Bloody Hell (Alister Grierson, 2020)

ONE HELL OF A FAIRY TALE

When a bank heist goes awry, Rex Coen (Ben O’Toole) spends eight years in prison and is hounded by the media on his release. The unwanted attention forces Rex to flee his hometown of Boise, Idaho, in search of anonymity in Finland, but his arrival in Helsinki lands him in a new, fresh hell. Gassed during his taxi ride from the airport, Rex wakes up drugged, beaten, and bound in the basement of a twisted family hiding a dark secret. With only his personified conscience to help him, Rex is in a race against time to save himself and a beautiful young woman (Meg Fraser) from his terrifying captors and a fate worse than death.

An action-horror-comedy that merges Fight Club with Fargo, Alister Grierson’s Bloody Hell is a raucous midnight crowd pleaser ready for fans of Sam Raimi, John Wick, and The Texas Chainsaw Massacre

Special Edition Contents:

  • High Definition Blu-ray (1080p) presentation
  • 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
  • Optional English subtitles for the deaf and hard of hearing
  • Boi To Hel, new interviews with cast and crew
  • Rex in an Ass-Kicking Contest, an interview with director Alister Grierson and lead actor Ben O’Toole on the film’s special effects
  • Behind-the-scenes footage and outtakes
  • Trailers
  • Reversible sleeve featuring two artwork choices

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Chowboys: An American Folktale (Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski, and Conor Sweeney, 2018)

Happy Christmas Eve! And what better way for MMC! to extend its season’s greetings than by sharing Chowboys: An American Folktale (2018), the final work of Winnipeg’s irreverent Astron-6. Here, three stupid cowboys struggle to survive in the frigid mountains on the coldest night of the year. Beautiful hands, sheet cakes, St. Nicholas, and cannibalism make for a wacky and gory holiday short set on Christmas Eve. God bless us, everyone (although maybe not Wendigo Santa).

HAPPY HOLIDAYS!

Dinner in America (Adam Carter Rehmeier, 2020) – Fantasia International Film Festival 2020

AS AMERICAN AS APPLE PIE AND PUNK ROCK

In a dreary Michigan suburb, aggro punk rocker Simon (Kyle Gallner) finds himself on the run after a bout of arson and a close call with the police. A chance encounter with eccentric and socially awkward Patty (Emily Skeggs) provides him a place to hide from the law, though she fails to realize that her new friend is the anonymous lead singer of her favourite band. The pair embark on a series of misadventures and while their radically different personalities make them an unlikely duo, Simon and Patty realize that they have a lot more in common than first expected.

Dinner in America is an ode to the ’90s Nebraska punk-scene of writer-director Adam Carter Rehmeier and a hilarious underdog love story boosted by a generous helping of absurdity and some instantly quotable dialogue. Set to the beat of brilliant original songs and perfectly casting Skeggs and Gallner as a suburban Bonnie and Clyde, Dinner in America is a wild and empowering ride through the places and people of Middle America — in all their peculiar forms.

Special Edition Contents:

  • High Definition Blu-ray (1080p) presentation
  • 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
  • Optional English subtitles for the deaf and hard of hearing
  • Feature-length audio commentary with director Adam Carter Rehmeier and producer Ross Putman
  • One Night Only, new interview on the film’s music with Rehmeier, Emily Skeggs, Kyle Gallner, and composer John Swihart
  • Freedom from Want, new interviews with supporting cast members Lea Thompson, Mary Lynn Rajskub, Pat Healy, and Griffin Gluck
  • Straight Shooting, new interview with cinematographer Jean-Philippe Bernier
  • Apocalypse Yow, new interview with musician and actor David Yow
  • Detroit Punk City, stories from cast and crew on the shoot
  • Outtakes and deleted scenes
  • Original theatrical trailer
  • Soundtrack CD including a remix of “Watermelon” by Bernier
  • Reversible sleeve featuring two artwork choices

FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by producer-director Ant Timpson

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The Man Who Stole the Sun (Kazuhiko Hasegawa, 1979)

The Criterion Collection, a continuing series of important classic and contemporary films presents The Man Who Stole the Sun.

