Alex Proyas is arguably (no!) IS the coolest sci-fi filmmaker out there that most people have never heard of… here, let me jog your memory. The Crow, Dark City, Garage Days, I Robot and coming soon Knowing.

Yep, that’s the guy that made all these cool movies. Proyas averaged four years between his first three movies and two years between Garage Days and I Robot, making him a director that takes him time to get his films right. I appreciate that!

Let’s go back in time for a minute. (Ha! Knowing pun intended.)

The Crow (1994) is just simply a masterpiece! ‘Nuff said. What a brilliant adaptation of James O’Barr’s graphic novel and so well done. Visually, the only way to have done this film more justice would have (maybe) been to shoot it ‘Sin City’ style to further emphasize the graphic novel feel, but honestly, the judgement is still out on that one. I love it the way it is. Brandon lee was incredible and, despite his unfortunate and untimely death, had given his best performance and proved to mass audiences that he would have been a stellar action star and very possibly become a serious actor.

Dark City (1998) is a film that, better than any other, perfectly melds the genres of science-fiction and film noir. What a great concept that is and an even better movie it became. This just recently got a Director’s Cut DVD re-release (finally) and deserves to be seen multiple times. Again, visually an incredible film and Jack Bauer, I mean, Kiefer Sutherland even did a decent job. Dark City also stars Rufus Sewell and William Hurt. The movie is dark and gritty, dismally beautiful and had some nifty special FX for the time it was made. If you haven’t seen it, what the heck are you waiting for?

Garage Days (2002) is the one movie, guaranteed, that most people are thinking “Huh?” This little gem totally slipped under the radar for most as it’s theatrical play was extremely limited. What’s intriguing is that Garage Days may be visually Proyas’ best achievement so far. The movie is about an Australian punk garage band who bomb miserably during their first “gig” and the lead singer sets out on a journey to find the “best” manager. A great comedy, somewhat in the style of Trainspotting and a fun rock-n-roll movie to boot. If you haven’t seen it yet, go out and rent it… NOW!

I, Robot is easily Proyas’ most recognizable film, but even with that said, I promise most people probably have no idea who directed it. Yeah, it was Proyas. Imagine that? Based on Isaac Asimov’s story, the movie stars Will Smith and is a smart science-fiction/action movie that doesn’t get dumbed down and is a rare example of how a movie like this can survive the Hollywood machine that often ruins great stories.

Knowing is his newest movie and comes out in theaters on March 20, 2009. The movie stars Nicolas Cage and Rose Byrne. I’m intrigued to find out how Proyas’ manages to use Cage and whether Cage works in the role or not, seeing as he always plays, well… Nic Cage. To read more about the movie, check out my original post here and watch the trailer here.

Now that you’re up to speed on the past works of Alex Proyas, you may be asking what he has in the works. Good question! He’s got three projects on his plate currently, two of which he’s moving forward on and one that he’s optioned.

Dracula Year Zero – (Est. 2011) Vampire mythology combined with the true history of Prince Vlad tell the origin of Dracula. A script has been written and the movie is currently in the budgeting phase.

The Tripods – (Est. 2012) Beings known as the Tripods have conquered Earth and turned the human race into slaves by implanting everyone over the age of 14 with a mind-control device. 13-year-old Will Parker and his friends, however, plot to defeat the Tripods before a humans are no more. Currently in development with a script either written or being written, based on the books by John Christopher.

The Unpleasant Profession of Jonathan Hoag – (Est. 2011) The story focuses on a man who realises that he cannot remember what he does for a living. He recounts his problems to a husband-and-wife detective team who subsequently uncover a series of revelations about their client. This is an optioned property, based on the novella by science fiction author Robert A. Heinlein.

Tao Ruspoli is a talented man, an Italian-American filmmaker, though he was born in Thailand and raised in Rome.  

He is also the founder of LAFCO, The Los Angeles Filmmakers Cooperative, which operates out of a school bus that has been converted into a mobile production house, complete with editing bays, a library, and room enough to sleep five people comfortably. With an array of talented artists, Ruspoli and LAFCO have worked on several features, documentaries and music videos.

I was lucky enough to screen two new films from this inspiring group.

‘BEHIND THE WHEEL’ is the story of The LAFCO Bus as it travels from Los Angeles to New York City. It’s a documentary about art as activism, politics and underground culture.

I think this is as important a film as I have ever watched, like a window into parts of America rarely seen by eyes outside of the communities it explores. It has the meditative beauty of Herzog’s best documentary work, but it crackles with an energy and compassion all its own. If you’re lucky, you can siphon a little bit of this energy for yourself. Just make sure you spread the love.

Make sure to check the film’s blog for screener updates:

http://behindthewheelmovie.blogspot.com/

‘FIX’

‘FIX’ is a narrative feature by Tao Ruspoli. It chronicles the events of a single day in Los Angeles as a trio speeds around the city trying to raise the $5,000 needed to get Leo into rehab by 8PM†¦ or he goes to jail for three years.  

Stellar performances abound, especially from Shawn Andrews as Leo. He’s magnetic and reprehensible. The performance is a tour de force of manic addiction and reckless abandon. The cinematography is all cinà ©ma và ©rità ©, mesmerizing in its complete control of the chaos it records. It is a compelling film with a sucker punch of an ending, but most of all it feels like what you are witnessing is truth: You never think that this is not happening. This movie has an infectious life all its own and Ruspoli speaks with such a distinctive voice that it really feels like nothing you’ve ever seen before.

for upcoming screenings:

http://fixthemovie.blogspot.com/

This is the true independent cinema. This is the real deal. I urge you to find these movies and support them; they are the next step in the evolution of American cinema.

The emerging talent promised in these films feels so vital, so sincere, that it is almost heartbreaking, all the more so because this talent screams with a blistering optimism rarely found in post-modern film.

  

Want to learn more?
http://www.ruspoli.com
http://www.youtube.com/user/ruspoli
http://www.lafco.tv

Everyone’s heard of, if not seen the Nightmare on Elm Streetmovies, featuring the sharp-tongued, joke-cracking serial killer of your dreams Freddy Krueger. You could probably say the same about the Screammovies as well. While these two franchises are both huge, how many of us [especially the younger generations] are familiar with Wes Craven’s earlier films… the ones that first  earned him his street cred as a horror filmmaker?

The Last House on the Left (1972) was Wes Craven’s feature film debut and did he ever enter into “the Biz” with a bang! The movie follows two teenage girls who are going to attend a rock concert as a birthday celebration. Along the way, the girls decide to try and score some weed to enhance the experience, but manage to get themselves kidnapped by a gang of psychopaths who’re looking for a little fun of their own. This is by far Craven’s most raw and emotionally charged film to date, evoking extreme feelings of fear and helplessness as the kidnappers continue to torture the girls in ways that become difficult to watch. The film was so controversial, it was banned several times in the UK and still remains one of the most terrifying  movie watching  experiences a person can have.

The Hills Have Eyes (1977) is a fairly well-known and highly appreciated classic in the genre, having clearly influenced recent films with similar concepts. A retired detective and his family are traveling through the California desert with their trailer when they stop for gas at a small stereotypical service station and the attendant warns them to stay on the main road. Of course, the family doesn’t heed his warning and they take a shortcut past a nuclear testing site. They soon wish they had listened to the man when they wreck their vehicle and end up stranded in the middle of the desert. Bob sets out to seek help, but is captured by a twisted, deranged family of cannibalistic killers deformed by local radiation. Trapped by the murderous maniacs, Bob and his family must fight to survive while they try to somehow escape the family’s unwelcome dinner plans. The Hills Have Eyes   has withstood the test of time and has spawned sequels, remakes and similar films from other directors.

