Emotional Wreckage and Actual Wreckage: A Corner Turned...

Like just about anyone that grew up in the 80's, John Hughes "Rite-du-passage" films had a tendency to jam its way onto HBO and the various Ted Turner Networks on an almost endless loop. And if you were watching TV back then, you probably saw what many consider his magnum-opus, Ferris Beuller's Day Off. The title character, played by the immortal Matthew Broderick, had one of the best closing lines of a film ever, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." That never quite resonated with me as it has with many others, I prefer another line from that movie in the deepness and meaning of life areas, but I'll work that in a little later. 

I probably needed to find better role models in those days.
Still, the world is a shittier place without him in it.

Anyway, Ferris' quote is still pretty pertinent especially in regards to the last year and a half or so of my life. Life moves pretty fast, other things move pretty fast too, and if you don't look for it, it'll definitely hit you and hit you hard. I don't think it's any secret that for the better part of the last twenty years, I've kinda dealt with some depression issues. It didn't really manifest itself in anything too typical, like that refusal to get out of bed type of stuff people typically experience. For me it had a little more to do with just plain not caring enough about myself to not engage in pretty self-destructive behavior. During the Dorm Days, it meant I would hammer ALL THE BOOZE, eat ALL THE FOOD, excel at all the things college had to offer that weren't really all that important to actual academic pursuits. Let's just say my studies suffered a bit. Post college, the booze and food were still there, but now I had to keep a roof over my head as well, so I threw myself into work. I did it all to such a degree that well, I didn't leave a ton of time to myself. I had a fun job that I wasn't having any fun doing, my personal relationships kinda suffered. I was miserable. Then I turned 37. 

37?!

I discovered that 37 is a magical age. Kids, when you turn 37, every single, solitary bad decision you've ever made arrives on your doorstep to collect its bill. I was always a big guy, but I put on a ton of weight, really fast. I started to forget stuff, probably because of all the brain cells I annihilated back in college. I stopped going to concerts, or even going out at all. Christ, usually the only reason I'd leave my house was to go to work so I would have a house to come home to. I couldn't even sleep longer than an hour at a time, and I'd wake up in places other than where I'd fall asleep. SCARY SHIT! What was I doing? Who knows? I felt like shit all the time and looked even worse. Something had to change. 

It's hard to put a finger on a catalyst. I think the root was when I reconnected with an old friend on that Instagram app. Our lives had gone on vastly divergent paths and something about her creativity and zeal for life hit a button in my brain and got me thinking about the old, better days. That's the type of person I wanted to be again. Right around then, after a particularly shitty night of drinking alone and feeling sorry for myself, I looked in the mirror and didn't recognize the disgusting thing staring back at me. It was time. I decided that I wanted to live instead of die. 

Also a bad idea to get me wet or feed my ass after midnight.

I made a few changes. I got some help. Started getting some counseling to work through the garbage in my head, and the big one, I bit the bullet and got my guts rearranged. SIPS Duodenal Switch it's called. It wasn't cheap, but as the surgeon told me, "No natural method is going to help you and you are going to die. This is the only way to take it off and keep it off." Basically, they cut about 80% of my stomach out, and re-arranged my intestines so I hardly absorb any fat. This is what they call a two-pronged approach to losing weight. You can't eat very much, and what you do eat barely gets absorbed. It works as long as you follow the rules. Cut as many carbs as possible, focus on protein and smearing butter on virtually everything because you need to eat a ton of fat in order to make the giant handfuls of specialty vitamins I have to take every day for the rest of my life to work. Exercise like a fiend and get a gallon of blood drained out for nutrient level testing every six months are just a couple others. Also, stay sober for a year and change or your liver will shut down. 

Not exactly the picture of health. But I'm much better now.

Kind of a pain in the ass, but I've followed the rules so far and seen the results. 250 lbs down and I'm getting pretty close to just getting the rest cut off me. I look like a fucking war-crime naked, but my clothes fit a lot better, hell, I recently raided my closet down home and am fitting back into my old high-school gear! CORDUROY AND SWEATER VESTS FOR MILES! I can run for ten minutes without stopping where I couldn't run ten seconds before. I still can't hit the ball out of my own shadow, but I can play 36 holes without wanting to die for the first time since college. Oh yeah, golf is fun again, work is fun again, life in general is fun again. Actually, I can't really say "again," because I don't think it ever really was for me. 

So I almost died, managed to bounce back, and then last April, I almost died again! This time, instead of slowly murdering myself over a twenty year span, I almost took the easy way out. BIG OL' CAR CRASH! Driving out to the mighty Rose Park for a little round of golf one morning, I approached an intersection right by my house. I was hanging a left as the light turned yellow. It's a fairly high speed street, but I thought the truck that was approaching was slowing down for the red. I was wrong. Dude gunned it instead and two vehicles can't occupy the same space at once. They estimated he was going sixty but I don't remember much of the actual impact. Just the spin as my Dodge Charger pirouetted a couple times around in the intersection and I got punched by every single airbag in the car. 

All that's left.

