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MONSTERS – Review
First, the raw numbers: this is director and writer Gareth Edwards’ first feature, the movie cost a purported $15,000, internationally speaking the film has grossed over 1.5 million dollars, this is the one film you need to see this fall.
One of the spectacular aspects of a movie that is labeled sci-fi even though we only really glimpse the science of the fiction at the very beginning and then near the end which, really, is the crowning achievement of this little film that could, is that this movie exists at all. Actor Scoot McNairy, last seen in the very sweet and gentile film In Search of a Midnight Kiss, and his co-star Whitney Able are essentially starring in a film where the plot centers around a NASA probe that fell to earth bringing with it a squid like race of aliens who were quickly quarantined and contained. Now, you have a photojournalist (McNairy) who is willing to comprise the boundary in order to get a story but finds his plans scuttled by his boss daughter (Able) needing safe passage out of this hot zone by any means neccessary.
What Edwards creates is not a visual feast, one would expect that out of a man who has built his reputation on crafting digital effects that ultimately won him a BAFTA award for his special effects work, but a movie that knows how to look like it was shot for millions more than it was. It’s a character piece that has as its backdrop an alien invasion, what it would be like to be a normal person in the middle of an incredible situation. McNairy shines in a role as a man who does more in simply interacting with his co-star than reacting like an unhinged hero that would ostensibly would have been his fate had a studio had its way with this movie.
That’s where this movie is brilliant, you understand. There would have been a ratio of monsters to humans on screen if anyone else but Edwards filmed this movie and it’s so much better for it. There are moments where you can tell that this movie was shot on location without any regard to proper staging or formal set-ups, there’s a real run and gun feel to its pacing, but in a movie where time seems like such a precious commodity as these kids attempt to make for the coast to get out of a situation that ultimately pays off with a delightful effects barrage at the end of the film that is wonderfully timed. Again, if we had large set pieces throughout the film it would have taken away from the jolt that the ending brings, it would not have felt as special as it does. As it stands, however, the movie withholds its science fiction payoff until you find yourself nearly demanding we get something on the order of a full scale alien invasion. It’s of little interest to me, however, as the power of this first feature comes in the form of the relationships we see blossom in a way that feels genuine and real.
Edwards is concerned with relationships as this is what millions in effects cannot buy: good performances. Believable performances. The allegory and subtext and everything else is just secondary to the moments we see where McNairy and Able come together in order to survive. It’s so much more satisfying to know that you can have special effects and good acting, the two not mutually exclusive, and Edwards genuinely delivers a special effects gut bomb that gives a preview of a filmmaker that is capable of going against what you’ve come to expect out of your action films. Edwards proves that reflection and human relationships can coexist with squid-like monsters that go bump in the night.
While some may take contention with any number of flaws that seem to be de rigueur for any nerd looking to pick apart a film like this for its construction it’s not deserving of anything less than high praise. Praise for being a movie that shows what going back to basics can do and how, if you just focus on the core elements of what a good story should include, it is nothing less than an amazing achievement and sleight of hand as Edwards makes you believe there is a lot more money up on the screen than there is. It’s there, though, it’s in the performances.
DEAD SET – Review
Without question, this is the program you should be watching on Halloween. Yes, after you’re done playing around watching movies that have no real scare value you ought to be tuning your television to IFC on Sunday night and look upon a UK production that found a fresh angle on the zombie genre. The premise seems deceptively simple yet is profound in not only defining the larger issue of what George Romero was going for in his own work but establishing a new benchmark for what it represents in the 2000’s.
Writer Charlie Brooker and director Yann Demange suppose what it would look like if a zombie apocalypse closed in and around the perimeter of a television show. Big Brother, to be exact. What it would look like if the self-obsessed and vain members of a reality program had no idea that a flesh eating horde was eviscerating and ripping through the innards of the staff tasked to film them 24/7? It would look and feel a lot like it does here and I couldn’t have been more tickled at not only the way things just explode early on in this 5 part series but that from a sociological perspective it is redefining the zombie genre for a legion of viewers who might get the implicit meaning of why these dead heads are all converging on this little studio which feels like it’s in the middle of nowhere.
