Recently I’ve been tossing around the idea of starting up a regular feature that would highlight some of the films that I’ve run across in my film watching career that I adore for no discernible explanation. That is, no explanation until now.

For now I will highlight the competently ridiculous, the oddly perverse and hopefully the drug-addled genius of some truly awful movies that hurt so good. For these movies truly represent the greatest moments in cinema history.

Our inaugural edition highlights one of the most bizarre and possibly frightening films you are bound to encounter. A film so vile, so lewd and so inspired that it could only come from a man who was destined to become one of the biggest director’s in Hollywood, that being Peter Jackson. This movie marks both his creative peak AND nadir, resulting in a movie that is bound to fell anyone without the strongest of stomachs, though a complete lack of morals can only improve your viewing experience.

For those unaware of Meet the Feebles, the plot is rather simple, a troupe of Muppets is trying to put together one big television broadcast special, in the hopes of landing a syndicated series. But as the big day approaches a series of disasters threaten to ruin everything they’ve worked so hard for. Of course that also leaves out the sex addicted rabbit dying from AIDS, the massive drug ring that the show’s producer runs in the theatre’s back alley, or nasal sex, which sounds almost as disgusting as it actually is.

But the highlight of the film is the pinnacle song and dance number as a homosexual fox sings about his love for, you guessed it, sodomy, all while a manic depressive hippopotamus attempts to murder every performer with a machine gun, thus marking this as one of the Greatest Moments in Cinema History with a bullet.

Sure I’m the only person who thinks so, but with each trailer I watch I get more excited to see Hot Tub Time Machine. Granted, the new Red Band Trailer leaves a lot to be desired, but that doesn’t change the fact that this movie is from the guys directly responsible for two of my favorite comedies, High Fidelity and Grosse Pointe Blank. Plus, the new Green Band Trailer contains one of the funniest lines I’ve ever heard.

“Oh then you have to talk to girls with your mouth.”

That’s genius right there, that is.

Just in time for the upcoming Oscars, shocking I know, several theatres here in the Twin Cities have decided to host some movie marathons of films nominated for this year’s Oscars, from Live Action and Animated short films, to Documentary to every Best Picture nominee, you can find them somewhere in the Cities this weekend and next.

Live Action and Animated Short Films
The Lagoon Cinema
Animated – 2:50 & 7:15 (Daily)
Live Action – 5:10 & 9:30 (Daily)
Matinee $7 | General $9

Twin Cities Gold Film Festival
Woodbury 10 Theatre
The Most Dangerous Man in America – Sat @ 7:00 (Twin Cities Premiere)
Food Inc – Fri @ 1:00 | Sat @ 5:00 | Sun @ 3:00
Burma VJ – Fri @ 3:00 & 9:00 | Sat @ 3:00 | Sun @ 1:00
Which Way Home – Fri @ 7:00 | Sat @ 9:00 | Sun @ 5:00 (Twin Cities Premiere)
The Cove – Fri @ 5:00 | Sat @ 1:00 | Sun @ 7:00
Tickets $6 | Festival Pass $25

Best Picture Marathon
Day 1 (Feb 27th)
AMC Eden Prairie 18
10:30 – Avatar
1:45 – Up
3:45 – A Serious Man
6:30 – Precious
8:45 – District 9

AMC Arbor Lakes 16 & AMC Rosedale 14
10:30 – Avatar
1:45 – Up in the Air
4:00 – Precious
6:45 – The Blind Side
9:15 – Inglourious Basterds

Day 2 (March 6)
AMC Eden Prairie 18
10:30 – An Education
12:45 – The Hurt Locker
3:25 – Up in the Air
6:00 – The Blind Side
8:30 – Inglourious Basterds

AMC Arbor Lakes 16 & AMC Rosedale 14
10:30 – Up
12:45 – A Serious Man
2:45 – The Hurt Locker
6:00 – An Education
8:00 – District 9

Two Day Pass $50 | One Day Pass $30

I’ve made it relatively clear that I am a fan of genre films, up to and including exploitation films. I grew up on these movies and they have helped shape my future movie watching habits, so I have enjoyed quite a bit the recent bit of mainstream love for grindhouse films.

