Donnerstag, 15. Juli 2010
8 Must See-Geheimtipps des Fantasy Filmfest
schwanenmeister, 19:59h
AMER (Hèlène Cattet & Bruno Forzani)
"My vice is a locked giallo vault and only co-directors Helene Cattet and Bruno Forzani have the key! Death has a new taste and it’s bitter, or AMER, as the title of my Movie of the Moment describes it. Unlike most films today that are instantly forgotten once past the closing credits, AMER still flits through my mind like a butterfly with bloodstained wings." (Alan Jones, Fright Fest)
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"My vice is a locked giallo vault and only co-directors Helene Cattet and Bruno Forzani have the key! Death has a new taste and it’s bitter, or AMER, as the title of my Movie of the Moment describes it. Unlike most films today that are instantly forgotten once past the closing credits, AMER still flits through my mind like a butterfly with bloodstained wings." (Alan Jones, Fright Fest)
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schwanenmeister,
Donnerstag, 15. Juli 2010, 19:59
BLACK DEATH (Christopher Smith)
"This route into the heart of absolute darkness can best be described as AGUIRRE, WRATH OF GOD meets THE DEER HUNTER and then WITCHFINDER GENERAL. Smith’s most personal and mature film is a frightening journey into the social fabric of evil, pathological cruelty and supernatural possibility." (Alan Jones, Fright Fest)
THE HUMAN CENTIPEDE (Tom Six)
"CENTIPEDE ultimately manages to correct mainstream horror's bullshit conservative ideology. It's become an old film theory chestnut that the horror heroine who says "no" to sex gets to live while her friends die—thus, the Final Girl. Six's final girl never gets to have sex, but in the end, she's truly fucked." (Karina Longworth, L.A. Weekly)
IP MAN 2 (Wilson Yip)
"It was almost too much to hope that the sequel would measure up to the 2008 original, which gave Donnie Yen the role of his career. But with the same team back, apart from a change of d.p., IP MAN 2 is actually even better." (Derek Elley, Film Business Asia)
THE KILLER INSIDE ME (Michael Winterbottom)
"Here, as in THE ASSASSINATION OF JESSE JAMES, Casey Affleck projects himself as a natural-born creep. This withholding actor's impish smile and mild, pale-eyed stare—not to mention the Clintonesque hoarseness with which he spins his convoluted lies—are sufficiently convincing to keep The Killer Inside Me from being just a steamy, stylish, punishing bloodbath." (J. Hoberman, Village Voice)
THE LOVED ONES (Sean Byrne)
"It’s too bad John Hughes didn’t live to see what Aussie director Sean Byrne does to the teen movie in his vicious feature debut. Clever, nasty yet full of authentic notes of adolescent vulnerability (especially when knives are involved), THE LOVED ONES essentially reconfigures PRETTY IN PINK as a torture-porn thriller. The result is smart enough to revitalize both genres at once." (Jason Anderson, Eye Weekly)
MONSTERS (Gareth Edwards)
"Sort of an indie flick cross between Terrence Malick and a Godzilla movie, MONSTERS is a fascinatingly low-key approach to the rather standard 'monsters gone wild!' concept." (Scott Weinberg, Fear.net)
WE ARE WHAT WE ARE (Jorge Michel Grau)
"And while it may not seem all that impressive to cry 'Film of the year! So far!' when it is only March, the last time I had a similar reaction this early in the year the film in question was Swedish stunner LET THE RIGHT ONE IN, a film that Grau's shares some passing similarities with." (Todd Brown, Twitch Film)
Auch spannend: Rubber, Centurion, Dream Home, Outrage, The Last Exorcism
"This route into the heart of absolute darkness can best be described as AGUIRRE, WRATH OF GOD meets THE DEER HUNTER and then WITCHFINDER GENERAL. Smith’s most personal and mature film is a frightening journey into the social fabric of evil, pathological cruelty and supernatural possibility." (Alan Jones, Fright Fest)
THE HUMAN CENTIPEDE (Tom Six)
"CENTIPEDE ultimately manages to correct mainstream horror's bullshit conservative ideology. It's become an old film theory chestnut that the horror heroine who says "no" to sex gets to live while her friends die—thus, the Final Girl. Six's final girl never gets to have sex, but in the end, she's truly fucked." (Karina Longworth, L.A. Weekly)
IP MAN 2 (Wilson Yip)
"It was almost too much to hope that the sequel would measure up to the 2008 original, which gave Donnie Yen the role of his career. But with the same team back, apart from a change of d.p., IP MAN 2 is actually even better." (Derek Elley, Film Business Asia)
THE KILLER INSIDE ME (Michael Winterbottom)
"Here, as in THE ASSASSINATION OF JESSE JAMES, Casey Affleck projects himself as a natural-born creep. This withholding actor's impish smile and mild, pale-eyed stare—not to mention the Clintonesque hoarseness with which he spins his convoluted lies—are sufficiently convincing to keep The Killer Inside Me from being just a steamy, stylish, punishing bloodbath." (J. Hoberman, Village Voice)
THE LOVED ONES (Sean Byrne)
"It’s too bad John Hughes didn’t live to see what Aussie director Sean Byrne does to the teen movie in his vicious feature debut. Clever, nasty yet full of authentic notes of adolescent vulnerability (especially when knives are involved), THE LOVED ONES essentially reconfigures PRETTY IN PINK as a torture-porn thriller. The result is smart enough to revitalize both genres at once." (Jason Anderson, Eye Weekly)
MONSTERS (Gareth Edwards)
"Sort of an indie flick cross between Terrence Malick and a Godzilla movie, MONSTERS is a fascinatingly low-key approach to the rather standard 'monsters gone wild!' concept." (Scott Weinberg, Fear.net)
WE ARE WHAT WE ARE (Jorge Michel Grau)
"And while it may not seem all that impressive to cry 'Film of the year! So far!' when it is only March, the last time I had a similar reaction this early in the year the film in question was Swedish stunner LET THE RIGHT ONE IN, a film that Grau's shares some passing similarities with." (Todd Brown, Twitch Film)
Auch spannend: Rubber, Centurion, Dream Home, Outrage, The Last Exorcism
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