Fantastic Fest

The rape-revenge sub-genre has grown tedious and tiresome. There is nothing particularly novel or clever about these films, which almost always present the male perspective of a woman’s sexual trauma and envision her enacting some grotesque revenge fantasy. That’s a huge narrative (and social) liberty to take with something as serious as sexual violence, and the prospect of sitting through yet another rape-revenge movie directed by some white dude is an exhausting one. So it was intriguing, and somewhat exciting, to learn that Revenge was written and directed by a woman.

You’ve never seen Vince Vaughn like this before. Even if you were among the handful who watched True Detective Season 2, nothing could prepare you for this Vaughn: Brutal, hulking, and capable of insane violence. He’s always been somewhat intimidating, a factor that’s amplified to 11 in Brawl in Cell Block 99, the new film from Bone Tomahawk writer / director S. Craig Zahler. I spoke with both men a few hours after watching their film at an 8 AM press screening, which was one hell of a way to wake up.

IT may be the surprise box office hit of 2017, but it’s not the most surprising Stephen King adaptation of the year. That honor goes to Gerald’s Game, Mike Flanagan’s adaptation of what is perhaps the most un-adaptable novel in King’s bibliography — not necessarily in terms of the story’s graphic content, but by virtue of its narrative conceit. Approximately 98 percent of Gerald’s Game centers on one woman and her inner monologue as she desperately attempts to free herself from a dire situation.

As a visual exercise, Wheelman is interesting: The camera never leaves the getaway car(s) being driven by Frank Grillo’s titular professional accomplice, either filming the action from the backseat or from the side of the car’s exterior. That offers a unique, rarely-seen perspective, but it’s ultimately wasted on a film that fails to deliver any actual excitement — exceptionally disappointing when it’s a film produced by Joe Carnahan, a director who knows a thing or two about crafting engaging action thrillers.

A secret screening of ‘Take It Out in Trade,’ which has never been released on home video, drew cheers and criticism at Fantastic Fest.

“The Square is a sanctuary of trust and caring. Within it, we all share equal rights and obligations.” This is the description assigned to the provocative art installation at the center of the latest film from Force Majeure director Ruben Ostlund. For his follow-up, Ostlund takes his aim beyond the confines of marriage for a more expansive, but no less precise satire — this time of a more social nature. The mission statement of the titular artwork in The Square is also (obviously) referring to a figurative communal “safe space,” but Ostlund’s film is anything but.

A young woman sits in a college library by herself, separate from the rest of her peers. You can tell from her body language that she’s an introvert; uncertain, insecure, perhaps a little unusual. When a female classmate sits next to her, something strange begins to happen: Birds deliberately fly into the large glass windows of the library. Moments later, the young woman has a seizure, falls to the floor and urinates on herself. This is how Thelma formally introduces the eponymous character to her classmates, and, in some ways, it is Thelma’s first meaningful interaction with herself — and it won’t be her last.

We love zombie movies, we love comedies, we love movie musicals, but what if the three genres were combined?? It’s Shaun of the Dead meets High School Musical in the new Anna and the Apocalypse, which looks like a must-see simply for the sake of finding out whether it all actually works.

Following last week’s final wave announcement, Fantastic Fest has a handful of late additions for this year’s genre film festival. Joining what is already a pretty exciting lineup for 2017 are seven more titles, including new features, shorts and two television series. The most notable of those titles is Bodied, the new rap battle flick from Joseph Kahn (Detention), which recently had a divisive world premiere at the Toronto Film Festival — where it instantly became a must-see.

Fantastic Fest 2017 is looking, how do you say…lit. The Alamo Drafthouse has unleashed the final wave of titles for this year’s lineup, which includes Alexander Payne’s latest, Wonder Woman’s wild origin story, the sequel to World of Tomorrow, and much, much more. As always, the Alamo’s annual genre film festival remains the only place where you can attend a performance by Gilbert Gottfried, watch a 4K restoration of a blood-soaked Takashi Miike cult classic, and see forever bonkers favorite Nicolas Cage as a murderous father.