News/Opinion – Page 3 – LFM: Libertas Film Magazine

LFM Reviews Dead Hands Dig Deep @ Slamdance 2016

By Joe Bendel. Edwin Borsheim is the embodiment of all Tipper Gore’s worst fears, even her most outlandish. He is notorious to a select few as the front man of the extreme metal band Kettle Cadaver. For one unlikely moment, it looked like he band was building some momentum, but then reality set in. Since their implosion, Borsheim has existed in a highly unstable state of self-imposed exile. Filmmaker Jai Love ventured into Borsheim macabre lair, documenting his profoundly anti-social attitudes and behavior in Dead Hands Dig Deep, which screens during the 2016 Slamdance Film Festival.

This film is not for those who are weak of stomach or easily offended. Borsheim’s fame, such as it is, rests on his graphic stage excesses involving unsimulated self-mutilation. Apparently, Kettle Cadaver sold enough of their two shock videos to be in regular inventory at Tower Records. Be warned, there is a lot of blood in DHDD and it looks real enough. However, Borsheim willingly did it to himself, so there you have it. Frankly, Borsheim makes Insane Clown Posse look like the New Seekers and DHDD makes Last Days Here look like Mariah Carey’s A Christmas Melody.

Not surprisingly, Borsheim had trouble making his relationship with the love of his life work, so he crafted a wooden mannequin to take her place. When not passively aggressively threatening suicide, he manically fantasizes about shooting sprees and mass murder. At one point, he signed on for a planned campaign of hate crimes against Christian charities, but the conversation of an accomplice threw a spanner in the works. By the time someone pulls a copy of Mein Kampf off his shelf late in the film, it hardly registers anymore. The truth is DHDD would be deeply unsettling if it were a horror film. As a documentary, it is terrifying.

Yet, there is a point to DHDD beyond mere gawking. You do not need five minutes of psychiatric training to diagnose Borsheim’s clinical depression. He might have scared the snot out of Love and his Australian crew, but their camera became the closest thing in his world to a psychiatrist’s couch.

Still, the trappings of death and witchcraft surrounding Borsheim speak volumes. We try to avoid cursing here, but there is no other way to say it: this film is fucked up. It is just one WTF after another. Slamdance has programmed some adventurous docs in the past, like Kung Fu Elliot and The Institute, but DHDD is in a league by itself. Love is probably still suffering from shellshock, but he and his crew deserve all kinds of credit for guts and perseverance. Highly recommended for those who appreciate hardcore metal, hardcore documentaries, and hardcore reality, Dead Hands Dig Deep screens again this Wednesday (1/27) in Park City, as part of this year’s Slamdance.

Posted on January 23rd, 2016 at 6:02am.

LFM Reviews The Lure @ Sundance 2016

By Joe Bendel. Silver is a mermaid, not so very different from Disney’s Ariel. She likes to sing songs with her sister Golden and frolic in the sea. She will also be tempted to permanently adopt human form when she falls in love. That will be a big deal, because the mermaids typical eat men, after ensnaring them with their siren songs. Love is wet and painful in Agnieszka Smoczyńska’s The Lure, which screens during the 2016 Sundance Film Festival.

Golden will regret not eating Mietek the bass player when she and Silver had the chance. Instead, they were rather quite taken with his playing, so they start singing with his family’s trio, Figs and Dates. Their sleazy impresario recognizes the novelty value of two naked singing mermaids, so he starts promoting them aggressively. Soon, they are the toast of Warsaw’s retro-1980s “dancings” scene, but there is trouble brewing.

The long stretches out of water are not good for the mermaids, particularly Silver, who has sworn off human flesh in deference to Mietek (but Golden, no so much). Despite her obvious torch-carrying, Mietek remains oblivious to her ardor—perhaps even willfully so. However, this holds some pretty heavy implications for mermaids.

Isn’t it great to have a splashy new water-based musical? It is like Ethel Merman swims and sings again. The Lure is strangely impressive when based solely on movie musical terms, but what really makes the film distinctive is the way Smoczyńska and screenwriter Robert Bolesto update and deepen the mermaid mythos for a generation of urban fantasy readers and dancings scenesters.

Marta Mazurek and Michalina Olszanska sell it perfectly as the relatively innocent Silver and the vampy Golden. Yet, Kinga Preis nearly out-divas Olszanska as the vocalist-mother of Figs and Dates. It all has a suitably eccentric look of indefinable vintage thanks to the work of production designer Joanna Macha and her team.

