We sat down with Jason Lei-Howden, Ant Timpson and Andrew Beattie to discuss DEATHGASM, one of the most ridiculous and entertaining films currently playing the festival circuit at the moment.
Pervert Park
Frida and Lasse Barkfors’s exploration of a half-way house for sex offenders effectively opens dialogue on the issues of recidivism and rehabilitation, with formal elements that elevate it above its simplistic documentary roots.
The Strange Color of Your Body’s Tears
Hélène Cattet and Bruno Forzani’s second feature is a magnificent, colourful celebration of the giallo tradition that manages to both pay homage to the greats and transcend the genre entirely.
Episode Of The Sea
A rumination on the death of practice, Siebren de Haan and Lonnie van Brummelen’s documentary is a meditative exploration of the Urkish fishing community in decline, which is employed as a metaphor for the death of celluloid.
Eight
Peter Blackburn’s debut feature is a tense look at the methodical practice of a woman suffering from an extreme form of OCD, shot expertly in a single take.
The Gallows
The latest offering from the inconsistent Blumhouse productions team is a misguided and pointless exercise in found-footage cliche, an overwhelmingly underwhelming theatrical outing from Travis Cluff and Chris Lofing.
Creep
Mark Duplass’s latest outing, a co-production with Patrick Brice, is a hilarious, surreal, and creepy foray into the found-footage genre that owes far more to the Mumblecore movement than it does to the horror genre.
Insidious: Chapter 3
Leigh Whannell’s directorial debut fails to live up to the standard set by the first film in the series, but is a vast improvement on its predecessor.
Flex Is Kings (dir. Deidre Schoo and Michael Beach Nichols, 2013)
This week’s Less Than (Five) Zero looks at Welcome to Leith co-director, Michael Beach Nichols, previous feature-length documentary FLEX IS KINGS, a Kickstarted look at a dance style forged in far-east Brooklyn
Lost River
Ryan Gosling’s directorial debut is a totally misguided, hollow, poorly constructed, derivative mess with virtually zero redeeming features alongside its questionable politics.