Documentary THE TROLL HUNTER Reveals Norwegian Cover-Up

A group of students in Norway have set out to expose a government conspiracy to cover the existence of trolls in mountains of the country.

That footage is about to be revealed in THE TROLL HUNTER, perhaps the most important documentary of our time! Here is a look at some of that footage:

STEEP Movie Review

STEEP (2007)

If you will it, it is no dream. Over the past forty odd years, skiers have been pushing the limits of big mountain extreme skiing, expanding the boundaries of what was thought to be impossible, and running lines down slope inclines so sheer the mind boggles that they are able to keep their balance. Documentary filmmaker Mark Obenhaus takes a look at the evolution of extreme skiing with his latest work STEEP, which brings together skiers from around the world to discuss their lives, their love for the sport, and their struggles with a passion that could very well kill them at any moment.

Read my full review on The DVD Lounge

MAN BITES DOG Movie Review

MAN BITES DOG (1992)

A small film crew, consisting of a director/interviewer, a cameraman, and a sound engineer have been chronicling the exploits of a serial killer, Ben, in Belgium. Ben is well-groomed, well-spoken (even if quite misled), poetic, and above all charming. He works his way from town-to-town, killing and choosing his victims at random, waxing on how to properly dispose of a body, speaking about the de-evolution of towns, and always funding the film crew with the money he takes from his victims.

There is a catch though. As Ben's murders progress, he involves the film crew more and more in first the body disposals, and then the murders themselves. At first, the crew is excited to be a part of the murders even begin to like what they are doing, but as Ben's ambitious slayings, which have no boundary or reason, begin to pile up, the crew realize that they have become part of a horrible experiment of their own creation, and only their footage may survive to tell the tale.

This pseudo-documentary, which is shot in black and white on grainy film using handheld cameras (the fictional crew is also the film's actual crew) can in retrospect be seen as a harbinger for the clout of reality television shows and increasingly exploitative news programs and stories that started plaguing the airwaves only a few years after the film's release. For that, the writing and character arc here is borderline genius.

Ben (played with panache by Benoît Poelvoorde, who eerily resembles comedian Ryan Stiles in a bizarro world kind of way), much like the reality TV stars who would follow, believes that the world revolves around him, and expects those around him to hang on his every word, whether he be eloquently speaking poetry about pigeons, or going on and on with quite misinformed racist remarks. But as with all short-lived, brightly burning stars, his very remarks and actions that lead him to where he is ultimately become his downfall.

Both the English re-name MAN BITES DOG, and its original title C'EST ARRIVE PRES DE CHEZ VOUS (roughly It Happened in Your Neighborhood or It Took Place Close To Your Home) call to mind the shocking and eye-grabbing headlines of newspapers vying for attention. The film, which takes itself quite seriously, subtly leans toward parody and exaggeration of what at the time was being sold as newsworthy stories, and the spectacle given to evil. At one point in the film, Ben and his crew cross paths with another serial killer who is being followed by a film crew, which can be taken as a mockery of the copycat and bandwagon mentality of entertainment.

As a whole, MAN BITES DOG plays out as a pitch-black comedy. This can be attributed mostly to Ben's performance and fantastic monologues. One of the many highlights involves Ben explaining to the crew the proper ballast ratios to keep a body underneath water, depending on if they are man, woman, child or midget (their bones are denser, and thus need less rocks) and speaks as if it were the most normal thing in the world. The cut-aways between ultra-violence and conversations also serves as a shocking jump that one can not help but laugh at.

Originally released on VHS in the states by Miramax, which cut out two of the more gruesome scenes, it has since been released uncut on DVD by Criterion. These two controversial scenes involve Ben murdering a child, and Ben and the crew following a woman home and raping her. These scenes are obviously difficult to watch, but they are important to the overall insanity that dwells in his mind, and his complete influence over the film crew. More importantly, they are shown as the brutal and unforgivable acts that they are, and not glamorize in the least.

Since the film's release, news stories, television "documentaries", and the horrible plague of reality television shows which continue to pour out, have since far surpassed the extremes of entertainment that MAN BITES DOG was trying to bring attention to, and watched with fresh eyes today, MAN BITES DOG is almost quaint in how it documents and portrays its subject. Still, this is an important piece of cinema which deserves to be seen, and can still be effectively used as a warning about just how far someone can go when the camera is on them.

