The 2019 Buried Alive Film Festival kicks off today with its Sinema Challenge screenings. Four days of feature and short film programming commence tomorrow with the “First Shovel in the Grave is Always Best!” Shorts Block and the hits just keep coming after that. In anticipation of BAFF, MMC! offers ten great reasons to get Buried Alive this Thursday and Friday. Laughs, scares, and some stomach-churning content awaits, so don’t miss it!
Check out BAFF’s schedule for screening details and check out my Letterboxd list of the Fest for MMC! reviews.
1. VFW (Joe Begos, 2019)
Full disclosure: I haven’t seen Joe Begos’ VFW (2019). That might make it an odd place to start for recommendations, however reviews for VFW have been uniformly positive. This throwback action film pits a collection of war veterans (and an innocent teen) against a drug dealer and a horde of mutant junkies. Recalling John Carpenter’s Assault on Precinct 13 (1976), Begos offers a intricate plot and a bounty practical effects, creating a gory, siege film spectacle. Word is that VFW is best seen with a crowd and one will surely be waiting at the 7 Stages Theatre on Friday at 8 pm.
Merry Christmas from MMC!
This year, MMC! brings you good tidings of great joy by way of the Film Junk short, A Very Gerry X-Mas! (Jay Cheel, 2010). Starring Reed Harrington, made by Jay Cheel (director of another MMC! favourite – Beauty Day), and featuring a brilliant opening sequence by Rob Niosi, A Very Gerry X-Mas! provides a quirky, awkward take on traditional holiday television programming. Part cooking show, part instructional video, part video confessional, part dream sequence, part fireside reading, this is all tongue-in-cheek, holiday goodness.
Happy holidays to everyone out there! Stay safe!
(And our next post will go up before the end of the year … and this time I mean it!)
The Saskatoon Fantastic Film Festival’s final day was even more massive than expected. With a packed program and an extra short film (moved from the previous day due to a technical issue), there was little downtime between screenings and the Festival’s final midnight show started late and wrapped well past 2:30 a.m. Those that saw the marathon day of screenings to its bleary end enjoyed without question the SFFF’s best block of films (plus some welcome giveaways for lucky attendees).
The Criterion Collection, a continuing series of important classic and contemporary films presents Our Little Sister.
Hirokazu Kore-eda’s Our Little Sister (Umimachi Diary) is a scenic and gently sensitive domestic drama that confirms its maker’s reputation as a great director in the tradition of Yasujiro Ozu and Mikio Naruse. Adapted from a popular Japanese comic book, the film concerns three twentysomething sisters – Sachi, Yoshino, and Chika – who live together in an old, large house in the seaside city of Kamakura. When their long absent father dies, they travel to a small countryside town for his funeral and meet their shy, teenage half-sister for the first time. Bonding quickly with the orphaned Suzu, they invite her to live with them and the four sisters commence a new life of tentatively joyful discovery. With documentary precision and picturesque elegance, Our Little Sister is a touching survey of love, generosity, and the weight of family histories.
It’s inevitable. At some point everyday, each of us think back to 2005, to Burger King’s introduction of the TenderCrisp Chicken Bacon Ranch burger, and to David LaChapelle’s “Fantasy Ranch” ad campaign, a trippy, countrified, sweetly perverse TV ad featuring Darius Rucker, Vida Guerra, Brooke Burke, and the Dallas Cowboy Cheerleaders. But as much as we all love this crassly commercial riff on “Big Rock Candy Mountain,” universal questions still get asked – Why isn’t it nightmarish or disgusting? Why isn’t it Kubrickian in its point of reference? And where are the references to Tommy Wiseau and The Room (2003)? Thankfully, Nick DenBoer and Davy Force have answered these questions with The Chickening (2015), a proof of concept pseudo-trailer and your latest masterpiece in “Cinegraffiti” (unless you’re my wife, who hated this and considered it nightmare fuel).
Be sure to read Birth.Movies.Death.‘s exclusive interview with DenBoer and The Chickening‘s press kit.
The Criterion Collection, a continuing series of important classic and contemporary films presents The Cook, the Thief, His Wife & Her Lover.
Taking aim at the neo-conservative values that dominated Britain through the 1980s, The Cook, the Thief, His Wife & Her Lover skewers the decadence and small-mindedness of the era with its visually sumptuous, overtly theatrical tale of food, sex, murder, and revenge. Albert Spica (Michael Gambon) is a gangster and cultural dilettante holding court nightly at a gourmet restaurant before his wife Georgina (Helen Mirren) and his coterie of thugs, unaware that Georgina is carrying on an adulterous affair with a bookish diner one table over. When Albert discovers the infidelity, his brutal action inspires Georgina to a gastronomic vengeance even more shocking and ghastly that Albert can imagine. Writer-director Peter Greenaway presents a lavish cinematic feast steeped in the conventions of 16th century British revenge tragedy, inspired by 17th century Dutch painting, and voicing his harsh dissent over the social, political and cultural failures of Thatcherite Britain.
- New 4K digital restoration of the film’s original 124 minute version, approved by writer-director Peter Greenaway, with 5.1 DTS-HD Master Audio soundtrack on the Blu-ray edition
- Audio commentary by Greenaway
- The Art of Revenge, a new video piece with Greenaway on the influences of art and theater in The Cook, the Thief, His Wife & Her Lover
- New interviews with cast members Helen Mirren, Michael Gambon, Richard Bohringer, and Tim Roth
- New interview with fashion designer Jean-Paul Gautier on the film’s costumes
- Hubert Bals Handshake, Greenaway’s 1989 short film
- “New Possibilities: Cinema is Dead, Long Live Cinema” and “Nine Classic Paintings Revisited,” two 2010 lectures by Greenaway at UC Berkeley
- Behind the scenes footage
- PLUS: A booklet featuring new essays by film scholars Tony Rayns, Douglas Keesey, and Ruth Johnston