Deadly Blessing (1981) is a great little psychological horror film that few are likely to remember and fewer still have likely seen. The movie is center on a small rural town of Hittite’s, a strange Amish-like sect with a cult appeal. When a farmer is mysteriously killed by his tractor, his wife finds herself the victim of some unknown terror. Despite the film’s lack of acknowledgement, Craven is really on top of his game here, directing this eerily terrifying story through some great scenes of shock and suspense. Deadly Blessing   is an early film of Sharon Stone and also features Ernest Borgnine and genre regular Michael Berryman. The cinematography and the score by James Horner do an amazing number on the mind as the film progresses to an unexpected ending. It’s clear that Craven had a fascination with psychological horror and nightmares, even from this movie.

Swamp Thing (1982) is a personal favorite of mine. This was an early comic book adaptation, before comic books became a popular source of material in Hollywood. Unlike it’s tongue-in-cheek sequel, the original Swamp Thing   is a serious film that has has a Victorian feel to it, presenting it’s subtle horror in a fashion reminiscent of the Hammer Horror films from the 70′s. It’s fitting that Craven would choose a reluctant superhero character from the Marvel repertoire such as Swamp Thing, whose story is similar in theme to the Incredible Hulk.

Craven did the film justice by turning the environment and atmosphere in which  Swamp Thing  dwells into part of the character. Craven didn’t rely on elaborate special FX, developing a simple but effective design for Swamp Thing and relying on the actors and the locations to create the remainder of the film’s creepiness. Ultimately, this is a love story, but what good super hero character doesn’t have a love interest?

Of course, 1984 would prove to be Wes Craven’s biggest breakthrough in horror with his Nightmare on Elm Street movie, which would spawn one of the biggest horror franchises in history. Granted, he would not direct another Nightmare movie for ten years, when he returned to the franchise to make New Nightmare, a sort of crossover between the story and the reality of those characters  making the Nightmaremovies. A cool concept that works fairly well, but certainly not my favorite Freddy Krueger outing.

Now with massive success under his belt (and buku bucks, I’m sure), Craven tends to spend as much time producing as he does directing. I’ve liked a lot of his newer films, but what I’d really like to see is something new that has him working from the more extreme source of inspiration that got him going in the first place… just, not a remake!

[Jane Campion was born in Wellington, New Zealand, and now lives in Sydney, New South Wales, Australia. Having graduated with a BA in Anthropology from Victoria University of Wellington in 1975, and a BA, with a painting major, at Sydney College of the Arts in 1979, she began filmmaking in the early 1980s, attending the Australian School of Film and Television. She co-wrote and directed her first feature film, Sweetie (1989), which won the Georges Sadoul prize in 1989 for Best Foreign Film, as well as the LA Film Critics' New Generation Award in 1990, the American Independent Spirit Award for Best Foreign Feature, and the Australian Critics' Award for Best Film, Best Director and Best Actress.] — IMDB.com

An Angel at My Table (1990) –  Originally a TV mini-series, also made by Campion, this film tells the true story of author Janet Frame. Janet is one of several children in her family and grows up poor and struggling. Janet is seen as “different” from the others, which makes life even more difficult for her. Janet acquires an education as a teacher, but due to her being “different” she is seen as unfit and is committed into an institute for the mentally disturbed. She spends eight long years in the hospital, but manages to find success through the writing of her books. Kerry Fox is excellent as Janet Frame and  Jane Campion shines in here sophomore feature film.

The Piano (1993) — Holly Hunter and Harvey Keitel shine in this tour de force film from Campion, which is perhaps her best to date. In fact, this film has an incredibly talented cast of stellar performances. Ada (Hunter) is a young mute woman and single mother whose passion in life is her beloved piano. She leaves her home in Scotland with her daughter Flora (Anna Paquin)  and her piano and travels to New Zealand to make good on an arranged marriage with Alisdair (Sam Neill). Ada soon discovers she’s traded in her old life for an unsatisfying marriage to a man who doesn’t understand her, living in the rough wilderness of New Zealand. Her only solace if her piano, but when Alisdair sells the piano to  their neighbor George,  she finds herself truly lost. George (Harvey Keitel) offers Ada a deal to regain possession of her piano in exchange for piano lessons and more, which at first repulses Ada. After some time, Ada finds herself falling for George, presenting a dilemma which could result in devastating consequences. ‘The Piano’ won three Oscars.

The Portrait of a Lady (1996) — Remaining true to her “down under” roots, Campion cast Aussie Nicole Kidman as Isabel Archer in this rich and seedy period piece about the American heiress who travels to Europe to explore and experience. While in Europe, she meets several seemingly trustworthy characters who prove to be little more than scam artists. Madame Merle (Barbara Hershey) befriends Isabel only to deceive her into marrying art collector Gilbert Osmond (John Malkovich). She soon learns that she’s little more than a trophy wife to Gilbert and that others around her are simply vying for her fortune. Isabel eventually escapes Gilbert and her failed attempt to “find herself” but ultimately finds what she’s looking for once she returns home, resulting in a bittersweet ending. The cast is well-rounded, including great supporting performances from Mary Louise-Parker, Shelley Winters, Shelley Duvall, Richard E. Grant, Christian Bale and Viggo Mortenson. This follow-up film to ‘The Piano’ garnered two Oscar nominations.

Holy Smoke (1999) — This film offered something of a change-up from Campion, straying from the period pieces she’d created prior. Kate Winslet stars as Ruth Barron in this more modern tale of a woman searching for herself. This time Ruth travels to India looking for answers and finds herself enamoured by a young guru. Ruth’s parents, concerned about her involvement with what they fear is a cult, hire a professional named P.J. Waters (Harvey Keitel) who is charged with retrieving Ruth from India, but ultimately finds he’s met his match. Campion offers a more provocative, intense story that is brilliantly smart and daring. ‘Holy Smoke’ marks a sort of breaking out for Jane Campion, whose work has always been stellar but with this film experiences a new sort of freedom.

[George Hickenlooper graduated from Yale University in 1986. He was born on May 25, 1963 in St. Louis, Missouri and raised there, Boston, and San Francisco. His interest in film began in childhood and stemmed from his great-uncle's (Leopold Stokowski) involvement in the movie Fantasia (1940). Hickenlooper's interest also bloomed from his father being a playwright and his mother starting a guerrilla theater troop, which would protest the Vietnam War. Both of his parents told him the techniques of story telling whether to make an aesthetic or political point. Hickenlooper's first short Super 8mm films were animated and made with this grammar school friend Kirk Wise who, years later, would go on to direct Beauty and the Beast (1991) for Walt Disney. While attending a Jesuit high school, Hickenlooper turned to live action short filmmaking. Many of those shorts (Telefission, A Day in the Life, A Black and White Film, and The Revenant) were premiered on Public Television in St. Louis and Kansas City. Hickenlooper spent one summer studying at the USC School of Cinema and Television, and then went on to Yale for a B.A. in History and Film Studies. After graduating, Hickenlooper interned for producer Roger Corman and in 1991 authored the book Reel Conversations (Citadel Press), a collection of interviews with film directors and critics. Hickenlooper made his professional directing debut with Art, Acting, and the Suicide Chair: Dennis Hopper (1988) (TV), a short documentary about Dennis Hopper. However, he made his breakthrough when he premiered Hearts of Darkness: A Filmmaker's Apocalypse (1991), the internationally acclaimed documentary about the making of Apocalypse Now (1979), at the Cannes Film Festival.] – IMDB.com

OK, I apologize for the shear length of this mini-bio, but I just simply find this filmmaker to be an absolutely fascinating individual… plus, he’s a hometown boy from my ‘hood. Oh yeah, I am also shamefully behind on the Meet the Makers feature, so to any of you who actually read this monthly feature of mine, I sincerely apologize for totally slacking off over the last month or so.