One of the sheer delights of this program is watching Jaime Winstone who is utterly electric in not only conveying the right amount of terror but, when it’s needed, is able to be convincing as a person who is able to step up and get control of all the situations she’s put in. And the situations are numerous. From evading the initial invasion where the body count is high and everyone is a possible victim thanks to a cast that is all but unknown to laypersons here in the States. Part of the awfulness of modern U.S. interpretations of zombie horror is if you have a cast of folks people know it kind of takes the fun out of the randomness of it all. Who’s going to get it next? Who’s gonna die? All questions that are never taken off the table as Winstone, who plays Kelly, makes her way to relative safety.
The members of the Big Brother house, thinking that their being cut off from any interaction from their television producers is an elaborate stunt, are blissfully unaware at the gradual onslaught that is creepily coming closer and about to befall them. The politics of reality television, right in the middle of a story where people’s intestines are being consumed, are seamlessly woven into a script that is tight and moves at a pace that you find yourself hoping will slow down if to only take it all in.
Sure, there are moments of relative calm and introspection but the thing about this series is that it is building to something. It’s building to a crescendo where zombies are going to overrun the Big Brother house and we see how those living there deal with what happens when it does.
The ending, it should be noted, is one that completely satisfies. Not in a long time have I seen a story finish with as much bold dedication to knowing that the people who made this did so fully realizing there wasn’t going to be a second or third installment. Zack Snyder ‘s Dawn of the Dead had an ending that supposed there wasn’t going to be a next installment and Dead Set is no different.
The performances are thoroughly delightful in this entire series as the ever increasingly small amount of space not occupied by flesh eating corpses leaves us with a showdown that won’t leave you hungry. You cannot do better than free on Halloween night so treat yourself to a series that will reaffirm that there is still blood running through the veins of this genre, that there is still something worthy to say about the culture we live in and the zombies that roam within it.
Ten You Need to Dig Up – Ray Schillaci
Every Halloween critics and fans alike start a ten best list omitting a lot of good scares for the season. We are well aware of the impact “The Exorcist” “Texas Chainsaw Massacre and “Halloween” had on our sleepless nights. Even some of the more obscure have made the people’s ten; “Re-Animator” “Phantasm” and “Basketcase”. This is why I have gone to the trouble of finding some overlooked gems that are classics in their own way. All of the following can be rented at Blockbuster, Red Box or Netflix. Below I’ve given a brief description, free of spoilers. Enjoy.
The Burrowers ““ A creepy little horror/western yarn that succeeds in bringing both genres together for the fans. A family of settlers disappears under mysterious circumstances and a rescue party find themselves immersed knee-deep in sub-humanoid terrors. Not as intense an experience as “The Descent” but edgier than 2004’s western/horror opus, “Dead Birds”.
Midnight Meat Train ““ What can one say about a story by Clive Barker? When filming the man’s vision you either sink (like “Rawhead Rex”) or swim (“Hellraiser” or “Candyman”). This one swims a 10 minute mile. MMT stars Bradley Cooper before he became a big name and the foreboding charms of Vinnie Jones (“Lock, Stock & Two Smoking Barrels” “Snatch”). A photographer tracks down a serial killer on the subway trains. What transpires is not for the faint of heart. Brutal, gruesome and poetic, this tale has been eerily realized to film. It would be a crime not to experience this one on Blu-Ray.
Grace ““ One word”¦ Nasty. This film is wrong on so many levels, but the bizarre storyline coupled with the unnerving direction insists that you watch it through to the end. A woman who has had several miscarriages is almost able to carry to term, when she is told a month or so before that she is carrying a dead fetus. She insists on continuing to carry it to term. What happens from there is the stuff Hitchcockian nightmares are made of.
Zombie Strippers ““ I know what you’re saying, “Jenna Jameson? Why is this on a list of any kind?” For those who loved Robert Rodriguez and Quentin Tarantino’s “Grindhouse,” you will find this film fitting that bill. It’s all in the name of fun and gore. The acting is capital “B” and the effects are a joy. It caters to the lowest common denominator with its nudity and over-the-top violence. It also has many of us laughing out loud because it never tries to take itself seriously, but does deliver on a very primal level.
