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Fantastic Fest 2019: Second Wave Adds ‘Knives Out’, ‘Parasite’ and More

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This year’s Fantastic Fest is shaping up with one of the strongest lineups in recent years and if the first wave announcement didn’t impress you, the second wave of films announced today will have you running to buy tickets.

Wave two brings a ton of exciting new titles including Rian Johnson‘s Knives Out, Bong Joon-ho‘s Palme d’Or winner Parasite, as well as Richard Stanley‘s The Color Out of Space and the latest from filmmaking duo Justin Benson and Aaron Moorehead, Synchronic.

This year, Fantastic Fest will also be spotlighting Mexican genre films such as The Black Pit of Dr. M and The Ship of Monsters—and, the festival will also include a sidebar dedicated to LGBTQ+ representation in genre cinema.

Check out the full second wave film lineup below. Fantastic Fest runs September 19-26. Be sure to check back as we will be covering the event once again this year.

Abou Leila
Algeria, France, Qatar, 2019
North American Premiere, 139 min
Director – Amin Sidi-Boumédiène
In the midst of the Algerian Civil War, Lotfi ventures into the desert with his lifelong friend S., who hopes to find and kill the elusive, dangerous terrorist Abou Leila.

The Antenna
Turkey, 2019
US Premiere, 115 min
Director – Orçun Behram
Somewhere within an unnamed city in Turkey, the residents of an apartment block await the installation of their new antenna as ordered by the central government. No one can prepare them for the evil that will be unleashed.

The Black Pit Of Dr. M
Mexico, 1959
Repertory Screening, 82 min
Director – Fernando Méndez
Two doctors make a pact on behalf of science: Whichever one dies first will return to share the secrets of the afterlife. This pact will not end well.

Bliss
USA, 2019
Texas Premiere, 80 min
Director – Joe Begos
While trying to complete her latest painting, a starving artist facing a lack of inspiration spirals out of control in a blaze of blood-soaked, drug-fueled glory.

Blood Machines
France, USA, 2019
North American Premiere, 50 min
Director – Seth Ickerman
The wild sequel to the Carpenter Brut music video, Turbo Killer, shoots you into a turbulent psychedelic adventure of galactic hunters tracking down the soul of a spaceship set to a killer synthwave soundtrack.

Butt Boy
USA, 2019
World Premiere, 100 min
Director – Tyler Cornack
Writer/director/comedian Tyler Cornack’s Butt Boy introduces us to Chip, a middle-aged man whose first prostate exam stirs feelings deep inside leading to an addiction that can only be shown to Fantastic Fest audiences.

Climate Of The Hunter
USA, 2019
World Premiere, 90 min
Director – Mickey Reece
The “Soderbergh of the Sticks,” Mickey Reece, returns to Fantastic Fest with his 27th feature. Two beautiful sisters vie for the affections of a man who may or may not be a vampire.

Color Out Of Space
USA, 2019
US Premiere, 111 min
Director – Richard Stanley
Unimaginable terrors befall the Gardner family after a meteorite lands on their front lawn in Richard Stanley’s entrancing, horrific adaptation of H.P. Lovecraft’s short story.

Iron Fists And Kung Fu Kicks
Australia, 2019
North American Premiere, 107 min
Director – Serge Ou
From the Shaw Brothers to The Matrix, this wild documentary tells the story of how kung fu films conquered the world from the 1960s to now.

Knives Out
USA, 2019
Special Presentation, 130 min
Director – Rian Johnson
In attendance – Director Rian Johnson
From acclaimed writer, director Rian Johnson comes Knives Out, a fresh and modern take on the classic “whodunnit” mystery genre.

The Lodge
USA, 2019
Texas Premiere, 108 min
Directors – Veronika Franz & Severin Fiala
Five years after Goodnight Mommy stunned Fantastic Fest audiences, Veronika Franz and Severin Fiala are back with another disturbing psychological twister about a brother and sister spending Christmas with their shadowy soon-to-be stepmother.

The Long Walk
Laos, Spain, Singapore, 2019
US Premiere, 115 min
Director – Mattie Do
In attendance – Director Mattie Do
An old Laotian hermit discovers that the ghost of a road accident victim can transport him back in time fifty years to the moment of his mother’s painful death..

Lyle
2014, USA
Repertory Screening, 65 min
Director – Stewart Thorndike
In attendance – Director Stewart Thorndike
After the loss of her child, a young woman begins to suspect that her neighbors might be part of a satanic cult and that she might be their next target.