Junior high school teacher Makoto Kido attacks a nuclear power plant to steal a plutonium capsule and then succeeds in building an atomic bomb by himself in his apartment. Calling himself “Number 9” and claiming to be a new nuclear power of his own, Kido extorts the government with demands for uninterrupted baseball games and a concert by the then-banned Rolling Stones, even going so far as to appoint his own negotiating partner, hardened police inspector Yamashita. Pitting rock icon Kenji Sawada with legendary tough guy Bunta Sugawara, Kazuhiko Hasegawa’s celebrated Japanese cult film explores the nation’s growing generation gap and the proliferation of nuclear power with black comedy, stylistic invention, and a heavy, controversial premise.

SPECIAL FEATURES:

  • New high-definition digital restoration with uncompressed monaural soundtrack on the Blu-ray edition
  • The Legend is Lebon Video Testimony, an 84-minute documentary on the making of the film, with interviews and on-set footage
  • Walking With the Movie, a tour of the film’s locations with Japanese singer Masaki Ueda
  • Enthusiasm, Talk, Talk, My “Man Who Stole the Sun,” a 35-minute interview of director Kazuhiko Hasegawa by actor Masatoshi Nagase and special effects director Shinji Higuchi
  • 11 p.m. “Wonderful!! Is Julie a Strong Guy Like Genbaku?!,” a 20-minute edited version shown prior to the film’s theatrical released on September 20, 1979
  • Trailer
  • English subtitle translation supervised by screenwriter Leonard Schrader
  • PLUS: A new essay by Japanese film scholar Tony Rayns

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SFFF Day 6 – Into the Unknown

The final day of the Saskatoon Fantastic Film Festival opened with Matthew Rankin’s The Twentieth Century (2019), a fictionalized portrait of Canada’s weirdest, longest-serving, and middlest-of-the-road Prime Minister, William Lyon Mackenzie King. The film side-steps Mackenzie King’s secret spiritualism and instead creates a broader, stranger fantasy of Canada at the dawn of a new era. Rankin’s prerecorded introduction for the film described it as “nightmarishly Canadian” and his words were apt. The Twentieth Century is an Eraserhead/Isle of Dogs-esque imagining of Canadian history and culture, one obsessed with maple walnut ice cream, the scent of fresh timber, passive-aggressive manners, Indian leg wrestling, and medicinal “puffin cream.” Inspiration was taken from the Prime Minister to-be’s personal diary and Rankin connected with Mackenzie King’s tendencies toward vanity, repression, self-righteousness, and self-pity. Played by Dan Beirne with petulant primness, Mackenzie King struggles to achieve his maternally prophesied political and romantic aims (and sublimate his dominating shoe fetish), and the film traces his misadventures through the brutalist interiors of Rideau Hall, the frozen utopia of Quebec, a sunny and freshly logged, new age Vancouver, and a baseless and fetid Winnipeg.

A former Winnipegger himself, Rankin carries on the prairie post-modernism of Guy Maddin and John Paizs, and like his predecessors, Rankin finds ways to make a hard earned dime look like an eccentrically spent dollar (or loonie). Hand-painted and animated in sections by Rankin himself and utilizing a palette that evokes the colours of Canadian banknotes, The Twentieth Century’s stunning production design recalls earlier film eras with its intertitle chapter cards while it also embraces the fresh Canadianness established in the aesthetics of Group of Seven painters like Lawren Harris and York Wilson and the modernist designs of Expo ’67. Rankin even loads his historical subject with a gleeful perversity and a shameless phallocentricism that would do Ken Russell proud – watch out for that ejaculating cactus and that narwhal horn! The Twentieth Century is an acid trip-take on peace, order, and good government and it is staunchly glorious.

Oscilloscope Laboratories has picked up the rights to Rankin’s brilliant film and we can only hope that its eventual hard media release will not only include The Twentieth Century but also many (if not all) of Rankin’s short films including Negativipeg (2010), the most Winnipeg-ish thing I’ve ever seen committed to film.

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SFFF Day 5 – J&B Straight Up!

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.

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