Now, coming on the heels of the outstanding Ozploitation documentary Not Quite Hollywood, comes a film devoted to the American exploitation films of the same time. Now the film does not look to have quite the same level of frenzied adoration as its Australian counterpart, but with its massive cast of interviewees it should prove to be a fascinating look at one of my favorite parts of cinema history.

Official Site
Title: American Grindhouse
Director: Elijah Drenner
Starring: Allison Anders, Larry Cohen, Joe Dante, Don Edmonds, Robert Forster, Jack Hill, John Landis, Herschell Gordon Lewis, William Lustig, Bob Minor, Kim Morgan, Fred Olen Ray, Lewis Teague, Fred Williamson
Release Date: March 2010 (SXSW Film Festival)

With The Crazies remake just around the corner, I figured it was finally time to watch this exploitation “classic” from George A Romero. While I’m not expecting much I figure it can’t be any worse then the last few Of The Dead films he’s put out.

Word of warning, it is a red band trailer, and it is most certainly NSFW.

That being said, its pretty flippin sweet and only gets me more excited for the film. Now the question is just how many girls will dress up as Hit Girl this Halloween?

Only the ones you should avoid at all costs.

According to Jason Reitman (Thank You For Smoking, Juno, Up in the Air) it is a lot like this:

I’ve been on a bit of a Terrance Stamp kick as of late. I’ve been a fan of him for sometime, probably ever since his General Zod showed me the sublimely manicured face of evil all the way back in Superman II, but much of his early work I simply had never gotten around to watching. But after James and I took the time to watch The Mind of Mr Soames for one of our High and Low (Brow) podcasts (Episode 4 – Comas), I decided that perhaps it was finally time to devote some real effort into watching some of his earlier films, which brings me to The Collector, a film that only recently graced my radar after I found out that a very loose remake was being released in theatres last year.

Now, it isn’t often that you see films co-opted, manipulated and outright subjugated to the whims of modern remakes. Wait, let me rephrase that. Alright, so it is common. But in the case of The Collector it has been a very unique form of modern bastardization. You see the title was taken and the idea of collecting people was used (or mis-used as the case may be) and that was the end of it. Complex characters were abandoned for one dimensional stock. The creepy, slow burning plot was replaced with the now standard mess that highlights gore and ignores everything else. It is a thin thread that ties the modern “remake” to the original. Which, honestly, is a good thing.

You see the modern film is a blatant Saw facsimile lacking tact, pathos or good taste, let alone competent filmmaking. It is a shallow and facile piece of celluloid bilge that infuriated me as I watched it. It was the antithesis of horror, as it relied on gratuitous gore to encourage the masses to gleefully gorge on, well, gore. You weren’t pushed, challenged or attacked; simply stultified into ignorant bliss.

So how exactly did it draw my ire? Simple, it followed a man who captured families, tied them up and then proceeded to fill their entire house with booby traps because evidently he knew that they would escape at some point during the film. Who cares if that particular plot point flew in the face of reality and common sense, as the practicality of it is nothing less than fucking ridiculous. You can’t just simply suspend disbelief to believe this was even possible, you had to disembowel your brain.

Perhaps even more frustrating is that horror critics ate up this pile with a spoon. Hordes of people who really should know better praised this pile of dung to the nines. Excuse me, this piece of derivative shit. But thankfully the original aspires to be quite a bit more than a horrible Saw knockoff.

Freddie Clegg (Terence Stamp) is lonely. Thanks to winning the lottery he has been able to live a life of comfortable luxury in the British countryside. He bought a house on a quiet estate and he now has the time to devote to his growing lepidopterology hobby. But still, he’s lonely. Even worse he is socially awkward, which makes it even more difficult for him to find someone special to spend the rest of his life with. So Freddie devises a plan. A plan that will mean he’ll never have to be alone again.

Immediately it is obvious that The Collector is a very different film than its future progeny. While the remake omits details in order to confuse viewers and hopefully keep them interested the original hides nothing. It meticulously reveals every detail of Freddie’s plan, though the reveal remains obscured because Freddie’s plan isn’t shown entirely in chronological order, thus forcing the viewer to actually engage their brain to keep pace with the bizarre world that Freddie exists in.

