A good werewolf film is hard to come by these days. While their bloodsucking brethren, vampires, have enjoyed a long cinematic life, it generally seems to be accepted that werewolf films peaked in 1981 with the release of John Landis’ An American Werewolf in London and Joe Dante’s The Howling, both of which are considered to be the two best werewolf films of all time. While one cannot deny the romantic allure and elegance of a good vampire film, sometimes it’s fun to just sit back and enjoy the pure carnage that a werewolf film can bring to the table.
Read MoreThe Outwaters (2022)
Right off the bat, I need to state that The Outwaters won’t be to everyone’s taste. There is about a thirty-minute stretch of the film’s 110-ish-minute runtime that is probably best described as experimental. That chunk combined with the found footage aesthetic and the script’s reluctance to provide concrete answers makes for an atypical horror experience.
Read MoreCasting Kill (2023)
Shot in a mere six days in London, director/cinematographer James Smith’s Casting Kill is a classy and lightly satirical look at the underside of the film business. Though the budget was likely quite small, the filmmakers and their cast deploy some Hitchcockian flair in a beautifully shot piece that makes some movie magic with a coterie of fine performances and playful dialog. After an effectively moody title sequence, we soon meet Arthur Capstone, a big-shot Hollywood casting director.
Read MoreParalysis (2022)
There’s just something about watching micro-budget pictures that are clearly labors of love. Writer/director Levi Austin Morris’ Paralysis fits that description to the T. As I watched the end credits roll, several names popped up over and over. Chief among them was Morris himself, who in addition to his aforementioned duties is also listed as an associate producer, co-cinematographer, and editor, while also showing up in a few other spots like the art department.
Read MoreEmily the Criminal (2022)
Aubrey Plaza is one of the most versatile performers currently working in film. Though she’s perhaps best known for comedy, I am a huge fan of her thoughtful thrillers. Ingrid Goes West is one of my favorite flicks from the last five years and her latest, John Patton Ford’s Emily the Criminal, is a small triumph, as well. I wasn’t able to get to a theatrical screening back in August, but the brand-new blu ray arrived at my door this week.
Read More#Float (2022)
There's just something about a film with a hashtag in the title that puts a bad taste in my mouth, but when I saw that Zac Locke, known for The Voyeurs, was connected, I figured I'd give it a shot. #Float follows an aspiring vlogger and her friends as they embark on their annual river float to commemorate the untimely loss of their friend. They are plunged into a life-and-death battle with a mysterious local, a sinister paranormal force, and their own fears.
Read MoreDave Stevens: Drawn to Perfection (2022)
Combining the aesthetics of ‘30s-era pulpy adventure serials and Good Girl Art, illustrator Dave Stevens rocketed to comic book stardom in the ‘80s. Unfortunately, the beloved creator died from a rare form of leukemia in 2008 at the much too young age of 52. Kelvin Mao’s new documentary, Dave Stevens: Drawn to Perfection, lovingly charts the life of a man dedicated to pursuing the path of a pure artist.
Read MoreA Wounded Fawn (2022)
A quote from noted surrealist Leonora Carrington kicks off the proceedings for writer/director Travis Stevens’ new Shudder original movie, A Wounded Fawn. It’s an indicator that while we may start off in the realm of relatively recognizable reality, that’s not where we’ll be staying. The next 91 minutes detail a visually sumptuous journey to the heart of a particularly feminine rage.
Read MoreThe Wild Man (2022) #AustinFilmFest
The prospect of caring for an elderly or mentally unwell parent is a daunting and all too real prospect for many people from all over. That’s what makes writer/director/star Riley Cusick’s The Wild Man so relatable. On the surface, it trades in quirky indie film sensibilities with its tender folky soundtrack and its general premise, but the young filmmaker opts for genuine humanity over superficial laughter and feel-good foolishness.
Read MoreUnmasking the Idol (1986) #RetroReview
Do you like James Bond? How about ‘80s ninja flicks? Old school GI Joe cartoons?
Read MoreAftersun (2022)
Aftersun eloquently encapsulates the best and worst moments of parenting while also exploring the awkwardness of that time just before high school. Poignant yet hopeful as heavy themes are examined without effort. This is easily one of the best films of the year and it couldn't come at a better time.
Read MoreSee You At San Diego: An Oral History of Comic-Con, Fandom, and the Triumph of Geek Culture (2022)
Pop culture, and especially what might be referred to as geek culture, has taken over the mainstream over the last few decades. This is due in no small part to the growth of San Diego Comic-Con into an entertainment juggernaut. Multi-hyphenate author Matt Klickstein’s recently released book, See You At San Diego: An Oral History of Comic-Con, Fandom, and the Triumph of Geek Culture delivers the definitive accounting of how this came to pass.
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