Author Archives: Jonathan Williams

Daniel Radcliffe and James McAvoy create a monster in “Victor Frankenstein”

Daniel Radcliffe’s Igor is transformed from freakshow hunchback to handsome scientist in “Victor Frankenstein”. Photo by Alex Bailey.

Those expecting Victor Frankenstein to be a gothic horror movie about a man-made monster will be gravely disappointed. As the name implies, this movie is more about the oft-overlooked man that created the monster, not the monster itself. More specifically, this movie provides a backstory for Igor (Daniel Radcliffe), the mad scientist’s hunchbacked henchman that has come to be an integral part of the Frankenstein mythos (even though he’s not part of Mary Shelley’s original story). I’m guessing the movie isn’t called Igor because: a) there was an animated film with that name just a few years ago and b) the name Frankenstein is much more recognizable to moviegoers.

As a nameless freakshow clown, Radcliffe’s deformed figure proves to be an idiot savant whose innate understanding of human anatomy is illustrated (literally, thanks to some inventive filmmaking techniques) when Lorelei (Jessica Brown Findlay), the acrobatic object of his affection, falls to what would otherwise be her doom. Victor Frankenstein (James McAvoy) happens to witness this accident, as well as the clown’s miraculous ability to save Lorelei. Realizing the hunchback’s potential, Frankenstein takes him away from the abusive confines of the circus and straightens him out with an incredibly simple medical procedure. This procedure, along with a makeshift back brace, a shower and a haircut, transform the hunchback into a rather handsome young scientist named after Frankenstein’s estranged roommate. Though this overnight change is a bit far-fetched, it’s somewhat acceptable given the movie’s occasional comedic tone.

Frankenstein (James McAvoy) and Igor (Daniel Radcliffe) plan to create a monster in man’s image in “Victor Frankenstein”. Photo by Alex Bailey.

Frankenstein immediately recruits the former carnie to help him with his experiments in reanimating a creature assembled from various stolen animal parts (primarily chimpanzee), and the chemistry between the two is undeniable. Frankenstein proves his Promethean power when the creature is brought to life with a jolt of electricity. Though Igor sees the err in Frankenstein’s ways when he looks into the lifeless eyes of this aggressive beast before it is put out of its misery, Frankenstein is inspired by his success and begins planning his next experiment: the godlike idea of creating a creature in his own image. But this monster, with two hearts, four lungs and a mammoth frame, is physically far greater than the mad doctor.

Frankenstein wants to make a monster, but Igor has a date with Lorelei. Photo by Alex Bailey.

Inspector Roderick Turpin (Andrew Scott) is on to Frankenstein’s madness and looks to prevent him from conducting any additional experiments. His religious objections to Frankenstein’s scientific advances are a bit heavy-handed (and result in him losing a hand), but his motivations are just, considering the scientist’s nefarious tactics. The conflicting morals of Frankenstein, Igor and Turpin manifest themselves just as the monster itself takes its first few breaths. Though he’s only present in the final moments of the film, Frankenstein’s monster creates enough chokeslamming chaos to make Frankenstein realize he’s created something far more powerful than he ever imagined. Why the monster, who has no spoken lines aside from some grunts and growls, is portrayed by accomplished actor Charles Dance instead of someone more physically imposing makes no sense. With some impressive makeup and prosthetics, however, he’s still a menacing figure despite the brevity of his appearance.

In much the same way the Sherlock Holmes films have reimagined a familiar story in a comically-stylized new way, Victor Frankenstein reinvents this 19th century mad scientist tale in a visually flashy fashion. Though there is little, if any, horror involved and a little more comedy than expected, the movie breathes a few absurd new breaths of life into a story typically dominated by the monster itself.

www.foxmovies.com/movies/victor-frankenstein

“Rocky” goes another round with “Creed” spinoff

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Rocky (Sylvester Stallone) trains Adonis Creed (Michael B. Jordan) in “Creed”. Photo by Barry Wetcher.

