I have been far too excited following the production diaries and notes over at director Edgar Wright’s site, but was even more excited today to see the teaser trailer for the upcoming film version of Scott Pilgrim Vs. The World. For those not in the know, Scott Pilgrim is a Canadian comic book written by Bryan Lee O’Malley that takes place in Toronto. All about Scott, a musician who is trying to win the heart of the new girl in town and to do so he must defeat her seven evil exes. Being adapted from comic book for the big screen is a daunting task for a director to handle, especially with source material as clever as the Scott Pilgrim series, but Wright (Sean of the Dead, Hot Fuzz) is one direct whom I believe is more than up to the task of not just providing an adequate translation, but a witty and cleverly executed interpretation of O’Malley’s source material. If you are one of the unlucky ones who is not familiar with this series I highly suggest that you track down the available volumes immediately and catch up before the release of the film.
I must admit to more than a bit of embarrassment at not having seen a Lars von Trier film prior to Antichrist. For those unaware, Lars von Trier is a Danish filmmaker who, among other things, was deeply involved in the Dogme 95 film movement, has the distinction of directing one of the few “mainstream” films to depict unsimulated sex, and is probably best known in the US as the director of the Bjork musical Dancer in the Dark. Oh, and he’s also been known to occasionally refer to himself as “the best director in the world”. Previously, I’d been a bit apprehensive about investigating von Trier’s output. It may have had something to do with the fact that the majority of his cult consisting of trendy name-dropping hipsters, and these folk and their interests tend to make me vomit profusely out of disgust. It may have been that I was far too busy drinking Rebel Yell excessively while watching Mythbusters reruns to do so. Who knows? The point is I was wrong. DEAD FUCKING WRONG. Antichrist may very well be the most important horror film of the last 20 years. Hell, 30 years, maybe more. No film I’ve ever witnessed has conjured that level of disgust and fear inside me before this piece.
I’d like to breakdown the plot, but I’m not sure there’s enough of a conventional plot to summarize. At the outset it’s basically a slow, quiet character piece involving the irrational fear and anxiety experienced by a mother (referred to in the end credits only as She, played by Charlotte Gainsbourg), concerning a cabin called Eden she once visited, triggered in the wake of the death of her son. Her therapist husband (Willem Dafoe, likewise only identified in the credits as He) decides exposure therapy is the best course of action, so they depart to the cabin to attempt to force her issues to the surface. From thereon out, the film ditches narrative form and continues in a series of nightmarish episodes of increasing intensity.
Making its North American premiere this past friday at the SXSW film festival, AMERICAN: The Bill Hicks Story chronicles the life of a lost hero 16 years after his death. For those of you who aren’t familiar with Bill Hicks’ work, you should be, go to youtube right now and check out some clips of his bitingly insightful standup comedy that has influenced and pervaded American culture for over two decades. Better yet, go and buy some of his albums to check out. The film features interviews with Hicks’ family, friends, and colleagues, and coverage of his life and work told through a unique semi animated style that pushes the established norms of documentary film making.
Lady Gaga has become an undisputed master of the long form video, much like the epic and legendary “Thriller” by Michael Jackson, Gaga’s videos has become self contained mini movies whose plot is almost as integral to the overall effect of the production as is the music. Her latest video, “Telephone“; featuring Beyonce, continues to prove this point, as well as elevate it above the level of her previous outings. “Telephone” is a mish-mash of pop culture imagery crafted to the highest order of quality. Elements of prison exploitation films like Caged Heat, Quentin Tarantino, Japanese inspired graphics, and the usual quirky and informed styling that has become an integral part of Gaga’s videos. The fashionable Gaga takes it to a new level with the looks in this film, elements of punk, hip-hip, fetish, and found fashion abound. There are just so many nods and tributes thrown in here that it would seem likely to come of as a pastiche of the worst kind, however its handled with a style and sense of care that does make it come together as a whole and complete work, about the only moment in the video that may come off a little forced is Gaga’s Michael Jackson-esque dance moves as she is freed from prison at the end of the first act.
In January 2010, Dennis Hopper was diagnosed with inoperable prostate cancer, which was in an advanced state and had spread to his bones. At roughly the same time, I was lucky enough to view the documentary Not Quite Hollywood, a retrospective concerning Ozlpoitation fiilms, an intriguing and insightful doc concerning the Australian film industry and its bid for international recognition during the 70s and 80s. This film brought to my attention a rather curious Dennis Hopper vehicle called Mad Dog Morgan. Said film was produced by Australian investors, with a B-movie director (Philippe Mora, who preceded to craft such cinematic abortions as Howling II: Stirba – Werewolf Bitch and Howling III), I wasn’t expecting much. To my surprise, Mad Dog Morgan delivered on all fronts. It functions as a comedy, a tragedy, an exploitation film, a period drama, a western, and finally (and most importantly) a work of art. It is truly a credit to Hopper’s skills as an actor that he rises above the source material he is given and creates a character both brutally violent and beautifully flawed and imperfect. Sadly, Mr. Hopper’s time grows short, and we begin to brace ourselves for the loss of a man who helped to define a generation.
