Possibly no film festival suits our Sordid Cinema section better than Fantasia. Held every year in Montreal, this four-week showcase for imaginative indie genre films is like a wonderland for those who love their cinema of the late-night variety. What can we say? This festival just gets us, and this year we’re happy to be once again in attendance, seeing some of the craziest, most unique films from around the world.
Of all The Master’s masterpieces, perhaps no other is as deserving of analysis than Hitchcock’s Psycho, a labor of love that encapsulates nearly all of the major themes he explored through decades of brilliance, from voyeurism to mommy issues to an uncaring, unpredictable universe. The infamous shower scene lays bare all those ideas in a sequence that required 78 camera setups and 52 cuts, and is the specific subject of director Alexandre O. Phillipe’s documentary, appropriately titled 78/52. One of the most jarring deaths in cinema history is reflected upon and dissected by a series of industry professionals that include editors, sound guys, writers, musicians, and Elijah Wood, each heaping plenty of praise upon one of filmdom’s greatest auteurs, while also offering unique insights into the proceedings based on their area of expertise.
78/52 comes from a place of pure cinematic love, and though devotees of Hitchcock most likely won’t gain much new knowledge over the course of the film’s 91 minutes, the enthusiasm of the talking heads who marvel at such virtuosity is contagious, even if it is a bit too much at times. Will that excitement be enough to impart even a passing interest in casual movie fans? Probably not (my own friends certainly don’t seem to want to listen to me go on about my Hitchcock obsession anymore), and loose theories about metaphors and cultural impact that border on crackpot fanboyism don’t help matters either (they’re also out of place while discussing a filmmaker so precise). When the conversation turns technical, however, 78/52 is heaven for those who love the craft. This is a movie for and about those obsessed with movies, admirers who get big thrills from studying how a master of suspense elicited big chills. (Patrick Murphy)
Fantasia favourite Keishi Otomo (of the Rurouni Kenshin trilogy) is back once again with Museum, a gruesome, over-the-top shocker that keeps the audience guessing right up until the credits roll. Based on Ryosuke Tomoe’s 2013 manga Museum: The Serial Killer Is Laughing in the Rain, this crossover between horror and police procedural about a detective who finds himself in a personal and professional nightmare excels for the most part with its a tantalizingly morbid atmosphere, replete with elaborate murders and ever-surprising twists and turns. The victims are systematically killed by a mysterious figure disguised in a trenchcoat while wearing a frog mask, their bodies left behind, posed in ungodly positions and sometimes dismembered beyond recognition. As Detective Sawamura (Shun) Oguri hunts down the killer, he quickly realizes that the clues left at the crime scenes point to his wife Haruka (Machiko Ono) and their only son.
Museum borrows heavily (and I do mean heavily) from David Fincher’s classic, Se7en – so much so that anyone who’s seen Fincher’s masterpiece may find themselves wishing they were watching that film instead. It’s never a good thing when your movie is living in the shadows of one of the most influential box office successes of the 90s, but that aside, for the most part there is a lot to like here. DoP Hideo Yamamoto (The Audition, The Grudge) leads us down beautifully-lit dark alleys and side streets, through a shadowy, rain-soaked Tokyo buried under neon lights and a continuous downpour. Meanwhile, Taro Iwashiro’s pulsating score heightens the mood of every heart-pounding scene, and the young actor Satoshi Tsumabuki (unrecognizable here) brings to life a truly unforgettable boogeyman – a self-proclaimed artistic genius who suffers from Erythropoietic Protoporphyria that results in extreme burning, pain, and itching within minutes of being exposed to sunlight.
The several chase scenes demonstrate the director’s talent for staging nail-biting suspense, and the gruesome murders benefit from some outrageous practical effects. The first half shows great promise – it is methodical rather than macabre, clinical rather than cruel. Sadly however, Keishi Otomo’s latest feature squanders an effective first half by losing focus on the psychology behind the manhunt, devolving into something closer to James Wan’s Saw. Once the serial killer is unmasked, the suspense and tension dissipate, and Museum quickly runs out of gas. Entertaining as it is, it misses greatness with its bargain-basement ending – an ending so irrational, irritating and obnoxious, you’ll wonder if the journey was even worth the trip. (Ricky D)
Death Line (Raw Meat)
American-born, London-based filmmaker Gary Sherman (Dead & Buried) moved on from directing TV commercials to helm his first feature length film, titled Death Line. Released in North America as Raw Meat, this 70s horror film takes place in the London subway system where a cannibalistic sub-human survives on unsuspecting commuters, and one high profile death brings the police to investigate. Raw Meat is easily one of the best and most underrated horror films to emerge from Great Britain. Gary Sherman’s film is so ahead of its time it predates both The Texas Chainsaw Massacre and The Hills Have Eyes, and like those films, Sherman has more on his mind than scaring viewers. Here he presents a 70s London populated by a ruling class greedily feeding off the poor. This is a city that not only suppresses its lower class, but in doing so also creates in them monsters. The city above is a world of artifice and empty feeling, no different than the dark matrix of tunnels located below, and Sherman wisely takes his time in making his cannibalistic killer sympathetic – and in many ways, more likable than the other characters we follow along.