Rocky Balboa is one of cinema’s greatest underdogs, overcoming insurmountable odds in and out of the boxing ring over the course of the Rocky franchise. With the first Rocky film being released in 1976 and the most recent Rocky Balboa coming out 30 years later, it appeared that Sylvester Stallone‘s character didn’t have much left to fight for. (He even defeated WWE Hall of Famers Hulk Hogan and Mr. T in Rocky III.) But nine years after the release of the last Rocky film, and 40 years since the events of the original, Creed not only gives Rocky reason to fight once again, but it introduces a new cast of characters to keep the bout going into more rounds for a new generation.

Adonis Creed (Michael B. Jordan) is the troubled illegitimate son of Rocky’s greatest rival and friend Apollo Creed (Carl Weathers). Having been born after his father’s death, Adonis is Apollo’s dark secret until Apollo’s widow Mary Anne Creed (Phylicia Rashad) tracks him down and takes him into her lavish home following the death of his biological mother. Despite being afforded the educational and financial opportunities for a successful career behind a desk, Adonis secretly competes in amateur boxing rings, amassing an impressive undefeated streak in the process. With an aggressive nature and boxing in his blood, Adonis turns down a promotion at his high-rise office job and moves to Philadelphia to find Rocky.

“Creed,” much like its predecessors, features lots of inspirational training scenes. Photo by Barry Wetcher.

Adonis approaches Rocky at Adrian’s, the Italian restaurant he now owns. Initially reluctant to get back into boxing, Rocky eventually acquiesces when he finds out that Adonis is Apollo’s son, and sees his potential if he’s able to reign in his reckless nature and focus his angst. Naturally, a paternal bond develops as Apollo not only learns to be a better boxer, but also a better man, under Rocky’s tutelage.

As Adonis prepares for his biggest boxing challenge against British bad boy “Pretty” Ricky Conlan (Tony “Bomber” Bellew), he faces numerous personal setbacks with his girlfriend (Tessa Thompson), the ailing health of the elder Italian Stallion and his personal life becoming public banter. It wouldn’t be a Rocky movie without the titular character being forced to stand strong when faced with challenges on personal and professional fronts, nor would it make for an interesting story. Though much of the story mirrors the previous Rocky films, Creed‘s predictability doesn’t make the drama and action any less compelling.

Rocky and Adonis have a moment of reflection. Photo by Barry Wetcher.

In much the same way that Rocky is handing the gloves over to Adonis in the film, Stallone gives a young filmmaker the opportunity to prove his main event worth. Creed is the first film in the Rocky series not completely written by Stallone, with Aaron Covington and director Ryan Coogler handling a majority of those duties. Reuniting with his Fruitvale Station star Jordan, Coogler creates an emotionally-engaging film that holds its own against its predecessors. In a moviemaking world quick to cash in on remakes, it’s nice to see a franchise with characters that age and evolve to continue, rather than reboot, a story.

creedthemovie.com

“El Gigante” puts a lucha libre twist on grindhouse horror

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Born and raised in Mexico and now residing in Canada, LuchaGore Productions‘ Gigi Saul Guerrero specializes in dark and gritty films steeped in Mexican traditions. “Dia de los Muertos,” recently released as part of the DVD/VOD anthology México Bárbaro, features strippers in sugar skull face paint getting riotous revenge on the sleazy men who objectify them. Guerrero’s latest short film Madre de Dios stars Tristan Risk as the personification of Santa Maria/Muerte torturously forced to give gory birth to a demonic offspring. But her most successful film thus far is El Gigante, which will screen at the New York City Horror Film Festival on Nov. 14 and will be part of Buried Alive Film Fest‘s Closing Night Shorts program on Nov. 15. With it’s disturbing look at just how far one Mexican immigrant is (not so) willing to go to cross the United States border, El Gigante is 13-plus minutes of masked wrestling mayhem.

