Next Thing comes as the latest installment of what can only be called a prolific artistic output; there have been 21 releases under the name of Frankie Cosmos, in addition to the previously mentioned works. While not offering anything wildly different from her previous albums, Next Thing seems slated to be Frankie Cosmos most popular work to date.

For the most part, her musical style remains relatively unchanged from her other non-acoustic works. Each song is a short, sweet, and nicely packaged soft indie rock message. The instrumentation is fairly sparse, featuring little more than a guitar, bass, drums, and the occasional synthesizer. Frankie’s vocal deliverance is always subdued and relaxed, even when her lyrics offer a glimpse into more heartfelt emotions.

The album, which contains 15 songs that are mostly under 2 minutes, begins with “Floated In.” This song serves as the perfect introduction to the album, and gives you a general idea of what’s to come. The bass drives the song along at a nice upbeat tempo, and Frankie’s soft delivery and airy voice make for a relaxed by joyful atmosphere. This vibe continues on through “If I Had a Dog,” “Embody” and “Fool“, and that’s about when the major flaw of the album becomes evident. All of these songs sound the exact same. If you’re not listening carefully, it’s easy to miss when one song goes into the next. And this doesn’t come across in a “Oh yeah, everything is so neatly tied together on this record” sort of way, but more of a “what is the difference between this song and the last four that I’ve listened to?” sort of way.

Things slightly shift with “Too Dark” and “Tour Good“, when the tempo takes a few steps back. Unfortunately, I wasn’t as big of a fan of this particular vibe, and with “Too Dark” being the longest song on the album it was the only one that I felt truly tempted to skip. “Interlude,” which consists of only vocals and a synthesizer, is fairly interesting and unique for the album, but of course it only clocks in at 45 seconds.

Things begin to pick back up again with “I’m 20“, a song about feeling washed up at the age 20. “On the Lips” was one of my favorites in the record, with its humorous yet thoughtful lyrics like “I watch David Blaine, find myself believing, in many things, in anything.” “Is it Possible/Sleep Song” is also a favorite, as it is one of the most fun and upbeat jams on the album. “Outside with the Cuties” teeters between heartfelt and downright cheesy, with lyrics like “I haven’t written this part yet” really bringing the mood down, and making me feel like there was not a ton of effort put in to this project.

The album finishes rather unspectacularly with “O Dreaded C Town.” It seems almost fitting that the album would end with such a pedestrian song, and in total it feels like a perfect microcosm of a record that has been not terrible, but ultimately very forgettable. It was only after my initial listen through that I learned that some of my favorite songs (like “Embody,” “On the Lips” and “Sleep Song”) were actually re-releases of previous acoustic songs. Overall, this leaves me a little skeptical of Frankie Cosmos, and I’m certainly in no hurry to scour through dozens of other projects.

Click here to download Next Thing. Check out a stream of the album below

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Personally, I’m a pretty big fan of horror-anthologies. If done correctly, they manage to strip away much of the generally ineffective plot and character development that bog down so many horror films, and skips right to the good stuff. Of course, plot and character development are not bad things, but with a niche genre like horror that often times serves a very specific purpose, to scare the audience, these narrative devices can often times get in the way of the real thing the audience is after. Obviously not all horror films should shirk these aspects of their movies, but if you’re clearly just out to scare the audience then you often don’t really need to get to know the paper thin characters all that well. I’m a big fan of the V/H/S series, and I think they did an excellent job of really honing in on the scary moments in each short film, making the entire movie a really great time-to-scare investment.

Southbound does this fairly well to, but in all honesty I think it falls flat compared to V/H/S series. While the V/H/S movies usually played around with more generic tropes, and were only very loosely connected, Southbound explores fairly unique situations, and each vignette is clearly tied together within the same world. Unfortunately, the fact that the scary situations each short film creates are rather unique, their short time frames end up hurting the overall product. Because we’re not super familiar with the generic content, we as an audience need a little more time to understand what’s going on in each short.

Redemption and retribution for past sins is a constant theme in Southbound, and is explored in every vignette. Usually these sorts of themes make for compelling horror films, adding a sense of inevitability and fate to the drama. However, the anthology format again means that the troubled past these characters are running from is not given enough time to be explored or explained. Horrible crimes are hinted at and alluded to, but ultimately the audience is left without enough information and without enough attachment to the characters to truly feel involved.

