By Sean Boelman
Tod Browning’s most famous movie might be Dracula, but his most notorious is Freaks, which was so edgy that it changed the course of the filmmaker’s career. The new Criterion Collection set Tod Browning’s Sideshow Shockers brings together three of Browning’s works, all underappreciated in their time, but earning greater recognition today.
This collection comprises three films made by Browning set in the world of circus performers: The Mystic, The Unknown, and Freaks. Beyond their setting, the movies also share in common the plot thread of deceit, as each deals with a con artist outsider infiltrating the sanctity and acceptance of the group of circus performers. As you might expect, they get their karma. Of course, the movie in this trilogy that most cinephiles will be familiar with is Freaks. The pre-code horror film was seen as extremely transgressive and envelope-pushing at the time, and even now stands out for its incredibly bleak ending. It’s unsettling, but not in the way that many movies following sideshow performers are. It refuses to otherize people for their differences, instead showing a message of acceptance. In addition to the well-known talkie, the set contains two of Browning’s silent films set in the circus. The more well-known and accessible of these is the Lon Chaney vehicle The Unknown, in which Chaney poses as an armless man, only to find unexpected love as part of his deceit. If you thought Freaks was bleak, wait until you see this one. Chaney really carries The Unknown (no pun intended) with his performance, and there are some interesting visuals, but this feels like the most conventional of the bunch on a narrative level.
However, the real reason to pick up this collection is to get your hands on Browning's previously difficult-to-find 1925 silent thriller The Mystic. Following a phony mystic who teams up with a con-man for an elaborate ruse, this is not only the movie in the set that viewers are least likely to have seen, but arguably the best. Art deco designer Erté’s production design is fantastic, as is the lead performance by Aileen Pringle. The result is a film that is utterly enchanting — even more so than most silent horror pictures.
All three movies are presented in new 2K restorations, which are quite good. It’s always a treat to see such gorgeous restorations of pre-code films that were once only able to be seen in a low-quality format. This is especially true for The Mystic, which of the thematic trilogy, is the most visually sumptuous. In terms of bonus features, this edition offers a wealth of them. There are audio commentaries for Freaks and The Unknown and an introduction to The Mystic by scholar David J. Skal, an interview with Megan Abbott about director Tod Browning and pre-Code horror, an essay by Farran Smith Nehme, an archival documentary about Freaks, and a wealth of other goodies for cinephiles. The bonus features are very Freaks-heavy, but considering that has been the most accessible of the three for the longest time, it makes sense. The Tod Browning’s Sideshow Shockers collection is a nice release in time for Spooky Season, but the real hero of this trilogy is the restoration of the elusive The Mystic. Buy it to get the Criterion version of the incendiary classic Freaks, but enjoy the hidden gem of The Mystic that comes along with it. Tod Browning’s Sideshow Shockers is available via The Criterion Collection on October 17.
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By Sean Boelman
After a summer event that already had a fantastic lineup, NewFest returns to New York City this month with their full-fledged event, showcasing some of the most exciting queer films of the year. In addition to the festival’s usual crop of LGBTQIA+ independent films, the festival also has screenings of some of the most anticipated award contenders of the year.
While we’re sure those gala screenings are going to be at the top of everyone’s list, we at disappointment media wanted to call your attention to some of the more under-the-radar gems playing at this year’s festival. Anhell69
While there are plenty of intriguing documentaries playing at this year’s NewFest, none is more unconventional than Theo Montoya’s Anhell69. The film often blurs the line between documentary and fiction in its portrait and exploration of the queer scene in Medellín, Colombia. It’s a complex film that demands the viewer’s patience and cooperation in putting together all of the pieces Montoya presents, but for those viewers willing to get onto Montoya’s wavelength, it’s sure to be a rewarding experience.
Big Boys
It’s rare to see plus-size representation in LGBTQIA+ cinema, but Big Boys — as the title implies — is a movie about that subset of the queer community. Following a teenager who goes through a sexual awakening while on a camping trip with his cousin and her boyfriend, this is the type of comedy that gets its laughs from how incredibly awkward it is. And yet, there’s something undeniably sweet and innocent about this story of a first crush, especially given the infectiously big heart with which the story is told.
The Mattachine Family
Andy and Danny Vallentine’s The Mattachine Family might be a saccharine family comedy, but it’s hard to hate a film that’s as warm-hearted as this. Following a gay couple whose relationship and idea of family is put to the test after their foster child is reunited with his birth mother, the film is simply adorable. Although it leans a bit heavy into the melodrama at times, the Vallentines know exactly what type of movie they’re making, and that’s what they deliver: a charming crowd-pleaser, with a splash of romantic comedy, and a bit of tear-jerker thrown in.