Raw Meat‘s success is due to a number of factors, not least of which is the cinematography. There is some truly spectacular camerawork on display, including a remarkable single-take sequence through the tunnels below London. Raw Meat also boasts a great comic turn by Donald Pleasance, who plays the grumpy working-class Inspector Calhoun, who is assigned to investigate the murders and disappearances of citizens commuting on the London Tube. Meanwhile, Christopher Lee plays upper-class MI5 agent Stratton-Villiers, who wants to keep a lid on the crimes being reported. If you’re looking for a dark, well acted, visually stunning shocker, you could do a lot worse than Sherman’s low-budget creeper. (Ricky D)
Our coverage will be continuing all throughout July, so be sure to get your genre kicks with even more Fantasia 2017 features and reviews right here!
‘Harpoon’ — A Nasty Thriller that Mostly Hits the Target
Harpoon is best described as Dead Calm meets Alive. It follows Jonah (Munro Chambers), Sasha (Emily Tyra), and Richard (Christopher Gray)— a trio of unlikable friends with some serious issues who do horrible things to one another for roughly eighty-two minutes.
After Richard, the son of a mob boss suspects his best friend Jonah and long-time girlfriend Sasha are having an affair, it sends him into an uncontrollable rage that leaves Jonah a bruised and bloody mess. Only it seems Richard is wrong (or so they say), and after convincing Richard the allegations are false, Richard invites them on his family’s yacht to celebrate his birthday. It was meant to be a fun day trip in order to win back their trust but as tensions boil and the yacht’s engine fails, Richard’s anger management issues kick in and his birthday present (a speargun mistaken for a harpoon) becomes a threat. Stranded without food, drinking water, and other supplies, their only hope of survival is to set aside their differences and work together. But as secrets continue to be revealed and accusations are made, it seems this fuc*ed-up trio has little to no hope of ever reaching land alive.
At its core, Harpoon is really a film about friendship, albeit a toxic friendship between three young adults who have drifted apart but somehow remain bound only by the amount of time they’ve known each other. When the trio are left stranded in the middle of the ocean, both their friendships and their lives are tested in excruciating ways. Rob Grant and co-screenwriter Mike Kovac’s script features an unseen narrator (Brett Gelman) who offers insight into the interpersonal background of the trio along with a clever and amusing history lesson about sailors and their superstitions. It seems the uncontrollable nature of the sea has given way to many a nautical lore, each one as curious as the next and Harpoon dives deep into these myths and legends feeding us snippets of info during a swift montage. As the plot twists, and turns (of which it does plenty), the trio realizes they’ve jinxed themselves in a barrage of ways. As they wait in hopes that someone will come to their rescue, they pass the time looking for ways to survive while discussing stories such as Edgar Allan Poe’s novel, The Narrative of Arthur Gordon Pym of Nantucket and the true tale of Richard Parker, whose life at sea unbelievably mirrored the plot of Poe‘s writing which was released 50 years earlier.
For what is essentially a horror film shot on a single location, director Rob Grant does a superb job in delivering a nasty little thriller. In spite of the short running time and limited claustrophobic setting, Grant keeps the film interesting with his camera choices and clever editing. As the film progresses the camerawork slowly draws in ever tighter on the three leads heightening the suspense at key moments while also further adding to the claustrophobic feel. It really is impressive how much mileage the filmmakers get when working with so little.
Held together by three impressive performances, Harpoon deftly plays with our emotions as we become less and less sympathetic to the trio, no matter what horrible things they may be experiencing. What makes Harpoon different than your average survival thriller is how it continuously encourages the audience to laugh at the series of unfortunate events. No matter how deceitful, violent and psychotic these three friends are, Harpoon somehow manages to remain darkly funny.
I must once again stress how annoying these characters are and because of this, Harpoon is a film I admire more than I enjoyed. Often the trio’s bickering is exhausting to sit through and despite a running commentary on toxic masculinity and male insecurity, Harpoon eventually runs out of steam— or rather, is left with no more wind in its sails. In the end, these terrible human beings couldn’t be any more deserving of each other but I can’t say I enjoyed their company.