Another major difference between Southbound and V/H/S is that each V/H/S short was a “found footage” film. Maybe I’m just biased, but for reasons I can’t quite put my finger on, I think this format works better in an anthology film. All of this is not to say that Southbound doesn’t have its moments. The inescapable demons in “The Way In/Out” are truly creepy and will surely plague my imagination the next time I’m driving on the seemingly unending open road. “The Accident” was also a particularly chilling tale, and I think it was the strongest effort throughout the film.

Overall, Southbound is an OK entry into the anthology horror genre. Don’t expect to find anything groundbreaking or particularly exciting here, but if you know you just want some cheap horror thrills, there is plenty here to deliver.

Click here to see if Southbound is playing in a theater near you. Check out the trailer for the film below:

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Love is the newest film from infamous director Gaspar Noe. Released in 2015, the 3-D film immediately garnered attention for its use of nudity and explicit sex. Love blurs the line between art-house film and pornography in a way that is rarely seen, especially on such a wide scale. Love is not without its critics, and many of their points are valid; Love is not a perfect movie. But, it is certainly different, and for many, the film’s desire to push boundaries is enough to deserve attention.

The film follows Murphy (as in “Murphy’s Law“, which the film explicitly states in bold letters), a young father who wakes up on New Year’s Day deeply unsatisfied with his life. He receives a call from his ex-girlfriend’s (with the equally loaded name Electra) mother, asking him if he has seen Electra lately, fearing that she may have hurt herself. This call puts Murphy in a tail-spin, and he spends the rest of the film reminiscing on his passionate but volatile relationship.

Gaspar Noe is known as a boundary pushing director. His other feature length films, (I Stand Alone, Irreversible, and Enter the Void) all deal with tough subject matter, and his style of film making is designed to disturb instead of entertain. His work in Love is no different, and reminds me quite a bit of Lars von Trier‘s Nymphomaniac. Beyond the exploration of somewhat similar subject matter, and the explicit depictions of sex, the two films also share a fourth-wall breaking story telling technique. Love is filled with wild insert shots (including an ejaculating penis that is somewhat frightening to see in 3-D), harsh jump cuts, and non-linear vignettes. This is definitely an artsy film, and anyone coming into it with the same expectations they would have for a Hollywood blockbuster will be in for quite the surprise.

Despite all the sex and artsy film techniques, or perhaps because of it, Love still has its shining moments. There are moments of real and relatable intimacy between the characters. While romantic comedies may play on our happiest fantasies of love, Love brings to the forefront our darkest realities. There are moments and feelings in Love that are deeply human, but seem somewhat unexplored in movies. It takes a bold and honest look at a deeply dysfunctional relationship, and forces its audience to feel both revolted and sympathetic to its main characters. And that, I suppose, is enough for a piece of art, isn’t it?

Click here to see if Love is playing in a theater near you.

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I have to start out by saying that this film seems tailor-made for me. It checks off so many boxes on my list of favorite elements of horror films; paranoia, suspense, religious iconography, isolation, family dynamics, and uncontrolled female sexuality. The Witch reminded me quite a lot of another personal favorite of mine, Ben Wheatley’s A Field in England. I was truly shaken seeing this film, and for that reason it has quickly become one of my personal favorites.

The Witch follows a Puritan family that is excommunicated from their township for accusing the local church of heresy and corruption. They are then forced to make their own settlement in the harsh forests of New England. One day, when eldest daughter Thomasine is playing with her infant brother, the baby goes missing. A wolf is blamed, but the viewers and the family know that something much more disturbing is at work in the woods. Paranoia and religious fanaticism drive the family apart, and they descend into madness as the witch of the woods begins to tear them apart.

The film is absolutely stunning to watch, and Eggers really wrenches every amount of emotion and terror out of every shot in the film. Wide angle shots show the dense and terrifying forests of New England in all of their glory, and claustrophobic scenes set in the family’s cabin are beautifully lit by natural candlelight. I’m no art expert, but it seems clear to me that the visual style of the film was heavily influenced by 18th-century Spanish painter Francisco Goya. In particular, his darker works seem to haunt the visuals throughout The Witch.