Hearts of Darkness: A Filmmaker’s Apocalypse (1991) — My God, what an amazing piece of documentary filmmaking! Easily in my Top 5 picks of all time for documentary features, this film is a milestone in the relatively small and less popular sub-genre of docu-films on the making of non-docu-films. The movie is both intensely dramatic, occasionally candid and humorous, unflinchingly honest and often difficult to watch (in a good way). For the longest time this movie was incredibly hard to come by and, much to my chagrin, not a single version of the ‘Apocalypse Now’ DVD ever included this film with its extras. ‘Hearts of Darkness’ is the telling of the story behind the making of Francis Ford Coppola’s epic war film ‘Apocalypse Now.’ The DVD finally came out in November of 2007. Granted, I must give due credit in stating that Hickenlooper co-wrote, co-directed this film with Fax Bahr, but they both accomplished one helluva achievement.

The Low Life (1995) — Considered by some to be a somewhat depressing, often difficult to watch film about a group of helpless losers, I found this movie oddly intriguing and in some strange ways very honest about many things that many of us can relate to, but refuse to admit. The film stars Rory Cochrane, Kyra Sedgwick, Sean Astin, Ron Livingston and James LeGros. The film is well-acted and equally well-directed. This is a true indie film that doesn’t pander to the Hollywood standards of phony filmmaking.

The Big Brass Ring (1999) — Hickenlooper first made this as a short film by the same name (1997) which is actually based upon an earlier version of the script written by none other than Orsen Welles. The film was shot in three locations… Alhambra, California; Alton, Illinois; and Saint Louis, Missouri. The story follows a politician names Blake Pellarin, who is campaigning for office. While on the campaign trail, he makes a stop in Saint Louis. While there, Pellarin becomes burdened with the secrets of his past and must deal with the possibility of these parts of his past ruining his chances of winning the election. Surprisingly, the film never got a theatrical release. The film stars William Hurt in an under-appreciated great performance as Pelklarin, along side Miranda Richardson and Nigel Hawthorne.

Factory Girl (2006) — Hickenlooper’s latest film, it follows the rise and fall of Edie Sedgwick, played by the attractive young starlett Sienna Miller. Sedgwick was a small-town girl with big city aspirations. She goes out to New York and manages to fall into favor with Andy Warhol and his group of artistic social abnormalities, who all take her in and promise to make her the next big thing. Edie finds herself living large as they do manage to develop her into an icon of the sixties, but not necessarily always in the way she’d imagined. Before long, Edie finds herself losing touch with reality and losing her money, fame and friends even faster. Eventually, Edie has lost everything and ends up lower than where she began. She ended up dying an untimely, unfortunate death. This film does a fine job of depicting the fascinating journey she took, painting a portrait of this troubled woman that is part Mona Lisa and part Dorian Gray. The film also stars Guy Pearce as Andy Warhol, Hayden Christensen, Jimmy Fallon, Mena Suvari and Illeana Douglas.

Maddin is one of the most original and creative indie directors working today. It is true that his films often weigh heavily on the side of the depressing, and many are so unique that the general viewing audiences aren’t likely to get or appreciate his films, but he’s an appreciated favorite of many film buffs like myself for doing his own thing without any apologies. Maddin’s newest film is the docu-fantasy My Winnepeg, which made its US festival debut in April 2008. Unfortunately, It may be some time before we in the Midwest get a glimpse. Featured here is a small taste of what this Canadian filmmaker has to offer movie geeks with a more adventurous cinematic palate …

[Guy Maddin (born February 28, 1956) is a Canadian screenwriter and director of both features and short films from Winnipeg, Manitoba. While Maddin strives to recreate the styles and moods of early film melodramas, Weimar Republic German silent films, and 1920s Soviet agit-prop, his own distinct personal style lies in his use of clichà ©s, psychosexual situations, bizarre stories and humor. It is this self-conscious and surreal merging of early film-making techniques with a post-modern sensibility that give Maddin's films their distinct style. His film education came not with any formal training at a trade school, but with endless weekends of watching films with close friends John Paizs and Steve Snyder. Soon realizing that Paizs was making films and Snyder was teaching production at the University of Manitoba, Maddin eventually decided that he needed to put his own knowledge to work and step behind the camera.] — Wikipedia

Tales From the Gimli Hospital (1988) — This black and white picture begins with two children visiting their mother in the Gimli hospital, whereas their grandmother tells them a story of the hospital set many many ago. From here, the movie takes place in the long-ago Gimli and tells of two men (Einar and Gunnar) admitted to the hospital, each of them vying for the affection of the nurses. The two men have become friends, but as their rivalry over the nurse’s attention becomes more heated their friendship begins to fall apart, ultimately leading to tragedy. The film stars Kyle McCulloch, Michael Gottli and Angela Heck.

Careful (1992) — This is one of those films I mentioned that will likely only find appreciation from those with open minds for artistic storytelling. Set in the village of Tolzbad, situated in the Alpines, the story takes place at the turn of the century. The town’s people live in fear of destructive avalanches, forcing them to live quiet, uneventful lives. The film focuses on two relationships, a boy and his mother and a man and his daughter, both of which take on an eerie Oedipus-like quality. The film is shot with the intention of replicating the audio-visual qualities of early German cinema. The film stars Kyle McCulloch, Brent Neale, Sarah Neville, Paul Cox, Victor Cowie and Gosia Dobrowolska.

Twilight of the Ice Nymphs (1997) — Even though I really enjoyed this film, I will admit it’s not one of his “best” … in fact, its quite different from his usual fare. Twilight is a dark fantasy, but is beautifully photographed in dream-like colors. The story follows Peter, a former prisoner, who returns home to Mandragora, a mythical land where the sun never sets. On his journey home, he meets Julianna, a mysterious woman and falls in love. When he gets home to the family farm he finds his sister Amelia, Julianna and a local widow all under the influence of Dr. Solti, who is obsessed with a statue of Venus that holds magical powers. The film stars Shelley Duvall, Pascale Bussieres, Frank Groshin, Ross McMillan, Alice Krige and R.H. Thomson.

The Saddest Music in the World (2003) — Once again shot in Maddin’s trademark style, mimicking cinema of the 20′s and 30′s, this part-musical melodrama tells the tale of a legless baroness who announces a competition for the saddest song in the world. Set during the Great Depression and on the brink of prohibition, she hopes this will spur increased sales of her brewery’s beer. Musicians from around the world attend to compete, but the story quickly turns in the direction of a bitter rivalry within one family, involving a multi-faceted tangle of intimate relationships and affairs. The films stars Isabella Rossellini, Mark McKinney, Maria de Medeiros, David Fox and Ross McMillan.

I normally attach a mini-bio of the filmmaker here, but I had trouble finding anything. So, I’ll fill in the empty space with a couple of YouTube trailers. Why? Well, you’ll find that Becker’s early films are extremely difficult to come by. If you’re lucky, you may stumble upon an old VHS rental copy, but only his newer films are available on DVD. His popularity amongst fans grew exponentially with his involvement as a director on the popular shows Jack of All Trades and Xena: Warrior Princess. His two newest directorial productions have been TV movies … one being the Sci-Fi Channel original movie Alien Apocalypse (2005), which has the honor of being the highest rated Sci-Fi Channel movie to date. The other is Stan Lee’s Harpies (2007). However, Josh Becker’s true genius [if I may say so] is found in his earlier films …

Stryker’s War (1985) — Also known as Thou Shall Not Kill … Except, the movie follows Jack Stryker, a Vietnam War vet who returns home to live a peaceful life with his girlfriend. Unfortunately, Jack finds his girlfriend is missing and her grandfather has been brutally murdered by an evil cult led by Sam Raimi, whose followers believe him to be Jesus. As the cult reigns out of control, violently sacrificing the locals, Stryker decides he must do something. He gathers his army buddies from the war and with a stash of weapons wages battle against the cult. Some will find the production quality reminiscent of the 70′s but those who watch intently will see the beginnings of a talented, yet under-appreciated filmmaker at work on his first feature film.