I sat there for a moment. The radio was still playing "Problems" by the Sex Pistols. I looked down and wiggled my toes. My fingers were still there too. I tried to shift the car into park, but the knob wouldn't budge. "Shit" I thought, "the transmission is fucked." I was probably a little concussed. There probably wasn't a transmission left. The door was popped open so I unbuckled the belt and swung my legs out. Traffic was piling up and I was so supercharged with adrenaline, I felt like I could've dragged the car off the road myself at least until I saw the front-end or rather the lack of one. Surprised at how uninjured I was (maybe I'm bulletproof), I jogged over to the other guy to make sure he was all right. He was all right, the only damage his truck incurred was a missing bumper. As I went back to my car to start emptying it out and get my paperwork for the cops I realized that I most definitely wasn't bulletproof. My ribs were jacked up and I was in shock. The tow-truck dragged the husk of my beloved Charger off the road, I collected my citation from the police for failure-to-yield and went home. 

My mother came over to take me to the doctor, and as I painfully sat in my easy chair, something weird happened, I just started laughing. My mom and sister looked at me horrified. Maybe I am a little nuts, because that was really the only reaction that felt right at the moment. Despite all my best efforts, both self-inflicted and accidental, I was still here. For reasons I can't even perceive I was still here even though I shouldn't be. For some reason, I found that hilarious. At least until all that laughing tightened up my ribs and tears started pouring out. GODDAMN THAT HURT.

So I'm still alive, and from now on, I take absolutely NOTHING for granted anymore because nobody knows exactly when their ticket is gonna get punched. And I'm bound and determined to live my best life from now on. Whatever that is. I'm going to do it. The problem is, I don't have any idea what that means. For the first time in my life that I can recall, I like myself. I've got confidence that I've never really had. My job is satisfying. I've got great pals and my relationships with my family are as good as ever. As that other main character (and who some have theorized is the actual main character) in Ferris Bueller's Day Off, Cameron Frye said, "I am not going to sit on my ass as the events that affect me unfold to determine the course of my life. I'm going to take a stand. I'm going to defend it. Right or wrong, I'm going to defend it." 

"And the times have changed my friend
I'll be here to the bitter end
With a guitar in my hand, I stand a little taller
And I've been to hell and back
I ain't falling off this track
From the back to the front page
From the gutter to the stage"

But something is still missing. And I need to figure out what that is.

So, I'm gonna hit the road for awhile. Just me, and my thoughts. Sure, I'm going to be seeing some old friends, revisiting the past and figuring out how I got to this point, along the way. But I have a feeling the next couple weeks and this trip I'm taking might bring a little clarity to my head. I'm going to try to mix in a few dispatches from the road for you folks, and even if I don't find what I'm looking for, at least I'll have some good memories and a few awesome sights to share. Anyway, thanks for indulging my ass on this story. I promise to go back to telling dumbass college stories, inane commentaries and reviews of shitty movies again soon. 

The Golf Monster Sundance Preview/Review 2013 Edition!

The 2013 Sundance Film Festival just blew through the area, and left just before a massive snowstorm that's threatening to make life for all of us here in the city very uncomfortable for a few days. For a film lover like yours truly, it's a great opportunity to see some awesome films months and months before anyone else gets to. It's also a great chance to see some really shitty films months before Rotten Tomatoes gets to pile dirt on them. I tend to find, it's usually one or the other. There's rarely a film that plays at this festival where I come out thinking, "meh, it's all right, I guess." And that risk folks makes the $15.00 tickets worth it. You're really on the edge of your seat. I also tend to limit myself to screenings only within walking distance from my condo as parking's a mess this time of year, but as luck would have it, all the Salt Lake City venues fit the bill. I also tend to gravitate towards the films that don't get a ton of mainstream play, so it's pretty rare to have the random celebrity sighting, but once in awhile I get lucky. Here's what I saw this year!

WE ARE WHAT WE ARE

Man Chili makes for a pasty complexion.

Official Sundance Synopsis:  A seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank rules the roost with a rigorous fervor, determined to keep his ancestral customs intact at any cost. As a torrential rainstorm moves into the area, tragedy strikes and his daughters Iris and Rose are forced to assume responsibilities that extend beyond those of a typical family. The most important task the girls face is putting meat on the table— but not the kind that can be found at the local supermarket. As the unrelenting downpour continues to flood their small town, local authorities begin to uncover clues that bring them closer to the secret that the Parkers have held closely for so many years.

My Quick Review:  Pretty solid way to kick off the festival this year! This film started off with a vaguely familiar looking lady, Mrs. Parker, puking up a ton of bile and drowning in a large puddle. It wasn't until I got home that I realized that was actually one of the two only really recognizable "stars" in the cast, Kelly McGillis! It was then that I realized that Top Gun came out 27 goddamn years ago and I started to cry. GETTING OLD SUCKS! Anyway, this one had a creepy as hell atmosphere and was also graced by a solid performance from Tarantino film mainstay Michael Parks.  I was also impressed by the performances from the two female leads, Ambyr Childers and Julia Garner. They were incredibly composed given the cannibalistic subject matter, and played the part of scared children of a religious nut well. This one had a great, WHAT IN THE BLUE HELL DID I JUST SEE ending to it. It has been picked up and I'm sure it'll play at a horror festival or two.  It'll probably see an autumn release at some point. Just in time for Halloween.  RATING: 7 Shovels to the back of the skull out of 10  

THE SUMMIT

LOOK AT THAT GODDAMN THING! YOU GOTTA BE NUTS!

