Writer/director Eddie Alcazar latest sci-fi vision, Divinity, had its Texas premiere at Fantastic Fest. Set in an interesting retro-futuristic world full of surreal oddity, the film is a visually stunning slow burn that lightly explores its themes, resulting in an experience that pleases the eye, but can’t quite engage the mind or forge an emotional connection.
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Fantastic Fest kicks off this year’s festival with the world premiere of Macon Blair’s The Toxic Avenger. This is a studio reimagining of the 1984 Troma cult classic that is totally true to its vibe but also moves in its own direction. The film is a great homage with a fresh twist that’s wonderfully wacky, extremely gory, and absolutely hysterical. If you’re anything like us, you will be delighted to see the Toxic Avenger make his return!
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Thar she blows! Writer/director Neil Ferron creates a wild, weird, and wonderful wave of mermaid mutilation with his short film, Fishmonger. The film had its world premiere at this year’s Fantastic Fest and was even one of the first shorts to be programmed as a part of festival’s Burnt End section, a collection of films that “shatter all traditional borders of taste and convention."
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Spanish director David Velduque's new work, Transción, had its world premiere at this year’s Fantastic Fest, screening in its Short Fuse section, a shorts block that delivers “cutting-edge horror that will make you ponder the uncanny.” The film focuses on the abandonment suffered by elderly trans people and delivers unnerving atmosphere and creepy body horror.
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Writer/director Sam Fox latest horror-comedy hybrid, Fck’n Nuts, certainly lives up to its name — and in more way than one. The short has had a phenomenal festival run and recently screened in Fantastic Fest’s Short Fuse section, a shorts block that delivers “cutting-edge horror that will make you ponder the uncanny.”
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Acclaimed filmmaker and illustrator Alberto Vazquez marches straight into the heart of candy-colored darkness with his latest film, Unicorn Wars. Don’t let its cute and cuddly exterior fool you, this animated flick ain’t for kids. Overflowing with adult themes and erupting with cartoon violence, Unicorn Wars will floor you with its slick animation and stick a heart-tipped arrow through your chest its vigorous anti-war message.
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Country Gold marks another banger for Oklahoma filmmaker Mickey Reece, who steps out from behind the camera to lead the film alongside Ben Hall. The two go entertainingly head-to-head in this well-cooked, country-fried comedy that thoughtfully contemplates ego, fame, and legacy. This one hits all the right notes, creating a near-perfect blend of poignant, wistful, warm, and tender absurdist-surrealist hilarity that is sure to two-step straight into your heart.
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Travis Stevens is totally unhinged in his latest film, A Wounded Fawn, a psychedelic giallo-tinged arthouse horror that embraces the psychotic. The film is a gritty and grimy vibe that blends slasher and cabin-in-the-woods subgenres to interesting affect.
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New Zealand journalist David Farrier is back with another dark documentary that exposes another real-life monster. With Mister Organ, Farrier takes audiences down another wild rabbit hole that must be seen to be believed.
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Director Park Chan-wook is back with another masterful slice of cinema in Decision To Leave. The film puts the “pro” in “police procedural” with its meticulous craft, detail-oriented story, and many twists and turns. The film is a neo-noir that boasts a compelling mystery to unravel, but its most surprising feature is how palpably romantic it is.
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The Menu is a devilishly delectable dark comedy that satisfyingly skewers elite types. It’s easy to see why the film pulled down the Audience Award at this year’s Fantastic Fest; it’s well-plated, flavorful, and nicely spiced. This sharply written multi-course sendup of foodie culture is one tasty dish that will have you coming back for s’more.
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Luca Guadagnino is making somewhat of a home out of horror, and we’re absolutely here for it! Reteaming with Suspira (2018) screenwriter, David Kajganich, Guadagnino cooks up another compelling arthouse horror flick with Bones And All. Based on the novel of the same name, the film successfully mashes coming-of-age, romance, and horror into a ravenous road film that ranks amongst the year’s best offerings.
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Writer/director Martin McDonagh reteams with In Bruges stars Colin Farrell and Brendan Gleeson for The Banshees Of Inisherin. The film captures the fable-like quality and tragic fatalism of In Bruges, and it rivals it in terms of humor and performance.
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Fantastic Fest closed out its week-long festivities in a hilarious hurrah with Ruben Östlund’s latest Palme d’Or winning feature, Triangle Of Sadness. This wickedly funny satire gleefully capsizes the traditional social hierarchy whilst taking big scathing bites out of the rich. It’s truly a sight to behold — and it’s one that ranks amongst the best this year has to offer.
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Parker Finn’s feature film debut, Smile, kicked off this year’s Fantastic Fest, where the film received its world premiere. The film is the latest in the “transferrable curse” subgenre, which it uses to make a statement on trauma. It doesn’t do anything new, but everything it does, it does in an effective manner.
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Following the success of his indie feature Sister Tempest, New Orleans writer/director Joe Badon is back, and he’s brought his next wild and wacky vision to Fantastic Fest! Paired with Alex Phillips’ All Jacked Up And Full Of Worms, which screened in the festivals “Burnt Ends” section, Badon’s short, The Blood Of The Dinosaurs, delivered the surrealistic comedy goods and properly primed Fantastic Fest audiences at Tuesday’s afternoon screening.
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Everything is a family affair in the witchy coming-of-age indie horror flick Hellbender. The film is the second feature written and directed by an indie filmmaking family (specifically, husband & wife John Adams and Toby Poser, and their daughter, Zelda), who pretty much singlehandedly tackle all aspects of the production (including the score). Although it’s not a total home run, Hellbender manages to conjure up some seriously bewitching charisma, innovative genre thrills, and bitchin’ tuneage.
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Borat isn’t the only good thing to come out of Kazakhstan! Kazakhstani writer/director Yernar Nurgaliev makes his international breakout with his violent comedy Sweetie, You Won’t Believe It. The film had its Texas premiere at this year’s Fantastic Fest, and it sent heads rolling — literally and figuratively — and had the audience in stitches with its hilariously thrilling bloodbath about brotherhood and male bonding.
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Prolific Oklahoman writer/director Mickey Reece is back with another delightfully subversive genre flick that takes audiences for an unexpected ride. With Agnes, Reece and his longtime writing collaborator, John Selvidge, break the habit of standard genre norms to deliver a heartfelt and deeply hilarious dramedy with horror leanings. One thing is for sure, this ain’t your typical nun or exorcism flick.
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Valdimar Jóhannsson’s feature film debut, Lamb, recently had its U.S. premiere at Fantastic Fest, and boy, is it a beautifully strange beast! This tantalizing, slow burning, folkloric fable effortlessly blends the real with the inexplicable to create something powerful and unique. Charmingly odd, and hilariously straight-faced, Lamb oozes a compelling mystique that must be seen to be believed.
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