Lunatics: A Love Story (1991) — Another film of Becker’s which is somewhat difficult to get, however I do find a few VHS copies are regularly available on eBay. This romantic comedy is not what you’d typically think of seeing in theaters today, but plenty of imagination and creativity, further emphasizing the talent possessed by Becker. Ted Raimi plays Hank Stone, an odd reclusive poet that’s locked himself in his apartment for six months. Hank suffers from an array of phobias and lives in the worst neighborhood. He ends up meeting Nancy (Deborah Foreman) by accident after she is mistakenly invited to Hank’s place through a telephone glitch. The film is rough in its production, but showcases Becker as a man who could do so much more if given the budget. [By the way, Bruce Campbell also stars in this film.]

Running Time (1997) — Definitely my favorite film from Josh Becker, but not for the most obvious reasons. There’s no question that its technically superior to his first two films, but I like it because of what its accomplished. Running Time is the first film since Hitchcock’s Rope to tell an entire feature-length story in one single take.* This movie stars Bruce Campbell as Carl, an ex-con who’s spent ten years in jail panning the perfect heist. Once he’s released, he meets up with a high school buddy (Jeremy Roberts) and a hooker as a gift and they put together a team to make their big score. With everything in place, they have 20 minutes to pull off the job. Carl falls for the hooker, but as the job falls apart he may only get the girl. Its a must-see for any movie geek and Hallelujah … its available on DVD!

[*Technically speaking, its a first all its own. When Hitchcock made Rope, he was limited to the technology of film at that time. No company made reels of stock negative long enough to shoot an entire film back then, so Hitchcock had to use multiple reels equaling feature length. He got around this by strategically planning his camera movements so that when he reached the end of the reel he would, for example, move in very close to an actor's dark suit. This would then allow him to move out from some equally dark object at the beginning of the next reel to mask his cuts. Becker, on the other hand, had the advantage of digital video, allowing him to truly make the first feature film in one single take.]

If I Had a Hammer (1999) — I end this edition of Meet the Makers with Josh Becker’s least-known, but arguably best film. That’s right … this one isn’t even available on VHS because it has never found a means of distribution. So, how did I see it? The same way you can … on YouTube. Unfortunately, the film is split into 16 parts as an entire feature film won’t fit in a single YouTube post. The film, shot on 35mm and starring a cast of unknowns, follows two main characters and tells a story about the end of the folk music movement. The film is entirely character-driven and offers some truly great scenes unlike anything you see in most movies today. As an indie film, it still surprises audiences as music and performances play a major part in its structure. Not everyone is likely to have the patience for this film, but for those who do … its worth it. You may have to work for this one, but I found the payoff made the work a good investment. [If you're up for the work, search on YouTube for "if i had a hammer becker" and all 16 parts will pop up at the top of your search results. Enjoy ...]

[A bright child, he begins reading novels before age 9. Williams grad, in 1972 shuns corporate career to work various blue collar jobs. Goes to East Boston to take a factory job. Writes stories submitted to magazines for publication. "Atlantic Monthly" replies with idea of making one into a novel -- "Pride of the Bimbos" is published 1975. In late 70s, works for Roger Corman as screenwriter. Takes part of writing wages, hires friends, shoots Return of the Secaucus Seven, in 25 days. Then has trouble financing films, for he won't trade right of final cut for funding. Baby, It's You (1983), Sayles' only film made under studio control. Tax-free income of $32,000/year for 5 years starts 1983 from MacArthur Foundation Fellowship. Stipend and money from writing scripts like The Clan of the Cave Bear (1986), Enormous Changes at the Last Minute (1983), Breaking In (1989), are put into the films he writes, directs, and edits.] — IMDB.com

Brother From Another Planet (1984) … in this parable of the American immigrant experience, Joe Morton plays “The Brother,” an escaped alien slave who crash lands in New York City. He’s a humanoid being that resembles an African-American man, but with strange feet, he’s mute but can understand what people are saying and has a special ability to fix anything. As he attempts to fit into the neighborhood of Harlem, he makes some friends, but is also being tracked by alien bounty hunters. The film is original and also offers some social commentary while telling a thoughtful story.

Matewan (1987) … very possibly could make my list of favorite films, this period piece takes place in 1920 West Virginia. Mingo County coal miners are trying to form a union, but find themselves in a heated battle with the giant company, who hire gun-toting muscle men to influence them to drop their efforts. When the company brings in African-American and Italian-American workers to off-set the strike, they find themselves caught in the middle. Union activist Joe Kenehan, played by Chris Cooper, decides to bring together the three different groups of workers to force the formation of a union. The cast also includes James Earl Jones, Mary McDonnell and David Strathaim.

Eight Men Out (1988) … in my opinion, one of the top five baseball movies of all time. The film tells the story of the Chicago Black Sox and the infamous 1919 World Series, thrown by the team for bribes. As a teenager, I fell in love with the concept that “Shoeless” Joe Jackson represented in the game. Jackson and “Buck” Weaver were the only two teammates that refused the bribes. While it is a fictionalized interpretation, the movie does still hold valuable historical insight for the sport. The cast includes John Cusack, Christopher Lloyd, Charlie Sheen, John Mahoney and D.B. Sweeney.

Lone Star (1996) … this murder-mystery is set in Rio County, Texas and once again stars Chris Cooper as Sheriff Sam Deeds, who must investigate a 40-year old skeleton found in the desert. As Deeds slowly uncovers bits and pieces of this mystery, he begins to also discover some deeper, darker secrets hidden within the town. The film’s smart, engaging plot and well-developed characters is accompanied by Sayle’s exploration of human interactions.

Other Great Films from John Sayles:

When “David Cronenberg” is uttered, of the people who recognize his name, most will associate him with his most recent and more widely appealing films like A History of Violence and Eastern Promises. Within this group of movie-watchers, many will recall his more recognizable films like The Fly and Dead Zone. If we dig even deeper, some of these film enthusiasts will even acknowledge an awareness of more controversial films like Naked Lunch and Videodrome. However, only the true movie geeks will be familiar with his early works, which ultimately defined Cronenberg’s later work to a very influential extent …

[David Cronenberg, also known as the King of Venereal Horror or the Baron of blood, was born in Toronto, Ontario, Canada, in 1943. His father was a journalist, and his mother was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father's path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department.] — IMDB.com

Shivers (1975) marked Cronenberg’s entry into the world of serious film-making, also propelling him quickly into a cult status rivaled by few. Shivers revolves around a high-rise apartment building and its tenants, who become crazed nymphomaniacs after being infected by a genetically engineered parasite developed by a scientist living in the building. The tenants are now obsessed with spreading this parasite via any possible sexually transmitted method possible. Shivers would be the first in a line of films dealing with a favorite theme of Cronenberg’s … our fears of our own bodies and sexuality.

Rabid (1977) continues this theme of Cronenberg’s curiosity towards the human paradox of sexual lust and tension. Rabid stars Marilyn Chambers (Behind the Green Door) as Rose, a woman who finds herself craving human blood after completing an experimental plastic surgery. As she continues to indulge her urges, her victims are turning into rabid zombies who also crave blood, seeking out victims who in turn become infected, leading to a large-scale epidemic. Cronenberg created a new version of the vampire/zombie flick that is still very engaging and freaky.

The Brood (1979) is Cronenberg’s third film in a thread dealing with a correlation between the human body, sexual tendencies and the human fear of bodily mutation. The Brood tells the tale of a woman who is seeking treatment from a mysteriously secretive psychiatrist. Once her husband finds bruises on their daughter, he attempts to ban any further contact between his daughter and her mother, but experiences resistance from the shrink. The husband begins to suspect very strange and dangerous connections to the psychiatrist’s techniques after the woman’s parents are brutally attacked by a brood of grotesquely mutated children.

[US-born actor, director, writer, musician, and composer best known for his hilarious mockumentaries, poking fun at heavy metal music, small town theater, dog shows and folk music. Christopher Haden-Guest was born February 5th, 1948, in New York City to an American mother and a British father, Peter Haden-Guest, the fourth Baron of Saling in the County of Essex. Guest is married to well-known actress Jamie Lee Curtis with two children, Anne and Thomas, plus he is the brother of actor Nicholas Guest.] — IMDB.com

After appearing in several movies in minor roles, Guest played the lead guitarist Nigel Tufnel in Rob Reiner’s rockumentary This is Spinal Tap (1984), followed by a few seasons as a regular on Saturday Night Live.

