Black Gate

Thursday, June 14: as good a day as any to begin an adventure. I walked downtown that afternoon under looming clouds to Concordia University’s EV Building, where I picked up my accreditation for the 2016 edition of the Fantasia International Film Festival. I’d been looking forward to writing about this year’s festival for Black Gate virtually since last year’s had ended. Now things were finally about to begin. A laminated press pass, a festival schedule, a thick program book: the guide to the adventure unfolding over the next three weeks, to fantasy and horror and science fiction and a lot more.

Fantasia is a genre film festival that traditionally has a strong focus on Asian film. I’ve covered it for Black Gate both of the last two years, and I’m looking forward to doing it again, especially since this year marks the twentieth edition of Fantasia (spread over twenty-one years). Once again I’ll be posting in a diary format, covering the films I see in the order they’re shown while also reporting on special events accompanying the screenings — interviews, presentations, and whatever else comes along. I’ll try to get the posts up as quickly as I can, but realistically I’ll be seeing so many movies from now until the festival ends on August 3 that I don’t know when I’ll have time to type up my notes. There’ll probably be scattered posts from now until then, with a flood of posts following through August. We’ll see.

The festival proper began for me that Thursday evening at the De Sève Theatre, the smaller of the two main Fantasia theatres. I saw a western named Outlaws and Angels, which intrigued me since one of the leads is surnamed Eastwood. In this case, that’s Francesca Eastwood, daughter of Clint. I thought the casting choice was fascinating, and was also struck by writer/director J.T. Mollner’s decision to shoot the movie on 35mm film. I wondered how these things would work out; and besides, the only other movie showing at the same time was Kickboxer: Vengeance, a relaunch of the Jean-Claude Van Damme series from the 80s. Having seen the first three seasons or so of Community, I knew I’d only be able to think of that movie as Kickpuncher. Outlaws and Angels seemed like the clear choice.

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Diego Carrera has created a captivating and wordless 12-minute video essay that proposes “a timeline of influential and aesthetically beautiful horror movies around the world since 1895 until 2016.” It offers us a brief clip from one film every year, starting with The Execution of Mary, Queen of Scotts (1895), and working up through The Haunted Curiosity Shop (1901), Frankenstein (1910), The Cabinet of Dr Caligari (1920), Nosferatu (1922), Bob Hope’s hilarious The Ghost Breakers (1941), Abbott and Costello Meet Frankenstein (one of my favorite horror films, 1948), Psycho (1960), The Exorcist (1973), Alien (1979), The Thing (1982), The Blair Witch Project (1999), Let the Right One In (2008), It Follows (2015) and The Witch (2016).

It’s oddly captivating — check it out. And see more of Diego Carrera’s video work on Vimeo here.

So there’s this network, Comet TV, that shows old sci-fi shows and movies and such. As I live in a media cave without cable or Netflix I sometimes catch said old movies there. A couple of weeks ago I caught the 1991 Bruce Willis vehicle Hudson Hawk — a movie both loved and reviled! An action/comedy that is, in most senses, the final word on action comedies.

Most people absolutely HATE this movie. Especially snobs whose jobs depend on them hating movies. Can I provide examples? Oh yes:

Terry Cliffored, writing for the Chicago Tribune notes:

Boring and banal, overwrought and undercooked, Hudson Hawk is beyond bad.

Kenneth Truan scribbling gloomily for the L.A. Times had this to say:

The saddest thing about Hudson Hawk is that director Lehmann and co-screenwriter Waters were previously responsible for the clever, audacious “Heathers,” a film that represented all that is most promising about American film, while this one represents all that is most moribund and retrograde. Perhaps they both earned enough money here so that they won’t be tempted to indulge themselves in similar big-budget fiascoes. Here’s hoping.

And I would be remiss if I didn’t include Rolling Stone’s Peter Travers trying to be cool by bemoaning it thusly:

A movie this unspeakably awful can make an audience a little crazy. You want to throw things, yell at the actors, beg them to stop.

You know what? Screw them! There are some movies that are simply beyond the grasp of tiny minds — and this is one of those movies, if not the king of such movies.

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After watching and reviewing all five of the Tremors movies lately, I decided to turn my attention to movies about critters that mostly dwell above the ground — spiders.

Arachnophobia, a big-budget mainstream effort from 1990, is one of the better known examples of this sub-sub-genre. Then there’s Arachnoquake, one of those SyFy originals (yes, one of those) that came out in 2012.

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