Official Sundance Synopsis:  Although K2 is only the second-highest peak in the world, it is renowned as the most dangerous and revered by mountaineers as their ultimate challenge. In August 2008, 18 of 24 climbers reached the summit of K2. Forty-eight hours later, 11 people were dead. What happened on that fateful day has never been resolved.

Utilizing found footage, interviews with survivors, and seamlessly realistic reenactments, The Summit zigzags back and forth in time, interweaving multiple narrative threads and piecing together events, hoping to solve the mystery of what actually happened on that day—the deadliest in mountain-climbing history. At the heart of the mystery is the story of Ger McDonnell, one extraordinary man who chose to risk his own life to save others. With the help of breathtaking cinematography by Robbie Ryan and Stephen O’Reilly, director Nick Ryan creates a tension-filled, experiential film that will have viewers on the edge of their seats. The Summit pits Man against Mother Nature in her most majestic and terrifying extreme.

Had to sit way too close for this one

My Quick Review:  There's a thing with seeing documentaries in these days of the internet. You can do a ton of research of the subject matter and get one part of the story. But it takes true talent to take what is the given story that everyone seems to agree upon of a subject and flip it on its head. Nick Ryan's The Summit did that very well. I remember the stories of the disastrous 2008 K2 expedition. But had no idea the depth of the heroism involved in that tragic Summer. I still have no idea whatsoever why anyone would want to try to do something like climb a 28,000 foot high deathtrap. But I do have a little greater understanding of the rush that these adrenaline junkies are constantly chasing. One thing I do have is great appreciation of true heroism, and the guys that kept going up into the "Death Zone" to try to rescue people have that in spades. I had the opportunity to meet one of these guys, Pemba Gyalje Sherpa after the screening. He's easily the biggest badass I've ever met in person. If you want to see what true heroism is, check this documentary out. 

As an added feature, I got to the line-up for the screening a little bit late which meant I had to sit in the second row, almost looking straight up at the screen. Usually that sucks, but for a movie like this one where the people onscreen are literally looking out over the edge of the world, that sense of vertigo made if feel a little more real.  RATING:  9 Top of the Worlds out of 10   

HELL BABY

Only still I could find!

Official Sundance Synopsis:  Expectant couple Jack and Vanessa move into the most haunted fixer-upper in New Orleans—a house with a deadly demonic curse. When things soon spiral out of control, it’ll take the help of Vanessa’s Wiccan sister, a nosey “neighbor” who lives in their crawl space, two local detectives, and a pair of elite Vatican exorcists to save them—or is it already too late?

Revered as two of the minds behind the hilarious sketch television shows Reno 911!, The State, and Viva Variety and the screenwriters of big-budget comedies like the Night at the Museum films, comedians Thomas Lennon and Robert Ben Garant finally unleash their codirectorial debut. Featuring a seasoned comedic ensemble, including scene stealers Leslie Bibb and Keegan Michael Key, this raucous horror spoof sics the devilish humor of its creators on the most sacred of genre conventions: the haunted house, an exorcism, and one pissy demon child. 

My Quick Review:  I'm an unapologetic Rob Corddry nutswinger. I think that dude's comic timing is great and he has great range playing everything from the everyman, to the asshole, to the schlub. After Steve Carrell, he's probably my favorite Daily Show correspondent ever. But he rarely gets any feature work in films. He's usually a side character at best. So it was great to see the guy come to the forefront here in this ridiculous sendup of every 70's horror trope known to man. Lennon and Garant manage to get everything right that the vastly inferior Scary Movie series gets wrong. Add in hilarious cameos from just about every current recognizable improv comic on the scene as well as some gratuitous nudity courtesy of folk comedy duo Garfunkel and Oates' Riki Lindhome and we have a winner.  RATING: 10 Domilise's Po-Boy's out of 10.

ASS BACKWARDS

Glad to see John Cryer get some poster time

Official Sundance Synopsis:  Kate and Chloe have been best friends since childhood, when they both tied for dead last in their hometown beauty pageant. Now they are all grown up and living in New York City, where Chloe works as a “girl in a box” at a nightclub and Kate is a CEO…of her own one-woman egg-donor “corporation.” Their past humiliation remains long forgotten until they receive an invitation to the pageant’s milestone anniversary celebration. The unpleasant memories come flooding back, but Kate and Chloe decide to redeem themselves by winning the elusive crown.

Director Chris Nelson takes us on a raucous and wacky road trip that includes a rescued wild rabbit, a feminist wilderness commune, and amateur night at a strip club. Lead actresses June Diane Raphael and Casey Wilson have great laugh-out-loud chemistry, and their brand of stiletto-clad physical comedy brings an amusing and unique charm to the female version of the buddy movie.

My Quick Review:  This one is mostly for the ladies out there, as it flips the formula for a typical road trip flick. But it's got plenty of laughs for the fellas as well. This one features two gals that are best friends through thick and thin, but have never quite gotten over their childhood defeat as wannabe pageant queens. And by "haven't gotten over it" I mean to say, are in complete denial about it. But that's not going to stop their good-natured romp back to their hometown. There's plenty of bawdy laughs to be had here. And their Q&A after the screening was goddamn hilarious. RATING:  6 Rehab Stints out of 10.