“The film is based off the first chapter of a horror novel by Shane McKenzie called Muerte Con Carne,” says Guerrero. “When I read his book I was like, ‘This is the coolest freaking book ever!’ It’s Mexican, it’s dirty, it’s gritty, it’s exactly everything I love. He saw lots of our shorts and our segment for México Bárbaro and immediately was like, ‘You guys have got to make my book into a movie!’ We originally made the short as a proof of concept to sell the idea of the entire feature of El Gigante. The short is doing so well that we are now partnered with Raven Banner Entertainment to make the feature film happen. That’s a big project for next year. We’re going to adapt the entire book.”

See, I told you this family is weird.

Until then, we’re left with this grindhouse gorefest about a man who encounters an enormous, lucha libre-obsessed monster in a burlap mask and his sadistic family inside a wrestling ring. The foreign objects Gigante (played by Vancouver actor/boxer David Forts) brings into play during this match would make even the most hardcore deathmatch competitors cringe.

“The book is about this psychotic villain that’s obsessed with lucha libre,” says Guerrero. “He watches lucha libre down in his underground room in their house in the middle of nowhere. That’s all he does is watch old lucha libre tapes. He puts his obsession into his kills in their homemade wrestling ring. Every element in the short – the cannibalism, the lucha libre, the border crossing and, of course, the delicious tacos they sell – will be brought into the feature.”

Following this weekend’s festivals, the film will screen at Monster Fest on Nov. 28, A Night of Horror Film Festival on Dec. 5 and Macabre Faire Film Fest in January.

Canadian actor/boxer David Forts portrays Mexican monster/wrestler Gigante.

“What I love so much about it is it’s a totally different take on border crossing,” says Guerrero. “It’s got that hillbilly, old-school horror feel we all love. The feature script is really, really gory and fucked up. It’s got the perfect amount of humor and it’s disgusting. I thought the combination was perfect. I absolutely love it. I’m excited!”

Lucha Mexico documents the colorful world of Mexican wrestling

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Filmmakers Alexandria Hammond (left) and Ian Markiewicz (right) with CMLL star Shocker.

After working together on the 2012 documentary Better Than Something: Jay Reatard, independent filmmakers Ian Markiewicz and Alexandria Hammond traveled south of the border to find their next larger-than-life subjects. The result is Lucha Mexico, a documentary about the colorful world of lucha libre, better known to us gringos as Mexican wrestling. After dedicating four years of their lives to this project, Lucha Mexico premiered at the Guanajuato Film Festival in July. The film’s United States premiere takes place this Friday, Nov. 13 (with an additional screening on Nov. 18) at DOC NYC with appearances by the filmmakers and “El 1000% Guapo” Shocker and Jon “Strongman” Andersen, stars of Mexico’s most prominent wrestling promotion Consejo Mundial de Lucha Libre.

“I’ve been a wrestling fan my whole life and I really wanted to make a wrestling film,” says Markiewicz. “I was interested in how guys go down to Mexico to build up their careers, rehab their careers or whatever it may be.”

“My mother’s from Mexico, so I spent my whole life going down there,” adds Hammond. “I actually wanted to make a doc on bullfighting and matadors and what they go through, why they do it. I decided I didn’t want to make a film about animals dying, then Ian presented lucha to me. It was immediately what I wanted to do. It’s insane that they put their bodies on the line for this entertainment. I became obsessed.”

International star Gigante Bernarnd (NXT’s Jason Albert, left), Shocker (middle) and Strongman (right) have interesting stories in “Lucha Mexico”.

This obsession is apparent in Lucha Mexico, which not only gives an informative overview of one of Mexico’s most popular forms of entertainment, but also follows the lives of particular wrestlers including Shocker, Strongman, the legendary Blue Demon Jr., CMLL mini mascot Kemonito, Gigante Bernard (now WWE NXT trainer Jason Albert), and Fabian “El Gitano” and El Hilo de Perro Aguayo, who both died during the course of the film.

“When we started shooting we didn’t have an agenda to find the specific things that are in the film,” says Markiewicz. “It was more that we were open to what the experience would be and just showing that. Over the course of that time, this story formed and these characters have different arcs along the way.”

Even when hitting the gym, Úlitmo Guerrero wears his mask in “Lucha Mexico”.