The Lure is sort of like love itself. It can be dark and sinister, but you miss it when its over. This is a wonderfully weird fairy tale that could be considered the flip side of Károly Ujj Mészáros’s warm and humanistic Liza, the Fox-Fairy. Highly recommended for mature genre and musical fans, The Lure screens again tomorrow (1/24), Tuesday (1/26), Thursday (1/28), and Saturday (1/30) in Park City, as part of this year’s Sundance.

LFM GRADE: A-

Posted on January 23rd, 2016 at 6:01am.

LFM Reviews Sky Ladder: the Art of Cai Guo-Qiang @ Sundance 2016

From "Sky Ladder: the Art of Cai Guo-Qiang." — From “Sky Ladder: the Art of Cai Guo-Qiang.”

By Joe Bendel. As a young boy growing up during the Cultural Revolution, Cai Guo-qiang witnessed the turbulence of the era play out within his own family. His father was Cai Ruiqin, an accomplished calligrapher and painter with a vast library of great Chinese literature. His mother was illiterate and evidently not very happily married. Yet, despite painful memories of the time, Cai designed the fireworks display that opened the Shanghai APEC summit meeting. Kevin Macdonald surveys Cai’s life and career while documenting his most ambitious project yet in Sky Ladder: the Art of Cai Guo-Qiang, which screens during the 2016 Sundance Film Festival.

Growing up in Quanzhou, a traditional center of Chinese fireworks production, had a formative effect on Cai’s art. Although he also build fixed installation pieces, he is best known for literally painting the sky. For years, he has tried to realize his “Sky Ladder,” an illuminated Jacob’s Ladder reaching into the cosmos inspired by the Apollo 11 moon landing. However, circumstances beyond his control, like weather and 9/11, stymied his past attempts.

In between those very expensive false starts, Cai accepted some very high profile commissions from the Chinese government. He and his associates readily defend his work for the Beijing Olympics, because his original artistic conception remained relatively intact. However, his former workshop director is openly troubled by his work on the lavish APEC gala, even though his original plans were almost entirely emasculated by the Communist government.

Frankly, it is pretty impressive how much Macdonald pushes him on this issue. The truth is, that reality check needs to be there, since we have already seen Cai moved to tears when explaining his father’s suffering during the Cultural Revolution. As a result, Macdonald leaves viewers with no illusions regarding the current state of artistic and intellectual liberty in China.

Still, Cai need not feel neglected, because Macdonald’s film vividly presents the artist’s often stunning work. This is one of the few documentaries that would have been suitable for IMAX treatment. His characteristically ambitious work (sans government interference) is more than mere fireworks, in some cases involving explosions of colored dust. You really need to see it to understand the full effect.

Everything is complicated in today’s China, but the Cai that emerges through Macdonald’s lens really is an artist who creates art for art’s sake. In all likelihood, there will be little tangible payoff from realizing the Sky Ladder, yet watching Cai pursue it becomes surprisingly exhilarating. Altogether, Sky Ladder: the Art of Cai Guo-Qiang is an unusually complex and intelligent profiles of one of the most important contemporary artists of our time. Very highly recommended, it screens again this morning (1/22), Thursday (1/28), and Friday (1/29) in Park City, and tomorrow (1/23) in Salt Lake, as part of this year’s Sundance.

LFM GRADE: A

Posted on January 21st, 2016 at 6:00am.

LFM Reviews Synchronicity

By Joe Bendel. Klaus Meisner has an unusual business plan. His company supplies delicate designer flowers, the rare radioactive energy source MRD, and possibly time travel. Presumably, the mark-up on the first two is extremely profitable. The latter is under-development. Unfortunately, the socially awkward scientist who devised the wormhole opening technology is getting a little erratic. That sort of happens when your future self comes back in time. Complications arise in Jacob Gentry’s Synchronicity, which opens this Friday in Los Angeles.

Meisner has a stranglehold on the world’s MRD supply, but it is the only thing powerful enough to drive Jim Beale’s Frankenstein-looking apparatus—thus, his overtures to the stone cold venture capitalist. Initially, his command test drive looks like a disaster, but when the smoke clears, Beale discovers the duly transmitted sample dahlia—or something. Don’t get hung up on any technical details. Gentry knows they make no sense so he blasts them by the audience at warp speed. Just accept some serious time traveling is about to happen—unless its actually a wormhole to a parallel dimension.