S-VHS
Official Sundance Synopsis:  Inside a darkened house looms a column of TVs littered with VHS tapes, a pagan shrine to forgotten analog gods. The screens crackle and pop endlessly with monochrome vistas of static—white noise permeating the brain and fogging concentration. But you must fight the urge to relax: this is no mere movie night. Those obsolete spools contain more than just magnetic tape. They are imprinted with the very soul of evil.

From the demented minds that brought you last year’s V/H/S comes S-VHS, an all-new anthology of dread, madness, and gore. This follow-up ventures even further down the demented path blazed by its predecessor, discovering new and terrifying territory in the genre. This is modern horror at its most inventive, shrewdly subverting our expectations about viral videos in ways that are just as satisfying as they are sadistic. The result is the rarest of all tapes—a second generation with no loss of quality.

My Quick Review:  This was my most anticipated film of the festival. Horror anthology V/H/S broke some serious ground when it comes to providing big scares and gore on a budget. So the sequel had a lot to live up to. The premise, a couple private investigators bust into a decrepit house looking for a missing college student. He's nowhere to be found, but there are hundreds of VHS tapes strewn all over the apartment. They start popping tapes into an old-school top-loading VCR and are treated to the horror contained on each. Each tape was its own little horror short.  Here's a quick rundown of the four:
Tape #1:  Directed by Adam Wingard and Simon Barret -  A wealthy man, has his right eye replaced after an accident with a robotic one. The catch being that the robotic eye is recording everything he sees. Oh and it gives him the ability to see the myriad of ghosts that inhabit his rather large Hollywood Hills home. This one had some good jump scares, but not a ton of gore.
Tape #2:  Directed by The Blair Witch Project's Eduardo Sanchez and Gregg Hale - A guy spends an afternoon riding a mountain bike through the woods with one of those GoPro cameras strapped to his helmet. He happens upon a screaming lady covered in blood that's running from something. As he tries to assist her, she turns zombie on him and tears a nice chunk out of his neck, leaving him for dead. But he's not dead, he's pretty undead and we get an incredibly gory, slightly comical first hand look at a zombie apocalypse from the other side. Good laughs here.  I rather enjoyed this one.
Tape #3:  Directed by The Raid: Redemption's Gareth Evans and Timo Tjahjanto - A group of TV journalists travel to Indonesia to investigate a Jim Jones-esque cult leader at their compound. While very accommodating at first, the cult soon starts to peel the layers back to reveal a more sinister side. And mayhem ensues. This was my favorite short of the film and it easily could have been its own feature. As an aside, the walls of the cult compound were decorated by hundreds of those creepy-assed Blair Witch dolls. So it was surprising to me that those dudes ended up doing a different short in this film.
Tape #4: Directed by Hobo With A Shotgun's Jason Eisener - This one featured a group of little asshole kids having a slumber party at their lakehouse when their parents were away. They strapped a GoPro (who really should be sponsoring the movie at this point) to a little Shorkie dog. So the entire movie was fromt he POV of the dog.The kids pull pranks on their older siblings and each other until something otherworldly comes out of the lake. Like a more terrifying ET. This segment got most of the critics talking, but I found it inferior to #2 and #3.
Conclusion:  I enjoyed it well enough, but overall it was a bit of a letdown compared to the nice surprise that V/H/S was last year. Although, any flick where the gore onscreen caused a solid fifteen people to just up and leave in the middle of it has to be doing something right.  RATING:  7 Goat Babies out of 10

SWEETWATER
Official Sundance Synopsis:  Against the backdrop of the American Old West, newlyweds Miguel and Sarah struggle to make a living cultivating their small patch of land. Soon a much bigger struggle arises as powerful landowner and community preacher Prophet Josiah makes a play for their property. As he launches his diabolical plot to take their land, an eccentric big-city sheriff comes to town. Things soon go from bad to worse, culminating in a jaw-dropping, hell-hath-no-fury showdown.

Sweetwater boldly establishes its own identity while remaining true to the tenets of the western genre. Wonderfully cinematic, this expressive tale is superbly directed by the Miller brothers, who extract strong performances from the ensemble cast. Ed Harris is especially striking in a bravura role as the sheriff. With the magnificent New Mexico countryside as their canvas, the Miller brothers imaginatively stroke their cinematic brush across an intense but humorous film.

My Quick Review: When done well, I loves me a good Western flick. And this one certainly didn't disappoint. The landscapes were beautifully filmed, with the New Mexico countryside just popping off the screen. Ed Harris was solid as the eccentric Sheriff, trying to get to the bottom of a murder mystery.  Hell, the director even got a competent performance out of January Jones, and she normally can't act her way out of a paper bag! I was hooked by one scene in particular where Harris' Sheriff character explains to the increasingly sinister Prophet Josiah, exactly why geography brought him to this small town. Folks, it was Tarantino-esque.  This one should do pretty well if it gets a decent release.  RATING: 8 Wooden Crosses out of 10   

 
FRUITVALE
Official Sundance Synopsis:  Oscar Grant was a 22-year-old Bay Area resident who loved his friends, was generous to strangers, and had a hard time telling the truth to the mother of his beautiful daughter. He was scared and courageous and charming and raw, and as human as the community he was part of. That community paid attention to him, shouted on his behalf, and filmed him with their cell phones when BART officers, who were strong, intimidated, and acting in the way they thought they were supposed to behave around people like Oscar, shot him in cold blood at the Fruitvale subway stop on New Year’s Day in 2009.