Monster
Hirokazu Kore-eda’s Monster is the first movie the master filmmaker didn’t write himself, but it’s extremely layered nonetheless. Outwardly, the film is a Rashomon-style nonlinear mystery about an incident at a school and the strange behaviors of a young boy. However, as the layers begin to unfold in their characteristically nonlinear style, it becomes clear that the film is, at its center, the story of a unique bond forming between two boys. As always, Kore-eda remains adept at cutting to the core humanity of his story.
National Anthem
Luke Gilford’s directorial debut National Anthem was one of the sleeper critical darlings of this year’s SXSW earlier this year before making an encore at TIFF in the fall. Now, LGBTQIA+ audiences in New York City are getting to see this tale of a young construction worker who unexpectedly finds his place among a group of queer radio performers. Although the story adheres a bit too comfortably to conventional beats, Gilford tells it with such an authentic heart that it’s easy to get invested in it. Add in some gorgeous visuals and a tremendous performance from Charlie Plummer, and the result is pretty fantastic.
The 2023 edition of NewFest runs October 12-24 in New York City.
CIFF 2023: The Chicago International Film Festival Presents Some of the Buzziest Films of the Fall10/10/2023
By Sean Boelman
For its 59th edition, the Chicago International Film Festival is bringing Chicago moviegoers a lineup that is nothing short of stacked. Thanks to a focus on indie productions, the festival has still been able to attract plenty of A-list talent to present their movies despite the ongoing SAG-AFTRA strike (many films have secured an interim agreement).
From some of the most anticipated awards contenders of the fall, hot off of their festival debuts, to Chicago-based productions that will undeniably be of interest to homegrown audiences, there’s no shortage of great films to see at this year’s festival. Here are a few recommendations of movies we think you should check out: Four Daughters
CIFF has always had a focus on showcasing international cinema, including many films that have been submitted by their respective countries for the Best International Feature Oscar. Kaouther Ben Hania’s latest movie, Four Daughters, is her second to represent her country of Tunisia in the awards race, and this blend of documentary and drama is absolutely fascinating and often harrowing. Although the film feels a bit too convoluted for its story for much of its first hour, it quickly becomes clear that there are more sinister forces afoot, and when they do take over, the result is crushing.
The Echo
Tatiana Huezo’s documentary The Echo is another fascinating documentary about a matriarchy, but on the opposite side of the world, taking place in a rural village in Mexico. The hero of this film is undeniably its cinematography, which is exquisite and beautiful. However, it is also impressive how much Huezo is able to get viewers invested into the characters’ lives, allowing the movie to play out like a real-life coming-of-age tale.
Here
Bas Devos’s Here is a restrained, quiet film, but it’s quite successful as a lovely little romance. Following a construction worker and a byrologist who form an unexpected connection after a chance encounter, it’s a rumination on connection, but it never feels the need to wax poetic in a way that feels pretentious. Instead, we simply spend time with these characters — and in some gorgeous environments captured with stunning 16mm cinematography, no less — making this an utterly splendid watch.
Raging Grace
Raging Grace won the jury prize in the narrative competition at this year’s SXSW, and given how rare of an accomplishment it is for a genre movie to take home a top award like that, it should be immediately intriguing. While the first act of the film is compelling, the last two-thirds of Paris Zarcilla’s debut go off the rails in a way that will have you on the edge of your seat, and maybe even screaming at the screen in disbelief and anticipation.
Robot Dreams
Pablo Berger’s Robot Dreams is not just one of the best animated movies of the year, but one of the best movies of the year, period. Based on the graphic novel by Chicago-born artist Sarah Varon (who will be in attendance for the festival screening), the film follows an anthropomorphic dog who purchases a robot to be his best friend. Completely without dialogue, the movie nonetheless manages to be undeniably moving — and just as adorable as you could possibly hope.
The 2023 Chicago International Film Festival runs October 11-22, 2023.
