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    “GRAND PIANO” (Fantastic Fest Movie Review)

    It is not rare to find a director appropriating, or recalling, the stylistic flair of Alfred Hitchcock, Brian De Palma or Dario Argento. Just at Fantastic Fest alone, we’ve encountered director Mark Hartley employing a great deal of split diopter throughout his remake of 1978’s PATRICK. What is rare, however, is to find such influence utilized in clever, thematically appropriate and more breathtaking than endearing manner. As you may expect, this is leading to the arrival of such a film: Eugenio Mira’s GRAND PIANO, an utter joy of high concept, artfully composed and absolutely thrilling pure cinema.

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    “WITCHING & BITCHING” (Fantastic Fest Movie Review)

    Álex de la Iglesia’s last towering horror effort, THE LAST CIRCUS, was an intensely grim (but not entirely devoid of humor), wildly bizarre look at a country he loves and the struggles that threaten to tear it apart. Being the masterful genre filmmaker he is, WITCHING & BITCHING similarly has a fair share on its mind, but on the flipside is a giddy, delightful supernatural romp, probing the way men and women treat each other.

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    Red Band Trailer Lays Out How the “HELLBENDERS” Roll

    JT Petty, the filmmaker behind fantastic, and serious-minded horror western THE BURROWERS has turned his attention to something of a rowdy horror comedy in HELLBENDERS. The tale of the Augustine Interfaith Order of Hellbound Saints and their aim to break bad so that they may attract possessing demons and set the evil straight, looks like shitty attitude-boasting, New York fun.

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    “BATES MOTEL” Season One (Blu-ray Review)

    TWIN PEAKS fans rejoice, for with the hit A&E show BATES MOTEL you now have the almost-as-oddball town of White Pine Bay to explore. With its mountainous backdrop, foggy rain-filled days and a populace full of mysterious folk that all seem just a little… off, the show is in many ways the logical network TV successor to David Lynch’s cult favorite.

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    “SEPTIC MAN” (Fantastic Fest Movie Review)

    Can something with as outlandish a plot as SEPTIC MAN—one seemingly conceived in Tromaville—make an attempt at being meditative?  I’d argue yes, of course. It’s an artist’s prerogative how they’d like to present their story, and if writer Tony Burgess and director Jesse Thomas Cook saw something mellow, or melancholy, in a man covered in shit, it’s up to the audience to tune in to their fecal frequency. Does a subsequent distaste then seem worse, however, if their unexpected take misses the mark? It may be more ambitious, but is it somehow more trying than if they simply filmed a wannabe cult retread? Absolutely.

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    “PATRICK” (Fantastic Fest Movie Review)

    The suspenseful opening sequence of Mark Hartley’s narrative debut, PATRICK, deals in a time honored thriller trope. A nurse, dangerously sneaking through pitch black halls and seemingly aiming to uncover something secret, uses her camera flash to help her see. It’s a device that’s perhaps most iconic in Hitchcock’s REAR WINDOW, but has been utilized in countless films since. It’s certainly not employed to poor effect here, and once the opening titles reveal a score from Pino Donaggio and the film itself is decorated by gothic interiors (not dissimilar from the medical estate in Aussie great NEXT OF KIN) and vintage nurse uniforms, it’s immediately endearing what the filmmaker is striving toward.

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