Managa Entertainment Bringing Rin Okumura's BLUE EXORCIST This August

A lot of teens are embarrassed by their parents, but Rin Okumura has more right than most - his father turns out to be Satan himself! Combining sizzling action scenes, quirky comedy and luscious art design, Blue Exorcist follows Rin on his quest to become the strongest exorcist at the True Cross Academy so that he can give his demonic dad the ass-kicking he deserves.

Quick tempered and fond of a good scrap, 15-year-old Rin Okumura has grown up being called a ‘demon child’ but it's still a shock to discover that he is, in fact, the literal son of Satan. When his guardian, Father Fujimoto Shirou, dies defending him against demons, Rin defies his Hellish heritage and enrols at the True Cross Academy, determined to become the world's strongest exorcist.
Starting any new school is a challenge, but Rin's got it tougher than most. Not only must he master his deadly demonic powers and fight the forces of darkness, but Rin also finds himself in the unenviable position of being instructed by his genius twin brother Yukio, who is already a teacher at the Academy! Then there's the question of how Rin's fellow classmates - shy Shiemi, hot-blooded Bon and haughty Izumo - will react if they ever discover his true parentage…

Blue Exorcist is a genuine all-rounder, an anime that's equally at home with hi-octane fight scenes, fast-paced comedy, bittersweet drama and even a dash of romance. Starring a strong pair of protagonists in Rin and Yukio, the shonen series also features a substantial supporting cast, gorgeous graphics and surprisingly deep character development. All in all, Blue Exorcist is one Hell of a show.

Manga Entertainment are bringing this one to UK&Ireland and August 20th is the day of reckoning, check out the film' trailer below.

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EIFF 2012: V/H/S Review

★★★★1/2

Found footage horror, V/H/S has completely revitalised a played-out, repetitive style of filmmaking with six chilling anthology tales. Ti West (House of The Devil), Glenn McQuaid ((I Sell The Dead) and Adam Wingard (A Horrible Way To Die) are just three of the directors to contribute to this chilling anthology.

V/H/S opens with a group of criminals assaulting young women and vandalising property. They are hired by an anonymous client to break into an abandoned house and obtain a mysterious video tape. The group begin to work their way through a series of terrifying tapes, each revealing a different short film.

V/H/S manages to fuse so many horror sub-genres together in an innovative and chilling manner, capturing all that fans love in the genre. However, this is not clear from the shaky onset, where teenagers victimise young women, whilst filmed on a handheld camera - it was a struggle to engage with this. As these young men break into the abandoned house and the horror starts, director, Adam Wingard completely pulls it together. This over-arching story is just as tense and disturbing as any of the segments that it flawlessly seems together.

The first segment from David Bruckner (The Signal) entitled Amateur Night follows three college freshmen with video recording spy glasses, hoping to pick up some easy girls and make a sex tape. However, one of the girls who has been brought back's behaviour is a little troubling. This chilling short film is thoroughly well developed, with some completely unexpected and unsettling gory twists.

This is followed by Ti West's Second Honeymoon, a tale of a loving couple staying at an isolated Texas motel whilst on vacation. However, when a creepy young woman starts banging on the door things take a shocking turn. West's short tackles the idea of home invasion, with the intruder filming the sleeping victims on their own handheld camera, showcasing a disturbing twist on handheld camera norms.

The third short, Glenn McQuaid's Tuesday The 17th follows four teens venturing into the woods, where gruesome murders previously took place. This may read like the traditional Friday The 13th teens in the wood style slasher, but McQuaid's killer is created with a completely innovative twist.

Joe Swanberg's The Strange Thing That Happened to Emily When She Was Younger proves to well-crafted, suspenseful ride. Swanberg's tale follows the Skype conversations of a couple, terrorised by ghosts. As a viewer we are thrust into dark, grainy rooms left to scan for the source of terror.

My personal favourite segment, 10/31/98 by collaborative group called Radio Silence proves to be a spectacularly crafted and completely unsettling piece of filmmaking. It follows four men looking for a Halloween party - they end up at a creaky old house with some macabre practices going on in the attic. Radio Silence allow the house to completely come alive, with walls moving and doors disappearing - it is a true visual feast of terror, fusing elements of The Amityville Horror with Rosemary's Baby.