Just don’t get hung up period. The important thing is Beale figures out Meisner and his femme fatale kept woman Abby have been playing him—unless Meisner has been playing them both. Maybe she seduced him or maybe they just fell for each other. Beale will try to determine which is true and also save his breakthrough technology from Meisner’s grubby clutches by jumping through the wormhole. Of course, he can’t meet himself in the same time period, so his Mutt & Jeff assistants, Chuck and Matt, will contrive ways to keep them apart. That will get increasingly difficult.

The world of Synchronicity is rather pleasantly neo-retro-futuristic, looking like half Bladerunner and half New York Marriott Marquis, which is pretty cool. There are a lot of concrete stairs for Beale and Beale Prime to scamper up and down. This is a wonderfully choreographed time travel film, much like Timecrimes and The Infinite Man, but it lacks a similarly airtight internal system of logic. Rational causality goes out the window pretty early, but Gentry replaces that pedantic hobgoblin with a healthy dose of hardboiled noir. He even throw in a dash of the unreliable narrator down the stretch.

Chad McKnight is solid enough as the theory-smart, life-dumb Beale and Briane Davis generates plenty of sparks as Abby. However, the real genre glee comes from Michael Ironside doing his villainous thing as Meisner and A.J. Bowen’s Chuck, serving as the slightly smart-alecky audience surrogate and increasingly exasperated voice of reason. Good things happen when those two are on the screen.

There are some nicely rendered effects in Synchronicity, but it is the look, vibe, and locations that you will remember. Gentry keeps the chaos churning and the pace at a breakneck gallop. Frankly, the way he throws caution to the wind and keeps going all-in will wear down the objections of any regular genre film patron. Recommended for time travel and noir fans, Synchronicity opens this Friday (1/22) in LA at the Sundance Sunset Cinemas, and also releases on VOD platforms.

LFM GRADE: B+

Posted on January 19th, 2016 at 8:36pm.

LFM Reviews JeruZalem

By Joe Bendel. There is an evil horde of mindless killers bearing down on the Old City of Jerusalem, hell-bent on destruction. That could be any old Tuesday, except in this case, the rage-fueled monsters are supernatural. It turns out everyone who succumbed to Jerusalem Syndrome was right all along. The city has a connection to an ancient malevolent force that will manifest itself in apocalyptic fashion during the course of the Paz Brothers’ JeruZalem, which opens this Friday in Los Angeles.

Sarah and her rather less reserved bestie Rachel have come to Tel Aviv for some clubbing and a bit of fun in the sun. Sarah could use the break. She and her sad-eyed father are still mourning the death of her older brother. Before leaving, he gives her a set of internet connected eyeglasses that we should not automatically assume to be Google Glass. Inconveniently, her purse with her regular specs is swiped shortly after their arrival, thereby forcing her to wear her geek lens (credibly explaining why so much of the film will be duly recorded).

Instead of immediately hitting the beach, Kevin, the young hipster archaeologist on their flight convinces the women to take a detour to Jerusalem with him. At first, everything seems cool at their impossibly Bohemian hostile. Most conveniently, the Arab Israeli owner’s hard partying son knows where to score the best dope and hear the best music. Yet, there are signs here and there of something sinister stirring.

Suddenly, Kevin seems to contract a particular potent case of Jerusalem Syndrome. However, shortly after he is trundled off to the nearby asylum, throngs of winged demons attack the Old City. They are the spitting image of the creature seen in the exorcism prologue (a tape supposedly recovered from the Vatican archive). To make matters worse, their bite is apparently contagious, just like that of zombies.

There have been a lot of found footage horror films, but what really distinguishes JeruZalem is its heavy backstory and the eerily evocative use of Old City backdrops (shot guerilla-style by the Pazes). We are told in the opening preamble there are three doors to Hell, one in the ocean, one in the desert, and one in Jerusalem, which sounds unsettlingly plausible. The ostensive Vatican footage is also wickedly creepy.