The soundtrack also plays a key role the tone of the film. The non-traditional soundtrack builds tension and terror that perfectly compliments the slow-burning pace of the film. For those expecting a standard genre film, know that The Witch is not your typical horror film. Along with other recent critical darlings like It Follows, The Babadook, and Goodnight Mommy, The Witch takes a more high brow and patient approach to the horror game. I think we’re in the middle of a new era of smarter and more technically-impressive horror films, and films like The Witch truly feel disturbing and refreshing in an otherwise tired genre.

Unfortunately, The Witch has finished its nationwide theatrical run, but be on the lookout for news of a Blu-ray or Digital release!

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Since its creation over a year ago, the “Late Shift at the Grindhouse” series has become a staple of FilmScene’s programming. The series has slowly grown a dedicated and consistent fan base that turns out every week to see some of the worst movies to ever grace the silver screen. The theater opened at 10pm, and began with a half an hour montage of old pre-movie theater commercials and trailers. Some trailers were for clearly fake movies, Like Shriek of the Easter Beast, while others were of movies that were somehow actually made, like Ilsa, Harem Keeper of the Oil Shiek. They also included some trailers for films that would later be shown at FilmScene, and overall it was the most entertaining pre-movie roll I’ve ever seen.

After the trailers, the curators of the series had their weekly prize drawings for those who purchased tickets. Previous pre-movie rolls, old DVDs, and posters from cult classics were given away. I was even lucky enough to win a copy of Blood Trails, not to be confused with Blood Trials, which has apparently been previously screened there. Finally, the weekly “punishment prize” was distributed, as some poor unfortunate sap was stuck with a brand new copy of Agent Cody Banks, starring the legendary Frankie Muniz.

Lisa Jane Persky, whose photoshow X-Offenders will be on display as a part of Mission Creek, gave a brief introduction to the film. She began by apologizing for it, and saying it was by far the worst thing she’s ever been a part of. This, of course, was met with cheers and applause from the racous audience. She offered to answer any questions about the filming of the movie, but also warned that she probably had more questions than anyone else. She also told of a few awkward stories of meeting the members of KISS, and how for years after this film, no one who worked for them was allowed to mention it in front of them.

After the introduction, the lights went down and the film began. From the opening sequence, it was easy to tell what kind of movie this was going to be. Images of the members of KISS were super imposed over shots of an amusement park, supposedly to make them look larger than life. “I Wanna Rock n’ Roll All Night” cranked through the speakers, and the audience roared with laughter. Normally, I hate almost any interaction or feedback from an audience in a movie theater, but I could definitely make an exception for movies like this. It was clear that this movie was going to be cheesy, campy, and generally crappy, and that the audience was going to love it.

The film’s plot is convoluted and generally nonsensical, but from what I could gather it told the story of a young woman who, with the help of KISS, tries to free her boyfriend from the control of an evil scientist/amusement park developer who plans on starting a riot by cloning the members of KISS. It’s a strange mix of Jurrasic Park, Phantom of the Opera, and a live convert video. Of course, KISS decides to keep kayfabe in this movie and retain their alter-ego identities as some sort of superhumans powered by magical talisman. Gene Simmons has super human strength and can spit fire, Ace Frehley can teleport, Paul Stanley has some sort of lazer…vision..powers, and Peter Criss just kind of makes cat puns.

As you can guess, this movie is total crap. But it’s a fun kind of crap, especially when seen with the right audience, in the right mood, with the right amount of booze in them. The special effects are atrocious and laughable, the performance of the KISS members is pathetic, and the soundtrack is actually pretty rocking despite being completely out of synch with the emotional tone of the scenes. If crappy movies are your thing, then KISS Meets the Phantom of the Park is definitely one to check out.

Click here to check out the rest of the lineup for the Mission Creek Festival.

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Punk Rock Readings:

The evening’s first event was the “Punk Rock Readings”, starting off with Kembrew McLeod. McLeod is a professor of Communication Studies at the University of Iowa, and he also has a storied history as the “robo professor“. McLeod read from his recent publication in the 33 1/3 series, a book series that features different authors writing about influential music albums. His book focuses on Blondies “Parallel Lines“, an album that launched the proto-punk band into the big time with its mix of disco, pop, and rock. For the most part, McLeod’s reading was informative and interesting, without ever treading into a boring mash of facts. While not nearly long enough to cover the book’s content in full, McLeod’s reading was enough to interest the uninitiated reader in both the album itself, and in McLeod’s writing.