V/H/S is a sure fire treat for horror fans, bringing a much needed spark of energy to the handheld camera style of filmmaking. Each segment is flawlessly crafted and diverse enough to maintain your interest for the near two hour run time. I would go as far to say that it is the strongest horror film of 2012.

Andrew McArthur

Stars: Calvin Reeder, Joe Swanberg ,Jas Sams
Directors: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg , Radio Silence
Release: 28th June (EIFF)

EIFF 2012: Berberian Sound Studio Review

★★★1/2☆

Director, Peter Strickland (Katalin Varga) presents us with the truly unsettling look at the power of sound in his latest feature, the Toby Jones lead, Berberian Sound Studio - which makes its world premiere at this years' Edinburgh International Film Festival.

Set in the 1970s, Berberian Sound Studio follows British sound technician, Gilderoy, as he works in Italy on a gruesome horror film. Soon Gilderoy's work on this dark feature slowly begins to bleed into his everyday life.

Berberian Sound Studio is certainly not a horror film, instead more of a psychological thriller reminiscent of Hammer Films "Mini-Hitchcocks". This completely absorbing and brooding drama manages to be unsettling, rather than scary. Strickland's direction immediately emphasises a sense of foreboding, with the distinctive use of the sounds created in the studio capturing Gilderoy's troubling mental state.

The vibrant and unsettling power of the sound is so strong, that we never see any of the imagery linked to this gruesome horror film (apart from its blood red opening titles) it is simply talked about, yet seeing these sounds created still has a sinister impact. Who knew hacking a watermelon or smashing some courgettes on ground could have such a chilling impact.

Berberian Sound Studio is at its best when capturing the changing mental state of Gilderoy - most notably one frantic, dream-like sequence where the technician's life blurs with the Italian horror film as he believes there is an intruder in his apartment. Jones performance is terrifically understated, managing to capture both his initial coyness to his more extreme infuriation whilst working on the project. For an actor, that is traditionally cast in supporting roles, Jones proves to be equally impressive in a leading role.

Unfortunately, a utterly confusing and unnecessary twist ending spoils the foreboding and impact so carefully established throughout Berberian Sound Studio. This extreme twist is not given the build-up that it deserves only working as a method of shocking the viewer, but lacking any clear explanation or clarity. It marks a disappointing end to an otherwise well-crafted piece of cinema.

For the most part, Berberian Sound Studio is a unsettling, brooding psychological horror, boasting a magnificent turn from Toby Jones. The well-crafted narrative and powerful sound use are unfortunately spoilt by an over-ambitious twist ending.

Andrew McArthur

Stars: Toby Jones, Tonia Sotiropoulou , Cosimo Fusco
Director: Peter Strickland
Release: 28th June (EIFF) August 31st, 2012 (UK)

Film 4 Frightfest The 13Th Line Up Is Here! Biggest Line Up In Festivals History!

Film4 FrightFest the 13th is delighted to unveil its most ambitious line-up in history. From the sensational SINISTER starring Ethan Hawke, the Sam Raimi produced THE POSSESSION and Jennifer Chambers Lynch’s jaw-dropping CHAINED, to the MANIAC remake, the surgical underground of AMERICAN MARY and the V/H/S anthology everyone is talking about, this year’s event is definitely something to scream about.

From Thurs 23 August to Monday 27 August the UK’s leading event for horror fantasy fans will be back at the Empire Cinema in London’s Leicester Square to present 48 films in three screens. Empire 1 will house the main event while the Discovery and the newly-created Re-Discovery strand will play in Empires 4 & 5.  There are eleven countries represented, with a record-beating fifteen world premieres and twenty-three UK or European premieres.

The Best of British horror fantasy gets its usual FF fanfare with our already announced opening film Paul Hyett’s THE SEASONING HOUSE and closer, James Nunn and Ronnie Thompson’s TOWER BLOCK. Also showcased are Peter Strickland’s extraordinary Italian horror deconstruction BERBERIAN SOUND STUDIO, Jon Wright’s creature feature GRABBERS, the living dead romp COCKNEYS VS. ZOMBIES, the human experiment warning GUINEA PIGS, the killer clown comedy STITCHES, the cannibal serial killer chiller SAWNEY, the psycho cop thriller MAY I KILL U?, the gory allegory BEFORE DAWN, the fear of THE INSIDE and the frightening COMMUNITY.