MONDO COLLECTO Review

MONDO COLLECTO (2006)

The word "mondo" holds a special place in hearts of fans of extreme cinema. From the early 60's through the mid 70's a fantastic array of documentaries, later redubbed shockumentaries, splashed across the silver screen. These films, many of which originated in Italy, and lorded over arguably by the best of the best MONDO CANE, provided a lurid and shocking look at the extremes that both nature and society had to offer. The films often had raw and violent scenes of animals killing one another, primitive tribes holding taboo ceremonies and the like. The footage was always advertised as being authentic, and it was hard to argue otherwise. Many a filmmaker found themselves in a courtroom defending their freedom to produce such pictures.

These films paved way for the infamous FACES OF DEATH series, the Italian cannibal films of the mid 70's, and much like some dinosaurs evolved into birds, this cheap and exploitative programming that drew in the late-night grindhouse audience in droves later, would evolve into TV shows such as Cops.

Four years ago, director R.P. Whalen (aka Rock and Roll Ray) set out to create a documentary that would capture the essence of the Mondo documentary. The result is MONDO COLLECTO, a feature-length documentary aimed at bringing into the spotlight some of the more bizarre collectors that the (assumedly) mid-west has to offer.

The documentary starts off with a rousing interview and tour of cult director Ted V. Mikels' house and his impressive array of weapons and armor from around the world and throughout history. Mikels, who spends a great deal of his section shirtless, is truly enveloped in showing off his collection, telling tales from his past, and showing off his medieval warface. It is a solid start to what should be a very interesting ride.

From here, we are treated to several tours of what your man-on-the-street would think of when the word collectors are mentioned. These include several impressive toy collections, and horror and monster toy collection of the lead singer for heavy metal band Impaler. All the subjects, much like Mikels, are pleased of their collection, and eager to show off their prized collection. However, these segments are not that unique, and would easily fit into the "safe" collector shows seen on The Learning Channel or The Discovery Channel. Okay, maybe TLC would pass on the naked Pez collector.

However, at the forty-five minute mark, the documentary takes a skewed turn, and for the first time lives up to the Mondo moniker. For it is here that we are introduced to a lingerie wearing Jesus freak, whose home is adorned from floor to ceiling, and corner to corner with depictions of Jesus Christ. Not only that, but she has a cat-o-nine-tails with a crucifix tied to the handle, which she uses (a bit too willingly) to punish herself when she is bad. The segment finishes off with her drinking copious amounts of the Blood Of Christ, one communion sip at a time. It is by far the highlight of the documentary, and what encompasses what is probably the initial vision of the documentary.

From here, the documentary takes an interesting detour into a very strange man's home, which is perhaps an homage to the faked deaths in FACES OF DEATH, as it appears to be very staged. Next up is a tour through a collector's huge assortment of plants, wind chimes and bells which form a very earthy and organic collage of sounds. And of course, what documentary on collecting would be complete without a gun nut? This one has got one, and boy is he a deusy. We are treated to an assortment of automatic weapons, shotguns, pistols, and an unhealthy attitude toward the media. Many fruits and computer monitors were killed during this shoot.

MONDO COLLECTO is lovingly shot in glorious VHS-C, features go-go dancers between each segment and with credits painted on said dancers, and lovely little re-enactment of 60's black and white gothic horror, and some of America's more unique specimens. All in all, Whalen has successfully created a documentary that lives up to the attention-grabbing Mondo stamp, and much like any successful documentary, will soon become a series to keep an eye out for.

Click here for the Mondo Collecto Official Myspace page

GOING TO PIECES (2006) Movie Review

GOING TO PIECES (2006)

Produced for the Starz cable channel, and based in part on the book, Going Tp Pieces: The Rise and Fall Of The Slasher Genre, 1978-1986 by Adam Rockoff, this is part Slasher 101 for those who have not waded very deep into these waters, and part Greatest Kills compilation for those who have been swimming here for a while.

