Cult films have a special place in American film nerds’ hearts. This documentary explores how cult films affect their fans and how they become so through interviews with fans, filmmakers, and a variety of speakers.
On October 20th 1967, Roger Patterson and Bob Gimlin emerged from a forest in Northern California with 59 seconds of grainy, shaky, silent 16mm film that offered documentary evidence of the existence of the Sasquatch, a creature of Native American folklore. Although neither Patterson nor Gimlin had any previous experience in filmmaking or zoology, they presented their remarkable footage as the first motion picture evidence to confirm the existence of the elusive Sasquatch.
However, not everyone was convinced by the imagery on the Patterson-Gimlin Film. Additional doubt was generated by the strange story behind the film’s creation. Over the years, odd rumors emerged about the film, including the story of an Academy Award-winning make-up artist’s alleged role in assembling the creature seen on camera.
Film journalist Phil Hall traces the convoluted history of how Patterson and Gimlin supposedly wound up in the right place at the right time with their camera, and how they brought their weird little film into the scientific community and American popular culture. While the debate over the authenticity of the Patterson-Gimlin Film continues to percolate, few would question the effectiveness of how this piece of celluloid brought forth an unlikely sensation lovingly dubbed Bigfoot.
I’ve made it no secret about my hatred for anime in the past, but over the years I’ve softened on my stance considerably. I’ve learned to appreciate the genre and medium quite radically. While I would never label myself an anime fan, I definitely have a ton of love for the art form and have fallen in love with Studio Ghibli, and films like “Akira,” “Ghost in the Shell,” “Vampire Hunter D” and the like. When I was offered a chance to review “Anime Impact,” jumped at the opportunity since I wanted to learn more about anime. I also am a big fan of Chris Stuckmann who is easily one of my top ten movie critics on Youtube.
“Won’t You Be My Neighbor?” is the movie that the world needs right now, it’s the ultimate superhero tale. It’s about a man who grew up experiencing nothing but pain that decided one day to take his ability to talk to children and his education and use it as a tool for good and for changing the world. And change the world Fred Rogers did, as he one day took a step back and decided that the world needed some kind of force for good. He knew that could mold children and use the medium of television as a valuable tool that could turn every single child, no matter what race or religion, in a neighbor and a friend.
I’m very disappointed that it’s taken me so long to watch “The Ballad of Gregorio Cortez,” a Robert M. Young Western drama that has gone shockingly under mentioned for years. A mix of “The Ox-Bow Incident” and “Rashomon,” in many ways it’s a very history accurate and groundbreaking example of the genre. Young’s drama pictures a hideous crime and paints it in the shades of people’s prejudices and how we can perceive certain events when emotions and biases play a big hand.
John Sturges’s “The Great Escape” is easily one of my favorite action movies of all time, and one of my top five McQueen pictures (“The Getaway” takes the number one prize). It’s legacy and influence on pop culture and action cinema as a whole has been lasting, with John Sturges presenting a slew of brilliant actors at the top of their games in what is a very intriguing tale about escaping Nazi clutches, and fighting for freedom. “The Coolest Guy Movie Ever” is a fine and entertaining historical documentary for anyone that fancies themselves a fan of the movie. It’s exhaustive, meticulous in its detail, and we even get some candid stories about the cast.
Written and directed by Sofia Coppola, the film makes a case for the viewer to see Marie Antoinette in a better light than what they have learned in history class. Here she’s painted as a teenage girl sent to marry a man she’s never met, pushed to produce heirs to the throne, while given a lavish and decadent lifestyle which led to her life feeling unfulfilled and thus making her do all she could to make her life as interesting as she could with what was offered to her. Here the take on Marie Antoinette is almost friendly, showing her as a complex person who was raised in luxury, married into more luxury, and thus completely disconnected from the French populace that ultimately took her and her husband down. The film approaches this without judgment and an interest in humanizing without glorifying a woman who’s often only known for a single quote.
“Funko” is not a flash in the pan and it’s not a fad. It wants us to know that, and that it loves us, the fans. It’s been around for twenty years, manufacturing bobble heads and dolls in the background. Most recently it broke in to the mainstream consciousness with its series of Funko Pop Dolls, a long line of dolls with big heads, black eyes, and no mouths that have become humongous, coveted collector items far and wide. The Funko Pop craze has even managed to save some waning businesses with its broad line of dolls that range between anything from Batman, to The Sandlot, to The Golden Girls. “Making Fun” is a documentary by category, but in reality it’s a big promotional reel for stock holders of the company in the midst of its massive popularity.