Christopher Guest’s first feature film as a director, and easily my favorite, is The Big Picture (1989). The film stars Kevin Bacon as Nick Chapman, a film school graduate who is trying to break into Hollywood after his short film received critical acclaim. Nick quickly learns that getting your foot in the door one thing, but making a career of it is an entirely different beast. Nick soon finds himself giving in to the Hollywood machine, one piece at a time. As a result, Nick and his film gradually become something completely different than he had ever desired. The Big Picture is not a mockumentary, but it is a darkly humorous story that clearly says a little something about Guest’s opinion of mainstream Hollywood and the people who run the business of movies.

Christopher Guest didn’t create the mockumentary genre, but he is basically the the man who knows it best. With This is Spinal Tap, Guest didn’t direct the film, but he did co-write and star. Clearly an influence on where he would take his career, Guest would go on to make four mockumentary films and only two traditional feature films, The Big Picture and Almost Heroes.

Waiting for Guffman (1996) stars Christopher Guest as Corky St. Clair, as eccentric wanna-be theatre director who pulls some naive residents of Blaine, Missouri together to produce a stage performance on the history of their town. The rag-tag group of actors actually believe they have talents and abilities that could send them to Broadway, as they eagerly await the arrival of Mr. Guffman, a New York theatre critic invited by Corky to view their production. This would be Guest’s first run as director of an ensemble mockumentary that features highly talented comedians ad-libbing and improving with merely more than than general story outline as their guide.

Best in Show (2000) takes the same mockumentary formula and applies it successfully to the world of professional dog shows. Guest directs and again stars as well, this time as a man showing his bloodhound. The film also marks the return of many actors from Waiting for Guffman, starting what would become a regular ensemble crew of comedic thespians in all four of Guest’s fake documentaries. Some of these regulars include: Eugene Levy, Parker Posey, Catherine O’Hara, Michael McKean and John Michael Higgins.

A Mighty Wind (2003) is a similar use of this new style as Best in Show, except this time the formula is transplanted into the world of folk music. The movie centers on a Woodstock-like reunion of once-were, has-been and never-was folk singers and bands as they come together to lay and reminisce. The result is a humorous look into a culture we normally don’t think much about, but doesn’t quite have the same punch as Guest’s first two outings in this genre.

For Your Consideration (2006) was Guest’s last film in this style, which is a sort of Hollywood take on the Waiting for Guffman concept of minimally talented actors succumbing to their delusions of grandeur as the cast of a small, mediocre film gets wind of a rumor they are in the running for Oscar nominations.

Its unclear whether Christopher Guest will once again return to this style of comedy that is a strange mix of fiction and reality. What is clear is that the success of his films has sparked a few other film-makers to try their hand at the same style of comedy, from Peter Jackson’s Forgotten Silver to the immensely popular and controversial Borat.

[A very talented painter, Kathryn spent two years at the San Francisco Art Institute. At 20, she won a scholarship to the Whitney Museum's Independent Study Program. She was given a studio in a former Offtrack Betting building, literally in a vault, where she made art and waited to be criticized by people like Richard Serra, Robert Rauschenberg and Susan Sontag. She later graduated from Columbia's Film School. She was also a member of the British avant-garde cultural group, Art and Language. Kathryn is the only child of the manager of a paint factory and a librarian.] — IMDB.com

You may be wondering why I’m highlighting this film-maker. Look to your left and you’ll see the first, and perhaps most significant reason. Bigelow directed Near Dark (1987), which I personally consider to be one of the best vampire movies ever made. Sure, some of you out there may disagree, perhaps even shun my name, but when it comes to vampire films that are both original and lots of fun to watch, few are as successful as this. The cast is great, featuring Lance Henriksen, Bill Paxton and Adrian Pasdar, not to mention Jenette Goldstein (aka Private Vasquez from Aliens) and legendary b-movie icon Tim Thomerson (Trancers). The story follows a “family” of vampires roaming the American midwest, when a young man is bitten by one of the family and reluctantly joins the nomadic vampires on their RV trek. The movie isn’t perfect, but it offers a lot of fun for fans of the genre. Paxton is Paxton, but is his sarcastic self that makes his character enjoyable. The entire film maintains a great end-of-the-80′s appeal, from the wardrobe’s to the hairstyling and even some of the slang and language used. If you haven’t seen it, you don’t know what you’re missing.

Blue Steel (1990) and Point Break (1991) — I’m not going to dwell on these two films as they really aren’t shining moments in Bigelow’s career. Blue Steel starred Jamie Lee Curtis as a rookie cop chasing down a psychopath that’s obsessed with her. Blue Steel really isn’t a bad movie, but it’s also nothing great. Point Break on the other hand starred Patrick Swayze and Keanu Reeves who play two undercover FBI agents posing as surfers to attempt catching a band of bank robbers. Oddly enough, this movie either truly sucks or is one of the great cult cop movies of all time, depending on who you’re talking to. One thing’s for sure … its a terribly acted film and is Bigelow’s lowest moment as a film-maker.

We return to the kind of film that makes Bigelow a film-maker I admire. Strange Days (1995) stars Ralph Fiennes, Juliette Lewis, Tom Sizemore, Michael Wincott, Vincent D’Onofrio, William Fichtner and a VERY BUFF Angela Bassett. [I was in high school when I first saw this movie ... I have to admit, I had a major crush on Bassett after that.] I could stop here. How could you not love a film with this cast? Strange Days is a near-futuristic sci-fi film that is slightly influenced by Blade Runner, but takes place in 1999. The movie tells the story of Lenny, former cop who now deals in illegal black-market sales on data-discs contains other peoples recorded memories and emotions. Lenny, played by Fiennes, accidentally discovers a murder on one of the discs and uncovers a police conspiracy that turns his life inside-out as he becomes more deeply involved. All of this tension and suspense boils up and adds to an already turbulent social situation as the millenium closes and the film climaxes with an emotionally charged and violent ending. On top of a cool story and a great cast. Strange Days also has an awesome soundtrack, containing a eclectic mix of musical styles and influences that gives the film a truly unique musical signature.

After Strange Days, Bigelow directed a small Canadian film called The Weight of Water (2000), about a photo-journalist researching a double axe-murder from the 1870′s. K-19: The Widowmaker (2002) is a different kind of movie for Bigelow, while at the same time not very different. Its a military thriller based on actual events, but still falls into a category of film-making that is usually associated with male film-makers. People generally don’t think of female directors as masters of the action genre, but who’s to say that can’t be. Bigelow proves this is a flawed way of thinking. K-19 stars Harrison Ford and Liam Neeson and takes place during the 1960′s Cold War. In this tale of Russia’s first nuclear submarine on its maiden voyage, the submarine malfunctions and the crew must race to prevent a massive disaster. Bigelow’s next film is called The Hurt Locker. This film reunites Bigelow with actor Ralph Fiennes and also stars David Morse and Guy Pearce. The story follows an elite bomb squad in Iraq as they’re forced to play a deadly game amidst the war. Bigelow again returns to the same type of film that has defined her atypical career as a female director, but continues to prove the stereotype wrong.

Ice From the Sun (1999) is a wild ride indeed. I enjoyed this bizarre, extreme acid-induced “my God, my brain’s going to explode” cinematic trip that Stanze first made waves with on the indie cult horror circuit. Stanze was among the first to release his films on DVD when the technology was still young on the consumer market. DJ Vivona plays The Presence and the cast includes future genre names like Todd Tevlin and Jason Christ. The story, well … I’ll just refer to the plot summary posted on IMDB.com by Stanze himself: [An alternate reality encased in ice, a woman who is turned into a dimension-hopping assassin, and a wizard's apprentice who is so evil he is a common enemy to the angels in heaven and the devils in hell.] There, are you with me? Right. Ice From the Sun is one of those films (Lost Highway, for example) that simply cannot be explained to someone who hasn’t seen it. Personally, I don’t think Stanze has matched his achievement with Ice with any of his subsequent films. This sci-fi, fantasy, horror experimentation is one of a kind, low-budget excellence and is worth a look. Just, don’t try and enhance it with any drugs or alcohol … you may not be the same ever again.

