Animal Boy – I’m Having A Bad Dream, Baby (2019)

Animal Boy – I’m Having A Bad Dream, Baby (2019)

It’s no surprise I’ve been on a steady diet of Maggot Stomp releases and ’90s Finnish Death Metal as of late, so as is expected from the consistency this blog is known for, strap in for some Canadian jingly indie punk.

Animal Boy from Guelph, ON have just dropped their second (third if you count this early album that looks like it’s under a different name on Bandcamp) album, I’m Having a Bad Dream, Baby to our little scene’s acclaim. You might be confused why I’m writing about this and you might not know what a Guelph is, but to quote the printing on the CD of their last album: FUCK YOU, IT’S ANIMAL BOY.

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The Bye Bye Man (2017)

The Bye Bye Man (2017)

Editor’s Note: I started writing this out of pure unadulterated passion when I got home after watching this. After sleeping it off, I continued writing it in a much more calm, cool, and collected fashion. I decided to keep the bits I wrote the night of.

I’m writing this while sipping on a pilsner and riding out a sugar high from too many Mars bar bites. My friends and I made an evening out of this. We assembled with snacks and whiskey and craft beer and watched one of the worst received movies this year. We do this often, bad movie nights, but this feels special. It’s a bittersweet feeling, making a ritual out of consuming somebody else’s art to purposefully make fun of it.

Wait, did I just call The Bye Bye Man art? Fuck me. I’d like to formally apologize to the entirety of human arts and culture. (more…)

Green Room (2016)

Green Room (2016)

It’s the state of the film industry in 2016 is that any independent director with even a hint of talent or vision gets snatched up by a giant studio to begin working on $100 million dollar blockbuster movies where they have almost no agency over how the movie will be made. They are just names to be used for marketing rather than actual filmmakers for these gargantuan projects. Joss Whedon (Buffy the Vampire Slayer, Firefly) and James Gunn (Slither, Super) were gobbled up by Marvel to direct The first two Avenger movies and Guardians of the Galaxy respectively. Gareth Edwards (Monsters) got pulled on board to direct the terribly mediocre 2014 Godzilla flick (thank god Toho have taken the Godzilla IP back). Colin Trevorrow (Safety Not Guaranteed) helmed Jurassic World and is expected to direct Star Wars Episode IX. Marvel almost had Edgar Wright (Hot Fuzz, Shaun of the Dead, The World’s End) in to direct Ant-Man, but when Wright fought to have creative control over the film but when the Disney owned movie factory refused to budge on the subject, Wright told them to fuck off and left the project.

Since this odd trend of taking independent, relatively low budget creators and sticking them in charge of movies that cost three times more than the GDP of the polynesian island nation of Tuvalu and thinking everything will be okay seems to be picking up steam, I worry that some of my favorite directors will get swept up into this chaos and won’t be able to work on projects that they are really passionate about. One of those directors is Jeremy Saulnier, director of one of my favorite movies, Blue Ruin.

Saulnier’s most recent project is Green Room, a punk rock bottle-movie thriller starring the late Anton Yelchin and the indomitable Sir Patrick Stewart. The plot to Green Room is very simple. The Ain’t Rights, a young, down on their luck punk band get a gig at a neo-Nazi skinhead bar in the Pacific Northwest. They need the money badly, so they decide to play, get paid, and get the hell out of there as soon as possible (not before souring a few skinheads’ days by tearing through the hardcore classic Nazi Punks Fuck Off). On their way out after their set they witness a brutal murder on premises, and therein lies the main conflict of Green Room. The Ain’t Rights want to go home, and the neo-Nazis want them dead. It’s one of those narratives that seem a little too schlocky and over the top, but Saulnier treats it with a bleak, dour seriousness and intensity that keeps the audience from suspending their disbelief or losing immersion as the film chugs along.

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