Ghost World

Scream Video Store

There are many reasons to mourn the end of the video store era. Our world of curated shops with mainstream and independent cinema is being replaced with narrow, short-term selections dictated by studio agreements with streaming services. We’re losing the system that allowed for interaction and exploration before the solitary trek to pop a tape in the VCR. We’re losing the world that allowed future creatives to meet, interact, and explore together – most famously, at Video Archives, where Quentin Tarantino clerked and shared his geekery with locals like actor/writer Danny Strong. But video stores also served many different functions in the medium. In movies, the video store is the place where geeks immerse themselves in their passion, where clerks gets creative or just condescending, where employees try to make romantic connections, and of course, the playground where characters could banter about anything and everything cinema. At least it lives on in films like the 9 below.

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Bill Murray Zombieland

Thanks to Marvel, post-credit sequences are not just a nice surprise, but now they’re a cinematic prerequisite. They have evolved from extra perks to a completed story, to world-building links that piece seemingly disparate movies together. Even when they take a completely different approach, like Guardians of the Galaxy does, it’s in the interest of showing Marvel’s reach, rather than nodding to the magic of the film in question. Being the glue to future films is always a risky proposition. Movies like Masters of the Universe and Young Sherlock Holmes used these sequences to tease a future that would never come. And some, like Dogma, portray promises not delivered, like Alanis Morissette’s God in that movie literally closing the book on the View Askewniverse. Will we get to a future where superheroes fall and a post-credits sequence nods to a Marvel future never realized? I don’t know. But one thing is sure: There is a great world and history of post-credits sequences outside of Marvel’s spandex and space travel – one generally dominated by comedy. We covered some a few years ago, but here are some more excellent post-credits sequences to delight in.

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Austin Cinematic Limits

I have been keeping a very close eye on The Quiet Girl’s Guide to Violence ever since its successful Kickstarter campaign this past spring. The film’s teaser looked awesome and so did the artwork, my only hesitation was that the finished product might be all style with no substance. But when the genre connoisseurs at Fantastic Fest announced that they would be hosting the world premiere of The Quiet Girl’s Guide to Violence, that gave me a lot of hope for this locally shot short film. Fantastic Fest has programmed very few local productions in its eight year lifespan, so it is not like they do local filmmakers any favors. After watching the finished product, it is no surprise that Fantastic Fest jumped at the opportunity to premiere Rafael Antonio Ruiz and Jennymarie Jemison’s short film. The Quiet Girl’s Guide to Violence is extremely stylish; yet it also features a break-out performance by Jemison as Holly, the titular quiet girl. This is not just violence for the sake of violence, there is actually some heart and soul associated with it. Holly has been bullied for far too long, she’s not going to take it anymore. We met up with Jemison and Ruiz at the Highball, during a brief interlude from Fantastic Fest activities, to discuss their approach to funding via Kickstarter as well as their masterful branding of The Quiet Girl’s Guide to Violence.

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When I first read on Empire that Alexander Payne was looking at a project called Wilson for his next film, I thought to myself that finally, finally somebody was going to take a long overdue deeper look at the always obscured, wisdom filled neighbor from Home Improvement. But then I read a little further and realized that’s not what this project is going to be at all. I was disappointed. But then I read a little further and realized that what this project is could be even better. “Wilson” is a graphic novel created by Daniel Clowes, who film fans will probably recognize as being the guy who wrote “Ghost World,” another comic that went on to become a Thora Birch and Steve Buscemi-starring feature film. That film was much loved, so much so that the Clowes and Terry Zwigoff penned screenplay was nominated for the Best Adapted Screenplay Oscar at The Academy Awards that year. Seeing as Clowes is once again working on the adaptation for this project, and Ghost World had a dry, biting sense of humor that seems to fit very well with Payne’s sensibilities, it looks like this could be a project to watch.

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decade_teenmovies

Though they very seldom win awards, the best teen movies usually compel repeat viewings and somehow seem to intuit the needs and tastes of generations to come. Here are 15 of the decade’s most memorable explorations of all the intrinsic charms and traumas of teendom.

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