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).
The Godzilla Kid (Cressa Beer, 2019)
Regular readers may know that the MMC! household is pretty Godzilla crazy. Couple that with Father’s Day passing not long ago and you can guess how happy we were to discover Cressa Beer’s The Godzilla Kid (2019), a very entertaining Spaghetti Western/kaiju/father and son mash-up prepared as a bumper for the 2019 Cinepocalypse Film Festival. Described by The A.V. Club‘s Randall Colburn as the “year’s best Godzilla movie,” The Godzilla Kid features a stop-motion Baby Godzilla riding a T-Rex across the frontier on a giant monster-hunt, then pulls an adorable switcheroo. Be sure to stick with the film through its credits to enjoy one last hilarious gag and check out Beer’s YouTube page for more Godzilla-inspired fun!
SFFF Day 4 – Fractured Minds and Fantastic Capitalism
Day 4 of the Saskatoon Fantastic Film Festival was loaded with screenings and bracketed by a pair of animated programs – the Saturday Morning All You Can Eat Cartoon Party and the web-series Crisis Jung (Baptiste Gaubert and Jérémie Hoarau, 2018). MMC! has already proclaimed the greatness of Crisis Jung and we’re loath to spoil Keir-La Janisse’s program of Saturday morning content given that it continues to tour festivals and cinematheques. Themes do tend to run through the Cartoon Party programs and “women’s lib” stood at the forefront with cartoon episodes on equal opportunity, commercials for the YWCA, and PSAs that addressed federal pay equity laws through iconic comic book figures. The Cartoon Party enjoyed a large audience that was quick to applaud for great content and progressive messages and to shout along with the enthusiastic narration of the cartoons. Expect to see another Cartoon and Cereal Party at SFFF 2019!
SFFF Day 1 Report – An Apocalypse, a Dystopia, and a Hyperreality Walk Into a Film Festival …
The Saskatoon Fantastic Film Festival has upgraded the apparatus with its 2018 edition. That means fewer midnight screenings in favour of an extra day of programming, a 3-hour cartoon and cereal party, a snazzy new booklet, new voting ballots, some clever bumpers running before the screenings, sponsorships and promotions from Vinegar Syndrome and Shudder, and even an after party with cast and crew of Supergrid. And with turnout for Day 1 looking robust, Festival Director John Allison and his team must be feeling positive about the prospects for this year. There’s always a desire to find a theme to a given day’s program but finding a common thread between Anna and the Apocalypse (John McPhail, 2018), Rock Steady Row (Trevor Stevens, 2018), Videodrome (David Cronenberg, 1983), and their supporting short films is something of a challenge. At best, it might be said that most of these films attend to breakdowns in community and some very unlikely ways to reassemble them.
The Bodyguard (Ali Khamraev, 1979)
When a Red Army detachment captures Sultan Nazar, the leader of a Basmachi contingent opposing Soviet forces, a decision is made to urgently escort the prisoner to the neighboring Bukhara province. The difficult mission is entrusted to Mirzo, an experienced mountain trapper and conscientious revolutionary whose expertise is essential to traversing the precarious paths and steep mountain ridges along the way. Mirzo, his brother Kova, the Sultan, his daughter Zaranghis, and his slave Saifulla set off on this journey, pursued doggedly along the way by Fattobek, the ruthless new head of the Basmachis, a cadre of loyal fighters, and his prophetic wife, Aibash. Recalling the Western psychodramas of Anthony Mann, The Bodyguard is yet another of Ali Khamraev’s harshly beautiful and action-packed Easterns.
The Seventh Bullet (Ali Khamraev, 1972)
The Seventh Bullet is set after the Russian Civil War as Soviet power established itself in Central Asia and as opposing Basmachi rebels cross the border bringing death and destruction to peaceful villages. Local militia leader Maksumov struggles in his campaign against Basmachi warlord Khairulla who has captured most of his men and won them to his side. With little other option, Maksumov gives himself up in hopes of being reunited with his men and winning them back to the Revolution. Ali Khamraev’s take on the Red Western was an international hit, featuring rollicking action, reassuring heroism, and an unstoppable performance by its star, Suymenkul Chokmorov.