September 21, 2007
Fantastic Fest - Day 1
Draft - final revisions by 9/30
Fantastic Fest 2007 kicked off with a back yard party, Alamo Drafthouse style. In an apparent partnership with Make magazine, several makers were showing off while trays of foodie-licious hors d’oeuvres were passed around. There was a man with propane-flame powered graphic equalizer, a doll-head theremin, and a gore cannon that was used on Drafthouse employees — not to mention the beer filled piñata, hot sauce tasting and full-bodied roasted cabrito. (In our gift bags we received an issue of Make’s Halloween special edition…too bad we didn’t have that before Morte dal Disegno did Bloodshots 2007.)
Thu, Sep 20
George A. Romero’s Diary of the Dead (93 min.) - If the Drafthouse hosted an hour and a half of George Romero speaking about his views on the current socio-political status, I would buy a ticket. This film is more entertaining than that because Romero is a better filmmaker than public speaker, but it still comes off heavy handed. Still this is a solid film from a devoted director and is especially an attraction for zombie fanboys (and fangirls…and fan-undeads.)
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Suityman (short) - Suitably brief but what may seem an obvious climax is buoyed by clever engaging actors and beautiful country-side cinematography.
Last Winter, The (107 min.) - 80 minutes of this feature are some really well-crafted classic suspense horror. Somewhere near the end, though, CGI and literalism invade and make it not as fun as it was. See the trailer featuring Ron Perlman (of Hell Boy fame) and Kevin Corrigan (the wacky brother in “Grounded For Life”, and the boyfriend of the pants-stain making girl in Superbad).
Les Petits Hommes Vieux (Men from Older Space) (short) - A stilted drawn-out premise that is saved only by a clever poignant ending.
End of the Line (95 min.) - It is rare to see an honest scary movie — one that doesn’t rely on precedents to establish an audience’s mood or frame a story. What initially seems like a confusing weak start eventually delivers a reason for audiences to discuss the facts and return to the plot, trying to decipher the true story. A budget-limited film thus well-crafted bodes well for director Maurice Devereaux’s future. Check out the website for End of the Line.
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