Unlike American wrestling, which is largely seen as a farcical form of entertainment, Mexican wrestling fans still hold their heroes in high regard, which is apparent in Lucha Mexico. Even though the film shows in-ring rivals working out together (in their masks to maintain mystique) and interacting in nonviolent ways outside the ring, it respects the traditions of this athletic form of art.

“We wanted to be respectful of the fans and how the people see lucha,” says Hammond. “These are their superheroes. We got to see wrestlers without their masks, but we would never have shot them that way. But Blue Demon Jr., for instance, would never show anyone his face. He’s a truly-dedicated masked wrestler, and most of them are. We really wanted to honor and respect this cultural thing. We were excited to get so close to some of the most famous wrestlers in Mexico. It’s not about some beginner trying to make it. We’ve seen that story and it’s a great story, but we’re glad we got to share the world of these guys who have been in it for a while.”

Shocker is a popular presence in and out of the ring in “Lucha Mexico”.

“We wanted to make sure we were getting the world and getting the experience of being there,” adds Markiewicz. “A lot of these tangents and other details are building up the world around the characters you’re going to spend more time with in the film. We wanted you to feel not just them and their stories, but the environment and experiences of really being there with them. When you’re down in Mexico and you’re talking to one wrestler, he’s going to say, ‘You’ve got to meet my friend. He’s working at this other show.’ They’re all so connected and they bring you around to all these things. They were pushing the idea of it being this one big world on us a lot of the time because that’s just how they feel about it. It would have been inauthentic in a lot of ways if we hadn’t tried to fill all that in.”

In much the same way it shows the respect between in-ring combatants, the film also illustrates the odd camaraderie between rival promotions, including footage from the traditional CMLL, the younger Asistencia Asesoría y Administración and the hyper-violent Los Perros del Mal. The parallels between the current lucha climate and the American wrestling scene of the ’90s is unmistakable, but you’d never have seen the United States equivalents World Wrestling Federation, World Championship Wrestling and Extreme Championship Wrestling (all now owned by WWE) cooperating on a film being made by people from outside the business.

Los Perros del Mal’s El Hijo del Perro Aguayo appears in “Lucha Mexico” before making the ultimate sacrifice in the ring earlier this year.

“Los Perros del Mal is definitely similar to something like ECW and AAA is no doubt very similar to WCW in a lot of ways,” Markiewicz admits. “Their approach to it is different, but it’s amazing how many similarities there are. In Mexico there was always the sense of, ‘You’re making a film about lucha libre. We’re all part of lucha libre.’ You may not see wrestlers moving back and forth between companies, but there was never a sense of, ‘Oh, you went and worked with Perro Aguayo? We’re not going to talk to you.’ CMLL in Arena México is the biggest thing. It has the most history and has the building. They knew we were shooting with other wrestlers and other companies and they really didn’t try to stop us and didn’t seem to have a problem with it. Even when people have seen the film, they’re like, ‘That’s fine.'”

This sense of community and family pervades Lucha Mexico, and Mexican culture in general. Perhaps that’s what makes the lucha atmosphere so much different from what American wrestling fans are accustomed to. That certainly seems to be the case from what is seen in this film.

“It’s so colorful it’s overwhelming,” says Hammond. “That’s part of the reason we took such a long time. We could have made a simple film about one guy or one girl or one ref, but Ian and I both said, ‘There’s no way to say it all.’ That’s what makes it unique. There’s something super special about it because it’s an entertainment and sport that captures the whole family. In Mexico it’s all about family and bringing people together. That’s what makes it so different. It’s an escape and people need it. We really wanted to capture this incredible rich thing.”

www.luchamexicofilm.com

LUCHA MEXICO (Teaser) from Children of Productions on Vimeo.

Escape the Fate garners adoration, not hate, on Hate Me Tour

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Guitarist Kevin “Thrasher” Gruft and front man Craig Mabbitt captivate a Masquerade audience. Photo by Kevin Mayfield.