This year the festival is giving a prominent focus to the past, present and future of the Italian genre scene with Federico Zampaglione’s much anticipated neo-giallo TULPA and the Manetti Bros PAURA 3D. Plus Total Film magazine’s guest Icon this year is the Italian Master of Horror himself, Dario Argento and there’s a screening of the documentary EUROCRIME!, which celebrates the ‘poliziotteschi movies that ruled Italian 70s cinema.

From Spain come two of the country’s brightest talents with their recent blockbuster hits: Paco Plaza’s [REC]3 GENESIS and Jaume Balaguero’s, stunning thriller SLEEP TIGHT. Also in the Spanish language is HIDDEN IN THE WOODS, a Chilean chiller Other International highlights include the Dutch KILL ZOMBIE!, the Japanese DEAD SUSHI and Germany’s ERRORS OF THE HUMAN BODY and WE ARE THE NIGHT.

Currently under the radar but bound to get people buzzing are Steven C Miller’s UNDER THE BED, Ryan Smith’s AFTER, The Butcher Brothers’ THE THOMPSONS, Peter Engert’s REMNANTS, Stig Svendsen’s ELEVATOR and Buddy Giovinazzo’s return to the genre A NIGHT OF NIGHTMARES.

Then there’s T2/THE ABYSS star Michael Biehn’s directorial debut THE VICTIM, the gore documentary NIGHTMARE FACTORY focusing on the work of make-up genius Greg Nicotero, the Nazi zombie romp OUTPOST II: BLACK SUN, the latest in the mutant smash series WRONG TURN 4 and the ever popular INTERNATIONAL SHORT FILM SHOWCASE(line-up to be announced soon) and ANDY NYMAN’S QUIZ FROM HELL presented by Emily Booth and The Horror Channel. And showing for the first time in the UK will be the most-wanted retrospective of the decade, Clive Barker’s NIGHTBREED: THE CABAL CUT.

FILM4 FrightFest the 13th’s innovation this year is our third venue at the Empire, the Re-Discovery Screen. Here you can see fully restored versions of three classics from the House of Hammer, THE DEVIL RIDES OUT, RASPUTIN THE MAD MONK and THE MUMMY’S SHROUD. We also have a special presentation of the legendary masterpiece, THE BRIDE OF FRANKENSTEIN. Following on the from THE DEAD success of last year, there will be a free re-showing of INBRED and recording director Alex Chandon’s live commentary for the Anchor Bay DVD release. Plus there’s a chance to see two hits from our Glasgow Film Festival event: The Manetti Bros. THE ARRIVAL OF WANG and Paul China’s CRAWL.
 This year’s full guest line-up list will be announced next month.

Julia Wrigley, Head of Film4 Channel, said today:  “We are delighted to extend our headline sponsorship of Film4 FrightFest to a record 6^th year, as the festival continues to evolve in an exciting fashion.  We are thrilled by the incredibly strong presence of British films in this year’s line up, including the artfully sinister Film4 Production, Berberian Sound Studio.  Our FrightFest season on the channel also goes from strength to strength, like the Festival itself.

”

Festival & day passes go on sale from 30 June. Tickets for Individual films are on sale from 28^th July. Bookings: 08 714 714 714 or www.empirecinemas.co.uk

Final 'Extreme' Promo Trailer for BLOOD C: THE LAST DARK

Just before Christmas we gave you the trailer for BLOOD C: THE LAST DARK , the new upcoming anime from Clamp (worked on the story) and Production I.G (worked on Animation), tonight we  have a new promo trailer. lasting nearly 4 minutes long  the new promo gives you the best sense of what to expect from Saya the teenage vampire hunter, if you love the Blood franchise this will be another fine edition to that ever popular series.

