Fool's Views 8/9 – 8/20

Howdy, kids! Yep, it’s been nearly two whooooooole weeks since the 21-day flurry of Fantasia, and how best to celebrate the reprieve from the madness? Why, watching a boatload of flicks, of course! The difference being that I was able to resume my regular role of program director, actually choosing the features to watch on any given day. Considering I’d been sitting on a pile of flicks both borrowed and queued (including a Nicholas Winding Refn triple feature), it wasn’t hard to fill the slots and the time.

No surprise, Kitley’s Krypt dictated a few of my choices, fulfilling my Kryptic Army assignment for July (giant monsters) as well as joining my fellow blood brothers and sisters in celebrating the great man’s birthday, breaking in Jon’s new backyard DVD projector and movie screen with a gooey double feature complete with sing-a-long cards and trivia prizes. Such a wonderful gathering of food, friends and fun, one that came hard upon the awesomeness that was Flashback Weekend/Wizard World Comic-Con. I love this town. (Blessings to Jason Coffman as well, for his generosity in lending out an array of recent fright fare.)

As always, feel free to leave your two cents worth – we’ll make sure you get some change back.

Enjoy!

EXIT HUMANITY (2011) review

Exit Humanity (2011) (1st viewing) d. Geddes, John (Canada)

There’s little denying the skilled craftsmanship of writer/director Geddes’ civil war zombie flick – the opening sequence alone, wherein Brian Cox soberly intones the narration of a recently discovered journal, immediately vanquishes any thoughts of just another DIY gutmuncher. With a sepia-drenched color palette and vivid animated montages detailing survivor Mark Gibson’s adventures amongst the walking dead, the film’s subtitle of “A Zombie Saga” bear no trace of hyperbole; this is more thoughtful survivalist drama than thrill ride horror flick.

Yet, even approached with that mindset, it’s hard to defend the excessive 113-minute running time considering that the character-based yarn takes Cox’s laconic phrasings as its internal metronome and is peopled with stock types as opposed to empathetic individuals. Among the several fan faves on hand, Bill Moseley and Dee Wallace turn in subtle, nuanced work as a twisted general and a soothsayer, respectively, but their characters are too hastily sketched to make much of an impression. (By contrast, Stephen McHattie seems to be memorizing lines for another project during his brief mumbling screen time as a field medic.)

The film rests squarely upon the shoulders of capable but limited newcomer Gibson whose frequent cries of anguish are indistinguishable from his frequent cries of anger or frequent cries of attack. An impressive but muted effort, inspiring more admiration at its innovative approach than genuine enthusiasm.