You see Freddie is a little unhinged. He’s under the belief that if he kidnaps the woman of his dreams (Samantha Eggar) that in one month she will fall in love with him. To complete this quest he buys a secluded estate, complete with an elaborate wine cellar, that will allow him to keep her in the life he believes she should live. Of course, her feelings on the situation don’t really matter. But that fact that he brings her a few of her favorite things should, at least in Freddie’s mind. Freddie gives her 30 days to fall in love with him, and that is when the mind games begin.

Perhaps the most fascinating, and best, aspect of The Collector is how capably and confidently it pulls back its twisted and complex layers. It is neither showy nor sadistic, rather, it meticulously and proudly reveals to the audience what a tragically twisted web that it is weaving. It has no intention of playing nice, nor of going easy on its audience. It plain and simply wants to creep you the fuck out. And time and again it does in spades and thanks to some standout performances and a blatantly manipulative score The Collector takes great glee in toying with its audience at every turn leaving you so unnerved, even the most seemingly facile of moments offer the allure of ghastly reveals.

And creep you out it does. In perhaps the films finest scene Freddie reveals the full power and depth of his obsessions when he reveals his extensive butterfly collection to Miranda (Eggar). During the opening of the scene you find yourself admiring his dedication to his hobby. Clearly this is something he loves and values, but as soon as you begin to identify with Freddie, The Collector turns its fiery gaze on you, indicting you along with its resident monster, leaving your mind to race to its own defense as the film continues to pummel Freddie and throw his tortured psyche under the nearest metaphorical bus.

From that point on The Collector manages to deftly walk a fine line between admiration and revulsion with Freddie. It wants you to sympathize with him, but at the same time it has every intention of punishing you for having such feelings for such a beast. But as The Collector batters you for such blasphemy it soothes you with its reiteration that Freddie is simply a man with zero social skills. To be frank, he’s a nerd. A nerd who has never had a meaningful interaction with a woman, thus he has no idea how to have a friendly relationship with one, let alone an intimate one. Freddie simply wants to be loved for who he truly is. Is that so wrong?

Be careful how you answer that.

I’ve been touting Ink ever since I watched it last year (read my review here), its a fabulous throwback to the kind of sci-fi/fantasy films that were everywhere in the 80’s yet have seemingly gone out of fashion in the decades since. Its a terrific little film from some of the nicest people I have had the pleasure of meeting. If you haven’t checked out the movie yet, let me once again urge you to do so.

Now, I’ve been not so secretly hoping that writer/director Jamin Winans would return to the proverbial well and make another film that would involve the Ink universe, and while his latest short film doesn’t do that exactly, it certainly involves a lot of elements that made Ink such an enjoyable film to watch. Most of the actors in Uncle Jack were involved with Ink (note to self, watch anything with Jeremy Make in it), the plot certainly cribs some elements from Ink and of course Winan’s visual style and flair exists in both films. So sit back and watch this great little short film, and perhaps it will finally convince you to give Ink a try.

My audio interview with Jamin Winans and Chris Kelley
Ink (Offiicial Site)
DoubleEdge Films (Facebook)
DoubleEdge Films (Twitter)

Thanks to the guys over at Film Junk I came across the trailer for the new mumblecore science fiction film Mars that will be debuting at the 2010 SXSW Film Festival. Combining its eye catching visual presentation with its misanthropic tone hopefully will result in an interesting romantic comedy, though the trailer certainly reminds me at times of Dark Star.

But what I might be most interested in for the film, is the involvement of James Kochalka, who is one of the best American independent comic creators currently working. I wouldn’t be surprised if he helped with some of the background animation, but that he is acting in this film gives me hope that some of his outstanding writing talent might be used to help sharpen up the dialogue. Please let it be true.

Official Site
Title: Mars
Director: Geoff Marslett
Starring: Mark Duplass, Zoe Simpson, Paul Gordon, Cynthia Watros, Michael Dolan, Liza Weil, James Kochalka, Howe Gelb and Kinky Friedman
Release Date: 2010 (USA)

Its been sometime since I’ve been able to post a recent Coming Soon list so you’ll notice that a vast majority of the movies listed are labeled new additions. With the sheer number of new additions I didn’t have the time to go through and check out trailers and reviews for some of them but I did try to label as many of those as I could as recommended. The Red Riding trilogy coming in March is certainly one that I have an eye on, as I’ve heard excellent things about it.