Despite the use of the Youth Ordinance Bill to enforce curfews for minors and regulate the use of the internet, young people continue to fight for their own freedom through underground methods. One such group calls themselves Surat. They have decided to take on Fumito Nanahara, a man who has great influence on the political world, and basically controls Tokyo with an iron fist. While using the internet as a weapon to discover more information about Fumito, they learn about "Tower", the secret organization behind Fumito which engages in human experimentation.

When members of Surat attempt to set up an ambush in the subway to expose the truth behind "Tower", mysterious creatures suddenly appear and attack the passengers. During this crisis, Saya appears - a young girl who uses a Japanese blade to slay the Old Ones. The same Saya who lost everything dear to her in that horrifying incident in Ukishima Province. What sort of "experiment" is Fumito and "Tower" trying to conduct using the Old Ones? And can Saya finally deliver vengeance to Fumito?

Now, the final battle begins...

This is a NSFW trailer and lives up to its 'extreme promo' label, Blood -C :The Last Dark is out now in Japan.

Thai Horror THE VICTIM (Phii khon pen ) Coming TO UK On DVD

MVM Entertainment are bringing some Thai horror to UK this August on DVD with THE VICTIM (Phii khon pen ). The horror-thriller hybrid that firmly established Thai filmmaker Monthon Arayangkoon (The House) as a director to watch finally comes to DVD in the UK, 6 years after its release.

When aspiring young actress, Ting, is approached by the Bangkok police department’s Lieutenant Teerasak Kedkaew and invited to play a variety of mugging, murder and rape victims in a series of “Crimewatch”-style re-enactments, she jumps at the chance. Her immediate success soon leads to further work with Lt. Te’s colleagues at other police stations around the city and, ultimately, to a role in a TV soap opera. But the role Ting really wants is that of Meen, a former Miss Thailand contestant-turned-actress and the victim in a high-profile murder case in which Meen’s husband, Jarun, stands accused. Shortly before the filming of the police re-enactments relating to the case begins, the female officer scheduled to play Meen dies unexpectedly from a severe heart attack, despite being young and apparently healthy. Reluctantly, Lt. Te offers the part to Ting, who immediately begins studying TV footage of the dead model-actress in order to get into character. As she gets deeper into the role, Ting experiences what she can only describe as a supernatural connection to Meen, and one that leads her to believe Jarun is not the murderer. Determined to solve the mystery, Meen begins her own investigation into the crime only to discover the worlds of reality, fantasy, the supernatural and the media colliding in the most unexpected and terrifying ways imaginable.

It’s regarded by some as one of the most original, inventive and intelligent horror movies we’ve seen in years – a film that constantly pulls the rug from under the audience and in which nothing is really as it seems. The cool imagery, creepy atmosphere, flashes of humour and several jump-out-of-your-seat moments all add up to the kind of work which a director like Brian De Palma would be proud. If you liked the similarly themed Thai hit “Shutter” and “Wes Craven’s New Nightmare” you’ll love this. And make sure to stick around for the spooky closing credits to see what may or may not be some genuine ghosts.

The Victim is due out on DVD thanks to MVM Entertainment on August 6th, starring Pitchanart Sakakorn , Apasiri Nitibhon and Kiradej Ketakinta .

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EIFF 2012: Tim And Eric's Billion Dollar Movie Review

★★☆☆☆

It seems that if a television comedy duo is successful enough that a movie is inevitable. Unfortunately, it is very rare that these movies are actually worth watching - just think Ant & Dec's Alien Autopsy or David Mitchell and Robert Webb's Magicians. Hoping to buck that trend are Tim Heidecker and Eric Wareheim, the creators and stars of Adult Swim television series, Tim and Eric Awesome Show, Great Job!  The duo have presented us with Tim and Eric's Billion Dollar Movie, which will no doubt appeal to fans of the television series. 

Tim and Eric are two filmmakers who are given a $1 billion dollar budget to make a film for the Schlaaang Corporation. However, with the budget squandered and results in only three minutes of usable footage  - the duo have no choice but to go on the run from vicious studio boss Tommy Schlaaang (Robert Loggia). In a harebrained scheme to raise the money, Tim and Eric find themselves trying to restore a derelict shopping mall.