Teeth ““ This one hurts (especially for us men). A gruesome little independent entry involving a young woman coming of age and discovering her period is not the only thing that is about to give her trouble. Hint; it comes equipped with teeth and spoils any chances of a serious relationship. What’s a girl to do?
Splinter ““ One of those rare movies that makes you question, “What in God’s name am I watching?” A claustrophobic edge-of-your-seat thriller that has several people barricading themselves in a gas station convenience store in the middle of nowhere while some mutated splintery thing attempts to absorb them. A great cross between the John Carpenter favorite, “The Thing” and the classic, “The Blob”. Except this entity has spines and breaks apart bone and flesh while interacting with it. This shocker is an utterly gruesome display of sights and sounds.
Shallow Ground ““ A movie that is are hard to watch even during the credits. A naked teenage boy covered in blood is discovered by a small town sheriff. The mystery; where is he from and whose blood is on him? This is a true nail-biter that can be very difficult to watch for some. Don’t let anybody tell you the ending.
Let the Right One In ““ You might have heard of the American version, “Let Me In”. But no matter what you have heard, it will not prepare you for the most beautifully told vampire movie ever made. It’s both subtle and frightening. The acting is top drawer along with everything else. The only qualm I have is that the Magnet DVD release has not been true to the original subtitles from the theatrical release and you should not watch this film dubbed. It would be a crime. You may not understand what the actors are saying (except when you read the subtitles), but their voices are haunting along with the imagery.
Coffin Joe Trilogy ““ This one caters to the little kid in all of us that happened to catch what was scary when viewing “Fright Night with Seymour” or “Chiller Theater”. This foreign horror trilogy is all about the original boogeyman from Brazil. Banned in several countries, but seemingly mild by today’s standards, director/actor Jose Mojica Marins brings a wonderful sense of forbidden nostalgia. The soundtrack alone is creepy enough. Coffin Joe’s goal in life is the continuity of his blood. He seeks the perfect woman to have his perfect child and all others will suffer a gruesome death, along with any that stand in his way.
Trailer Park of Terror ““ The name states it all. A trashy, kitschy horror flick bringing sex and gore to the forefront without batting an eye. It also comes with a dash of gallows humor that gives it an irresistible must-see factor for All Hallows Eve. A youth ministries pastor and his small troubled high school flock happen to have their bus breakdown near the trailer park from hell. Beware of trashy redneck zombies!
There you have it, films to spice up your holiday season. They may not rank up there with such holiday classics like “Miracle on 34th Street” or “It’s a Wonderful Life,” but they are a good mix of films if you’ve grown weary of “Psycho” or “Night of the Living Dead” for Halloween. If you wish to venture further into the unknown, check out these titles as well; “Dead & Breakfast” “Altered” “Behind the Mask” “Fido” “Dead Snow” “Alien Raiders “and “Dance of the Dead”. All are worthy of your Halloween viewing pleasure. Have a safe and happy one.
BACK TO THE FUTURE: 25TH ANNIVERSARY – Giveaway
It was fate.
I was in line buying the one thing any film fan should be squandering their cash on this week when I heard I had a package at home. As I put down my copy of the Back to the Future: 25th Anniversary I opened the FedEx that arrived and what should I see staring back at me but 5 copies of these little beauties. I was in love for no other reason than I can now share what is, ostensibly, one of the best adventure movies of the 80’s.
Long before Robert Zemeckis made 3D films with kids that have creepy hollow eyes he made a movie that captured the zeitgeist of a young generation that was already in love with Alex P. Keaton, Michael J. Fox. The series of films, and let’s be completely honest and say that part 3 isn’t as strong as the other two, represent a solid trilogy that is more than worthy of a double dip in that the slew of extras that we get make this more than a worthy reinvestment. Again, this thing is packed to the gills with content and should be considered a necessary addition to your collection.
