Comin at Ya

Austin Cinematic Limits

When Austin’s very own homegrown distributor Drafthouse Films signed on to distribute the 30th anniversary re-release of Comin’ At Ya! in the United States, I really wasn’t sure what to think. I had heard that the screenings at Fantastic Fest 2011 went over like wildfire, but I suspected that those screenings were essentially just preaching to the choir. What would other audiences think? Then I watched the fully restored Comin’ At Ya! and realized exactly what is so damn special about this film. Sure, Comin’ at Ya! is ridiculously gimmicky but that’s exactly what makes it so much fun. The first-ever 3D spaghetti-western, Comin’ at Ya! does precisely what the title promises. Rather than using 3D technology to add greater depth to the scenes — like most of the namby pamby 3D films released today — Comin’ at Ya! breaks out from the confines of the silver screen and attacks the audience with a relentless barrage of… well… everything but the kitchen sink. From the brilliantly conceived opening title sequence, it seems like there is always something jumping off of the screen and into your face. Watching Comin’ at Ya! is more like strolling around inside a wacky fun house (or a haunted house) than a traditional cinematic experience. It will rarely scare or thrill you (though the flaming arrows are pretty effective), but it never fails to conjure up laughs and cheers from the audience. Upon its initial release in 1981, Comin’ At Ya! single-handedly ignited the resurgence of […]



Do you like insane spaghetti Westerns? Of course you do, your eyeballs work. But I can personally guarantee that you have not seen anything until you seen an insane spaghetti Western…in 3D! During last year’s Fantastic Fest, our ocular cavities were lovingly assaulted by the tidal wave of extra-dimensional madness of 1981’s Comin’ at Ya! The film, which was made at the dawn of, and credited with contributing to, the resurgence of studio-released 3D films, is a nasty, gritty revenge story that works in a number of hilarious gimmicks designed to force-feed imagines from the screen into your consciousness. The film made such an impression that it was picked up for distribution by the young, but formidable, Drafthouse Films. Yes, as in The Alamo Drafthouse. Drafthouse Films has already helped spread the good news of Christopher Morris’ Four Lions and their recent acquisition Bullhead is nominated for an Oscar in the Best Foreign Language Film category. Now they’ve given this little indie absurdity a fancy digital restoration for its Texas theatrical launch.

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published: 01.31.2015
published: 01.30.2015
published: 01.30.2015
published: 01.29.2015

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