Hate Me is the latest release from metalcore mainstay Escape the Fate, and it’s first with guitarists Kevin “Thrasher” Gruft and TJ Bell. When the band’s Hate Me Tour stopped at The Masquerade on Nov. 3, I expected to mostly hear material from the album for which the tour was named. Though the set started with the furiosity of album opener “Just a Memory,” it was followed by a set featuring an assortment of songs from the band’s previous three albums. The performance was dominated by material from 2008’s This War is Ours (including an encore concluding with that album’s title track), but also included a couple of songs from the band’s self-titled 2010 album and 2013’s Ungrateful. In between were some of Hate Me‘s more melodic tracks “Alive” and “Remember Every Scar”. This latest incarnation of Escape the Fate put on a passionate performance and everyone in the band looked and performed the post-hardcore part, with front man Craig Mabbitt receiving adoration rather than hate from the enthusiastic audience. With the North American portion of the tour recently concluding, the band heads to Europe in January and February.

MC Lars attacks once again with “The Zombie Dinosaur LP”

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If 2011’s Lars Attacks! was a departure from MC Lars‘ usual rhyming pop cultural references, The Zombie Dinosaur LP is a return to rapping form for the well-studied Stanford University graduate known for rocking a The Legend of Zelda video game cartridge on a gold chain. With a reputation for witty references to literature, film, video games and the like (he even quotes the late “Rowdy” Roddy Piper from They Live on the Lars Attacks! title track), Lars is back to spreading knowledge about Game of Thrones (“Dragon Blood”), Star Wars (“If I Were a Jedi (That Would be Hella Awesome)”), The Legend of Zelda (“Triforce”) and his own upcoming kids’ show project Yes Yes Y’all (“Where Ya Been Lars?”) on his latest album.

“The Zombie Dinosaur LP is kind of like the metaphor of the indie artist who just keeps going because he can’t help it,” says Lars. “My last record was kind of a spiritual, introspective, more authentic hip-hop album. This one is a return to pop culture stuff. I’m really proud of it. I got to work with Kool Keith, who I’ve always loved, Watsky, who’s an incredible young rapper, Roger [Lima] from Less Than Jake, and Brian [Mazzaferri] from I Fight Dragons. It’s more of a return to the vibe of my second record, This Gigantic Robot Kills.”

Photo by Lacy Bursick/Rage Kitty.

Nerd culture loves a good sequel, and The Zombie Dinosaur LP provides plenty of clever references to previous Lars jams. The most obvious one is “Hipster Mom,” which revisits an all-grown-up “Hipster Girl” from This Gigantic Robot Kills. But it’s not just pretentious parents that are the brunt of Lars’ jokes. From his hip-hop heroes Run-DMC to his own professional shortcomings, nothing is off limits here.

“Humor is fun because I rap about how Lars Attacks! didn’t get the best reaction, but my dad thought it was good,” he says. “It’s fun to take light of painful career things. Instead of talking about all the internal stuff I’m going through, I’m talking about pop culture stuff I can relate to and use as a means of expressing how I feel about something. That’s why I love doing the literature songs because you can take an Edgar Allan Poe song or a Shakespeare poem or a Herman Melville story and express how you feel through that character. That Game of Thrones song is identifying with this character who’s trying to hold it together despite all odds. That’s kind of how I felt making this record. I always try to put a piece of myself in every pop culture record and have an emotional reason for it, not just try to name everything about a show.”

Photo by Lacy Bursick/Rage Kitty.

The literary track on The Zombie Dinosaur LP is “Forgot About Jack,” an ode to Beat writer Jack Kerouac done to the tune of Eminem‘s “Forgot About Dre”. Though much of his Warped Tour fanbase may not recognize references to Kerouac, Run-DMC, Hans Moleman and some of his other influences, Lars hopes his raps will inspire listeners to seek out the artists that inspired him.

“I loved The Simpsons, Mad magazine and Weird Al because as a kid it was funny, but it made me want to go learn about what they were referencing in a digestible way,” says Lars. “I was really inspired by Kerouac because he lived in a lot of the same places I lived. Taking the concept of microblogging and the whole social media tip, he was always writing about everything. He was kind of a prototypical Twitter guy. I have a lot of love for Kerouac. He had a lot of darkness and was a really interesting figure.”