For those wanting a copy of one of the best box sets to come out this year all you have to do is simple: Send me a note at Christopher_Stipp@yahoo.com and just let me know who was the first person to step foot in Marty McFly’s shoes before Fox replaced him.
It’s just that easy, people. And, before he gets an itchy trigger finger, if your initials just happen to be RS you aren’t eligible so don’t even bother clogging my e-mail box with a desperate plea for one.
For those wanting to know what extras you can expect on this bad boy here they are:
New 25th Anniversary Restorations Deliver Perfect Picture and Purest Digital Sound Available
Blu-ray Exclusives
# U-Control
# Setups & Payoffs: Note key scenes and see how they play out as you watch the movies
# Storyboard Comparison: Compare key scenes in the movie with the original storyboards.
# Trivia Track: Get inside trivia and facts while you watch the movies.
# Pocket BLU: Experience Blu-ray in an exciting new way with the app for iPhone, iPod touch, BlackBerry, Android and more
# BD-Live: Access the BD-Live Center through your Internet-connected player and download even more bonus content, the latest trailers and more
# My Scenes: Bookmark your favorite scenes from the movies
Bonus Features
# “Tales from the Future:” 6-part retrospective documentary featuring all-new interviews with Michael J. Fox, Christopher Lloyd, Lea Thompson, Director Robert Zemeckis, Producers Bob Gale and Neil Canton plus Executive Producer Steven Spielberg
# “In the Beginning…”
# Time to Go
# Keeping Time
# Time Flies
# Third Times the Charm
# The Test of Time
# The Physics of Back to the Future
# 16 Deleted Scenes
# Michael J. Fox Q&A
# Archival Featurettes
# The Making of Back to the Future Parts I, II & III
# Making The Trilogy: Chapters One, Two & Three
# Back to the Future Night
# The Secrets of the Back to the Future Trilogy
# Behind-the-Scenes
# Outtakes
# Original Makeup Tests
# Nuclear Test Side Ending Storyboard Sequence
# Outtakes
# Production Design
# Storyboarding
# Designing the DeLeorean
# Designing Time Travel
# Hoverboard Test
# Designing Hill Valley
# Designing the Campaign
# Photo Galleries Including Production Art, Additional Storyboards, Behind-the-Scenes Photographs, Marketing Materials and Character Portraits Music Videos
# “The Power of Love” by Huey Lewis and the News
# “Doubleback” by ZZ Top
# Back to the Future: The Ride
# Q&A Commentaries with Director Robert Zemeckis and Producer Bob Gale Feature Commentaries with Producers Bob Gale and Neil Canton
The Creepy, the Weird and the Wonderful: 2010 Int’l Horror and Sci-fi Film Festival by Ray Schillaci
This year’s horror and sci-fi film fest out of Tempe, AZ oozed talent that had some squirming in their seats, if not occasionally running out of the theater due to the intensity. You know you have something when you get a reaction like that ““ especially when the rest of the crowd applauds your film in the end. I’ll get to that one later. But first, kudos to the professionals that graced us with their films, generous Q&A’s and signings; actor/producer/ director Adam Busch (Drones), Charles Cyphers (The Fog), Lance Henricksen (Aliens) and the fetching Tiffany Shepis (2010’s Night of the Demons). Also, a big shout out to Midnight Movie Mamacita, Andrea Beesley-Brown for presenting us with a great 35mm print of Dario Argento’s classic fright fest, “Suspiria.” Patrons and filmmakers alike relished the eclectic and ghoulish atmosphere provided by the festivities and many first timers were already anticipating next year’s festival.
