As with many festivals, but above all Fantasia, a kind of analysis paralysis can register with the most intrepid critic. What do you cover? What is worth looking at and talking about? What can be paired for dispatches of the catchy festival? Even (or especially) in the middle of the genre memory of the festival based in Montreal, there is a lot of variety to explore: animation, horror, science fiction, comedy, the list continues. But even if I settle in my a week’s visit to Quebec (I don’t travel well), I find my curious traction to call myself home in a trio of horror titles – two comics, a boost and dismal – on the traction to defend your home and people.
The first is Steve Pink’s “Terrestrial“, Which feels both a little stretch of previous films that he wrote and / or directed (” Hot Cume Machine “,” Big point blank “), and yet curiously in conversation with them. Corddry and Craig Robinson appear in the Chintzy clips and on a low budget that we see. This one does not have the summits of the seconds or the lower slapsticks of the first, but it is an interesting psychological thriller which carries its own sequence of dark comics.
Allen, you see, is a science fiction writer in difficulty at the dawn of success. When his former friends of the University (James Morosini, Pauline Chalamet, Edy Modica) meet him at her new address at La, they are shocked to see that this is not a Rinky-Dink studio, but a palatial manor filled with memorabilia “Neptune Files” courtesy of the author of the series). He is about to hit Paydirt, he said to them, because he has just made a massive advance on the new science fiction novel that he is about to publish. But he seems bizarre, even distracted; His stories do not seem to add up, he becomes strangely suffocated and disappears at strange moments. And the cracks in their group of long, dynamic long friends – from financial misfortunes to convinced committed partners – are starting to grow more and more.
And then, around thirty minutes, Pink throws in a real curve, reducing three months earlier, and taking off the curtain of Allen’s apparent success in Hollywood. This is where “terrestrial” comes to life – similar to another big indie of this year, “Twinless”, which also puts a status quo to reveal more nasty truths which are below. In this first section, Pink does an admirable job establishing the tension between his four characters; Fowler, for his role, plays quite well, all the evasive smiles and the measured pace while he is through tight teeth and hopes that he will not be caught. Once the worm turns, and for the love of spoilers, we will not have details, the circumstances of Allen’s deceptions become clearer, and we follow him when he rushes to turn one fire after the other to keep the lie alive. It is an entertaining farce.
There are times when the infrastructure threatens to crash – while more players enter the fray, or Allen’s friends have trouble following the bad trace of breadcrumbs to see what is really going on with him. But Pink juggles well on the tension, increasing the pressure for Allen and the fragile dream he tries from existence by pure determination. It ends with bloody, but appropriate, “terrestrial” misery including the high cost of lies, and the precarious success of the foot can put you.
Now for something less bloody, but much more silly: the writer / director William Bagley “Hold the fort”, “ Perhaps the only horror film that exists positive See on owners’ associations. That said, it is in the form of a rapid and sometimes charming horror comedy of 75 minutes on the only context in which your field laws could potentially apply: when a horde of literal demons of hell descends in your neighborhood.
In this case, the hoa does a lot More fine People for Having the Wrong Grass or Subtly Gatekeep Those Who Don Properly Assimilate Into the White-Picket-Fénce Lifestyle: When New Neighbors, Aw-Shucks Marathon Runner Lucas (Chris Mayers) and His Skeptical Wife Jenny (Haley Leary), Show Up for the “Welcome to the Neighborhood Party,” they find a lot there that awkward pleasantries and cucumber sandwichs. As Wacky Hoa Prez Jerry (Julian Smith) explains, their suburbs are right next to a portal towards underworld, and one night each year, demons come to play. That evening that evening, and Lucas and Jenny must adapt quickly to a) realize that the supernatural world is real, and b) they will have to get along with their new crazy neighbors long enough to survive against witches, werewolves and (long sighs drawn). (Small price to pay for no property tax, however.)
For good and the patient, “Hold The Fort” has great cracked video energy with long features, leaning hard on big laughs and exaggerated gores with the kind of joy of devil and care you need for low-budget productions like this. Every few minutes, a new wrinkle or monster is thrown on our characters (and us), and the cast rushes to find the right solution in the trunk of Jerry of monster hunting weapons (the mantra of the Hoa? “The magic cannot stop the balls.”)
There is a kind of contagious joy in the pleasure that the casting has fun while making it happy to play with the genre, but humor is a bit of an acquired taste. Gags and jokes are quite based on puns and satisfied, the genre that flashes a little too difficult to compensate for how crewing. The special effects have a flavor distinctly after the effects, giving you the impression that you watch the children create their first YouTube video. The performances are not large Shakes either, which is logical since the script does not give much to our characters to do beyond the beak gags and pain at their death. (Leary maintains a good head on his shoulders, and Smith’s Smifler’s commitment is the most successful comic wavelength of any casting.)
With all this pleasure away, it is time for one of the best horror films (and the most devastating) of the party so far: the inventive and sincere of Ben Leonberg “Good boy.” The premise is misleadingly simple and elegantly delivered: and if, when your dog looked at this random corner of your house, he was Do you see a ghost? This instinct, written big, sets the tone for a flawless haunted story, all centered on the perspective of the best friend of a sick man.
“Good Boy” is entirely said about Indy’s eyes (Leonberg’s own dog), a magnificent retriever from Nova Scotia in Nova Scotia which remains very faithful to his human, Todd (Shane Jensen). Leonberg keeps the face of Todd widely obscured and our level of the eyes directly at Indy; We hear his voice, his raucous coughs that let us know something that is wrong, the phone calls worried with his sister while he deracted in the north of the state distant from his late grandfather (Larry Fessenden). Indy doesn’t know what’s going on. He just knows that something is wrong with his guy, and from time to time, he sees an imminent shadow in the corner of the house.
During the next seventy minutes, “Good Boy” plays his high concept in a lively and dismal way, while Indy plays something that looks like a family curse that has cut the life of so many male members of Todd’s family (and seems to affect his human too). Whether in control of Leonberg’s camera, or his innate knowledge of his fur friend, or of both, he issued an exceptional performance by Indy – he is abstract, without words (no narration here), entirely told through armed heads, ear contractions, sniffs and his big eyes expressed. It is an astounding performance for pets, such a nuanced that it is difficult to believe that it did not know that it was in a film.
“Good Boy” is largely based on the novelty of this gadget, but the mines for a maximum pathos; While we spend more time in Indy’s world, to continue the ghosts and minds of the house that try to warn him of the problem that arrives in Todd (including that of the own faithful companion of his grandfather, Bandit), Leonberg touches deep and deep and remains a pet can have for its owner. Part of the terror of the film, especially since it reaches its heartbreaking conclusion, looks at this innocent in fur to see its whole world slowly crash around it, and not be able to understand why. In this way, it so perfectly captures the rhythms of sorrow – helplessness, negotiation, confusion – in a way that will let you reach the tissues. It certainly struck me for a loop when I saw him. A devastating start, but deeply enriching for the party.
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