Director Ryan Coogler makes an extraordinary directorial debut with this soulful account of the real-life event that horrified the nation. Featuring radiant performances by Melonie Diaz and Michael B. Jordan as Grant, a young man whose eyes were an open window into his soul, Fruitvale offers a barometer reading on the state of humanity in American society today.

My Quick Review:  I saw this one at a special "locals only" screening. This film won the festival's U.S. Grand Jury Prize. This was a pretty moving film, and you get the sense that this dude was on the cusp of changing his life around when he was struck down at that subway stop. That's not to say that the guy didn't have flaws, I mean, you can't spend the first three years of your daughter's life without some major flaws. But you just get that feeling that with another break or two, he was going to elevate things. Or at least become a productive member of society again. Michael B. Jordan had a moving run as the deeply conflicted Oscar Grant that may put him in line for an award or two in the future. This is probably going to be one of those "important" films that generate major buzz. Sometimes those types of movies (Amour for example) seem self-involved or only for the hoi palloi, but this one was just, plain good. RATING 9 Riots out of 10. 

AFTERNOON DELIGHT

Official Sundance Synopsis:  Rachel is a quick-witted and lovable, yet tightly coiled, thirtysomething steeped in the creative class of Los Angeles’s bohemian, affluent Silver Lake neighborhood. Everything looks just right—chic modernist home, successful husband, adorable child, and a hipster wardrobe. So why is she going out of her gourd with ennui? Plagued by purposelessness, Rachel visits a strip club to spice up her marriage and ends up meeting McKenna, a stripper whom she becomes obsessed with saving. She decides to adopt McKenna as her live-in nanny, and this bold move unleashes unimagined and colorful waves of change into her life and community. It becomes clear that Rachel is feverishly, desperately trying to save her own sense of who she is.

In a perfect storm of hilarious writing, performance, and direction, first-timer Jill Soloway pinpoints the ambivalence of privileged, educated women seduced by an idealized vision of marriage and motherhood, yet deadened by the stultifying realities of preschool auctions, lackluster sex lives, and careers that have gone kaput. Afternoon Delight compassionately revels in the existential trials of a Peter Pan generation battling too many choices, resisting adulthood, and distractedly tapping their iPhones instead of tuning in to what matters.  

My Quick Review:  Endend up seeing a lot of movies geared toward the ladies this year and this one was no different. Although much like Ass Backwards there were plenty of laughs and entertainment to be had for the fellas as well.  But don't get me wrong, while this was a laugh a minute kind of flick, it wasn't really a comedy.  It was actually a pretty dark film about a family and a mother that are crumbling before our very eyes. Kathryn Hahn was excellent as the wisecracking Rachel, but portrayed the more serious content with aplomb. The film took a daring approach to answering the old question, "How do you save someone that doesn't necessarily want or need saving?" It was an enjoyable end to the festival.  RATING 9 Yentas out of 10.

CONCLUSION:  Once again, the Sundance Film Festival provided a week and a half of ground-breaking, imaginative filmmaking. I feel luckier than hell to have this going on every year, right in my backyard!  Next year, we'll be making the trek up into the mountains to Park City to try and mingle with the upper crust. But for a film junkie, none of that shit really matters. Everybody should take advantage of the wonderful opportunity to support independent film making and the people that make it happen!

The Golf Monster's 2013 Film Rankings!
8. We Are What We Are
7. Fruitvale
6. Ass Backwards
5. S-VHS
4. Afternoon Delight
3. Sweetwater
2. The Summit
1. Hell Baby

GMMM-Sundance 2012 Part 2: A Wacky Doc, Homemade Surgery and A Couple Shorts!

Here we go with the next batch of reviews from The 2012 Sundance Film Festival! If you haven't read the first batch, click HERE. Today, I'm going to review two features and two shorts. Away we go!

ROOM 237

Directed by: Rodney Ascher

The best part about Sundance, is the wide variety of documentaries that play every year at the festival. In a given year anywhere from fifteen to thirty documentaries play, so there's a better than average chance that no matter what you are into, you are probably going to find something that piques your interest. With the special access to the directors through the normal post-screening Q&A sessions, you can get even deeper into the subject at hand than even what's on the screen.

I've been getting into Stanley Kubrick a lot lately. The guy had a fascinating career which lasted 48 years, but yielded only thirteen feature films before his passing in 1999. With incredible, sometimes bizarre imagery, experimental camera angles and bombastic storytelling, I almost look at all of his films as a work of art. Even Eyes Wide Shut. Hey, it was still nice to look at. The man built a reputation as a man with such incredible attention to detail, that almost nothing that ended up in his films was the result of an accident.

Such a reputation can lead one to almost see things that might or might not even be there, and almost nowhere in Kubrick's cannon outside of 2001: A Space Odyssey raises as many questions as his interpretation of Stephen King's classic tale of a family's descent into crazytown, The Shining. That's the subject of Rodney Ascher's documentary Room 237. He interviewed five Shining conspiracy theorists and weaved their story together in nine chapters. It was an exhaustive film to watch, but fascinating as well. Probably not for the reasons you're thinking, though. I'll expand on that a little later though.