A Nightmare On Elm Street 2: Freddy’s Revenge
USA, 1985
Repertory Screening, 87 min
Director – Jack Sholder
In attendance – Actors Mark Patton and Kim Myers
Jesse (Mark Patton) is the new kid on Elm Street and Freddy Krueger might not be the only monster in the closet in this much discussed but under-appreciated queer horror classic.

Nobadi
Austria, 2019
US Premiere, 90 min
Director – Karl Markovics
In a retirement allotment in Vienna, a crabby 91-year-old finds both himself and his humanity when he hires an Afghani refugee to help him in Karl Markovics’ remarkable and poignant third feature.

Parasite
South Korea, 2019
Texas Premiere, 131 min
Director – Bong Joon-ho
Bong Joon-ho’s seventh feature — about an unemployed Korean family conning their way out of their basement apartment — is a roller coaster ride of laughs, gasps, horror, tears, and perfection.

Patrick
Belgium, 2019
North American Premiere, 97 min
Director – Tim Mielants
Patrick is not having an easy time. First his domineering father passed away and now his favorite hammer is missing. Before the day is out, Patrick’s search will lead him to discover answers to the questions he didn’t even know existed.

Phil Tippett – Mad Dreams And Monsters
France, 2019
International Premiere, 80 min
Directors – Gilles Penso & Alexandre Poncet
After their documentary Creature Designers – The Frankenstein Complex, French journalist Alexandre Poncet and filmmaker Gilles Penso deliver an in-depth, sad, and beautiful documentary about the stop motion and VFX artist Phil Tippett, a man who changed the landscape of visual effects in film.

The Platform
Spain, 2019
US Premiere, 90 min
Director – Galder Gaztelu-Urrutia
In attendance – Director Galder Gaztelu-Urrutia
Somewhere in the future exists The Platform, a vertically tiered prison where the upper levels have access to exquisite food and the lower levels fight for survival. Level assignments are random, but how long can a prisoner’s luck hold? One man is about to find out.

Prey
1977, United Kingdom
Repertory Screening, 78 min
Director – Norman J. Warren
Jessica and Josephine find more than their relationship at stake when they’re chosen by a shape-shifting alien as his target for an observational study.

Scream, Queen! My Nightmare On Elm Street
USA, 2019
US Premiere, 100 min
Directors – Roman Chimienti & Tyler Jensen
In attendance – Directors Roman Chimienti and Tyler Jensen
More than thirty years after its release and his departure from Hollywood, Mark Patton (star of A Nightmare On Elm Street 2: Freddy’s Revenge), sets the record straight on the famously queer horror sequel in this fabulous, surprising, and eye-opening documentary.

The Ship Of Monsters
Mexico, 1960
Repertory Screening, 81 min
Director – Rogelio A. González
Two Venusian women and their robot servant are on a mission to find suitable candidates to repopulate their planet. Soon their ship is filled with bizarre specimens from across the universe, leading to an adventure like no other!

Synchronic
USA, 2019
US Premiere, 96 min
Directors – Justin Benson & Aaron Moorhead
In attendance – Directors Justin Benson and Aaron Moorhead
Two paramedics find their world ripped apart when they start encountering deaths linked to the otherworldly effects of a new designer drug called Synchronic.

Trampa Infernal
Mexico, 1989
Repertory Screening, 77 min
Director – Pedro Galindo III
In Mexico’s most notorious unseen video-era masterblast, a crew of toxically masculine bear murderers runs afoul of a forest-dwelling war veteran wearing a mannequin mask and Freddy Krueger glove. Entertainment ensues!!

The True Adventures Of Wolfboy
USA, 2019
North American Premiere, 88 min
Director – Martin Krej?í
Suffering from hypertrichosis — which covers him with animal-like fur — Paul knows he’s not like other kids. But a seemingly random package from his estranged mother will send him on a journey of self-discovery alongside extraordinary characters.

The Vast Of Night
USA, 2019
Texas Premiere, 90 min
Director – Andrew Patterson
A rural 1950s radio DJ and a telephone operator uncover a strange signal that could change everything in this stunning science fiction debut feature.

VFW
USA, 2019
World Premiere, 92 min
Director – Joe Begos
In attendance – Director Joe Begos
In the near future, a new drug called Hype has turned America into a war zone. The addicted are more mutant than human, and they’ve set their sights on assaulting a VFW post in Joe Begos’ star-studded latest.

