HE’S A LUMBERJACK AND HE’S NOT OKAY
Pacific Northwest, 1983 A.D. Outsiders Red Miller and Mandy Bloom lead a loving and peaceful existence in near isolation. When their pine-scented splendour is savagely destroyed by the sadistic Jeremiah Sand and his cult “The Children of the New Dawn,” Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire. Armed with a hand-forged battle axe and an insane thirst for revenge, Red won’t stop until he has destroyed Jeremiah and his disciples.
From the visionary mind of Canadian filmmaker Panos Cosmatos (Beyond the Black Rainbow), Mandy is an ultra-hard, stylishly told hell-trip with heavy metal symbolism, demonic motorcycle mutants, buzzing chainsaws, and a phenomenal performance by Nicolas Cage as an unstoppable, single-minded avenger. Arrow Video proudly presents this modern grindhouse classic for the first time on 4K Ultra-HD Blu-ray.
Nothing says Christmas like a post-apocalyptic rumination on peace by anthropomorphic rodents and so MMC! happily presents Hugh Harman’s Peace on Earth (1939) and its Cinemascope remake, Joseph Barbera and William Hanna’s Good Will To Men (1955). Peace on Earth’s anti-war sentiment is expressed through a grandfather squirrel who describes the senseless self-destruction of humankind through war (guessed at as a battle between vegetarians and meat-eaters). The short’s rotoscoped depictions of gas masked soldiers are chilling and provide a rather staggering contrast to the pleasantly plump and happily caricatured animals that now claim domain over the Earth. Hanna and Barbera’s post-World War II version manages to be even grimmer in its details, taking images of infantry helmets and gas masks and adding flame-throwers, machine guns, bazookas, missiles, and nuclear annihilation. In doing so, Good Will To Men brings man’s capacity for mutual destruction into fearsome relief. Both of these MGM shorts garnered Academy Award nominations and Peace on Earth in particular has developed a reputation in the animation field as being Harman’s masterpiece and a heralded classic of the form.
To all those who stumble into the blog (intentionally or not), Make Mine Criterion! wishes you and yours a Merry Christmas and a happy holiday season!
Stay safe, share some love, and watch something amazing!
After packing in 200 or so people for the Saskatoon Fantastic Film Festival’s second annual Saturday Morning All You Can Eat Cereal Cartoon Party, Day 5 was all about director Joe Dante, actress Belinda Balaski, and a trio of features film celebrating their work. Screenings of The ‘Burbs (1989), Gremlins (1984), and The Howling (1981) were each introduced by Dante and followed by a Q&A session. All three films looked great on the big screen and Dante and Balaski were open and affable with the SFFF audience, answering questions and recounting stories. Dante discussed working as a consultant to an upcoming animated Gremlins prequel and briefly acknowledged that his long desired project about Roger Corman, The Man with Kaleidoscope Eyes, was being produced by SpectreVision and should see production in 2020. Balaski recounted a popular story about how the designers of Gremlins’ Gizmo obtained Steven Spielberg’s elusive approval of the creature when she recommended that they take inspiration from the King Charles Cavalier Spaniels Spielberg had recently acquired. When asked which of their films they felt deep-diving fans should explore, Balaski cited Mark L. Lester’s youth culture/crime drama movie Bobbie Jo and the Outlaw (1976) while Dante nodded at his under-seen (and unfortunately prescient) political satire The Second Civil War (1997). The pair were generous with their time, even sitting down on the Broadway Theatre’s stage floor to sign programs and badges for remaining diehards, and they proved to be excellent guests for the SFFF’s landmark 10th year.
Short films led the charge on the Saskatoon Fantastic Film Festival’s third day with an eight film block of female focused shorts and another two short films that could have probably fit into the same section. Readers of last year’s coverage might recall my frustration with shorts that offer little more than spooky premises or creepy contexts, however you’ll find few such complaints amongst Day 3’s titles. Yfke van Berckelaer’s Lili (2019), an MMC! favourite at this year’s Buried Alive Film Festival, was screened, as did the Chattanooga Film Festival short, Sydney Clara Brafman’s gory and brief The Only Thing I Love More Than You is Ranch Dressing (2018). Adele Vuko’s The Hitchhiker (2018) was an entertaining blend of female road trip goodwill, real world violence, and well-timed supernatural intervention and was probably the easiest short to enjoy on Day 3. Valerie Barnhart’s Girl in the Hallway (2019) offered a true crime tragedy that powerfully wrestled with guilt, grief, and inaction through pained and worn stop-motion animation. Daniel DelPurgatorio returned to the SFFF with In Sound, We Live Forever (2019), a beautiful short in the agrarian horror mode that finds two young lovers beset by a monstrous killer in the rural American heartland. The short looks gorgeous, contrasting the serenity of its pastoral present against the intimacy and then terror of its past tense soundtrack, and it elegantly pivots into the full present tense to depict a desperate escape and a grim conclusion that posits the monstrous violence of the genre but also a kind of existential smallness that makes its horror seem almost meaningless.
The Saskatoon Fantastic Film Festival has reached its landmark tenth iteration this year and Festival Director John Allison and his team have ensured that this is the Fest’s biggest and brightest year yet by expanding it to six days, hosting a Drunken Cinema screening of A Nightmare on Elm Street, hosting another Saturday Morning All You Can Eat Cereal Cartoon Party, and bringing in as special guests director Joe Dante and actress Belinda Balaski for a three film retrospective. The SFFF kicked off with something of a soft-open with another new addition – a five film virtual reality experience held preceding the theatrical film program each weekday. Attendance was sparse on Day 1 so let this be a warning to those content to let the VR program pass them by – miss the SFFF’s Virtual Reality Experience section and you will certainly be missing out on some of the Fest’s most intriguing aspects.
The 2019 Buried Alive Film Festival wraps up this weekend at the 7 Stages Theatre in Atlanta, Georgia, and there’s plenty of great features and shorts to see. Over the next two days, BAFF offers five feature films and five short film blocks, plus a Troma-themed burlesque show! With a wealth of cinematic riches, MMC! is here to point the way with ten films to watch out for this Saturday and Sunday!
Check the BAFF schedule for program information to plan your burial and MMC!’s Letterboxd list for the Fest for more reviews!
1. J.R. “Bob” Dobbs and the Church of the Subgenius (Sandy K. Boon, 2019)
One of MMC!’s BAFF favourites, Sandy K. Boon’s J.R. “Bob” Dobbs and the Church of the Subgenius examines the countercultural religion of “two self-proclaimed weirdos in Ft. Worth, Texas” and their crusade against normalcy. This documentary features wonderful interview subjects, including Richard Linklater, Penn Gilette, and Nick Offerman, as well as an array of Bob followers providing thoughtful reflection on 40 years of protecting their slack against the conspiracy. Subgenius is an intriguing companion to another popular 2019 portrait of an alternative religion, Penny Lane’s Hail Satan?, as both the Subgeniuses and The Satanic Temple embrace an absurdly theatrical image, however Boon’s film offers a mature reflection on cult’s complicated history that contrasts Lane’s earnestly sanitized presentation of the Temple as it searches for legitimacy. Preserve your slack and check out J.R. “Bob” Dobbs and the Church of the Subgenius at 2:00 on Sunday!