Anyone familiar with the Saturday Night Live film productions like MacGruber will instantly recognise the formula of Tim and Eric's Billion Dollar Movie. It is this predictable narrative arc that immediately works against the production - we know there is an inevitable fall out and eventual reconciliation and that Tim and Eric will successful rebuild the mall. Since the script structure offers nothing particularly original it is up to the comedy duo to add some interest through their gags and performances, and to an extent they do this successfully.

The humour ranges from enjoyably madcap to unpleasantly crude, never finding the right balance. A perfect example of this is where a drugged Eric goes to a 'Shrim' healing centre - we do not know what Shrim is, but are soon given a fun video representation hosted by Ray Wise. The comic talents of Ray Wise would have been enough for the gag, but Heidecker and Wareheim insist on taking the humour too far. How far? Well Eric drowning in a bath of children's faeces. It is just a crude, unpleasant and juvenile punchline.

The bantering exchanges between Tim and Eric spur on a few laughs, but most of the humour comes from the star power involved in Billion Dollar Movie. The film opens with Jeff Goldblum, posing as Schlaaang spokesman Chef Goldblum, offering the viewer tips on how to enhance their movie going experience - which is particularly fun. Will Ferrell's cameo as the mall's Top Gun obsessed former owner proves amusing as well, as does Zach Galifianakis' role of a self-help guru the duo hire. Unfortunately, most of these star turns suffer from incredibly poor writing and character development - notably John C. Reilly's supporting performance, which is just cringe inducing and not worth the actor's talents. 

Robert Loggia's appearance as villain, Tommy Schlaaang is the main scene stealer of the film, with the veteran star bringing his charismatic screen presence to the role. Unfortunately, the material he is given to work with is just as bad as Reilly's.    

Tim and Eric's Billion Dollar Movie is a formulaic and unnecessary venture. Most of the humour's downfall is in its crudeness and lack of consistency. What should have been excellent supporting turns from well-known stars suffer from poor writing and a lack of development.

Andrew McArthur

Stars: Tim Heidecker, Eric Wareheim ,Will Ferrell, Jeff Goldblum
Directors: Tim Heidecker ,Eric Wareheim
Release: 28th June (EIFF)

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The Discreet Charm of the Bourgeoisie DVD Review

★★★★★

Cruelty is fun to watch.

X Factor. Eurovision. TOWIE. Britain’s Got Talent. Come Dine With Me. Take Me Out. All are popular shows built around one of two expectations. Firstly, that people really enjoy mocking idiots (even if said idiocy is completely staged), and, secondly, that people get a kick from watching other people bitch. These shows expect people to both enjoy being mean, and vicariously relish the meanness of others.

Well, going by the popularity of these programmes, it seems that that expectation holds up. Considered objectively, this is a fairly unpleasant state of affairs. Indeed, on occasion I feel I should have a problem with it. But then I remember how much I adore both taking the piss out of people and bitching in general: I can recall many conversations that would be the poorer without them. And being mean about people is not just fun. On occasion it even has value. Case in point: The Discreet Charm of the Bourgeoisie.

This film by writer/director Luis Bunuel is truly venomous, though at first it hides it well. Watching Discreet Charm is an experience akin to having a waking dream. Within the film the lines between reality, fiction and imaginings are blurred and shifting, giving all scenes the weight of reality and a lulling dreamy haze. It is paced like a dream too, flowing inexorably yet smooth as silk, unbroken by the constant shifts from location to location, and from reality to fantasy. This style makes for a gentle rather than angry film. But once you peek beneath the surface, the central antipathy of Discreet Charm shines clear as day.

Discreet Charm of the Bourgeoisie is a film about slagging off the upper middle classes. And it does so maliciously, gleefully and repeatedly.

The characters of DCB exemplify the film’s hidden venom. On the face of it they don’t seem particularly bad people: a close-knit group of wealthy friends, chatty and companionable. Sure, they dabble in illegal drug trafficking, but drug abuse carries about as much negative stigma on the big screen as killing zombies. On the whole they seem perfectly pleasant.