Scrapbook (2000) is my least favorite Stanze film, but still offers an original story concept amidst a genre that tends to maintain old-hat repetition, laden with cliches. The story follows Clara, played by Emily Haack, a young woman whose been kidnapped and held prisoner in an old house in the middle of nowhere. Her captor is Leonard, played by the late Tommy Biondo, a deranged man with some serious issues regarding members of the opposite sex. Clara must fight to survive as Leonard repeatedly subjects her to physical, emotional and sexual torture, keeping photos and bits of memorabilia in his scrapbook containing similar artifacts from his other victims. Before long, Clara discovers Leonard’s weakness and begins to devise her attempt at escaping this Hell she is enduring. Scrapbook is raw, both in its content and its execution, often making the film difficult to watch. The movie reminds me of some recent French films, such as Irreversible (2002), that deal with much of the same subject matter in a similar fashion. This is likely why Stanze’s films often do well in France. I wouldn’t recommend this film to anyone who isn’t completely open to the often brutal and offensive genre, but do give Stanze credit for venturing into a realm of film-making that most people quickly shy away from.

China White Serpentine (2003) is an often abstract tale of two lost souls, played by Eli DeGeer and Jason Allen Wolfe, seduced by a supernatural evil seductress, played by Amanda Booth. DJ Vivona also plays a writer whose brother is one of the seduced victims. The movie is “like a David Lynch film” says director Eric Stanze (he co-directed this with Robin Garrels), and in some ways does hold true. I also see some elements of The Ring in this film, with much of the story centering on a mysterious DVD in this case. The script, as is common with Stanze’s work, offers an original concept that, considering the budget, is produced at the level one can expect. One thing that stands out for me with Chine White Serpentine is the phenomenal soundtrack, comprised mostly of independently produced electronic ambient and trance music. In addition, the movie does have a few very intense scenes that play well despite dialogue and acting that are again equal to the budget. Much of the film is actually ad-libbed and it emphasizes the use of experimental chaotic music video-style effects and wild in-your-face cinematography cut between scenes shot for reality, showcasing Stanze’s talent for editing.

Eric Stanze’s latest release is a film called Deadwood Park (2007), which I have not seen but have read some reviews and apparently is getting a lot of praise.

[Morris was born in Hewlett, New York on February 5, 1948. In the 10th grade Morris enrolled at the Putney School, a boarding school in Vermont. He began playing the cello, spending a summer in France studying music under the acclaimed Nadia Boulanger, who was the principal teacher of Philip Glass, who would eventually score The Thin Blue Line, A Brief History of Time, and The Fog of War. Having unsuccessfully approached both the University of Oxford and Harvard University, Morris was able to talk his way into Princeton University, where he began studying the history of science, a topic in which he had "absolutely no background." He left Princeton in 1972, enrolling at Berkeley as a Ph.D. student in philosophy. Losing interest in his studies, Morris visited Plainfield, Wisconsin in 1975. While there, he conducted multiple interviews with Ed Gein, the infamous serial killer. Morris later returned to Plainfield, this time staying for almost a year, conducting hundreds of hours of interviews. Although he had plans to either write a book or make a film, Morris never completed his Ed Gein project.] – Wikipedia

Gates of Heaven (1980) was Errol Morris’ first film, a documentary about a pet cemetery in California. Morris focuses not just on the cemetery, but on the people who have their beloved pets laid to rest there. The film is an interesting and peculiar look at the notions of life and death. Gates of Heaven is often funny, sometimes a little weird, but is a story told openly and sincerely as if its subject matter was as normal and common as the air we breath. Roger Ebert reviewed the film when it first came out and loved it so much, he still holds it in such high regard it remains on his list of top ten films. Morris would follow this up with Vernon, Florida (1982) in which he delves into a small town of eccentric folks and their uniquely collective oddness. As the story goes, the town has the nickname of Nub City due to its citizen’s notorious practice of intentionally amputating their own limbs to collect insurance claims. Apparently, Morris received several death threats as a result from residents fearing he would expose their secret plot. So instead, Morris simply focused his film on the town’s unusual characters. Vernon, Florida turned out to be a rather entertaining example of how truth is often stranger than fiction.

The Thin Blue Line (1988) tells the story of Randall Adams, a man accused of murdering a police officer. Actual evidence is included in the documentary and the prosecution’s case becomes increasingly flimsy as another suspect is made to appear a much more likely culprit. The film argues successfully that he was wrongly convicted of a crime he didn’t commit by a corrupt judicial system in Texas. The movie incorporates interviews as well as reenactments, and as a result would be rejected by the Academy of Motion Pictures Arts and Sciences from competing for Best Documentary due to its scripted content. The Thin Blue Line would go on to win seven awards out of a total eleven nominations from various honors. This film would also mark the first of three collaborations between Errol Morris and the modern minimalist composer Philip Glass, whose work marvelously blends with Morris’ to create a sort of cinematic chemical fusion. The Thin Blue Line is both engaging and an entertaining film noir of sorts, while addressing an alarming issue of innocent people being convicted and sentenced to death row for crimes they have not committed.

A Brief History of Time (1991) brought Morris together with Stephen Hawking to make a motion picture adaptation of Hawking’s book of the same title. The movie is a documentary that brilliantly delves into the personal and intellectual sides of Hawking’s life as a man who has helped revolutionize the worlds of physics and cosmology, despite his battle with ALS. A Brief History of Time utilizes interviews with his friends and family to touch on his life outside of the sciences whereas time with Hawking himself is spent more with his thoughts and theories. Morris also implements several interesting visual aids during the portions of the film dealing with Hawking’s scientific concepts. A Brief History of Time won four awards including two from the Sundance Film Festival. While it doesn’t cover anywhere near as much as the book does, its still an interesting introduction to the mind of Stephen Hawking and serves as a good companion resource to the book itself. I also want to briefly mention Fast, Cheap & Out of Control (1997) which is one of my personal favorites, both whimsical and philosophical in its content and approach to its subjects.

Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999) is a powerful and sometimes subtly disturbing meditation on the concept of death and capitol punishment as told through the mind and experience of Fred Leuchter, Jr. This documentary follows Leuchter through is career as an American designer of execution devices, portraying him as a curious genius seen as both brilliant and evil, depending on who you’re asking. Leuchter sometimes comes off as a sort of tortured savant, but later makes matters worse when he accepts an invitation from historical revisionist Ernst Zundel to visit Auschwitz to study and determine whether the Holocaust really occurred. Leuchter, as a result of his research and experience designing execution methods of many types, decides that its his professional opinion that the Holocaust could not have occurred according to how its described. Leuchter’s reports of his findings raise enormous protest and backlash against him and his career, despite his repeated statements that he was only reporting his findings from research he had done at the request of Zundel. The film is a dark and intelligent insight into the world of a life turned upside down by poor decisions.

[Herzog was born Werner Stipetić in Munich. He adopted his father's name Herzog, which means "duke" in German, later in life. His parents were Croatian. His father abandoned Werner and his mother early in Herzog's youth, when he returned from a prisoner of war camp after World War II.

His family moved to a remote village in Austria after the house next to theirs was destroyed during the bombing at the close of World War II. When he was 12, he and his family moved back to Munich and shared an apartment with Klaus Kinski in Munich-Schwabing. About this, Herzog recalled, "I knew at that moment that I would be a film director and that I would direct Kinski."

