My favorite thing about the Fantastic Fest schedule each year is the diversity. While the festival attracts some of the biggest genre fans in the world, there is a limit to how much depravity one person can handle on any given day.
Though it makes zero sense as a “found footage” movie (here, “found footage” just means shot-on-video handheld style and annoying editing more than finding the footage as a plot point), this is a decent horror anthology hampered by the contraints of its chosen "format.
Speaking in very broad terms (one respects the fact that one can empathize with those not like him or herself), there are three types of laughs that one might hear at the often amazing Swedish movie “Force Majeure.
If you were at Fantastic Fest last year, you know the drill with this one. A bunch of directors get a letter of the alphabet and create a short film based on that letter ("F for Fart," for icky example, from the first film).
In this striking, not-quite-as-smart-as-it-thinks, often-Kubrick-esque feature debut from Polish music video director Krzysztof Skonieczny, we see a somewhat expressionless young man wandering around an abandoned theme park, pulling the fallen, metal dinosaurs around the weeds.
The Benedict Cumberbatch vehicle “The Imitation Game,” which took home the coveted People’s Choice Award at the Toronto International Film Festival, will top the marquee screenings at this year’s Austin Film Festival, organizers have announced.
Austin-born Joshua Oppenheimer, director of the Oscar-nominated, Drafthouse Films-distributed documentary "The Act of Killing," has won a MacArthur Fellowship, also known as a MacArthur "genius" grant.
http://www.youtube.com/watch?v=ziRIF0kWOJs&feature=youtu.be Fantastic Fest has released the final lineup for its 10th anniversary, with world premieres of David Yarovesky’s “The Hive,” as well as screenings of “Horns,” “The Town That Dreaded Sundown,” “It Follows,” “Everly” and “Open Windows.
Joe Gross writes about books, music and popular culture for the Austin American-Statesman. He's worked for the American-Statesman since 2002 and has contributed to Rolling Stone, Spin and other publications.