VHYES
USA, 2019
World Premiere, 71 min
Director – Jack Henry Robbins
In attendance – Director Jack Henry Robbins
This bizarre retro comedy, shot entirely on VHS and Beta, takes us back to when 12-year-old Ralph, over one formative week, mistakenly records home videos and his favorite late night shows over his parents’ wedding tape.

Vivarium
Ireland, Belgium, Denmark, 2019
US Premiere, 98 min
Director – Lorcan Finnegan
When young couple Gemma (Imogen Poots) and Tom (Jesse Eisenberg) drive out to a maze of temptingly affordable houses in the suburbs, they find themselves unable to leave.

Humans by birth. Gamers by choice. Goomba Stomp is a Canadian web publication that has been independently owned and operated since its inception in 2016.

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Let’s Discuss the Revamped Sonic the Hedgehog Design

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The internet has breathed a collective sigh of relief following the release of a new trailer for the upcoming Sonic The Hedgehog movie. Some leaks a few weeks back that turned out to be correct showed the design that we see but the trailer shows a lot more of the new redesign of the world renowned video game character. The movie has been the subject of much attention-mostly negative- after the initial trailer was released six months ago. The first trailer (which initially announced a release date of November 2019) was incredibly poorly received due to the odd design choice for the titular character. With small eyes, a tiny snout and human teeth, the original design was weirdly realistic and resembled an odd humanoid rather than the blue cartoon hedgehog that we all know and love.

The first design for Sonic looked a bit like a child in a Sonic the Hedgehog suit. Creepy to say the least.

The new trailer shows off a brand new look for Sonic which is far more in sync with what we already know for the character. He is definitely an animated character, with the exaggerated features that he has always had in every other iteration. The movie itself still looks cheesy as hell but it looks like a tolerable, even kind of enjoyable sort of cheesy.  The controversy surrounding the terribly received first Sonic design has been so prolific that some even argued that the whole thing has been a marketing ploy and that the character was never meant to look as bad as he originally did. Whatever the case may be in terms of what went down behind the scenes of the Sonic the Hedgehog movie, it is clear that even if the film is terrible it will attract a substantial audience of people just curious as to how the whole thing is going to turn out. As a fan of Sonic since the 90’s when I was little, I’m probably going to be one of those people.

Sonic is now appropriately cute, fluffy and more in line with his usual style.

I’m still kind of hoping it can break the curse of the video game movie-like Detective Pikachu did- but alongside the aforementioned cheesiness, it looks like a pretty generic movie aimed at kids rather than diehard fans of the Sonic franchise. Flop or not, at least Sonic is looking far more adorable and less like he might murder you in your sleep. It also shows how the filmmakers were willing to listen to their audience and implement changes following feedback. Incredibly vocal feedback at that.

The comparison between the two designs shows just how much the animators have worked to create a brand new Sonic. Their hard work has certainly paid off.

Sonic the Hedgehog is due for theatrical release on February 14th, 2020.

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Anamanaguchi – [USA] (Album Review)

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Few acts boast such renown amongst uber-nerdy video game enthusiasts as Anamanaguchi. Unveiling their debut EP ‘Power Supply’ in 2009, the Chiptune pioneers have pushed their unique brand of 8-bit powered Rock and Pop across various releases, including 2010’s Scott Pilgrim vs. the World: The Game soundtrack, and 2013’s Kickstarter funded 22 track LP ‘Endless Fantasy’. And with ‘Endless Fantasy’ being their last LP (excluding their stuffed to the brim ‘Capsule Silence XXIV’ compilations), to say fans have anticipated ‘[USA]’ is an almighty understatement.

Six years is a while, so has Anamanaguchi’s latest batch of tracks been worth the wait? Seasoned fans Harry and Kyle are on the scene to offer their takes, from how ‘[USA]’ stacks up against the band’s other offerings, to its effectiveness as an artistic whole.