At 14 he was inspired by an encyclopedia entry about film-making which he says provided him with "everything I needed to get myself started" as a film-maker - that, and the 35mm camera that the young Herzog stole from the Munich Film School.] — from Wikipedia

I recall being first introduced to Werner Herzog while attending community college in Saint Louis. I was taking a Film Studies course as an elective towards my media production degree. The film we were viewing in class that day was Aguirre: The Wrath of God (1972), starring Klaus Kinski, with whom Herzog had known since he was a child. I remember how amazing the movie was, leading the viewer deep into the realm of the human psyche. The story takes place in the mountains of Peru, only decades after the fall of the Inca empire. Kinski plays Don Lope de Aguirre, a ruthless leader of a Spanish expedition in search of El Dorado. Aguirre gradually loses his sanity as he pushes his men to the very brink, all in the name of making himself rich and powerful.

As the danger increases along the journey, so too does the morale of the men following Aguirre, leading to tension and a struggle of power amidst the ranks. Once Aguirre slips fully into the abyss of insanity, all hope for the mission is lost. Kinski portrays Aguirre with such convincing aptitude that many believe he was only partially acting. There are stories of mixed relations between Herzog and Kinski while on the set of the many various collaborations they filmed together. Herzog would later make a fascinating documentary about his friend and actor Kinski, entitled My Best Fiend (1999). The film does great justice in portraying Kinski’s relationship with Herzog to be bi-polar, at best.

Fitzcarraldo (1982) is a story about one man obsessed with his dream of building an opera house in the middle of the Amazon jungle. Fitzcarraldo, played by Klaus Kinski, employs the help of the local tribesmen to transport his steamboat uphill from the river to reach his ultimate destination. The task quickly becomes dangerous and Fitzcarraldo is the only one who still believes in his dream.Herzog would also become the metaphorical subject of Burden of Dreams (1982), a documentary made by legendary but little-known filmmaker Les Blank. Burden of Dreams, in my opinion, is one of the greatest documentaries ever made. It chronicles the correlation between the character Fitzcarraldo and the director Herzog, whom both will stop at nothing to realize their dreams. While it may be difficult to get hold of, I highly recommend viewing this film. It was released on DVD by Criterion Collection.

Grizzly Man (2005) was a return to the documentary format for Herzog. The film would garnish an amazing 12 awards and an additional 6 nominations. Herzog’s character study of Timothy Treadwell relies a lot on archived footage, much of it shot by Treadwell while out in the field. Treadwell was a passionate, if not often misguided, advocate that the grizzlies need to be protected and that our fears of them are mostly unwarranted. Treadwell, by way of actually practicing what he preached, would enter the Alaskan wilderness each spring and live among the bears. The film is a fascinating document, but it is more a study of human nature, for better or for worse, we feel compelled to involve ourselves in theirs beyond our control.

Rescue Dawn (2006) was Herzog’s most recent release, starring Christian Bale and Steve Zahn. The film chronicles the experience of Dieter Dengler (Christian Bale), an American fighter pilot who was shot down over Laos in 1966. Dengler was captured and stowed away in a POW camp in the middle of a vast jungle. Having lost over half his body weight, Dengler escaped from the camp despite incredible odds against his survival. Rescue Dawn is actually a narrative feature film adaptation of his original documentary Little Dieter Needs to Fly (1997). These pair of films make a great double feature, complimenting each other beautifully as a document of a tragic war through the eyes of one fortunate survivor.

[Takeshi Kitano originally studied to become an engineer, but was thrown out of school for rebellious behavior. He learned comedy, singing and dancing from famed comedian Senzaburà ´ Fukami. Working as a lift boy on a nightclub with such features as comic sketches and striptease dancing, Kitano saw his chance when a comedian suddenly fell ill, and he went on stage in the man's place. With a friend he formed the comic duo "The Two Beat" (his artist's name, "Beat Takeshi", comes from this period), which became very popular on Japanese television. Kitano soon embarked on an acting career, and when the director of "Violent Cop" fell ill, he took over that function as well. Immediately after that film was finished he set out to make a second gangster movie in 1990. In 1995, Kitano was involved in a serious motorcycle accident that almost killed him. It changed his way of life, and he became an active painter. This change can be seen in his later films, which are characterized by his giving more importance to the aesthetics of the film, such as in Hana-bi (1997).] — IMDB.com

Sonatine (1993) follows Kitano as Aniki, an experienced but out of favor yakuza who is sent to Okinawa with his men with order to settle a gang war. Aniki reluctantly obeys, despite his suspicions. Once they arrive, the war quickly escalates and his men are quickly perishing. Aniki seeks refuge and hides out in a remote beach house, where he saves a young woman from being attacked. The two develop a relationship, but in time it becomes clear that Aniki was set up. He decides to take action and plot revenge against his conspirators, but by doing so he questions whether he really has anything left to live for by doing so. Kitano opens up and portrays this yakuza with a powerful mix of strength and vulnerability, creating a character we support, despite what he’s done. As will be the case in many of his films, Kitano creates a poetic story about a subject that centers on crime and violence.

Kitano portrays Kikujiro (1999), a loud-mouthed conman, who reluctantly takes on a young boy named Masao as his traveling companion. The boy is setting out on a long journey to find the mother he never knew. Their journey quickly becomes an adventure, as the two experience life together and Kikujiro develops a fatherly bond with Masao. The laughter turns into tears once Masao reaches his destination and the two must part ways. Kikujiro finds his outlook on life changed as a result of his time with the boy. Kikujiro allows viewers to see a lighter side of the director, successfully creating his own marvelous interpretation of Charlie Chaplin’s The Kid.

Brother (2000) brings Kitano to America, again as Aniki, this time having been exiles to the United States. Aniki decides to settle in Los Angeles, staying with his younger half-brother Ken, played by Kuroudo Maki (A Scene at the Sea). Aniki quickly discovers that even on different turf, the rules of organized crime still apply. Aniki makes plans with his half-brother and his partner Denny, played by Omar Epps (House, MD), to take over the local drug trade. Violence quickly begins as Aniki’s small gang methodically takes out the competition. Kitano still manages to incorporate some great scenes of reflection, while depicting the life of a Japanese gangster as almost romantic. Kitano’s style easily translates into the American indie market with great success.

Zatoichi (2003) has Kitano portraying Ichi, a blind masseuse who harbors a secret identity as a master samurai. Kitano creates a modern interpretation of the classic serial films, following Ichi’s wanderings in Japan. Ichi hides his skill as a swordsman, instead playing on his blindness to his advantage as a traveling masseuse with a fondness for gambling. Only when necessary, does Ichi brandish his sword, hidden within his walking cane. In Kitano’s Zatoichi, Ichi stumbles upon two geisha who wish to avenge the murder of their parents. Ichi involves himself in their mission, in turn taking on a town of tyrannical lords and corrupt samurai. Kitano infuses his version of Zatoichi with a stylistic bit of violence, akin to Tarantino’s Kill Bill. The story culminates into a final showdown, revealing Ichi has one last secret.

[Jackson was born on 31 October 1961 in Pukerua Bay, New Zealand, an only child to Bill and Joan Jackson, both of whom were immigrants from England. As a child, Jackson was a film fan, growing up on Ray Harryhausen films as well as Thunderbirds and using his parents' Super 8 cine-camera. Citing King Kong as his favourite film at age 9, he attempted to remake it with his own stop-motion models.Jackson started his career in film as a fanatical hobbyist, creating small films with simple technical means and with the help of his friends. He had no formal training in film-making, and was turned down for a job with the National Film Unit, the government body which produced publicity and tourist films about New Zealand.] – from Wikipedia

Bad Taste (1987) was director Peter Jackson’s first feature length film and would mark his first of three extremely ultra-extreme movies of a style few have truly emulated since. The story begins as Derek, played by Peter Jackson himself, realizes that people are disappearing from his small town and decides to investigate. He discovers that hostile aliens have invaded and are replacing the population as they hunt down human flesh for their intergalactic fast-food restaurant chain. It is up to Derek, armed with his chainsaw, to save his town and the world. WARNING! This movie is classic camp fun like no other, but beware: it is not for the faint of heart or stomach, or the easily offended. Actually, go ahead and apply this warning to all three movies I am featuring in this post.