An added bonus was the abundance of creative shorts by both horror and science fiction filmmakers. Unfortunately, I somehow missed the winners of the horror shorts; “The Furred Man” Best Horror Short and “Abra Cadaver” Best Horror Student Short. But I can only imagine what they were like since the competition was so stiff (pun intended). I will try to get a copy of them and report back. I do have to congratulate some of the noteworthy filmmakers that received an enthusiastic response. In the horror cateGory, Richard Holmas’ “Rise of the Appliances” gave rise to big laughs. You can only imagine, but the visual is better. Rory Lowe’s “The Midge” was a creep fest and literally got under our skin. “The Familiar” directed by Kody Zimmerman was a unique vampire tale with clever dialogue and good acting. It was a perfect pitch for a cultish full length feature. Then two absolute standouts were Voltaire’s “DemiUrge Emesis” and Rebecca Thomson’s over-the-top “Cupcake: A Zombie Lesbian Musical”.
I could not possibly give enough praise to “DemiUrge Emesis” for the sheer creative power it emits with a wonderful narration by Danny Elfman. Voltaire is a true visionary with his unique and short animated tale of a mummified cat that is tormented by the skeletons of its past meals. The process used is similar to “Nightmare Before Christmas” and “Corpse Bride,” but the outcome feels richer in its presentation ““ even though it is a short. Voltaire flew in from New York to do a Q&A and entertained us with the making of his short subject and was a wealth of information regarding the process he so admires. He did mention that he can be found on the internet with his other short films, but warned that if we look him up there would be two Voltaires ““ “one dead French guy and me”. The word around the festival was that he already has a very strong cult following.
Then there was “Cupcake”¦” What can you say about a short that manages to stuff itself with zombies, lesbians and musicals? Rebecca Thomson is totally out of control and throws everything in ““ including the kitchen sink, in her whacked out gore fest, in-your-face, politically incorrect musical. Does it work? Yes, for the most part, with some big laughs. It’s no “Rocky Horror,” but what is? The opening is shockingly funny with two old ladies singing about how they prefer having zombies roam their neighborhood than having the lesbians as neighbors and the lyrics are Raunchy. That’s just half the fun. When the zombies and lesbians clash the results are beyond outrageous. MPAA would have a field day never letting this short see a mainstream theater. But Thomson never went in with that notion. Her short is bawdy, flagrant and highly contagious. The audience was laughing, cheering and probably gave it the loudest applause of any short or feature at the festival. “Cupcake; the Zombie Lesbian Musical” is a real crowd pleaser for those with open minds.
The sci-fi short winners were well deserved with Jesse Griffith’s “Cockpit: The Rules of Engagement,” Best Sci-Fi Short and Anders Overgaard’s “Kontakt” Best Sci-Fi Student Short. “Cockpit”¦” had not only a very cool look to it, that set it apart from some of the bleaker entries, it also reminded one of the Twilight Zone episode with the gargoyle on the wing of a plane. The setting is 2103 and the one rule in fighter combat is keeping a mind controlling alien race away from Earth. The added bonus to our enjoyment was having the always welcomed Ronny Cox as one of the stars. “Kontakt” also came equipped with a distinct visual style that was both mysterious and intriguing. The story involving a UFO obsessed teen who finally gets to experience his dream or is it a nightmare?
Other notable sci-fi shorts were “One Small Step” demonstrating what really happened on that historic day on the moon ““ wonderfully realized. “The Necronomicon” makes for a great SNL faux commercial. “The Adjustable Cosmos” is a wonderful piece of creative animation regarding three worthies in the fifteenth century attempting to change the Emperor’s horoscope. Finally, Adam Varney’s “S.P.A.G.H.E.T.T.-1” won me over with its over-the-top premise that seems to fall in line with other pieces blending history with horror or sci-fi ala “Abraham Lincoln Vampire Hunter”. A Southern scientist deceives his former assistant in order to change the outcome of the Civil War.
In the sci-fi feature category the most notables were a couple of bizarre conspiracy driven tales and a Stephen King story. “Zenith” a retro-futuristic steam-punk thriller focuses on two men in two time periods. Their search for a grand conspiracy leads them to question their own humanity. Complex and fascinating, “Zenith” keeps us guessing all the way up to the end. It’s not a pretty picture with its harsh take on where we are going, but it definitely has something important to offer.