Background With Anamanaguchi

I first heard Anamanaguchi around 2010. At the time I was neck deep in my Slipknot phase (a phase I’ve yet to grow out of judging by how much I replayed ‘We Are Not Your Kind’ this year), so their goofy electronic schtick didn’t tick my boxes. But as time passed I developed a stronger fondness of them, so much so that I enthusiastically backed their 2013 LP ‘Endless Fantasy’ on Kickstarter. Now I’ve seen them live twice, followed their progress over the years, and can proudly proclaim my superfan status. – Harry

The late 2000s saw a shift in pop culture: suddenly, geek chic was all the rage. G4 was at the height of its popularity, pixel art infested countless pieces of media, and video games were undeniably cool. Few other pieces of media encapsulate this cultural zeitgeist more than Scott Pilgrim vs. the World: The Game. Based on the popular comic by Bryan Lee O’Malley, the Scott Pilgrim game featured Anamanaguchi’s crunchy pixelated Rock sound, which melded perfectly with the colorful 16-bit beat-em’-up gameplay. Older Anamanaguchi albums are more than just music: they’re a trip back in time to a brighter, more innocent era of pop culture and gaming. – Kyle

Introducing [USA]

I was excited for ‘[USA]’, but that’s stating the obvious based on my prior words. The LP kicks off with its titular track, introducing affairs with an amalgamation of predictably glitchy bleeps ‘n’ bloops. It’s straight up Anamanaguchi, their Chiptune flair intact. This is good, as Anamanaguchi sans Chiptune is like spaghetti sans sauce (still awesome, but lacking a key ingredient). “USA” is chanted as instrumentation morphs stylistically, crescendoing in dynamics and tempo, and setting the stage for the lead single.

“Lorem Ipsum (Arctic Anthem)” is an LP highlight. Stepping out the gate with Vocaloid-y singing, an aesthetic of grandiose gorgeousness is speedily cemented. This later juxtaposes with the rapid-fire rhythms of Luke’s drumming and manic synthesizer arpeggios that run around like an 8-bit-ified (Sega Master System) Sonic the Hedgehog. This mental meld of melody, Drum and bass, and all manner of other musical magic finally sinks into a sea of atmospheric spookiness, concluding in an out of left field (yet utterly engaging) way. “Lorem Ipsum (Arctic Anthem)” avoids predictability through each and every beat of its journey, but nails catchy accessibility to a tee. A masterclass in creative songwriting, it sets ‘[USA]’s’ bar sky high. – Harry

The weeks to ‘[USA]’ releasing were positive ones, marked by enticing singles like “Lorem Ipsum (Arctic Anthem)” and “Air On Line”. Anamanaguchi’s distinct Rock-flavored Chiptune style had undergone a stylistic shift in the band’s 2013 release ‘Endless Fantasy’, where the band shed off some of its punk flair in favor of dreamier synth tones. In the six years between LP releases, Anamanaguchi experimented with singles and EPs featuring sonic palettes characteristic of modern J-Pop (“Pop It”, “Miku”). While the band stretched its legs with poppier beats, it did mark a further departure from the traditional Rock-oriented sound that had defined much of their earlier work.

‘[USA]’ in many respects displays a return to Anamanaguchi’s roots. Tracks like “On My Own (feat. HANA)” and “Air On Line” boast driving guitar riffs, thumping drums, and fluidly complex intricacies. Yet, it’s more than clear that Anamanaguchi has evolved beyond their geeky beginnings to cultivate an airy soundscape of bright pastel colors and crystal clear tones. It doesn’t always hit the mark, but the highs that ‘[USA]’ can reach prove that the guys have still got it. – Kyle

Negative Bits

Unfortunately, said sky high bar is scarcely met again throughout the rest of ‘[USA]’. Plenty of tracks, like “The C R T Woods” and “Overwriting Incorporate”, are serviceable, but fall short of the laser focused compositional direction and melodic magnificence that Anamanaguchi are so super slick at. ‘[USA]’ suffers from banality, with tracks like “Tear” and “We Die” meandering noisily without focus, and big chunks (particularly the interlude-like tracks “Speak To You [Memory Messengers]” and “Apophenia Light [Name Eaters]”) feeling akin to ‘Capsule Silence XXIV’ cuts (i.e. decent demos, but not kickass LP standouts). – Harry

Much like Harry, I found a large chunk of the album rather dull to get through. Admittedly, Anamanaguchi has an undeniable talent for their synth instrumentation. However, what pushes their work beyond generic electronic music is their ability to anchor that instrumentation to a melodic through line built on catchy hooks and unexpected turns. “Lorem Ipsum (Arctic Anthem)” is one of the few tracks that manages to pull off this floaty, ethereal sound because it moves forward with purpose and constantly engages your curiosity. The same can’t be said for several of the other synth-heavy tracks, too lost in their own sound to offer anything truly engaging. – Kyle