Meet the Feebles (1989), Jackson’s second film, is most easily described as The Muppets blended generously with South Park-style humor, equal parts sexploitation and ultra-violence, seedy film noir and cheesy soap opera. Yes, I said Muppets. This movie was so controversial it was actually banned in several countries and was reluctantly released on DVD in the United States.The story follows Heidi the hippo and her fellow actors and stagehands through the trials and tribulations of making their Meet the Feebles Variety Hour show. During the production, each character must deal with their own dilemmas, including: extortion, robbery, drug abuse, adultery, murder and even AIDS. While all of this wholesome fun illuminates the screen, the relationship of Heidi and her co-star is threatened by Trevor the Rat, who wishes to exploit her for his own profit.

Dead Alive (1992), also well-known as Brain Dead, was Peter Jackson’s third film and marked a return to the ultraviolet, but this time combined two very different elements to accomplish something of a new genre. Jackson wasn’t the first to infuse horror and comedy, but he was the first to do so on such a level that many viewers would find themselves laughing hysterically and feeling nauseous simultaneously. Jackson’s gory special effects and creatively humorous approach to the zombie movie truly set fire to a new genre of film that is still running strong.The story follows Lionel, a pathetic man who begrudgingly has the duty of caring for his elderly mother. Lionel falls in love with a local girl, but his mother ends up bitten by an escaped monkey, mysteriously turning her into a zombie. Lionel attempts to control the situation, but it soon spirals out of control and the body count begins to rise.

Jim Jarmusch is significant force within the indie film world, having made several films that, while are little known on the mainstream market, have been acclaimed by both indie fans and critics alike. The style of Jarmusch is not uncommon among indie filmmakers, but is rarely achieved at the level that his films master the art of subtle, character-driven storytelling that rolls emotion and comedy awkwardly into one unique enigma of dry wit that often seems truly surreal beyond its low profile appearance.

Mystery Train (1989) is an eclectic film of three separate stories centered around a seedy little hotel in Memphis. Far From Yokohama, the first story, tells the tale of a young Japanese couple obsessed with 1950′s America trekking across America as they stop in Memphis. During their stay, they rent a room at the hotel, run by the night clerk, played by blues legend Screamin’ Jay Hawkins. The second story, A Ghost, centers on a young widow, escorting her dead husband’s coffin back home who must deal with a roommate at the hotel who doesn’t stop talking. Lost in Space, the third and final story, introduces us to Johnny, played by Joe Strummer, formerly of the band The Clash. Johnny, accompanied by his two buddies, played by Rick Aviles and Steve Buscemi, knock off a local liquor shop and nearly kill the clerk, leading them to hide out at the hotel. Each story plays out wonderfully, all centered on this hotel, but each remaining mostly separate from each other.

Dead Man (1995) is a western, but only in principle. Jarmusch directed Johnny Depp as William Blake, a young man from Cleveland who ventures out into the wild west to obtain a job as an accountant for a steel-man. Once he arrives, he is dumbfounded to learn he is a month late and the job has been filled. Down on his luck and with nothing to lose, he stumbles into a situation where must defend himself by killing another man. Wounded from the scuffle and out of his element, Blake escapes into the wilderness. Along the way, Blake meets a native American whose name means Nobody, and his journey quickly descends into an often strange and even metaphysical mind trip. Dead Man is a wonderful modern take on the western, filmed in black and white, laced with subtle surrealism and Jarmusch’s own style of humor and character interaction.

Ghost Dog: The Way of the Samurai (1999) stars Forest Whitaker as Ghost Dog, a hit-man working for the Jersey City mafia. Eight years ago, Ghost Dog’s master saved his life, a man who happens to be part of the mob. Ghost dog lives simply and keeps mostly to himself, except for his homing pigeons who live with him on the roof, a Haitian ice cream man he occasionally converses with and a young boy with whom he discusses books. When the mob boss’ daughter witnesses one of Ghost Dog’s hits, the hit-man becomes the hit and he must kill the mob before they kill him. Accompanied by a great soundtrack, which is often the case with Jarmusch films, Ghost Dog is both entertaining as an action film and enlightening as a poignant human drama.

Broken Flowers (2005) is the latest film from Jarmusch, starring Bill Murray as Don Johnston, a perpetually single man who gets dumped by his latest girlfriend. Soon after, he receives an anonymous pink letter stating he may have a son who is looking for him. Getting older and reflecting on his life, Don sets out on a cross-country journey to revisit each of his past girlfriends in hopes to uncover clues to whom he may have a son with. Don visits a few of his past flings, arriving unannounced, seeking clues to the identity of his alleged son and answers to his new insecurities about why their relationships failed. Broken Flowers is a very funny and moving story of a man desperate to learn compassion late in life, masterfully portrayed by Bill Murray, whocontinues to prove he is a far more talented actor than he gets credit for.

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If you were to spot Don Coscarelli on the street, you might think he’s just another average-Joe American working-class dude, or you may not notice him at all. Fact is, he was born in Tripoli in North Africa. His story begins to make more since however, once you realize he grew up mostly in the Southern California area.Coscarelli began his movie career in 1976 with two virtually unknown films. Jim the World’s Greatest tells the story of a teenager dealing with an abusive alcoholic father, while the comedic drama Kenny & Company follows a young teen through the trials of those turbulent years of awakening. Both films are ultimately uncharacteristic of Coscarelli’s later films and also not available in any format for viewing.

In 1979, Coscarelli found his niche’ with the low-budget, highly successful cult sensation Phantasm, which follows the struggle of a young boy and friends as they attempt to evade the mysterious Tall Man. His arsenal of zombie-migdet-monsters that seem at first like evil Jawas from an alternate dimension of Star Wars, along with his deadly chrome spheres packed with Swiss-army-style devices of death, accompany Tall Man’s grave-robbing and killing agenda. As you may have noticed, Phantasm is Coscarelli’s swan dive into the horror film genre and gee-whiz, does he make a splash. The film eventually becomes a franchise, beginning with the sequel in 1988 and followed by two more with a fifth on the way.

With Phantasm as his bread and butter, Coscarelli is able to branch out in 1982 with a fantasy epic called The Beastmaster. Marc Singer stars as Dar, a boy with the gift to communicate with and control animals, who after his family and village is slaughtered, seeks out to avenge their deaths. He is accompanied by his valiant cougar, loyal hawk and a pair of cunning ferrets, meeting up with allies along the way, including Kiri, played by the stunning Tanya Roberts. Dar seeks to conquer the evil Maax, played by Rip Torn, who in turn seeks to destroy him, who is unaware he is the son of the dead king.

Between Beastmaster and his newest creation, Coscarelli returned to his Phantasm legacy three times. During this time, he also delved into the arena of psychological terror with Survival Quest, which follows a diverse group of city folk who venture out into the wild for a retreat. As it turns out, a militia group has also chosen to setup camp in the same area. When one of the militia’s leader turns up dead, the soldiers believe the metropolitan intruders are at fault, leading them to hunt down the city dwellers and seek to exterminate them. Coscarelli attempts to bring his style of filmmaking to a more human drama, but doesn’t develop the same level of interest as his other films, despite featuring Lance Henriksen and an early performance from Catherine Keener.

In 2002, Coscarelli unleashed an all-new type of horror film called Bubba Ho-tep. As a result, he has also unleashed a whole new following for his films. Bubba Ho-tep stars the infamous cult actor Bruce Campbell as Elvis Presley, or at least an elderly man in a retirement home who believes he is the king. He is accompanied by his friend Jack, played by Ossie Davis, who believes he is JFK. These two lively old farts believe they are under attack by an ancient Egyptian, gun-slinging mummy named Bubba Ho-tep. Truly, the film is more of a human story of two men in their waning years seeking adventure before they die. Despite the low-budget, the film succeeds at its goal and has developed a large enough cult following to justify a prequel called Bubba Nosferatu and the Curse of the She-Vampires, which is currently in pre-production.