That is, until they reveal themselves as a band of horrifically snobby hypocrites and poseurs. Thevenot (Paul Frankeur) invites a chauffeur for a drink, just so the group can mock the way he drinks a dry martini. Though they may deal drugs, they declare a hatred for drug addicts and look down their noses at a cavalry commander’s use of marijuana. Don Rafael Acosta (Fernando Rey) claims to have liberal sympathies, in the same breath as stating no amount of education could elevate the lower classes. When the working Bishop, Monseigneur Dufour (Julien Bertheau), appears before Henri and Alice Senechal (Jean-Pierre Cassel & Stephane Audran) in the clothes of a gardener, they refuse to believe he is who he claims to be and roughly eject him from the house. He has to change back into his formal regalia before they show him respect.

Meanwhile, the refined appearance and behaviour of these characters is shown to be merely skin deep. Bunuel looks beneath their crisp, fashionable clothing and boasted culinary knowledge, and brings to light sensual gluttons. These bourgeois pursue physical pleasure compulsively. The Senechals’ inability to restrain their lust causes to the collapse of their dinner party. Acosta, in a room filled with gun-toting revolutionaries desperate to slaughter him, cannot help himself from breaking out of hiding: he just has to finish his lamb chop.

But it is not just the characters that are bedevilled by Bunuel’s nastiness. The whole structure of the film is a statement about how aimless the lives of these people are. The scale of the bourgeoisie’s devotion to physical pleasure is demonstrated by the film’s ‘plot’ concerning their constantly frustrated attempts to have dinner. The goal of their onscreen lives is to eat. The meaninglessness of their lives is further emphasised by a recurring visual metaphor. The bourgeois are walking down a country road, their gait swift and purposeful. Yet there is nothing on the horizon, and nothing but empty fields stretching all around them. The bourgeois, despite appearances, are heading precisely nowhere.

All this makes The Discreet Charm of the Bourgeoisie a comprehensive mockery of the 20th century’s upper classes. It has no interest in balanced assessment, and is ruthless in its attack. It is a cold-bloodedly cruel film. But just because it is cruel, does not mean that its cruelty is gratuitous. The attack is justified because it is an attack on pretentions. Bunuel’s bourgeoisie are thoroughly disrespected, because they expect respect without first earning it. This film attacks that sense of superiority: its barbs aim to tear apart this façade of higher civility. In doing so it aims to keep this new nobility down to earth. In the midst of their social and economic triumph, Discreet Charm is the slave whispering in the bourgeousie’s collective ear:

“Remember: you are arseholes”

Adam Brodie

Rating:PG
UK Re-release Date: 29th June 2012 (Cinema) 16th July 2012 (DVD)
Directed by:Luis Buñuel
Cast: Fernando Rey, Paul Frankeur, Delphine Seyrig, Jean-Pierre Cassel
Buy/Pre-Order: Discreet Charm of Bourgeoisie On DVD or on Blu-ray

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EIFF 2012: Fourth Dimension Review

★★☆☆☆

Three filmmakers, each with the same brief, construct three separate short films on the subject of the fourth dimension (4D). This being that there is a fourth spacial dimension in our world waiting to be accessed. Not that you are likely to pick any of this up from the disjointed and completely tedious, The Fourth Dimension. However, praise should go to The Fourth Dimensions' producers for attempting to create something unique.

The first segment entitled 'The Lotus Community Workshop' directed by Harmony Korine is by far the film's strongest asset. Val Kilmer stars as himself, with the actor now working as an inspirational self-help guru promising his followers the prospect of discovering "awesome secrets". The strength of the segment relies on Kilmers' wonderful screen-presence and outrageous improvisation - his performance lying somewhere between comedy genius and demented lunacy. Set in a red lit skating rink, complete with disco ball, Korine's segment captures the way people look to celebrity in almost a God-like fashion, searching for a way of higher being. This is captured through the audiences obsessive screams at any of Kilmer's statements, regardless of how implausible and ridiculous they are.

As we move on to the second segment, Alexey Fedorchenko’s Chronoeye things take a rather extreme turn for the worst. Despite being the closest thematically to an idea of a fourth dimension, an interesting concept is squandered by a repetitive narrative and dull characterisation. Chronoeye sees Russian scientist, Grigory Mikhailovich (Igor Sergeev) attempt to create a machine that can view the most important moments throughout history through eyewitness accounts. Whilst this concept does sound interesting, Fedorchenko’s segement is carried out in such a drab, repetitive fashion that it just becomes completely unengaging.