Of course the movie I’m most excited about on the whole sheet is the one being re-released this weekend at The Uptown, that being Rashomon, the breakout International hit for my favorite director, Akira Kurosawa. If you haven’t had the chance to see it yet, now is the perfect time to swing by The Uptown and watch one of the greatest films ever made.

*** – Denotes recommended viewing
All dates subject to change

2/12 Rashomon (Restored Print) Uptown ***
2/12 Creation Edina

2/19 North Face Uptown ***
2/19 Oscar Nominated Shorts Lagoon ***
2/19 District B13: Ultimatum Lagoon

2/26 44 Inch Chest Lagoon ***
2/26 Saint John of Las Vegas Lagoon ***

3/05 The Ghost Writer Lagoon (tentative)

3/12 A Prophet Uptown
3/12 Red Riding: 1974 Lagoon (NEW) ***
3/12 Red Riding: 1980 Lagoon (NEW) ***
3/12 Red Riding: 1983 Lagoon (NEW) ***
3/12 A Town Called Panic Lagoon ***
3/12 The Art of the Steal Edina
3/12 The Yellow Handkerchief Edina (NEW)

3/19 The Girl with the Dragon Tattoo Uptown (NEW)
3/19 Mother Lagoon (NEW) ***
3/19 The Runaways Lagoon (NEW)
3/19 Fish Tank Lagoon ***

3/26 Terribly Happy Lagoon (NEW)
3/26 Chloe Edina (NEW)
3/26 City Island Edina (NEW)

4/02 Police, Adjective Lagoon

4/09 The Most Dangerous Man in America Lagoon (NEW) ***
4/09 The Greatest Edina (NEW)

4/16 Sweetgrass Lagoon (NEW)

4/23 The Square Lagoon ***

4/30 Warlords Lagoon ***

5/07 Mid-August Lunch Lagoon (NEW)

5/14 The Good, The Bad, and The Weird Lagoon (NEW)

5/28 Survival of the Dead Lagoon (NEW)

There isn’t much info out right now about this fabulously creepy looking film, but Lionsgate claims they will be making a pretty big online push for the film as it nears its release date. Unfortunately, the release will be a day and date release in the UK and nary a peep can be found on when this film will cross the pond and exhibit here in the States. Which is annoying. The fantastic trailer though, is anything but.

Official Site
Title: Heartless
Director: Philip Ridley
Starring: Jim Sturgess, Noel Clark, Clémence Poésy, Timothy Spall, Eddie Marsan
Release Date: May 21, 2010 (UK)

Thanks to word that Minneapolis based distributor Apparition is going to distribute the Australian neo-noir The Square here in North America I finally found an excuse to watch director Nash Edgerton’s short film Spider. I had heard good things about The Square, and I figured that his short might help give me an idea of what type of filmmaker Edgerton is.

Well, if The Square has as much malicious glee as Spider I could be in for a real treat.

Jack and Jill are always hurting each others feelings. But like Mum said, Its all fun and games until someone loses an eye.

Blue Tongue Films (Website)
Blue Tongue Films (Online Store)
Blue Tongue Films (Twitter)

Coinciding with the DVD release of Living Arrangements (read my review), Astrix Home Video has released a step-by-step series of videos to help you in preventing werewolves from invading your home. It is safe to say that these videos are freaking fantastic, and I can’t oversell them enough. I’m embedding the first one but be sure to head over and check out all of them. You won’t regret it.

STEP #1 Werewolf History In America and Statistics

STEP #2 Werewolf Prevention Through Proper Attic Maintenance

STEP #3 Maintaining a Werewolf and Proper Feeding Habits

STEP #4 Alternative Ways and Secret Tips in Maintaining Your Finances

Just over a week ago the short film/long form music video Be Still Life was posted on Vimeo. Featuring and inspired by the music of 400 Lonely Things, the film is from brothers Michael and Philip Harrell and it is about a boy who is given a broken television frame and using it he rediscovers and reconnects with the beauty of his life. It is a bittersweet and romantic journey for the protagonist who is seemingly as battered and useless as his unusual gift. Be Still Life is a simple story and concept, but its brilliant and striking framing device makes for a captivating and fascinating viewing experience.

Hope you enjoy!

Be Still Life Official Site
400 Lonely Things (Facebook)
400 Lonely Things (MySpace)