After his reading, McLeod introduced Lisa Jane Persky. Persky is perhaps best known as a photographer and an actress, and for her roles in films and TV shows like NYPD Blue, When Harry Met Sally, and The Big Easy. However, she was also intimately involved in the eclectic art scene of New York’s Greenwich Village in the ’60s and ’70s. Her reading was in collaboration with her photo show X-Offenders, showcased later in the week at The Englert Theater. It consisted of a sort of “day in the life” of her youth, as she recounted acting in the experimental theater scene in New York, attending rock concerts by bands like The Mumps and Blondie, and loving musicians and artists within Greenwich Village. Her reading was accompanied by a slideshow of photos, many of which are from her X-Offenders showcase, which helped visually contextualize the reading.

Interview with Gary Groth:

The next event of the evening was the interview of Gary Groth, creator of Fantagraphics Books. Groth is a pivotal figure in the comic scene, and helped push literary criticism of comics to a higher level. The interview outlined the major arch of his career, from his early youthful obsession with comics, to his founding of The Comics Journal. With this publication, Groth was able to interview artists and cartoonists, discuss and critique the comics industry, and highlight lesser known “alternative comics.” As his reader base grew, he was able to start his own publishing company and began to publish major collections of the very artists he was interviewing. Fantagraphics has enjoyed success with major works like Ghost World, which was eventually turned into a motion picture, and The Complete Crumb Comics.

Williams and Creekmur, who conducted the interview, were clearly well-prepared and knowledgeable about their subject, which kept the interview provocative and interesting. By the end of the event, the crowd, which nearly filled the small theater, was opened briefly to ask some questions of Groth. Overall the event was informative and interesting, and despite knowing very little about comics, I found myself on a zealous Google hunt of the artists and writers that Groth mentioned in his interview.

Click here to check out the rest of the lineup for this year’s Mission Creek Festival

You can check out McLeod’s book on “Parallel Lines” here.

The post Mission Creek: Punk Rock Readings with Kembrew McLeod and Lisa Jane Persky, and Interview with Gary Groth @ FilmScene 4/6/16 appeared first on KRUI Radio.

Anna Meredith is a British composer with a history of success in the genre of classical music. At times her music has bordered on the electronic or acoustic, but for the most part it’s consumed by a rather high-brow crowd. Lately, however, her work has been pretty far from the orchestral, and this distancing has finally come to head with her first pop record Varmints (released March 4, 2016). The 38 year-old’s adventure into the world of synth art pop is a memorable, if sometimes strange, romp. Clocking in at about 48 minutes over 11 songs, the artist has managed to rein in the movements and suites into a collection of short and sweet songs that anyone can find something they like in.

The album begins with the big brassy synths of “Nautilus“. Sounding like an opening fanfare, the melody follows a steadying rising line, until some deeper tones add a layer of the ominous. The reverb-laden 80’s style snare that arrives near the end of the song helps it to finish on a high level of energy. “Taken” features the record’s first lyrics, and to something of a surprise, they actually kind of make sense. The simple but catchy distorted guitars give the song a catchy indie pop-rock vibe that is quite enjoyable, and certainly very accessible. “Scrimshaw” fuses the string and synth sounds of the first two tracks, in a mish-mash of contrasting vibes that somehow blend together into a beautiful mess.

“Something Helpful” returns to the land of the vocal, and again the lyrics are fairly simple, aided by a light and bouncing melody. This is cutesy indie pop in the best way, but it has some surprising depth to it once all of the layers are added. “Dowager” brings down the pace a little bit, and the lyrics take the route of the music and become a little more abstract.”The Vapours” is the most decidedly rock n’ roll song on the album, at least in the realm of guitar work. The airy synth pads behind it, along with the driving rhythm sections makes the song nearly impossible to categorize generically, but it works nonetheless.

“Shill” brings the album to its most dissonant points. It is loud, abrasive, bit-crunched, and punishing until the last 30 seconds, which are a surprising epic release. Unfortunately, such a short payoff hardly seems justified by the two minutes leading up to it. The record ends on “Blackfriars“, a decidedly slower and more melancholy song. A ticking clock keeps time over an array of glassy pads that give off a distinctly Sigur Ros-ish vibe.