The documentary kicks off with a look at the seminal proto-slasher, PSYCHO, and all the lavish praise it fully deserves. From there, it jumps forward to a dissection of HALLOWEEN and the template for modern horror that the film inadvertently created - teens in peril, a masked killer, POV shots, low-budget, creepy music. It flows smoothly into the release of FRIDAY THE 13th, and the stakes that film played on the 80's, from graphic gore (Tom Savini and his effects get some great screen time) to the "holiday" setting.

When FRIDAY THE 13th started to rake in the cash, it was a mere matter of months before a slew of knock-offs, cash-in's and sequels began to take hold in the early 80's. Films noted here include PROM NIGHT, SLEEPAWAY CAMP, HAPPY BIRTHDAY TO ME and MY BLOODY VALENTINE among countless others.

It is here that the documentary begins to take a look at the effect the slasher/horror genre had on society at the time, the misconceptions of what the genre meant and brought to the screen, and how the genre became another cog in the money-making machine that was go-go greedy 80's. Archival footage of Siskel & Ebert are shown as the two discuss the demerits of the genre, particularly in the way they believed the genre viewed women. They completely fail to notice how it is only women who seem capable of dispatching the antagonist, or that men seem to meet their maker much more often than women.

Much like music had to bow to the power of "Explicit Lyrics" by the power of uninformed moms, so too did the slasher film factory. When SILENT NIGHT DEADLY NIGHT began its marketing campaign, the killer, who is dressed as Santa Claus, is prominently promoted. Mothers took the streets picketing theatres and making calls demanding that the film be pulled, because of the harm it could do to the Santa Claus mythos. The marketing was quickly pulled, and the film was basically buried. It was a move that already marked the beginning of the end for the splatter and chaos that was flying across the screen.

By 1984, audiences were looking for something different. Enter Wes Craven, and his almost universally rejected and almost un-produced NIGHTMARE ON ELM STREET. Before this, films were set in familiar places to the viewer, be it camps, dorms or suburbia, but now it was your dreams that were not safe. The film was an smash, and kept the genre going for a few more great years.

All things must come to a close though, and as the 80 crept into its last years, so too did the slasher genre. The 80's was a decade of greed, and these low-budget features were the perfect product to churn out again and again. Sequels became retreads of previous material, the great icons were become tired and watered down, and merchandise was flooding the market. By 1991, when SILENCE OF THE LAMBS became a huge success and swept the Oscars, no one dared to label it a horror film, due to the stigma attached to the term. Instead, it was a psychological thriller. Nevermind the fact that the boiled down premise is a serial killer is murdering and skinning women, and eventually comes in contact with the film's heroine who stops him.

GOING TO PIECES finishes off with a look at SCREAM and its undeniable influence and revitalization on the horror genre. Again, imitators and cash-in films such as I KNOW WHAT YOU DID LAST SUMMER and URBAN LEGEND are looked at, as well as stars that are attached to the film. Before, horror was where new talent broke in to the industry and quickly shaked free of the genre, TV stars were now advancing into horror. The documentary finishes off with a glimpse into today's horror fans, the films that are flooding the market, and speculation as to where the genre is going next.

GOING TO PIECES is a slick, face-paced documentary that tries to cram too much into its 90 minute running time. Most diehard fans that may come across this will probably say in their head after each segment "What about...?" and they are right to do so. Had this been a multi-part mini-series that could take the time to really concentrate and flesh out each segment, it would have been more successful in its approach. The talent attached to this though, is what will really draw in the horror crowd here. John Carpenter, Wes Craven, Sean S. Cunningham, Tom Savini, Betsy Palmer, Felissa Rose (the "girl" from SLEEPAWAY CAMP), Rob Zombie and many others all make poignant commentary on the genre.

As mentioned before, GOING TO PIECES does not skimp on the clips. Half of this documentary is basically a highlights reel of incredible set-ups and kill scenes from all your favorite franchises and a few not-so-well known flicks. Starz is to be commended for not pulling any punches here, and showing some really graphic carnage. The only downside to this is that none of the clips are marked as to what movie they are from, so for instance if you happen to be intrigued by the girl being chainsawed in half and have not already seen PIECES, you would have no idea where it is from.

