JAPAN’S JET ROCK ‘N’ ROLL SCI-FI ZOMBIE HORROR MASTERPIECE!
Ace, a rockabilly fan who really wants to be cool, is on his way to see his favorite rock band, Guitar Wolf, when some strange things occur … flying saucers invade the Earth and flesh-eating zombies rise from the grave! With the help of the (real life) Japanese rock-punk band Guitar Wolf, Ace negotiates an array of misadventures involving crazy rock managers in very tight shorts, transsexual love-interests, naked women shooting guns in the shower, and blood-thirsty zombies ready to tear them all apart! Music video director Tetsuro Takeuchi packs his début feature with everything you need: leather jackets, screeching feedback, laser guitar picks, motorcycles, muscle cars, and LOTS of fire! Think Dawn of the Dead meets Kiss Meets the Phantom of the Park with the humor of Evil Dead 2 and you start to approach riotous and ridiculous world of Wild Zero.
SPECIAL EDITION CONTENTS
- High Definition Blu-ray (1080p) presentation
- DTS-HD Master Audio 5.1
- Original Japanese soundtrack with optional, newly translated English subtitles
- Director Edgar Wright on Wild Zero
- Behind-the-scenes music video
- Guitar Wolf: Red Idol, director Tetsuro Takeuchi’s 2003 collection of videos, tributes, and live performances
- Original trailer
- Reversible sleeve featuring original and newly commissioned artwork by Rockin’ Jelly Bean
- FIRST PRESSING ONLY: Collector’s booklet featuring new writing on the film by Japanese film expert Tom Mes
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).
Next up, we offer a short film of short films – the indie-animated anthology Ghost Stories (2013). Containing 11 minimalist shorts, Ghost Stories is the product of various members of the Late Nite Work Club crafting these pieces between projects and classes. MMC! is particularly fond of Charles Huettner’s The Jump, Caleb Wood’s Rat Trap, and Alex Grigg’s Phantom Limb, although Ghost Stories is an impressively satisfying effort throughout. In fact, the omnibus format of Ghost Stories produces a convivial effect, expanding the regard for these shorts by placing them alongside one another and creating a whole greater than its parts.
The Saskatoon Fantastic Film Festival closed with a massive final day that included five feature films, five shorts, and screenings of the films participating in the Festival’s 48 Hour Movie Making Challenge. SFFF closed the four day run with a trio of Asian films – the Mo Brothers’ Headshot (2015), Yeon Sang-ho’s Train to Busan (2016), and Kôji Shiraishi’s Sadako vs. Kayako (2016) – that were collected to thrill audience members and get their communal adrenaline pumping. These efforts seemed to prove successful, but the best of Day 4 was found elsewhere and the final day offered some welcome surprises along the way.
FUCKKKYOUUU‘s artistic statement reads:
With the ability to travel in time, a lonely girl finds love and comfort by connecting with her past self. Eventually faced with rejection she struggles with her identity and gender, and as time unfolds onto itself only one of them can remain.
With that synopsis in mind, Eddie Alcazar’s short is a sensorial barrage that contrasts the sensual with the horrific and annihilates any comfortable, easily accessible relationship with the film’s concept. The sound design of Flying Lotus is chillingly ethereal and operates in brooding compliment to the film’s shadowy visuals and knife-cut inserts. FUCKKKYOUUU is a densely packed voyage into sci-fi horror with undeniable affect, one that gains depth and power with multiple viewings.