Toronto After Dark 2012: Wrong Review

By Less Lee Moore

I’m going to completely avoid pun-filled pull quotes like “Wrong Is So Right!” in this review, in part because it would be corny, but also because it would be a sad attempt at competing with the genuine humor found in Quentin Dupieux’s latest film.

The trailer for Wrong conveys all you need to know about the movie itself—man loses dog; man goes on bizarre quest to find dog—but it might help you appreciate it more when you know more about Quentin Dupieux. He’s also known as the weirdo musical entity Mr. Oizo, and if you enjoy his output under that moniker, you’ll definitely like the score for Wrong. Dupieux is also responsible for last year’s bizarre horror “spoof” Rubber, about a killer tire.

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Book Review: Zombie Eye For The Living Guy: Look Undead, Cook Undead, Dress Undead, and Live Undead

By Jemiah Jefferson

In a world where The Walking Dead is one of the most successful TV programs on the air, where politics shambles on brainlessly, and it seems that the end times are nigh, why wouldn’t you want to dress like it’s Halloween? If you live for the absurd and obscene, there is at last a lifestyle book for you and your peers. This black-hearted parody of the best-selling Queer Eye for the Straight Guy tie-in books brings an undead perspective to the perennial challenge of living well, looking good—or, in this case, horrible&mdash’and being exactly the decaying, mindless flesh eater you’ve always wanted to be.

For those who have read the Queer Eye book, the parody is dead-on and hilarious. With sections titled such things as “Inner Preparations,” “Should I Eat Human Brains?” and “Social Skills,” every aspect of the gruesome, yet satisfying world of being a walking abomination is addressed with wit, variety, and a very silly thoroughness. Yet this is not just a point-by-point parody; Zombie Eye also contains quite a few pointers to enrich and enliven (so to speak) any good zombie costume for those still breathing.

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Toronto After Dark 2012: Resolution Review

By Less Lee Moore

Perhaps more than any other movie I’ve seen this year, Resolution will be the hardest to explain or describe. It’s not necessarily for fear of spoilers, because even if I wrote out the entire plot in detail it would probably 1) reduce the movie to some kind of gibberish and 2) not actually ruin anything because the joy of Resolution is all in the experience of watching it.

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Toronto After Dark 2012: Citadel Review

By Less Lee Moore

Like The Brood, Ciarán Foy’s Citadel was inspired by real life events. David Cronenberg’s iconic 1979 horror film showed the physical manifestation of anger through mutant, murderous children and channeled the rage the director felt following an ugly divorce. Citadel features a gang of similarly mutated murderers and reflects the director’s struggle to deal with the physical and emotional toll he endured after being attacked by a gang of kids.

Both films deal with the fantastic, but while Cronenberg tends to sublimate his angst through far more outlandishly indirect tropes, Citadel unflinchingly examines what it’s like to live, sleep, and breathe fear.

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Music Review: Black Moth Super Rainbow, Cobra Juicy

By Ricky Lima

I’ve had the pleasure of introducing some of my friends to both Tobacco and Black Moth Super Rainbow over the years. I explain to them that both artists are fronted by the same person, and they usually comment that they don’t see much of a difference between the two. That is when I usually go into a rant about how BMSR is a more folk driven project with organic textures where as Tobacco is a more harsh sounding, hip hop-driven project.

After reading interviews with Tom Fec (the mastermind behind Tobacco and BMSR) it becomes clear that this kind of distinction drove Fec away from making more BMSR music. He felt boxed in by making his records sound like a Tobacco record or like a BMSR album and that there was no growth in making albums sound a certain way. After a very successful Kickstarter, however, Fec is back with a new BMSR album titled Cobra Juicy.

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Blu-Ray Review: Prometheus

By Less Lee Moore

Oh Prometheus. If loving you is wrong I don’t want to be right. I didn’t think a movie could court as much controversy unless it was directed by Christopher Nolan. How naïve I was back then!

Four months after the “Prometheus sucks!” furor died down (just in time for the considerably less hysterical “Cloud Atlas sucks!” and “The Master sucks!’ outrage to begin), those of us who didn’t write petulant, ignorant letters to Damon Lindelof had to have our hearts trampled on all over again in preparation for the “Prometheus still sucks!” onslaught.

If you saw Prometheus and hated it, I would urge you to rewatch it on Blu-Ray. However, we all know how film critics are loath to change our minds on anything and (heaven forbid) admit we might be wrong. I saw Blade Runner in the late ’80s and honestly hated it. I was interested enough, however, to see the Director’s Cut theatrical release in 1992 and immediately changed my mind. Granted, the voiceover was removed in that version, but I also like to think I grew up a little bit.

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Music Review: Gary Clark Jr., Blak and Blu

By Danny R. Phillips

It shines like a signal flare in the midnight sky for me when hipsters and “tastemakers” love an artist. I do not know why. Maybe it’s my lifelong need to be difficult, to go against the flow. It’s kind of like my urge to see a movie that Siskel and Ebert panned; it’s going against the grain. Moreover, my feelings for Gary Clark Jr.‘s long awaited debut Blak and Blu are no different.

First I must state: I love the blues. From Skip James to Little Walter, on down to Hendrix, The White Stripes, and The Black Keys, I like that sense of longing, the feeling of loss, of desperation, coupled with a mastery of their instruments that seems, forgive me, supernatural. While Clark Jr. is an exceptional player that is a borderline virtuoso, his debut feels a bit flat to me. Blak and Blu is a record with only slightly more balls than John Mayer at his most ballsy; there are good moments of brilliance and wonder, and I will discuss them next, but for the most part, this debut is a typical major label debut cloaked in pseudo-Hendrix flamethrower work.

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Toronto After Dark 2012: American Mary Review

By Less Lee Moore

If you remember Jen and Sylvia Soska from their feature debut, Dead Hooker In A Trunk, their new film American Mary will provide plenty of pleasant surprises. It’s a remarkably solid effort for this pair of up and coming young horror filmmakers and one that bodes well for their future.

Mary Mason is a cash-strapped medical student who gets sucked into the world of strip clubs and underground body modification surgeries after a traumatic experience. Katherine Isabelle (Ginger Snaps) portrays Mary with an immense amount of subtlety and charm. She’s studying to be a surgeon and right away, her deadpan voice, sarcastic sense of humor, and fashion sense (including interior decorating skills) prove that she is serious and mature. Wisely, the Soska sisters (who also penned the script) have chosen to make Mary a convincing character, not a bimbo with a tacked-on med school plot device.

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Music Review: Elton Duck

By Cait Brennan

In the modern history of popular music, the “great lost album” is a mythology that looms large. Whether it was the brilliant lost fourth Verve/MGM Velvet Underground record (pieces of which surfaced in the mid ’80s on VU and Another VU), the Beach Boys’ Smile, Prince’s Black Album, Eno’s My Squelchy Life, or even Danger Mouse’s Grey Album, pop music is littered with tantalizing projects that were abandoned, lost, or suppressed by hostile label execs.

But all those artists, at least, got to release something, sometime. Sadly, one of the finest “lost” albums came from a band whose promising career, like their self-titled debut, got stopped in its tracks. Now, an extremely limited pressing of Elton Duck‘s long-thought-lost debut album has finally made its way through the wilderness, and it more than lives up to the legend. If you like power pop you need to own this record, period.

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