The final product here is a worthy rental for the entertaining interviews and to maybe catch a few film names that you may have either missed or dismissed, and may need to finally see for archival purposes. If you are a little unfamiliar with the genre, this is a good cheat-sheet to take notes from, so the next time your friends are talking about the double impaling in FRIDAY THE 13th Part 2, you can chime in about how it was stolen from BAY OF BLOOD. However, like many of the films it documents here, GOING TO PIECES is good for about one watch to fill some time on a Saturday night.

HORROR BUSINESS (2005) Documentary Review

HORROR BUSINESS (2005)

The genre of horror offers something unique and wonderful for both the viewer and filmmaker. For the viewer, it allows an emotional exposure - whether it be the willful submission to fright or the ability to confront ones own mortality and the reality of death - that can not be found in any other genre. For the filmmaker, it is the most "accessible" genre to begin making movies that only requires a camera, a few friends or cheap actors, some fake blood, and a half-decent concept to bring a story to life. While some filmmakers use horror as a springboard to bigger and better things, there are some that are compelled to the point of obsession, to make horror movies no matter the obstacles and insurmountable odds.

It is these filmmakers that documentarian Christopher P Garetano follows in HORROR BUSINESS, a creation two years in the making. Garetano focuses his effort on several micro-budget filmmakers living on the fringes of cinema's society, including Ron (NECROMANIAC) Atkins, David (ZOMBIE HONEYMOON) Gebroe, David (CATHARSIS) Stagnari and Mark (SCARE ME) Borchardt, who was previously the subject the 1999 documentary AMERICAN MOVIE, which chronicled his journey to make his first short film, COVEN. Garetano also spends some time with special effects creator Tate Steinsiek, who is "living his dream". Each of these men have such a raw devotion to making movies, the power of cinema, and horror in particular, that even for those who have never had the desire to pick up a camera will be moved by their unwavering allegiance to celluloid (or at least magnetic VHS tape).

Garetano gives us a fly-on-the-wall perspective of movie making. Here, we see the process of setting up shots, the stress of controlling the shooting environment, and most intimately, the thoughts of these directors and their own battles with self-doubt and self-conscious criticism. Their biggest detractors are themselves, and all they want to do is make sure that their final product is not just another piece of crap. Beyond the behind-the-scenes footage, each director is extensively interviewed and gives us their thoughts on the horror genre, their feelings on Hollywood, "independent" films, critics, viewers and basically anyone that comes in contact with the genre.

HORROR BUSINESS also takes a look at how horror is perceived and Garetano scores some impressive, if brief, interviews with some big names that give their thoughts on what the genre means. Herschell Gordon Lewis, the "Godfather Of Gore", takes a huge stab at current movie makers who have forgotten that a movie's most important goal is to entertain. Sid Haig gives a rallying call to those determined to make it. Joe Bob Briggs, everyone's favorite cult film critic, give us the three rules for any beginning director. Lloyd Kaufman, president of Troma and legendary maverick director, offers his take on movie making. Editor of Fangoria Magazine Tony Timpone steps in to offer the prerequisite defense of horror movies against those who may believe the genre to create real life killers.

There is a huge world of underground filmmakers just waiting their audience to find them. Much like the documentary HYPE! did for the "Seattle Scene" back in 1996, this documentary offers a compilation of sorts via clips and trailers to directors and films that fall below the radar of the average citizen, who are waiting to be discovered by those that have grown tired of a system that regularly churns out one tired and watered down film after another. These are the punks of the movie world, who play a low-slung digital camera instead of an out-of-tune guitar, and refuse to play by the rules. If you like it, they'll be your best friend. If you don't, well you can just go fuck yourself back to the multiplex.

The DVD has recently released by Image, which presents the film as it originally played on the festival circuit and is presented in its original widescreen ratio. Director Garetano gives a heartfelt introduction before the feature and promises a follow-up documentary to see where his subjects have gone since he last saw them.. The DVD also includes Garetano's short film 365 Ways To Cook Chicken, the documentary short The Escape Of Horror Business, a trailer reel, and art portfolio.

Special thanks goes to Christopher Garetano for sending me the copy for review. You can find him here on MySpace.

HORROR BUSINESS is currently available on Amazon.com