One theory put forth is since there's a ton of Native American imagery in the film (anything from paintings on the wall, an abundance of Calumet baking powder in the pantry, various rugs and the fact that the famed Overlook hotel was supposedly built on a burial ground) and yet no actual Native American characters, then The Shining is merely a commentary on the American government's marginalization and mistreatment of the Native American people. Yet another keeps seeing the number "42" everywhere and also noticed Jack's typewriter was made by Adler, a German manufacturer. He posits that the film was a commentary on Nazi Germany and the holocaust.

The most bizarre theory though was posited by a guy named Jay who insisted that The Shining was Kubrick's way of confessing to the world that the United States faked the moon landing, and he shot the footage himself! He posits that they changed the name of the evil room from the book's 217 to 237 because the moon is 237,000 miles from earth (it's actually closer to 239,000, but don't let that stop you, Jay). He also notices that the carpet outside Room 237 where Danny is playing with his trucks looks like the Cape Canaveral launch complex. And of course, when Danny stands up, he's wearing an Apollo 11 knit sweater. I don't know about you, but I'm convinced.

When I see carpet like that I think either sex, or the Nyquil finally kicked in!

Other things thrown out there include the foreshadowing of Jack's horrific necrophiliac sex scene because the carpet of Room 237 resembles weens and vajeens. Another lady sees minotaurs around every corner. And of course, the only one that make even a lick of sense, that all the changes from the book that Kubrick brought to The Shining film was all pretty much a big "fuck you" to Stephen King. I'm a huge fan of famous people pissing matches.

To me though, the 800 pound gorilla in the room and the subject that wasn't even touched in the Q&A (I didn't get to ask my question) is the fact that this isn't a film about The Shining. This is a movie about obsession. The folks interviewed for this film are more obsessed with it than I've been obsessed with anything in my life. Listening to all of these interviews, it seemed obvious to me that all of these people are at least one taco short of a combination plate. Ascher said that all of his content was gained through phone interviews and emails. We never actually meet or see any of the subjects and I'm pretty sure if we had, just about everyone else would've come up with the same conclusion that I did. These are all crazy people. But in a way, I'm kinda glad that the documentary let me come to that conclusion on my own. Like The Shining, I guess it's all up to interpretation. If you like The Shining, you'll like this flick. And if you read Psychology Today, you'll like this flick. ~ Rating:  7 Heeeere's Johnny's out of 10

AND NOW, A SHORT REVIEW OF A SHORT:

LAZAROV:  In Soviet Russia, dead, skinned chicken shocked back to life peck YOU! What a country!

EXCISION

Directed By: Richard Bates Jr.

Starring: AnnaLynne McCord, Traci Lords, Ariel Winter, Roger Bart, Malcolm McDowell, John Waters, Marlee Matlin

Whoa! This one was fun. The night kicked off with the director, Richard Bates Jr. asking the audience to sing "Happy Birthday" to his producer. Then he gave the entire audience one of those Red Lobster cheese biscuits. Some real bigwigs must have been in the crowd for the midnight screening on the second to the last day of the festival to warrant that kind of bribery! He excitedly introduced the film and we got started.

This flick centers around a semi-frumpy high school girl named Pauline. Pauline is a little different from the other kids at school. She has these bloody, bizarre sexual daydreams that she discusses with her therapist/priest, played by John Waters. She asks weird questions in her sex-ed class and has a very antagonistic relationship with her math teacher, played by Malcolm McDowell. In fact, she doesn't really treat anybody, save for her sick sister Grace, with any respect at all. Kind of reminded me of the kid in Bobcat Goldthwait's instant classic, World's Greatest Dad.

WHISKEY TANGO FOXTROT??!!!

That being said, Pauline doesn't exactly get a very nurturing environment at home. Her mother, Phyllis, played by former porn starlet Traci Lords, in what could be a career defining role (if all that other stuff didn't define her career first), is the very definition of your stereotypical right-wing, ultrachristian, domineering mother that roams your nightmares. She completely dominates her husband, played meekly by Hostel II's Roger Bart. Phyllis is so driven to make Pauline into a "proper lady" that she results in pushing her further and further down the proverbial rabbit hole. Pauline's behavior got progressively more bizarre as the film went on, resulting in a climax that was so strange, that it must be seen to be believed. I can't even begin to describe it. Just think of four words, "surgery in the garage."

One of the things I wrote in my notes as the film progressed was that every known actor, save for Malcolm McDowell, seemed to be playing against type. AnnaLynne McCord looks nothing like a 90210 princess. John Waters as a priest? Yeesh! And then there's Traci Lords who is an absolute tour de force here. Very reminiscent of one of my favorite horror flick performances ever, that being Piper Laurie in Carrie. Hopefully, this will open some doors for her, because, believe it or not, she is a pretty capable actress. This movie was fun and some of the images will stick with you.  ~ Rating:  7 Red Wings out of 10

AND NOW, ANOTHER SHORT REVIEW OF A SHORT:

Kind of wish the filmmaker had had taken the hint.

ONCE IT STARTED IT COULD NOT END OTHERWISE:  Bunch of high school yearbook photos superimposed over pictures of what looks like an abandoned mental hospital zoom across the screen while creepy synth music plays. Kinda sucked.

I'll wrap up my Sundance coverage in a couple days!  Let me know what you think!

