In the interest of getting “hard” copies of my work under one roof, I plan to spend the next few weeks posting the entire archive of my film journalism here on ScullyVision. With due respect to the many publications I’ve written for, the internet remains quite temporary, and I’d hate to see any of my work disappear for digital reasons. As such, this gargantuan project must begin! I don’t want to do it. I hate doing it. But it needs to be done. Please note that my opinions, like everyone’s, have changed a LOT since I started, so many of these reviews will only represent a snapshot in time. Objectivity has absolutely no place in film criticism, at least not how I do it.
Originally posted on Cinema76.
There’s no denying that 2020 has been crazy in ways I still struggle to believe. The COVID-19 pandemic has put the world on hold and effectively trapped us all inside for the better part of a year. For the world of movies, this meant that just about every film festival had to shutter their doors for an indefinite offseason. Luckily, technology has given us the ability to have a 100% quarantine compliant alternative by beaming a festival directly into our homes. Nightstream, a collective made up of the organizers from the Boston Underground Film Festival, Brooklyn Horror Film Festival, North Bend Film Festival, The Overlook Film Festival, and Popcorn Frights Film Festival, aims to make this a reality. With full length features, short films, retrospectives, and even a game show event, Nightstream is a fantastic way to kick off your spooky season! The show begins this weekend, running from October 8-11. Full schedule can be found at nightstream.org
Let me tell you about some of the movies I’m excited to check out.
Run (dir. Aneesh Chaganty, 2020)
The opening night film this year comes from one of my favorite up and coming directors whose previous film, Searching, took a novelty concept and used it not just to present a pulse-pounding thriller, but also to school us the entire history of mass internet usage as a bonus. It’s an impressive feat of genre magic, so there’s no reason not to expect the best from his latest film. In it, Sarah Paulson and Kiera Allen play a mother and daughter whose relationship grows in intensity as suspicions grow between them. Promising plenty of twists and turns as well as a stunning set of central performances, the buzz around this one is big!
Bloody Hell (dir. Alister Grierson, 2020)
Billed as a “pitch-black horror-comedy,” this Australian thriller appealed to me on that phrase and the above image alone. As a fan of Ozsploitation dating back to Wake in Fright all the way to the more recent Wolf Creek series, there’s a raw, visceral energy that films from down under tend to share, and I’m willing to take a chance on this one. The title assures me of two things: it’s going to be hellish, bloody time, and it’s very likely that a character will say “Bloody hell” while covered in buckets of red, probably after some sort of comical hyper violence. I can’t wait!
Dinner in America (dir. Adam Rehmeier, 2020)
Simon is a punk rocker who is having some troubles. Namely, he cannot make money, he has nowhere to stay, and the members of his band pretty much hate him. Patty is an over-medicated teen who, despite her meek exterior, houses a passionate soul waiting to be unleashed. Together, they share a romance that takes them on a series of dark, occasionally violent misadventures, much to the chagrin of the sanitized-yet-aggressive world that aims to keep them repressed.
Not gonna lie, I’ve already seen this one (full review pending), and you don’t want to miss it.
Def By Temptation (dir. James Bond III, 1990)
One of the more infamous entries from the spat of urban horror flicks of the early 90s, Def By Temptation follows a succubus preying on African American men in New York, and the young minister who wishes to end her reign of terror. I’ve always heard chatter about this movie being an oft-forgotten piece of classic, cheesy fun, and I look forward to witnessing the madness. As black horror gains a long overdue footing in the popular moviegoing consciousness, it’s exciting to look back at films that helped to inspire today’s artists and pave the way for underrepresented storytellers. Yeah, it’s technically a Troma film, but back in 1990, Troma wasn’t so inclined to lean on its branding, often creating/releasing films that were only cheesy by accident. Added bonus: The legendary Ernest R. Dickerson is the cinematographer!
Mandibles (2dir. Quentin Dupieux, 2020)
Anyone who has ever seen a film from Dupieux knows that it’s a fool’s errand to enter with any sort of expectations. Whether it’s killer tires (Rubber), idiotic cops (Wrong Cops), or a jacket that turns its wearer into a covetous murderer (Deerskin), the only connective tissue between any of Dupieux’s work is that it’s very, very, very weird. His latest is about a couple of dimwits who find a giant fly in the trunk of a car and see it as an opportunity to get rich. I’m not sure what that means by way of method, but odds are it’s going to be absolutely absurd. Having seen most of his previous work, I can assure you that even if you hate the movie, you won’t ever forget it. This is a hell of a closing night pick, and easily the film I am most excited for!