Overall, Varmints was a thoroughly enjoying album for me. I was captivated by Meredith’s experimentation, but appreciated her restraint in staying within a generally melodious and popish sound. I admit that this record probably isn’t for everyone, especially with some of the instrumental tracks lasting upwards of four minutes,  but if you like a little deviation from the ordinary, I think there is definitely something you’ll like on this album.

Variants is available for download here. Check out a stream of the album below:

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He garnered, and to a large extent still does, a certain cult following to his films, which are also heaped with critical praise. Tarantino has followed a similar path, creating a certain kind of unique cinematic style that simultaneously enraptures college boys and impresses film critics. Scorsese’s films are often filled with coarse language, the glitz and glamour of the criminal underworld, hyper-masculine performances, excess, emotion-driven storytelling, and moments of extreme and cathartic violence.

However, Scorsese offered a rather different filmic experience with one of his lesser known works; 1982’s The King of Comedy. When it was first released, it was met with general confusion and dislike. People didn’t quite understand what the film was trying to do, especially considering its director, who had previously released films like Mean Streets, Taxi Driver, and Raging Bull.

This confusion is certainly understandable; The King of Comedy is a black comedy, but it elicits more cringe than laughter. It is not a particularly enjoyable viewing experience, and it is filled with moments of acutely painful awkwardness. That being said, it is still a masterfully-made film, and it remains one of Scorsese’s most under-appreciated works.

The King of Comedy follows Rupert Pupkin, played to perfection by Robert De Niro. Rupert is a lonely and potentially disturbed man who is fixated on the idea of “making it big” in the comedy world. The fact that he has never performed for an audience is no detriment to him, and when he annoys famous TV show host Jerry Langford to the point harassment, he sees it as his big break. Unfortunately, Rupert is unable to take the innumerable hints that are given to him that his dream is a bust, and when reality finally hits, he decides to take matters into his own hands.

Robert De Niro gives an incredible performance in this film. While Scorsese’s other collaborations (Taxi Driver, Raging Bull, Casino, Goodfellas, Mean Streets) with the actor may receive more praise, I firmly believe this is some of the duo’s best work together. De Niro gives a brilliantly understated performance, and one that is so relatable at the beginning of the film. This room for identification is exactly what makes his break from reality so deeply unsettling for the audience to watch. At what point can they break away? At what point has Rupert finally gone too far, to the point where he is no longer a subject for identification for the audience?

This is another reason why The King of Comedy is so great, and so unique. It may technically be called a black comedy, but it doesn’t have the usual sense of laughing at something rather morbid. The laughs aren’t brought on from slapstick violence, one-liners, or clever word-play. In fact, there really aren’t many laughs to be had at all. Instead, the audience is forced to squirm in their chairs through long scenes of painful awkwardness. And these tense and languishing moments drag on and on without any release. This is a particularly interesting facet of a film directed by someone like Scorsese. Nothing every boils over, there is no moment of cathartic release. Instead, the film smolders and constricts on the audience, never allowing for a moment of true relief.

The King of Comedy is available for download here. Check out a trailer for the film below:

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The film, based on James M. Cain’s 1943 novel, follows insurance salesman Walter Neff, and his entanglement with the alluring yet dangerous Phyllis Dietrichson. Together, they plot the murder of Phyllis’s husband so they can collect a huge accident insurance pay out and run off together. Of course, things don’t go according to plan, and the plot thickens until it reaches its frenetic conclusion.

Stylistically, this is a classic film noir. The dark subject matter is matched by the low key lighting. This creates long dark shadows, that lend to the ominous atmosphere. The film is drenched in heavy grays and blacks, which creates the famous “chiaroscuro” effect. It also relies heavily on flashback. In fact, the first moments of the film come at the very end of the story, and the narrative is driven by Neff’s retelling of all the events.

One particularly interesting aspect of the film is its heavy emphasis on the relationship between Barton Keyes, Neff’s boss and eventual antagonist as he tries to solve the murder of Mr. Dietrichson, and Walter Neff. While the novel was much more focused on Neff’s relationship with Phyllis, the film depicts their romance as rather cold and passionless. Instead of Phyllis, Keyes becomes the main motivator for Neff’s murderous actions. He wants to prove that he can beat the system, and that he can get away with a murder so perfect that not even Keyes could figure it out. Their buddy-buddy (bordering on familial) relationship is both intimate and competitive, and to say that there is some Oedipal undertones is an understatement.