Positive Bits

Nevertheless, there are flashes of brilliance here. “Sunset By Plane (feat. Caroline Lufkin)” is Anamanaguchi firing on all cylinders, delivering energetic poppy bombast in spades. Porter Robinson’s co production is evident in “Air On Line”, resulting in a smooth stomper of happy hooks. “B S X (feat. Hatsune Miku)” incorporates choppily glitched-out singing from the iconic Vocaloid, serving as a pseudo-sequel to the 2016 single “Miku”. “On My Own (feat. HANA)” sees Anamanaguchi’s Chiptune/Pop/Rock melting pot bubbling away again. And speaking of Chiptune, it’s wonderful to hear mountains of 8-bit eccentricity throughout ‘[USA]’, proving even as their sound matures, Anamanaguchi still celebrate where they came from with beaming pixelated smiles. – Harry

As a whole, ‘[USA]’ still deserves a place worthy of praise in Anamanaguchi’s discography. Porter Robinson only collaborated with the band for “Air On Line”, but his style bleeds wonderfully into tracks like “Up to You (feat. meesh)” and “Sunset By Plane (feat. Caroline Lufkin)”. The kawaii-infused J-Pop rhythms and hooks are infectiously catchy, but don’t let that fool you: Anamanaguchi haven’t lost their edge. “B S X (feat. Hatsune Miku)” and “On My Own (feat. HANA)” show that the band can reach back into their deep musical pockets and bring out their signature hard Chiptune Rock to surprise you with something intimately familiar. – Kyle

Final Thoughts

In typical Anamanaguchi fashion, ‘[USA]’ is ambitious from start to finish. ‘Endless Fantasy’ is bloated, but stylistically spot on, whereas ‘[USA]’ trims the fat, but gets a little lost in its journey. Glistening gold sits alongside stale pies, and that description is a fitting metaphor for elements of ‘[USA]’: it’s odd, and doesn’t make much sense (and perhaps that in itself is a metaphor for the real life USA?).

Still, when Anamanaguchi’s latest is good, it’s really good, and there’s bundles of genius in the 8-bit boys yet!

Check out, stream, buy or consume ‘[USA]’ in your preferred capacity by clicking HERE!

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Star Wars Fan Films Embrace the Essence of A Galaxy Far, Far Away

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There is no doubt that dedicated fans are capable of creating brilliant, fan-made content, but the Star Wars fan base has a habit of going above and beyond in making incredible works of art that often surpass official entries in the franchise. Two relatively recent short fan films — one released last week, the other released in March of this year — are great examples of this.

The first is a 1970s/80s-style cartoon from YouTuber Wilkins Animation called Dark Empire Episode One: The Destiny of a Jedi. This animated short is incredibly reminiscent of classic cartoons — so much so that it is difficult not to feel a pang of nostalgia upon watching it. The style gives off a He-Man vibe due to the quirky animation, stellar voice work, and vibrant colour scheme. The story is set after The Return of The Jedi as Han, Leia, Chewbacca, R2-D2, and C-3PO embark on a mission to save Luke and Lando, who are stranded on war-torn Coruscant. I won’t spoil anything in case you want to check it out for yourself, but the story is engaging, and I couldn’t help but feel that I wanted to see more when it came to an end.

Have a watch below if you want to see more, and to check out Wilkins Animation’s Patreon to support their work, click here.

The second fan made film is a slightly older (from March 2019) one called Battle of the Dreadnoughts, by YouTuber EckhartsLadder. The film is significantly shorter than the 12-minute Dark Empire cartoon, clocking in at about three and a half minutes. It depicts a space battle between the New Republic’s Viscount Class Star Defender and the Empire’s most dangerous of all its weapons, the Eclipse Super Star Destroyer. Battle of the Dreadnoughts may be short, but it is astounding in quality. Upon my first viewing, I was certain I had accidentally clicked on a scene from the movies rather than a fan-made project. The accuracy, attention to detail, and sheer scale blew my mind and — as with the Dark Empire animation — left me wanting more from the content creators involved.

Check out EckhartsLadder’s Patreon here and their Twitch account here.

There is no doubting the talent of the Star Wars fan base, but these two films in particular are incredible works of art both in their own right and as Star Wars fan projects.

For more Star Wars, have a read of our Star Wars: The Rise of Skywalker trailer breakdown.

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