Cult Movies

If you live near an Alamo Drafthouse, you probably already know that Tim League, Zack Carlson, Lars Nilsen and co. have coordinated an amazing summer series devoted to the blockbusting year of 1982. If you’ve been reading FSR lately, you already know that our site co-sponsored a screening of George Miller’s Mad Max 2: The Road Warrior in coordination with the Drafthouse’s site-specific Rolling Roadshow series. And if you live anywhere within five hundred miles of the Thunderhill Raceway in Kyle, Texas, then you probably attended said screening. But for you feral kids who may have not had a chance to witness this awesome event, or for those of you that did, here’s a first-person account of the happenings by one of FSR’s own. The Road Warrior is something of a sweet spot in Mel Gibson’s history. The peak entry in the Mad Max series (sorry, Tina Turner), The Road Warrior gives us a Gibson who is too young, too unknown, and too accented to yet become a bona fide Hollywood star, but someone who has also (thanks largely to the first Mad Max film) developed enough charisma to be a magnetic force of nature onscreen. He’s hardly a man with no name, but Gibson’s one-man machine doesn’t need to say much – hell, he doesn’t even need both eyes – to give us a degree of intensity that hasn’t been seen before, or arguably since. Yes, Max is surrounded by several comic relief characters (notably the Gyro Captain, who […]

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Austin Cinematic Limits

Ever since I moved to Austin 14 years ago, the summer has meant one thing to me (well, besides several months of brutal triple digit temperatures): Paramount’s Summer Classic Film Series. More recently, Cinema East has developed into a staple for my Sunday evenings during the summer months. While I anxiously anticipate announcements from the Paramount and Cinema East regarding their 2012 summer programming, the Alamo Drafthouse is the first out of the gate with a couple of announcements that have pushed my calendar well beyond its cinematic limits for the next few months. First off, Alamo Drafthouse and Mondo announced their partnership with Martin Scorsese’s film preservation organization, The Film Foundation. Created in 1990 by Scorsese, The Film Foundation is dedicated to protecting and preserving motion picture history. By working in partnership with the leading archives and studios, the foundation raises awareness of the urgent need for preservation and has saved over 560 films.

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When Ben Solovey last checked in, it was with a busted print of Manos: The Hands of Fate and the high hopes that someone would give a damn about the infamous cult classic enough to help fund an effort to see it restored. He asked for $10,000, and he got $25,000. It turns out that a lot of people care about this movie enough to see it saved. His Kickstarter campaign has officially been kickstarted which means that the restoration will happen, and with it come a 2K to 35mm film-out preservation negative (meaning even more Manoses can be born), a commentary track featuring surviving cast members will be recorded, and a doc about the process to save the movie will be made and added to the DVDs and Blu-rays. That’s right. There’s going to be a Blu-ray of Manos: The Hands of Fate. Let that massage in for a second and rejoice!

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Last weekend, a film called The Worst Movie Ever! (complete with an exclamation mark in the title) played two midnight showings at the Laemmle Sunset 5 in Los Angeles and made only $11. That means that one person attended only one of the screenings, which means that if the filmmaker’s mother came out to support him, he wasn’t there to hold her hand. It’s difficult to say with certainty, but the whole thing seems fishy. If you were four-walling your own movie, wouldn’t you want to be there? Wouldn’t the actors and people who worked on the thing show up for support even if it meant paying for their own ticket? Is it just blind luck that advertising brought in only one person interested in seeing it (thus making it the lowest-grossing opening weekend ever)? For any other movie, these questions might not even pop up. When the infamous Zyzzyx Road scored $20 during its one-weekend-long domestic run, it became a humorous anecdote in movie history, but there was nothing suspicious about it. In that case, producer Leo Grillo only opened the film in order to fulfill a domestic run needed to sell it to foreign markets. In the case of the self-proclaimed The Worst Movie Ever!, writer/director/producer/star Glenn Berggoetz has clearly made a film so intentionally bad that a newsworthy, historically low weekend take can only benefit it. And it has.

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This week, on a very special episode of Reject Radio, author Stephen Rebello joins us to share the insight of “Alfred Hitchcock and the Making of Psycho,” and Gallery 1988 co-founder Jensen Karp gets crazy for cult and explains what Edward Scissorhands is doing in a painting with Jack Skellington. Plus, our very own Fatguy Kevin Carr joins me to play Good News/Bad News and tries to envision a spy thriller directed by Edgar Wright. Listen Here: Download This Episode

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MikeJudgeInterview

Are you ready for the most high energy interview of all time? That’s too bad, because Mike Judge is a pretty mono-toned guy. Luckily, what he has to say is pretty damned interesting, and as a bonus you get to look at my ugly mug on video. Seriously, I’m like the Charlie Rose of the internet.

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AlamoDrafthouseCinemapocalpyseNazi

I braved the wilds of Austin’s Alamo Drafthouse in order to get pummeled Inglorious Basterds and 5 other fantastic, fireball-laden, violently satisfying films that left my blood-lust quenched and me questioning whether or not I’d lost my sanity before or after the marathon began.

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