By Dan Skip Allen Robert De Niro is one of the best actors in the world. He has been in all kinds of films — most famously in Martin Scorsese's films, such as Taxi Driver, Raging Bull, and a few gangster films like Mean Streets, Goodfellas, and Casino. He was also in The Godfather Part II as Young Vito Corleone. Occasionally he directs a movie once in a while. Go figure he would direct a gangster film, A Bronx Tale, the story based on the life of its other star Chazz Palminteri. Calogero "C" Anello (Lillo Brancato) is an impressionable young man who lives in the Bronx with his parents Rosina (Kathrine Narducci) and Lorenzo (Robert De Niro), who is a city bus driver. His father tries to bring him up as a stand-up guy, but he gets turned on by the local gangster in his neighborhood, Sonny (Chazz Palminteri). After he witnesses an incident in the neighborhood, he doesn't snitch out Sonny or his gang. This makes Sonny start to care about this kid and take him under his wing like he is one of his own. There is a code that Palminteri's character lives by, but the fact that he is going around the bar and driving Sonny's car around still gets his father upset. He doesn't want him involved with these guys because they're so-called “bad guys.” Lillo Brancato plays the character "C" for most of the film, and this dichotomy between his father and Palminteri's character is the crux of this story. He's in a difficult situation. This is what happened in Palminteri's life, which makes it all the more powerful to watch. A Bronx Tale is a lot like many other gangster pictures. It shows the lives of these wise guys and their families — similar in some ways to Goodfellas, but different in other ways. De Niro shows that the glamorous life of being a gangster isn't all it's cracked up to be. There are many dangers that go along with this lifestyle. This young man learns the hard way. He learned different things from both of these men in his life that he would use as he grew up. With this being a period piece, there are some aspects of the film that stand out in that regard. One of them is the music. The filmmakers were able to get some classic songs from various groups, like Frankie Valli and the Four Seasons, some Motown music from the Deons, and many other songs that fit the ‘60s when this story took place. Butch Barbella's score fits perfectly with these songs, and his song “The Streets of the Bronx.” The music all around was terrific in this movie.
With gangster films comes violence, and this movie has a lot of it — some racially motivated and others gangster related. The blood and violence, fires and beatings, were a way to show that there was more going on at this time than the young man realized. The racial tensions were palpable. Just riding through the wrong neighborhood could get you beat up or even killed. And this story shows what an eye for an eye is truly like. The ‘60s were the beginning of a more violent era in our country, and this film doesn't shy away from that fact. A Bronx Tale is celebrating its 30th anniversary this month. Although it's not put in the same category as Goodfellas, The Godfather films, or Scarface in terms of its greatness, it truly is a great cautionary tale of why the gangster lifestyle isn't all it's cracked up to be. I wanted to be a gangster when I was a kid, so this reminded me a lot of my childhood watching this film, thinking what a great life this would be. The family aspects, eating great Italian food and hanging out with your friends who were like brothers. Even the father figure was a man I could idolize because he was a hard-working man who drove a bus and didn't quit his job like my father did all the time. This is a great film no matter how you look at it, and I'm glad I got to revisit it for its 30th anniversary this week.
By Sean Boelman, Daniel Lima, and Erin M. Brady
Fantastic Fest, occurring in Austin, Texas each September, is known as one of the most reputable genre festivals in the world, bringing together cinephiles from around the world to celebrate the latest in weird and macabre cinema.
We at disappointment media were excited to again cover the festival remotely. Here are some of our brief thoughts on some of the films that played at this year's festival: The Animal Kingdom
Review by Sean Boelman
That the fantasy film The Animal Kingdom was even considered for the short list for France's submission for the Best International Film Oscar in the same breath as such movies as Anatomy of a Fall and eventual selection The Taste of Things is frankly baffling — especially when you realize it's not great. Although Thomas Cailley's film has plenty of interesting ideas, its allegories (yes, plural) are muddled down by one another, and the CGI is lackluster, resulting in an experience that is frequently frustrating rather than provocative. The movie also wastes its cast, including the talented Romain Duris and Adèle Exarchopolous — yet another example of this disappoiting film not living up to its potential.
The Coffee Table
Review by Daniel Lima
Where does a story go when it begins with its most shocking reveal? In the case of The Coffee Table, nowhere. A married couple purchases a grotesque coffee table, only to lead to disaster. The film immediately plays its only card, and all it has left to do is remind the audience of the card it played until the credits roll. As shocking as that moment is, it hangs over the rest of the movie, stymieing any attempt to deepen the characters or get the audience invested in what follows. In spite of that, the ensemble is impressive, particularly Estefanía de los Santos. A shame to see them go to waste.