The final segment Jan Kwiecinski's Fawns sees four youths roam around an evacuated Polish town, as extreme floods approach. Kwiecinski's segment takes a more human approach to the fourth dimension as these boisterous characters soon find their humanity after saving a bedbound young girl from the floods. This statement about humanity does not really hold out too well though, as prior to saving the girl they shoot her father who was attempting to protect her. These characters are particularly unlikeable throughout and as a viewer it was a challenge to regard them with any compassion.

The Fourth Dimension is simply too disjointed to work thematically as one film. How teenagers roaming around an abandoned town relates to Val Kilmer shouting about candy floss and awesome secrets, is anyone's guess. It may make more sense when you see that The Fourth Dimension is from Grolsch Film Works as surely kegs of the stuff must have been downed in order to think this was ever a clever, feasible idea.

Andrew McArthur

Stars:Val Kilmer
Directors: Harmony Korine, Aleksei Fedorchenko, Jan Kwiecinski

Release: 27th June (EIFF)

EIFF 2012: God Bless America Review

★★★1/2☆

Bobcat Goldthwait established himself as one of the most exciting comedy directors in recent years after his excellent 2009 film, World's Greatest Dad. His latest film, a biting satire on contemporary culture entitled God Bless America, proves equally as enjoyable.

Frank (Joel Murray) has just lost his job, he is divorced and has just been diagnosed with a brain tumour. Growing continually disillusioned by the ever growing idiocy of our society, Frank decides to rid the world of some of its most obnoxious citizens. After taking out a repellent reality television star, Frank discovers he has an admirer - sixteen year old Roxy (Tara Lynne Barr). The pair venture out on an obscure road trip full of strangely feel good serial killing.

It is hard not to sympathise slightly with Goldthwait's view of contemporary culture, regardless of how extreme it is. This is perfectly captured in the opening where Frank flicks through television channels, capturing society's obsession with fame, celebrities and social networking. Frank falls asleep watching a contestant being exploited on reality singing contest 'American Superstars' and wakes up to see the said contestant, the talking point of Breakfast Television. Other delights that Frank witnesses include "Tuff Girls" where one girl throws a bloodied tampon at another. This may be a rather extreme and blatant depiction of contemporary culture, but there is an alarming truth in Goldthwait's message.

Goldthwait's film is consistently amusing and boasts an enjoyably twisted feel good quality. We all harbour a small hatred for the people that talk in cinemas, extreme religious fundamentalists and obnoxious children, so it is hard not to be on Frank's side throughout. Of course, you could compare God Bless America to a drunken Grandparent's rant - complaining about all the things that annoy them, as Goldthwait does have a tendency to preach to the viewer, regardless to how thought provoking some of his points may be. This is completely evident in God Bless America's limp finale where it appears Goldthwait's message has stretched as far as is possible - it is the equivalent of the drunken Grandparent now falling asleep.

One of the strongest elements of God Bless America is they dynamic between the characters of Frank and Roxy. To Frank, Roxy provides a welcome alternative to his vile daughter - sharing his distaste of American culture. Roxy finds an escape from the tedium of her everyday life in the company of Frank. What results is a completely charming, relationship between the two - bonding over their various hates in society.

Joel Murray's understated performance is particularly fascinating, with the actor managing to capture Frank's struggles as a man who has been told he does not have long to live, alongside his growing hatred towards society and his somewhat sociopathic tendencies - yet still be completely likeable. After a shaky start, it is hard to find yourself not warming to Tara Lynne Barr's performance - with the eager young sociopath becoming quite endearing.

God Bless America is a thoroughly entertaining watch, which may also help challenge the way we look at contemporary culture. Goldthwait's message ultimately runs out of steam in the end, despite magnetic lead performances from Joel Murray and Tara Lynne Barr throughout.

Andrew McArthur

Stars:Joel Murray, Tara Lynne Barr Director: Bobcat Goldthwait
Release: 29th June (EIFF),4th July (UK, Limited), 9th July (UK DVD)
Rating: 15 (UK)
Pre-Order/Buy God Bless America On DVD

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