It was the Stephen King story, “Everything’s Eventual” a film by JP Scott that took home the Best Sci-Fi Film Award. Sad to say I missed this one too. But I did catch the winner of Best Sci-Fi Screenplay and the judges were right on the money with this one. Conspiracy driven, “Lunopolis” written by Matthew Avant was engrossing to the end. Shot like “Paranormal Activity,” but far more complicated and intense. If it was not set in the near future (and instead present day) it could cause a real stir. It starts with a frantic call to a radio station that eventually leads to an investigation (ala Ghost Hunters) in the Louisiana Atchafalaya Basin where an enormous underground facility is discovered and a very bizarre looking machine is found. From there, mysterious men in suits, religious cults and an internet phenomenon spin a wild tale that leads to the end of the Mayan calendar.
Finally, horror truly ruled the day with two one-word-titled films creeping neck-to-disembodied-neck. Elias Matar and Edward E. Romero’s “Ashes” won Best Horror Screenplay and Chris Witherspoon’s “Rage” won Best Horror Film. This was so close and let me tell you why. The intensity that Witherspoon demonstrates in his direction and editing technique is gut-wrenching. If there is the slightest kink in the armor of the exercise (and demonstration) of “Rage” it is a minor (and please let me emphasize “minor”) flaw with the screenplay. Both points were actually brought up to producer Shawn Smith and director Chris Witherspoon and although they had reasonable explanations, the film would have knocked it out of the ballpark if those points were addressed in the script, which is why Elias Matar and Edward E. Romero edged them out of Best Screenplay with “Ashes.”
Matar operates like a skilled surgeon when addressing horror. He has carefully constructed a film that could have easily been just another entry in the Zombie genre. But Matar wanted much more than that, instead he preferred a pacing that unsettled us and eventually caught us off guard. He and Romero show affection for their characters and in turn, they are not just victims waiting to die. In fact, we are the victims for caring and Matar succeeds on many levels bringing the horror of a frightening infectious disease to life. Upping the ante on the talent meter is lead actor, Brian Krause who displays warmth and dismay in a wonderful versatile performance. This slowly unnerving film cannot help draw comparisons to Greg Bear’s eerie and gripping book “Blood Music” and the early works of David Cronenberg, which makes Elias Matar a talent to be watched for in the future.
As mentioned before, “Rage” was the big winner not only with the award but the audience as well, at least, most of the audience. Either some could not handle the mounting tension or the certain scene (sending patrons running out of the theater) that I will not mention to avoid a spoiler. What I will say about that scene is that you hear more than you see and that’s probably what makes it so hard to sit through, but it is integral to demonstrate the “rage” that follows.
It’s akin to seeing the original “Texas Chainsaw Massacre” for the first time. You think you see all sorts of things, but you don’t. Kudos to director Witherspoon for the impact he made on his audiences at the festival. This is not just a tale of violence; it is a complicated story involving infidelity and a mystery behind who is actually chasing our protagonist. That’s what makes this film hit us so hard ““ aside from Witherspoon’s taut directing and editing. Witherspoon exposes the true horror of infidelity like it’s rarely been done before.
“Rage” starts off with issues in a marriage, later revealing that the husband, Dennis Twist, has rediscovered the love for his wife and wants to break off a dalliance with his mistress. She questions his intentions and feels as if he is actually separating from her due to a jealous boyfriend that just got out of jail. Good enough reason to leave anyway. Not much later, Dennis unintentionally provokes the wrath of a dark helmeted motorcyclist. “The Duel” commences throughout the day starting with taunts and eventually escalating out of control. It’s not so much who is the mysterious biker, but what the wrath he brings that is so horrifyingly haunting. By the time it’s over the viewer may be left with one of those, “that’s f*cked up” moments. The closest reference I can use is “Fatal Attraction” where the viewer keeps saying, “Oh no, don’t do that!”
That is not a weak point in this intense thriller. That is director Witherspoon getting under your skin and making you curl up in a ball and not wanting to go there. Mr. Witherspoon was very hands on in the making of his vision. He was not only the director and one of the producers, but he also multi-tasked as writer, cinematographer, editor, visual effects man and the Biker. As mentioned before the pacing is near perfect (if not for a brief unneeded recap sequence) and beautifully shot, making the film look much more expensive than it is. “Rage” proves to be far more horrific than pure violence.