Though wrestling isn’t often the topic of his rhymes, Lars does acknowledge its importance in today’s pop cultural landscape. He says CM Punk is his favorite wrestler because “straight edge means he better than me. He’s very handsome.”

“I thought it was dope when ICP was wrestling as part of the Oddities in the late ’90s,” he recalls. “I want to give a shout out to wrestling. It’s the modern gladiators of our era. Shout out to the whole culture and everyone keeping it alive in an economy that is fading. Shout out to Andy Kaufman for holding it down in the ring.”

www.mclars.com

“Spectre” appears to close a chapter in the 007 saga

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Daniel Craig stars as James Bond in “Spectre”. Photo courtesy of Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions.

Topping 2012’s Skyfall is a task even James Bond would have trouble accomplishing. With Skyfall director Sam Mendes back on board and Daniel Craig returning as Bond, Spectre has potential to live up to the expectations of their last Bond collaboration. Though Spectre is an entertaining Bond movie with all the ingredients to become a new classic, it somehow doesn’t add up to the sum of its parts.

The globetrotting adventure gets off to an explosive start as Bond gives chase to an Italian crime boss (Alessandro Cremona) resulting in a toppled building and an intense helicopter fight over Mexico City’s Day of the Dead festival. As a result of what his superior M (Ralph Fiennes) views as an international fiasco, Bond is suspended from duty and forbidden from continuing his investigations. That means, of course, that Bond then goes to Rome to console grieving widow Lucia Sciarro (Monica Bellucci) before infiltrating SPECTRE, a secret criminal society, just as a new leader violently takes control of the organization. This new leader, played by the magnificent Cristoph Waltz, eventually reveals himself to be a familiar supervillain in the Bond mythos who is closely tied to Bond’s past dating back to childhood.

James Bond (Daniel Craig) and Mr. HInx (Batista) battle it out as Madeleine Swann (Léa Seydoux) looks on in “Spectre”. Photo courtesy Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions.

While Waltz is the brains of the organization, the brawn is Mr. Hinx, an indestructible brute played convincingly by former WWE Champion Batista, who looks to be following in The Rock‘s footsteps as the next wrestler-turned-action movie star. From a destructive car chase in Rome to an inventive plane/car chase through Austrian mountains to a brutal fist fight through a Morroccan train, Batista proves to be a formidable Bond foe, despite only uttering a single word during the entire movie. Given his imposing presence (and metallic thumbnails), I wouldn’t be surprised to see Hinx reappear in a future installment of the Bond series.

Memorable villains have always been a Bond staple, as have exotic love interests. Spectre‘s female star is French actress Léa Seydoux, who plays Dr. Madeleine Swann, the daughter of Mr. White (Jesper Christensen), a member of SPECTRE subsidiary Quantum. Swann is no damsel-in-distress, however, proving to be as adept at fighting, weaponry and espionage as Bond himself. Which, in addition to her physical allure, makes her all the more appealing to Bond. After being captured by Waltz’s character, Bond learns (during a torturous episode) not only of his lifelong connection to this villain, but also that SPECTRE is very close to completing its Orwellian plan to take over the world. Overcoming impossible odds, Bond and Swann escape and set out to thwart SPECTRE’s plan before time runs out.

Christoph Waltz (left) and Leå Seydoux in “Spectre”. Photo courtesy of Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions.

The final act is suspenseful, albeit a bit formulaic. With the clock ticking, Bond is forced to save the people he cares about, bring bad guys to justice and find some sense of humanity amidst the violence that has become routine for him. Though Spectre definitely seems to close a chapter in this series (amidst rumors that Craig will not be returning to reprise the role), it also makes it clear that we haven’t seen the last of cinema’s favorite spy. While it delivers on an escapism level, Spectre falls short (pun intended) of Skyfall‘s sense of realism. If anything, the conclusion leaves the viewer curious about the future, which, given that this is the 24th film in a seemingly unlimited series of stories, is probably intentional.