The Cult of AGFA Trailer Show
Review by Erin M. Brady
If you've ever wanted that warm feeling of watching previews to last 80 minutes, then The Cult of AGFA Trailer Show is exactly the movie you need. The editing done for each real-life trailer and theatrical bumper is minimal, yet impactful in conveying the breadth of cult cinema — classics like The Doom Generation and forgotten exploitation fare such as The Other Side of Madness get their equal spotlight. It may not be the most exciting film at Fantastic Fest, but it does go to show how important the genre film, in all its various forms, can be in these times of studio greed and blockbuster fatigue.
Mushrooms
Review by Daniel Lima
An old woman foraging through a Polish forest happens upon a young couple, dressed in strange garb, who claim to be lost. The woman doesn’t seem to trust them, and vice versa. For the next hour it’s left to the audience to puzzle out what exactly either party wants from the other. The mystery of Mushrooms is fun to work out at first, in large part because of the trio of solid performances. However, once it becomes clear the film will merely idle forward until the final reveal, it becomes tedious. That ultimate reveal is either a brilliant stroke that meaningfully recontextualizes the entire movie, or heinous and exploitative. At the moment, I lean towards the latter.
Kill Dolly Kill
Review by Erin M. Brady
It's difficult to objectively review any Troma film in the traditional sense. If you're looking for that to change with Kill Dolly Kill, you're sorely mistaken. The signature Troma low-budget sleaze is still oozing from every scene, and the over-the-top performances and writing sell this. However, there's only so much that can be done to stretch out one joke, and two poorly-choreographed lesbian sex scenes don't mask this issue.
One-Percenter
Review by Daniel Lima
Another collaboration between director Yudai Yamaguchi, star Tak Sakaguchi, and action choreographer Kensuke Sonomura, One-Percenter is both a biting satire and loving ode to action cinema. Sakaguchi plays an action star location scouting for the true-to-life action epic he’s always dreamed of, who stumbles onto an attempted yakuza execution and decides to intercede. What follows is some of the most electrifying fights of the year, with a fluidity, grace, and kineticism that is jaw-dropping. Many references are made to both Sakaguchi’s career and the Japanese action film industry, and the philosophical underpinnings of Tak’s own perspective of his craft make the beautifully orchestrated violence all the more powerful.
She Is Conann
Review by Erin M. Brady
Much like experimentalist Bertrand Mandico's previous work, it's difficult to explain the appeal of his latest, She is Conann. A showcase of the hero's journey gone mad, the film outlines the life of a female barbarian who's lived as many lives as she's brutally taken. Unfortunately, in its attempts to juggle various societal woes (fascism, performative femininity, and capitalist-funded art among others), none of them come together to elevate it beyond the admittedly stunning visuals. You admire it and what it sets out to do, rather than actually like it. Maybe that's the point, but it's still disappointing to see such an ambitious film cannibalize itself.
Sri Asih: The Warrior
Review by Daniel Lima
The second film in the Bumilangit Cinematic Universe, an attempt at a superhero franchise out of Indonesia, Sri Asih: The Warrior bodes ill for the future of the series. A generic story about a woman who is a reincarnated goddess fated to save the world, the film suffers from a bloated narrative that refuses any impulse to build its characters or world, beyond merely baiting future installments. The commentary on economic inequality embarrassingly is shallow, and the low-budget Wonder Woman knockoff action is ugly as sin, particularly compared to the solid, grounded fights at the start of the film.
Suburban Tale
Review by Daniel Lima
The directorial debut of Stephen Alexander, Suburban Tale, follows a distressed young woman who is called back home by her estranged family to help care for a demon-possessed boy as the family prepares for a wedding. She slowly begins to exhibit signs of sickness, beginning a surreal, nightmarish descent into her own psyche. The practical effects work is commendable, and star Rashmi Somvanshi gives a dynamic performance, but the film is so coy with who she is that by the time that revelation arrives, it is impossible to connect with her.
You're Not Me
Review by Erin M. Brady
Christmas seems to be a recurring theme during this year's Fantastic Fest, and You're Not Me sets out to showcase the most wonderful time of the year as the worst. Marisa Crespo and Moisés Romera's film is an oftentimes engaging look into the horrors of an unsupportive family. Its lead character is a lesbian who ran away from her wedding to a man three years prior. However, it begins to lose momentum once it moves into a muddied immigration parable, before ultimately crashing in its final moments. It's a shame, too, as its well-done pacing and direction will make you anticipate a payoff that never actually comes.
The 2023 Fantastic Fest ran September 21-28 in Austin, Texas.
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