The first in a series of “coming attractions” in 2018, this post previews Lars von Trier’s next feature film, THE HOUSE THAT JACK BUILT.
The fourth installment of the “Insidious” series opened in US theaters today. For Loud Green Bird, it’s an opportunity to take a look back at the first three movies before seeing the fourth one.
Shot in black-and-white for the drive-in and grindhouse circuit, this surrealistic, low-budget, independently produced horror movie became a cult classic decades later through repeated late-night showings on television. Its director, Herk Harvey, an experienced and award-winning industrial filmmaker, came up with the basic concept for the story while driving past an abandoned lakeside pavilion in Utah — the one that figures prominently in the film — on a business trip. Imagining the danse macabre at the film’s close, he convinced co-worker John Clifford to write a screenplay based on it. The result was “Carnival of Souls” (1962), Harvey’s first and only completed narrative fiction feature. Although consigned to relative obscurity for many years, this movie is now recognized as a genre antecedent and a stylistic precursor for well-known, unconventional films like George A. Romero’s “Night of the Living Dead” (1968) and David Lynch’s “Eraserhead” (1977).
Not unlike I Spit on Your Grave and Ms. 45, M.F.A. contains scattered kernels of revelation.
Chris Bickel’s indie film THE THETA GIRL is splatter gore with intelligence and a conscience.
On one level, this “Netflix original” flick seems like that proverbial “film we’ve seen before” — several times, in fact. It’s a coming-of-age-through-trial-by-fire story that’s fittingly described by cliches. On another level, but related to this one, it’s a semi-clever horror comedy. How much you’ll enjoy it depends on at what level you receive it.
A Catch in Time: Chapter One is an intriguing teaser for a work of potential greatness.
AMITYVILLE: THE AWAKENING falls into the category of films that really didn’t need to be a sequel. Certain movies seem as if they would have been better received if released on their own.
Difficult art doesn’t exist to be accepted and loved. It exists to exist.
I’m not sure what circumstances prompted the Twisted Pictures folks to revive their mascot…but I can’t say Jigsaw’s return isn’t timely.