The Golf Monster's 2012 End Of The World Movie Rankings:
6. Once It Started It Could Not End Otherwise*
5. Lazarov*
4. Black Rock
3. Excision
2. Room 237
1. V/H/S
*Shorts

Golf Monster Movie Madness: 2012 Sundance Reviews Part 1

Welcome to Hollywood folks!  The 2012 Sundance Film Festival blew through Salt Lick, Park City and Ogden of all places last week, bringing with it swarms of Ugg boots, extra long lines at the coffee house and a traffic nightmare in Park City (more than five cars on the road). It also brought our first decent snowstorm of the year. This resulted in plenty of extra time off for your humble Golf Monster to watch a metric shitload of independent films, some of which, might wind up at a multiplex near you in the next year.

When the dust cleared, my buddy VodkaRob and I saw seven feature films and two shorts, nearly doubling the number of films we saw last year. The films ran the gamut from straight up horror to abstract art-house fare, with a wacky documentary thrown in for good measure. Since we saw so many, I'm going to split my reviews up into two or three parts to make them a little easier to digest. I'll give a little review and rate it for you. Hopefully ya'll get the chance to see some of these down the road. As always, THERE BE SPOILERS AHEAD!

BLACK ROCK
Starring:  Katie Aselton, Kate Bosworth, Lake Bell, Jay Paulson, Anslem Richardson, Will Bouvier

Directed by: Katie Aselton

DAMMIT! I hate it when I build something up to be better than it actually ends up being. Only to have it disappoint. When tickets first went on sale to the general public, this one was completely sold out. VodkaRob and I are huge fans of the incredibly raunchy FX show The League, about a bunch of whackaloons that play fantasy football and bust each other's balls. It's a lot funnier than that particular description would make you think, trust me. Anyway, Black Rock was written and directed by two of that show's stars, Katie Aselton and her husband Mark Duplass, who also happen to the two of the standard-bearers of the "mumblecore" indie film movement, so this was definitely a hot ticket. I decided that we had to see this flick, so I dragged my ass out of bed at 6:00AM the day of the show to be at the ticket office when it opened at 8:00 for a shot at some "last chance" tickets that typically get opened up that day. Evidently, half of this town had the same idea because the line snaked its way throughout the Trolley Square mall. Awesome, I love lines. After a solid three hour wait, I managed to snag two of the last tickets to the show. This ought to be good!

The line to get in to the theater stretched all the way to the end of the block by the time VodkaRob and I arrived. A bunch of us huddled in the cold around the quarter-inch speaker on my phone to listen to the Giants overtime win in the NFC Championship. We finally got into the building at about 8:30 and managed to find a couple seats. Sadly, and this is a first for pretty much every screening I've attended in the last eight years, this particular screening wasn't attended by any of the stars or crew. As I was saying last week, the unique thing about Sundance is the chance to interact with the director and stars. It wouldn't be our first disappointment of the night.

Despite the hoopla surrounding this flick (it was the first major film purchased at the festival this year), it fell pretty flat. The film follows three childhood friends as they reunite in their early 30's for a camping trip to an isolated island off the coast of Maine. Kate Bosworth's character, Sara, brings her old friends Abby (Aselton) and Lou (Bell) together for the first time since the latter two had a major falling out. It felt like they were trying for character development, but the sheer bitchiness of the characters did nothing to make me feel any real empathy towards them. They come across three dudes on the supposedly deserted island and proceed to get shitfaced drunk with them. That's when things get a little uncomfortable and a little rapey with Abby and one of the guys. When she accidentally kills the guy in self defense, his buddies force the ladies into a war of attrition to escape the island.

The movie kinda sucked, so here's a picture of Katie Aselton in a Brian Urlacher jersey to dull the pain.

In reading some interviews, Aselton and Duplass admitted that they wrote the screenplay in "about sixteen hours," and it definitely showed. The whole story felt rushed, the line delivery was wooden and stiff, and what little action there was seemed drawn out and a bit unrealistic. It didn't seem like anyone in this movie really gave a shit, let alone respected the "thriller" genre at all. I really wanted to like this movie, but in the end, it just wasn't very good. Still, it wasn't as bad as The Oregonian.  ~ Rating:  4 Sacko Bowls out of 10

V/H/S
Starring: Calvin Reeder, Lane Hughes, Adam Wingard, basically a bunch of people you've never heard of.

Directed by:  David Bruckner, Glen McQuaid, Joe Swanberg, Ti West, Adam Wingard, Radio Silence (A group of four dudes known for horror shorts on youtube)

A lot has been made in recent years about the "found footage" style of filmmaking. And there's something to be said for movies that can provide the scares of a big-budget horror flick and shoot it on cameras that you can pick up at your local hi-fi shop (do they even have those anymore?). Something about it makes it seem a little more real. And that can be pretty scary stuff. Say what you will about The Blair Witch Project, but they made it for something like ten bucks and scared a good chunk of its audience at the time SHITLESS. It also made millions of dollars despite the small original investment. It was pretty much the most profitable movie since Deep Throat back in the 70's. Others have tried to repeat that formula, and have mostly failed. And there's even been a few big-budget versions such as Cloverfield, and even Paranormal Activity, but rarely are they scary or thrilling, and mostly people just complain about the shaky camera work. That's not to say V/H/S doesn't have plenty of that, but it also has a shitload of genuine scares, thrills and fucked up imagery. That makes this the next great American horror anthology in the tradition of Creepshow, Tales From The Crypt, and Tales From The Darkside.