The film also features a rather unique emphasis on corporate culture. The idea of “white collar crime” was a rather new one at this point in time, and Wilder was eager to tap into the psyche of the discontented office worker. For Neff, his action is a rebellion against the system he had so long been a part of. And when the screws start tightening on the investigation of the murder, it is not the police that Neff fears. It’s not even the police that are doing the majority of the investigation. Instead, it is the insurance company that serves as the ultimate authority over Neff. It is the realm of big business that serves as the final arbiter, not the government.

If you’re at all a fan of film noir, and you haven’t seen Double Indemnity, than you absolutely need to check it out. And if you’re a fan of detective plots, wise-talking criminals, and a certain nostalgia for a time gone by, this film is for you.

The post Cinema Spotlight: Double Indemnity appeared first on KRUI Radio.

The story revolves around self-help author Michael Stone, who is incredibly lonely, and to whom everyone’s voice sounds the exact same. While never explicitly stated, this clearly an allusion to the Fregoli delusion, which affects its victims with similar symptoms (Kaufman wrote the original play under the name Francis Fregoli, and the hotel that serves as the setting is called The Fregoli). While he is traveling to Cincinnati on business, he meets Lisa, the one person who has a unique voice. The film tracks their relationship, and Stone’s increasingly loose grip on reality.

One of Anomalisa‘s biggest talking points has been its animation style; the film uses stop-motion to capture photos of 3-D printed models. Click here to see an article explaining the process. Stop-motion is a form of animation that largely fell out of style decades ago, but every so often a director resurrects the form for a major motion picture (like Wes Anderson’s Fantastic Mr. Fox). The 3-D printed models make push the medium to a new level of realism that hasn’t really been seen on a large scale before. However, this newfound realism has the film precariously perched on the sharp descent of the uncanny valley. The film is in an uncomfortable no-man’s-land between overtly stylized and creepily realistic.

Luckily, directors Duke Johnson and Charlie Kaufman are smart filmmakers, and use this facet of the animation to their advantage. There are numerous visual gags throughout the film that call attention to the artificiality of the models. It also stylistically emphasizes the unreal-ness of Stone’s increasingly powerful delusions.

However, the models also serve some more subtle purposes. In particular, they allow for a visually unique take on sex and bodies. By making the bodies un-real, the film is actually able to have a more frank and honest depiction of real human sexuality. Gone are the “perfect” bodies of Hollywood actors/actresses; instead, they are replaced with more “normal” looking bodies, especially for the characters’ ages. Although it is true in most every scene, the sex scenes in particular highlight just how artificial the bodies are. However, this artificiality is so highly contrasted with their intensely human characters and interactions, that it strongly emphasis just how relatable the characters are.

On the subject of “relate-ability” of the characters, there’s a problem that needs to be addressed. With the #OscarsSoWhite discussion brewing up so much controversy, and possibly even resulting in some changes to the Academy’s system, Anomalisa is a particularly un-diverse film. In the whole of the movie, I counted one single person who was not speaking English. This individual walked past Michael in the hallway for a split second, so the audience only viewed them from behind. With the possible exception of this individual, every single other character I remember in the film was white. There were a few women who were prominent characters in the film, but their importance was tied directly to their (usually sexual) relationship to Michael.

Of course, this is totally understandable in a film that closely follows only one character. Of course other characters in the story will only be important due to their relationship to the protagonist. But do we really need another story about the personal issues of old rich white guys?

Now, perhaps the film is also an in-depth look at mental illness, and thus breaks it away from the typical glut of whiteguyprobs movie. I didn’t really get that vibe, but maybe that’s just me. I’ve also heard some say that it is a sort of commentary on male (and white) privilege, which I can maybe begin to see. But again, if we want a film that discusses the effects of white privilege, do we really need to first and foremost focus on the effects of privilege on the privileged? This is definitely an issue that needs further discussion, but it’s a discussion far too large for a small weekly column to tackle. Nonetheless, it’s something important to consider.

Click here to see if Anomalisa is playing in a theater near you. Check out the trailer for the film below:

https://www.youtube.com/watch?v=DT6QJaS2a-U

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