- Ricky D
Editor’s Note. The review was originally published on August 7, 2019, as part of our coverage of the Fantasia Film Festival. Harpoon is now streaming on Showtime and available on Sho Extreme & on-demand.
‘The Divine Fury’ is a Cool Horror-Action Hybrid that Offers Something for Fans of Both Genres
The Divine Fury has a premise you could only find in a film that would premiere at a genre film festival like Fantasia. Yong-hoo Park, champion MMA fighter, develops a bleeding wound on the palm of his hand, and medical science cannot help him. Further assailed by voices and terrifying visions, Yong-hoo turns to a medium, who directs him to Father Ahn. Ahn is a sanctioned exorcist, and one of many Vatican agents on the trail of the sinister Black Bishop, an occult practitioner who has amassed demonic powers. Father Ahn informs Yong-hoo that his wound is a stigmata, a powerful tool in the battle against evil. This comes as something of a surprise to Yong-hoo, a devout atheist since the death of his father. With his new mentor, Yong-hoo becomes a force for good — a demon-punching holy avenger who uses his physical and spiritual gifts to battle the Black Bishop.
From that description, you couldn’t be blamed for imagining something like that one scene from Peter Jackson’s Braindead, or maybe Ninja 3: The Domination, if you’re a fan of 80s Cannon Group cheese. Even worse, you might be imagining some kind of hokey, low-rent religious superhero movie, like a South Korean Bibleman. But you’re in for a surprise; while it could easily have set its sights on camp and gunned the engine, The Divine Fury instead goes a different route, playing its bonkers premise almost entirely straight. From the outset, Joo-hwan Kim’s film remains utterly sincere about itself, mixing horror and action with some deft direction and a stellar cast to create a dark, engaging, and fun hybrid.
Painting a dark and stylish portrait of modern Seoul, Kim’s direction comes off almost from the first frame as slick and confident. Smooth, elegant camera movements glide through the dimly-lit streets, where shadows lurk and fear reigns. The film often surprises with some wonderful imagery, and walks a fine line between stylish and efficient. When things start hitting the fan and demons emerge to menace our heroes, the film also busts out some serious effects wizardry, with top-notch makeup and creature effects bolstered by clever and dynamic camera work. There are flashes of terrific art direction, with brief tantalizing glimpses of a beautifully realized world of demonic forces, and even real-world locations like the Black Bishop’s luridly-lit nightclub make for interesting and unique backdrops.
As Yong-hoo and Father Anh grow closer, it becomes apparent that their chemistry and onscreen charm is one of the cornerstones the film rests on. Even when they’re just sharing a meal, the two leads are terrific to watch together, with an easy and natural chemistry that makes them eminently believable as friends, despite their vast differences in outlook. Of course, Father Ahn’s platitudes and homilies often come across as stock and predictable, and the film’s attempts at a theological discourse are pretty shallow. But when it can’t muster a convincing theological argument, the film defaults to much more universal fare in its message: defend the defenseless, oppose evil. Who can argue with that?
The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades.
The confident direction and charming leads do help make up for one crucial shortcoming, though: the film may have a lot of the divine, but it’s a tad short on fury. After a tantalizing fight scene early in the film teases some great action, no punches fly until the film’s showstopper of an ending. For those expecting a rock ‘em-sock ‘em actionfest, much of The Divine Fury’s middle section — the vast majority of the film — may leave them cold. But be patient. Enjoy the atmosphere and the more horror-oriented segments, because that patience will be rewarded. When the film reaches its final sequence and Yong-hoo finally unleashes his holy fisticuffs, the result is, well, divine. The climactic action sequence in The Divine Fury is one worth waiting for, a slick and deftly delivered pair of fight scenes that will have action fans cheering in the aisles. The camera maintains a perfect distance, allowing the physical performances of the actors to take center stage, and never obscures the action with jittery movement or rapid-fire editing. The presentation is dynamic, but never overwhelms or distracts from the solid physical performances by star Park Seo-joon and the stunt team. The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades.
The Divine Fury is a fun, surprising and just plain cool horror-action hybrid that offers something for fans of both genres. Kept aloft by two engaging and charismatic leads and some top-notch direction, it pulls you into its ridiculous world of exorcisms and action with gusto. While it does make you wait before it fully unleashes its premise, which can and has strained the patience of some viewers and critics, its final action sequences are worth waiting for.
Editor’s Note: This article was originally published on August 2, 2019, as part of our coverage of the Fantasia Film Festival.
