Let’s all watch Psycho Sleepover!
If you like the title you’ll probably dig the film. If you don’t like the title I hope you’re never in charge of picking movie titles because that one is badass. From the directors of the American classic, Yeti: A Love Story, comes another no-budget splatter comedy. The story revolves around and gently fondles a group of four teenage girls whose slumber party is interrupted by the inmates of Murderton’s local asylum for the criminally insane. Penises get severed, faces get stomped, and it has more frenzied stabbing than Ron Jeremy’s entire filmography. And it’s funny as shit. If you want a comedy, want to support an indie film (a proper indie film, I mean, not re-branded, big studio Oscar-bait), and can forgive a few technical shortcomings, Psycho Sleepover’s your man. The film’s released through Troma and even features big Lloyd Kaufman himself in a cameo role. It’s available on Amazon on region-free DVD. And remember, every independent film you support is a punch in Angelina Jolie’s face.
I’ve not worked on Attackosaur #2 in a long, long time and since issue 1 didn’t exactly set the world on fire I figure it’s not worth the 2/3 months per issue it was taking to finish the mini series. I’ve already put a lot of hours into bits of issue 2 though, so I figured I’d snip them out and put them online in case the three people who bought issue 1 are bored and check out the website. If that’s you, high-five! *kaputch!*
Since you’re askin’…
My favourite 10 films of the year! I’d been running on the assumption that it’d been a bit of a bad year, but after a bit of digging to jog my memory it turns out 2011 had some awesome stuff in it. I’ve not seen some stuff that didn’t get a massive release, like A Dangerous Method or The Ides of March (seeing it tonight actually), and a lot of the stuff on critics’ lists just looks like bollocks, like The Help, The Descendants, and Bridesmaids.
1 - DRIVE Nicolas Refn
2 - SOURCE CODE Duncan Jones
3 - SUPER James Gunn
4 - THE DIVIDE Xavier Gens
5 - THE WOMAN Lucky McKee
6 - ATTACK THE BLOCK Joe Cornish
7 - SECUESTRADOS (KIDNAPPED) Miguel Vivas
8 - THE HUMAN CENTIPEDE 2 (FULL SEQUENCE) Tom Six
9 - SUPER 8 J.J. Abrams
10 - TRANSFORMERS: DARK OF THE MOON Michael Bay
And shut up, Transformers was amazing.
Stuart Murdoch, supergenius of Belle & Sebastian fame, is making a film! It’s up on Kickstarter and needs serious funding before it can get going. If you have any spare cash, help make this Belle & Sebastian-ish movie a reality!
I have a hard time wrapping my mind around how this works: A guy does a speed run of Mega Man 2, while Bit Brigade plays the soundtrack behind him in real time. It’s one of the most interesting concert-type-things I’ve ever seen.
Via Griffin McElroy
Reading Our Band Could Be Your Life by Michael Azerrad. Picked it up for Henry Rollins/Ian MacKaye interviews, but I’m totally falling in love with a bunch of bands I’d never heard before. Beat Happening are frickin’ awesome!
I’ve seen 2 movies in the past 2 days. One was the instantly forgettable Tin Tin - if I even begin to start typing about this movie I get borerfncdccsdnjsvdcvvcnjvc - and the other was Drive. A few rants back I mentioned David Mamet’s brilliant On Directing Film, a book which criticises Hollywood’s obsession with back-story and “building character”, whatever that might mean, as the story, and our interest, slips away. Mamet suggested stripping everything down to the story. Not the character. Not the theme. The story. “This dude does this,” and not, “This _____ dude does this because he feels ______.” Drive captures everything that is fuckin’ magic about this approach and is the most purely cinematic film I’ve seen since Amer.
Drive expects the viewer to create their own impression of what is going on. And I don’t mean like David Lynch, where he just throws all sorts of weird shit at you with no regard for plot hoping that the tone and the lesbians will see you through. Drive leaves out the shit that doesn’t matter. It tells the story through Mamet’s beloved juxtaposition of uninflected images. Drive’s storytelling is so efficient that it comes across as a style, even though it’s just simplicity. After Tin Tin, where a hero can ride a motorcycle on a highwire with nary a “Holy shit!” from a bystander, Drive’s beautifully constructed narrative was damn near a religious experience. I know it sounds like I’m being a pretentious nob, but it’s actually the opposite. Drive is simple cinema. Most of everything else, especially Tin Tin, is cinema + bollocks.
About me
Croeso! I make comics and short films in Wales. There are free downloads and links to stuff I've done, if that's what you're into. Ta.
