in recent memory that actually made me want to puke. This is a compliment of the highest order.

    It’s 1984. A professor of Scientific Atheism (academic backup for the Communist state’s embargo on religion) leaves the home of his Army colonel brother to visit their mother in fictional Russian broken-down factory town Leninsk. Along the way, his car breaks down, and he seeks refuge in the dismal, nowheresville shack of a bootlegger. The professor and the bootlegger get into a heated, vodka-fueled argument about faith and the possibility of utopia while the bootlegger’s Vietnamese handyman fixes the car. The bootlegger is drunk and riled up from the ideological debate, but the professor is ultimately able to drive off before any non-verbal conflict ensues. The bootlegger’s next guests, the boyfriend and best friend of the Colonel’s teenage daughter, are much less lucky.

    To say more about the plot would spoil the excruciating experience of watching unspeakable horrors unfold in matter-of-fact realism. Balabanov has crafted horror setpieces as vile (and strangely aesthetically pleasing) as anything you might see in contemporary torture porn, but Cargo’s slow-burn build (there’s a good hour of steadily mounting dread before anything remotely violent happens) give each act of rape, murder, torture and necrophilia (sometimes all on the same bed!) that much more weight.

    Pretty much tied with Ex-Drummer as the most unforgettable film I’ve seen (as of this writing) at Fantastic Fest, I fought hard to give an award to Cargo 200 when I deliberated with my fellow Feature jurors, and not just for the puke factor. In a Wall Street Journal story about the controversy that surrounded the films release in its home country last year, Balabanov, who is known in Russia for making relatively patriotic (and sometimes anti-American) blockbusters, the filmmaker said Cargo is his attempt to combat a growing Putin-fueled nostalgia for the Soviet era. “I show what filth we lived in,” the director said. I can’t vouch for Cargo 200’s versimilitude, but as a work of cinema I’d file it alongside genre classics like Cat People and Invasion of the Body Snatchers as an allegorical polemic against a toxic but increasingly common ideology. Equal parts sad, sickening and sharply critical, it puts Eli Roth’s sensational pretenses towards cultural relevancy to shame.


    Originally posted on:SpoutBlog

  • Heavyweight Battles. Trade Roughage 09/23/08

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    • Now that DreamWorks’ detachment from Paramount is officially happening, it’s time to find a distributor for the soon-to-be private company. Universal and Disney are currently the main contenders, but there just seems to be something wrong about a DreamWorks-Disney partnership, even if DreamWorks Animation isn’t part of the move.
    • Personally, I think Harvey Weinstein should hold off releasing Stephen Daltry’s The Reader until 2009, but I’d like to see Harv and Scott Rudin literally wrestle each other to see who wins their distribution dispute.
    • Who wants to see a giant whale decimate 19th century ships in bullet time? Wanted director Timur Bekmambetov is helming a visual effects-heavy reimagining of Moby Dick.
    • Speaking of ruining classics, there’s a Rashomon remake in the works that will update the story’s setting to a modern day rape trial. But then does it have to be an official redo, since there’s tons of Rashomon-influenced movies anyway?
    • This would have fit in a lot better in yesterday’s Trade Roughage: Keira Knightley signs on for her millionth period piece, wins a balloon and a flapper costume shopping spree.

    Originally posted on:SpoutBlog