‘Promare’ Feels Like the Younger Brother of ‘Gurren Lagann’
Gurren Lagann is a cult classic directed by Hiroyuki Imaishi, and written by Kazuki Nakashima. It has over-the-top action, constant bravado, quotable lines, and non-stop escalation into madness. Subtly is not a common word used in Imaishi and Nakashima’s vocabulary, and luckily, fans of their work will not be disappointed with their newest animated movie, Promare. Hot-headedness (literal and metaphorical) and grandiose speeches are rampant when Promare kicks logic to the curb and goes beyond the impossible in its own unique way. What it lacks in a cohesive story, it makes up for in elaborate visuals, eye-popping action, and charismatic characters.
No matter how many times Spider-Man or Superman saves someone from a burning building, the real heroes are the firefighters; they are the ones on the ground, first on the scene. In the world of Promare, firefighters are not just stopping regular old fires; they are tasked with extinguishing supernatural infernos caused by the Burnish — humans mutated to become pyrokinetics. Called the Burning Rescue, they heroically save any and every civilian threatened by these eternal flames, doing so with advanced gear, amped-up water cannons, and hand to hand combat. In addition, they have high-tech equipment that includes drones, an armory of ice and water-powered firearms, and numerous models of mech suits.
These heroes are tasked to stop the flaming terrorists and the havoc they wreak, and in the first act of Promare, a Burning Rescue team led by a young man named Galo take on one of the most feared Burnish terrorists. They use their pyrokinesis to give themselves black, spiky armour and motorcycles that would make Ghost Rider jealous, and after a rousing success with eleventh-hour powers, Galo floats in his victory. Soon, the more militaristic, anti-Burnish organization called Freeze Force barges in and detains the Burnish, taking some of the credit and diminishing Burning Rescue’s efforts. This testosterone-driven act kindles a small spark in the back of Galo’s head, later pushing him to discover a conspiracy that suggests not all is as it appears to be.
Galo is essentially a carbon copy of Kamina from Gurren Lagann. He’s a shirtless, blue-haired, brash young man who jumps in head first to save everyone, and makes sure he looks cool doing it every time. His peers and rivals mock his intelligence and audacity, but in a rare twist, Galo immediately proves that his not simply all bark; he is also a talented rescuer, and is able to stop multiple Burnish solo. Eventually, he develops a rival with Lio, a blonde-haired, light-eyed, somewhat effeminate villain with his own code of honour. He also runs across Kray Foresight, the governor, who is appreciative of Burning Rescue and all their work. However, though Burning Rescue is comprised of many equally talented members, they are mostly pushed to the background outside of being given a few moments to shine.
Promare takes advantage of new animation styles, and combines both hand-drawn and computer-animated designs. The vapourwave art style is bombastic and chaotic, while the angular designs of the Burnish’s powers add a little edge to the action scenes, guaranteeing that there is no wasted space on screen. The movie runs from inferno-hot to sub-zero cold with no in-between; one would expect nothing less from Imaishi and Nakashima.
Walking into this film and expecting some kind of subtly, even when it comes to the most mundane of actions, is expecting far too much. In classic fashion, the filmmakers keep making every scene more grandiose and epic. Fight scenes aren’t simply adding an extra bad guy or giving the hero a handicap; everything grows to an exponential scale. The moment you expect that Promare has reached its limit, suddenly everything goes to the extreme. But this does has its disadvantages, as subtly and clear explanations of events go by the wayside. The plot moves fast and glosses over the details of the world, history, and lore. Instead of questioning “why is this weird thing happening,” it’s better to accept that it’s happening simply “just because” — far better to just watch the bonker visuals and series of events. This pacing also makes it difficult for character growth, where relationships are created and destroyed on a whim, yet could have benefited more with extra content. It’s like the difference between the Gurren Lagann series and the movies. Sure, the movies cover a lot of ground, but they are very much more loud, operatic spectacles rather than the growing confidence of a young shy boy into a full-fledged legend.
Promare is certainly a movie that stimulates the lizard-brain neurons. It’s flashy, over the top, and outright ridiculous. The heroes and villains are operatic, and there is no nuance stored anywhere in the character’s development. But that’s why the movie is wonderful; the creators are able to depict these extreme levels of silliness, then lampoon and expand on it. There are even moments where the characters themselves have to acknowledge that this level of weirdness is actually happening. But that’s why this movie is spectacular — it’s loud, it’s big, but it’s 100% unfiltered fun.
Editor’s Note: This article was originally published on August 4, 2019 as part of our Fantasia Film Festival coverage.
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