Mad Dog Morgan is based on the true story of John Fuller (aka Dan Morgan), an Australian bushranger (the outback equivalent of the outlaw gunslingers that roamed the western United States at the close of the 19th century), a fairly irredeemable individual who shot game and man with equal disregard, yet lived by a code whose particulars were known only to himself. He eventually met his end at the hands of police while trying to escape from the house of a family he had recently held hostage in 1864. The film paints a much more sympathetic picture of Morgan than his real world exploits do, yet one must remember while viewing the film that this is less a historical retelling than it is a dramatic character study, seeking to delve into the mind of a character that would rather reject civilization than continue to exist in the maelstrom of its hypocrisy.
Die Antwoord hit the internet like a nuclear bomb, the energetic South African group (parody?) has been making a huge splash with their eclectic videos, being most recently featured on Attack of the Show. There is more than just the surface appeal to Die Antwoord though, they bring a whole new flavor to rap that is catching people’s ears across the globe. Group DJ Hi-Tek brings some seriously catchy and dance based beats to their music giving it a well produced sound that matches well with their schizophrenic mix of styles and influences. Waddy Jones (aka. Ninja) is an impressive and lyrically accomplished MC, able to lay down some aggressive, tight, and often endearingly self aggrandizing lyrics with a style that may seem silly at times, but always lead one to believe that there may be more parody and commentary going on than you first realize. He seems to walk the line between GZA and GG Allin at any given moment.
Keep an eye on their style as well, Yo-Landi Vi$$er may be slated to become the Fergie of the alt scene, like a punk/sexy Lady Sovereign possessing a deconstructed and often thrift store chic style mixed with some interesting twists that very well may get quickly picked up by those in the know looking for something different (I guarantee that her hair style, my current coif obsession, is an early precursor to some styles I am already starting to see make it into the zeitgeist, I cannot wait to see some more runway shows and editorials rocking a look like that).
The 2010 Winter Olympics opened this weekend in Vancouver. I personally am not a huge sports fan, but I don’t hold that angsty teenage “I hate sports” mentality anymore. I have however, always enjoyed the Olympics, especially the winter ones. After watching trials and build up on Universal Sports (one of the few stations I get without cable) and the opening events this weekend, I know for the 2010 Olympics, I’m following Johnny Weir.
While I don’t know if he’s the best male figure skater based on talent, he is my favorite 2010 Olympian based on style. The outfits he wears while performing are awesome glitzed, glittered, feathered, shiney, and bold. His costumes embrace the horrible figure skating ensemble and make it amazing through a glam rock look and attitude. The outfits are topped with glammed-out black hair and creative makeup. For his exhibition program this season he chose Lady Gaga’s “Poker Face”, nodding at another star people love or hate, and who also draws on alternative fashion.
Catch Johnny Weir in men’s short program figure skating today, in the United States it will be on NBC.
Auxiliary Magazine would like to introduce its newest writer and column; Adam Rosina and Unaussprechlichen Kulten, respectively. A new column that looks far too deep into the morgues and mausoleums of of cult cinema for those amazing but unsung movies that just refuse to die.
Six String Samurai is a mish mashed, convoluted mess of a film. It’s also wildly entertaining, if you’re willing to overlook its flaws. Shot by writer/director Lance Mungia, turning in his only feature-length directorial credit (unless you count The Crow: Wicked Prayer, and I don’t), and released in those “anything goes” days of 90s indie cinema. Six String Samurai stars actor/martial artist Jeffrey Falcon (also known for his roles in, well, nothing anyone’s ever seen) as a sword-swinging Buddy Holly look-alike journeying across the wasteland on a quest to become the King of rock n roll. Along the way it offers its own take on post-apocalyptic fiction, incorporating elements from such diverse sources as the western genre, Japanese chambara films, bad sci-fi movies, and the modern fairy tale. Which is not to say that the filmmakers simply cut and pasted the best parts from other works to create this film, but rather brought together many different kinds of genre fiction and made it their own.
A fun, grimy, and dark video for Ascii.Disko. I will now be obsessed with thoughts of a latex clad fox woman stalking me through dark tunnels in some sort of post-rapture Japanese reality television show. There is something about this track combined with the visuals that’s quite disorienting, like a Fukui or Tsukomoto film scored by Vitalic. In many ways Ascii.Disko’s video does share a common flavor with Japanese cyberpunk films, especially with something like Fukui’s Rubbers Lover, albeit with a slicker and more modern visual style.
Julian Casablancas of The Strokes solo project has been a bit of a guilty pleasure for me as of late. It’s the kind of fun, smart, and well informed pop rock that, while prevalent in the musical landscape right now is rarely done this well. But he locked my admiration with the video for “11th Hour”, the first single from his solo album. A mish mash of eclectic imagery; electric 80s neon lightening juxtaposed with Adam Antesque imagery of Julian in highwayman garb and a healthy dose of post apocalyptic sci-fi pirate radio. Casablancas’ voice is perfectly suited to this style of music, and while not as raw as the garage inspired sounds of earlier Strokes material, I find myself liking his solo outings and non-Strokes collaborations more and more.