Frankly, the first ten minutes are so scary, the Pazes really slow down for the rest of the first act to fully establish their three main characters. It is a strategy that ultimately pays off. Despite their conspicuous flaws, the audience actually emotionally invests in Kevin, Rachel, Sarah, and her skyping father far more than usual when it comes to the found footage sub-genre.

While the rarely seen Danielle Jadelyn and the American accent-challenged Yon Tumarkin are hit-and-miss as Sarah and Kevin, Yael Grobglas (also memorable in Rabies) absolutely shines as Rachel. Flirty and funny without descending into shtick, she demonstrates real megawatt star power.

The Brothers Paz prove the mere sight of some Old City back alleyways at night is plenty creepy, even without monsters. Together with cinematographer Rotem Yaron, they really capture the city’s ominous nocturnal atmosphere. Highly recommended for fans of found footage and demonic horror, JeruZalem opens this Friday (1/22) in LA at Laemmle’s Ahrya Fine Arts and next Friday (1/29) in New York at Cinema Village.

LFM GRADE: A-

Posted on January 19th, 2016 at 8:34pm.

China’s Top Grossing Film of All-Time: LFM Reviews Monster Hunt

By Joe Bendel. As the age of legends comes to a close, veterans of the Monster Hunt Bureau are facing some pretty severe structural unemployment. They have just been too good at their job, but when a civil war in the monster realms spills over into the human world, their skills will be needed again. However, choosing sides will be trickier than they imagine in Raman Hui’s CGI-live action Chinese blockbuster, Monster Hunt, which opens this Friday in New York with both subtitled and dubbed screenings.

Song Tianyin is not much, but his absentee palace swordsman father still set him up as the mayor of their provincial village. He is about to be swept up into the monster’s civil strife when junior monster hunter Huo Xiaolan tracks two monsters in disguise to Song’s inn. Zhugao and Fat Ying are desperately protecting the pregnant queen, whose unborn baby is some sort of prophesized Jedi-Matrix Chosen One. The evil monster rebels have followed her into the human lands to end their royal line—and they are really big.

Although Huo initially captures Zhugao and Fat Ying, they manage to wriggle away, but she knows they will not get far. Since the Monster Queen was able to transfer her unborn baby to Song, Huo knows they will always be close by. Huo convinces Song to carry the baby, despite his understandable gender-role confusion, so they can sell him to a dealer. Evidently, monster babies are quite a delicacy. Yet, when the little “radish” springs into the world, they inevitably cannot stop themselves from getting emotionally attached.

So why can’t humans and monsters live together Alan Yuen asks us with his heavy-handed script. Maybe because those big marauding beasts really seem pretty darned dangerous. Nevertheless, the little radish is rather cute. Hui, who co-directed Shrek the Third, gives the monsters a good deal of personality, specifically tailoring them for the Chinese-centric market. It is easy to see why little boys would flock to Monster Hunt, even though it is somewhat more bittersweet than most mainstream American animated films. Of course, some of that is necessitated by the set-up for the sequel already in production.

Bai Baihe’s freshly minted superstar status is largely due to her breakout work in Hunt. She is indeed slyly engaging as Huo, especially in her scenes with older rival Luo Gang, nicely played Jiang Wu, who manages to maintain his hardboiled gravitas amid all the chaos and cuteness. On the other hand, Jing Boran is an awkward combination of klutzy shtick and faceless blandness, but to be fair, he probably did not expect to be stepping into Song’s shoes. Well after production began, he replaced Kai Ko, when the Tiny Times actor was swept up in the Jaycee Chan business.

From "Monster Hunt." — From “Monster Hunt.”

Monster Hunt also features Tang Wei and Yao Chen in goofy, slightly macabre Tim Burton-esque cameos that bizarrely play down their glamour. Sandra Ng and Eric Tsang add further star power, fitting comfortably into the roles of bickering monsters Zhugao and Fat Ying, when they are wearing their human skins.

The monsters are quite impressive, which would be the most important part of a film called Monster Hunt. Nevertheless, the narrative is disappointingly familiar and much of the broad humor will fall flat with American audiences. Still, the film is a genuine phenomenon (controversies of box-office inflation notwithstanding). Hui does what he does best quite well, but he should apply more of his Hollywood experience during the script-development period. Interesting but not essential for animation fans, Monster Hunt opens in both formats this Friday (1/22) in New York, at the AMC Empire.

LFM GRADE: B-

Posted on January 19th, 2016 at 8:34pm.