In addition, there were two films at the Int’l Horror & Sci-Fi Film Fest that nearly defy description and will probably cater to a much targeted audience. Stuart Simpson’s “El Monstro Del Mar!” and the mad geniuses behind last year’s “Tokyo Gore Police” presenting “Robo-Geisha.” Neither of these films is fit for normal consumption, but do merit a mention because of their flagrantly giddy use of satisfying the ten year old minds of grown men.
“El Monstro”¦” starts off super charged with plenty of promise accompanied by three tattooed retro beauties on a killing spree. It immediately reminds one of a cross between “The Devil’s Rejects” and “From Dusk till Dawn.” This would not be bad if the promise was fulfilled. Instead it eventually peters out in a bloodbath duel with a monster from the deep, a Kraken. Yes, it is as ridiculous as it sounds, but apparently done all in the name of fun. Later, “EMDM” proves to be more like an early Roger Corman flick rather than a retro-fitted Tarantino homage treat.
And, then there was “Robo-Geisha.” The depravity of it all is filled with ass swords, a vomiting giant robot, machine gun tits and so much more. I literally found my mind melting as I tried to crawl my way out to the lobby to enjoy the company of a gore girl, a contestant from the “Beat the Geek” contest or one of the many vendors that proved far less taxing on my sanity. All kidding aside the festival was one of those rare treats one must experience during the Halloween season, a true holiday staple for Tempe and the Madcap Theaters.
And now, you can follow me on Twitter under the name: 
Have any of you ever sat in wonderment at a cartoon?
One of the most strange and wonderfully enrapturing series to air this year has to be Modern Toss. The best way to explain this show to someone who has never before come near its beauty is imagine a live action and animated program that uses foul language in ways that are not only creative but wicked, toss in a British sensibility, some strange series regulars, weird premises and wrap it all in laughter. What you come up with is Modern Toss, a program, 
CS: Where did this begin? Where did the real genesis for Modern Toss come from?
CS: And then from there, one of my favorites is Alan, who doesn’t say hardly anything but where did he come from?
CS: And now you just released the newest comic, Volume 5?
I think people like him is because he does what he wants. He’s got a good attitude for work. It would take like an English plumber to get some of the jokes.
Let me queue you in, I have never been a documentary fan, although I have been more open-minded to them of late. I think I was originally turned off to any educational media at an early age with a combination of far too many viewings of “Mr. Wizard” (a kid’s science show in the late 50s and 60s) and Disney’s “Jiminy Cricket” children’s educational show, “I’m No Fool” ““ the 16mm reel still endlessly rattles in the back of my head. Much later in life I was to discover that documentaries could be as powerful and more effective than the average cinematic experience with my first viewing of 1978’s “Scared Straight!” a group of cocky juvenile delinquents (Are there any other kind?) spend a no holds barred day with actual convicts ““ “Oh Bubba, I’m too young to be somebody’s bitch.” Fast forward to this year’s crop of fine documentaries at PFF. What a pleasant surprise had by all. It was no easy feat picking “Best Documentary”. It eventually came down to a couple of emotionally powerful one-two punches, “The Way We Get By” and “Shooting Beauty”.
As mentioned before, I am not taking anything away from the winner, but the later film, “Shooting Beauty” goes beyond the call of duty as a documentary and as a film in general. There are few times in cinema history that one is swept away with a wave of emotions and taken on a journey that is so unique, the experience sets it apart from the rest. The films that come to mind; “Elephant Man” “Cinema Paradiso” “Life is Beautiful” and dare I say, “E.T.” (Set aside the crass commercialism that accompanied it) These are films that are to be experienced and not just seen with a bag of popcorn and soda. They put us through a meaningful emotional journey and that is exactly what “Shooting Beauty” does with one exception ““ it is not scripted. Director George Kachadorian and his partner/wife, Courtney Bent beautifully captures the human drama (and comedy) of their tale of triumph of the human spirit, unconquerable by adversity.