The film features five shorts loosely held together by a wraparound story. That story features a group of five guys that make mayhem videos and upload them to the internet. "What's a mayhem video?" you may ask. Well it's pretty much what the name implies, they tape themselves breaking into houses, smashing shit up, harassing pedestrians, you name it. Why anyone would want to watch that shit is beyond me. Oh wait, Jackass made millions at the theater, so yeah, I guess there's an audience for that. Anyway, they are hired by an unknown benefactor to break into this shifty looking house and steal a single VHS tape. They aren't told what is on the tape, only that "they'll know it when they see it." When they arrive at the house they find a dead body sitting in a chair, surrounded by static-y televisions, VCR's and hundreds of tapes. Logic would dictate that you grab a garbage bag, stuff all the tapes in it and get the hell outta dodge, but then again, it's plotholes like that that make the wraparound story the weakest part of the anthology in most cases. So they start watching tapes and they get progressively more jacked up the more they watch.

The first short, titled "Amateur Night" features the tale of three frat bros doing shit bros do. There might've even been some icing involved. They get the idea to rig up a minicam into a pair of eyeglasses so that one of them can film the evening's exploits completely through his point of view without anyone being the wiser. They pick up a couple ladies at the bar and retire to a local motel where more drunken shennanigans and some sexytime ensues. Sadly the fellas don't realize until it's too late that one of their objects of affection for the evening isn't exactly human and she proceeds to absolutely WRECK THEIR SHIT. This section, along with the beginning of the wraparound story moved a bit slow, but when it hit, it hit HARD. So much so, that when our eyeglass camera wearing buddy suffers a pretty gruesome injury, at least one person at the screening bolted from the theater and hurled all over the lobby.  GOOD TIMES!

Yeesh!

After a brief interlude with the wraparound characters, our mayhem loving friends popped in the second tape, titled, "Second Honeymoon." This one featured a newlywed couple road-tripping through Arizona on their honeymoon and for whatever reason, they decided to videotape the whole thing. They film everything from hiking the grand canyon to your typical dude ranch and ghost town touristy shit. The husband even attempted to film a little sexytime back at the motel and as he's being rebuffed, there's a knock at the door. He answers, closes and locks the door and is clearly shaken. He's no longer "in the mood" so they decide to turn the camera off and go to bed. When the camera comes back on in the middle of the night, that's when shit got creepy. Creepy enough to get a collective gasp from the entire theater, and a "Jeezus Christ!" outta me. The twist in this story came straight outta left field, and yes, there was some more blood spilled.

We return to the wraparound story briefly and I noticed something was a little different about the room where they were watching these tapes. They then inserted the third tape titled "Tuesday The 17th" which featured more douchey college kids doing more douchey college kid things in the woods. Christ, I hope I wasn't like that when I was in college. *reads back through some of my "Dorm Days" stories* ahem, forget everything I just said. Anyway, these kids are romping through the woods, smoking grass, skinny dipping and telling scary stories and videotaping it all when they realize they aren't alone out there. But one of them seems to know a little more about what is going on than the others. Then the camera starts to flicker, and people start dying.

"The Strange Thing That Happened To Emily When She Was Younger" was the penultimate short in this film and it might've been the most creative of the bunch. According to the director during the after-film Q&A, the entire segment was filmed and recorded with Skype. Pretty cool! This one features an attractive gal named Emily chatting over Skype with her boyfriend who is a couple states away in med-school. As their series of chats goes on, she starts hearing strange noises in her apartment. He can't see what's going on too clearly, but we can. HOLY SHIT CREEPY GHOST KID! For my money, there's nothing creepier than that! I clearly have issues. Anyway, the haunting continues as time goes on, and she starts developing these weird sores on her arm, and slipping more and more into crazytown. That's when things get even weirder, and like all the stories so far, there's a hint of a double-cross in there somewhere. This one was actually funny in parts and pretty chilling as well.

The wraparound story concludes in somewhat predictable fashion and finally we are treated to a final segment, titled "10-31-98." Directed by viral horror video sensations Radio Silence, who Ain't It Cool News described as the Broken Lizard of horror movies. This one follows a group of four guys on Halloween, 1998 (with one of them dressed as a nanny-cam) going to a party. Unfortunately, they take a wrong turn somewhere and end up at a giant house that seems empty, but all the doors are unlocked, and the lights are on. They roam throughout the house, thinking that they're going to stumble on a surprise party of sorts and instead stumble on what appears to be some kind of human sacrifice going on in the attic. At this point, the douchey guys decide to stop being douchey and start being heroes. And then all hell breaks loose. This Radio Silence group is going to do some great work down the road, as they created some pretty incredible effects on a shoestring budget. This flick ended on a high note and was pretty much my favorite horror film that I saw at the festival this year. This is one that definitely will see a wide release later this year. And then we can finally shovel some dirt on the found footage genre, because it's never going to be this good again.  ~ Rating:  8.5 Severed Limbs out of 10

This year, I'll review every film I see in the theater here on the blog and since this is America and we love lists, I'll rank them as time goes on.

The Golf Monster's 2012 End of the World Movie Rankings:
2. Black Rock
1. V/H/S

More Sundance reviews coming up in a couple days!