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It was what, two seconds after the media declared horror movies dead that Rob Zombie's Halloween blew all it's Labor Day competition away? Well, get ready for Hatchet, Adam Green's take on "old-school American horror", already generating positive buzz from fear fans everywhere. In classic slasher style, Hatchet deposits a group of nubile tourist in a New Orleans swamp, where they encounter Kane Hodder as the resident psychopath. Managing to hit all the right genre notes while throwing in a few surprises, Green delivers the goods, with out succumbing to that self-referential irony that made Scream so annoying and smug. What better way to ring in the coming Autumn?

Jeff Garlin just makes every show better and that’s a fact.  From Mad About You to Curb Your Enthusiasm to Arrested Development, Garlin’s hearty wit and jolly persona make him a favorite supporting character.  But now it’s time for Garlin to take the lead in a new film he wrote and directed about a man who loves women and food (not necessarily in that order).  Appropriately titled I Want Someone to Eat Cheese With, the tagline bills this as a “refreshing” indie comedy (wow no one’s ever used that before), but this time instead of it referring to characters immersed in quirky, insular, geekdom, it references a less annoying form of being.  Garlin plays the character to perfection and hopefully this will spawn future leading roles for the actor.  It’s not often one finds a good comedic talent that doesn’t dig at ones nerves, but Garlin remains watchable the entirety of the running time.  Well-written, tightly paced and very witty; I Want Someone to Eat Cheese with comes highly recommended. 

Perhaps because Gross doesn't write for a daily outlet but more likely because the erudition of his criticism is genuinely thrilling, the occasional essays on film by screenwriter Larry Gross pack a punch within our metacritic'd, tomato-splattered blogosphere. Here he is with an early appreciation of Todd Haynes's I'm Not There that's just gone online at Film Comment.

"How can a work not give us politics and yet be so political?" he asks in a piece that opens by quoting Jean-Godard, and Gilles Deleuze & Felix Guattari and ends by considering how Haynes's film fits into a moment signified by other recent Gross favorites (Zodiac, Inland Empire, and Syndromes and a Century). His opening paragraph is below, but read the entire piece at the link.


Ronnie Bronstein's film, co-hosted by Lodge Kerrigan... a rare screening, tonight, IFC Center/New York, 7:30.... see you there.


Okay, here's a link to an Ain't It Cool News report that links to the trailer of a film I'm really excited about seeing in Toronto: Dario Argento's Mother of Tears, the conclusion of the trilogy that began with the brilliant Suspira and Inferno. The early word on the film, which stars Asia Argento, Udo Kier, Daria Nicolodi, among others, is good. For those who don't know the first film in the series (and since the Mother of Tears trailer is not able to be embedded), here, below, is the charmingly old school U.S. trailer for <Suspira. I first saw this horror masterpiece when I was in my 20s, and mostly I got off on the nightmare logic of its story but also its incredible design, use of color, the hyper-saturated film stock, and the overcranked Goblin score. But check out the comments on the YouTube page -- this moive scared people. The comment thread is full of people who were terrified by this trailer as children and are now seeking it out for some kind of mid-life catharsis.

Read the complete stories at Filmmakermagazine's Blog...


For filmmakers attending the IFP Market in less than two weeks, the event will mark an important step in the evolution of the projects they are presenting. But what of Market Alumni who have been through the process? September brings the high profile debuts of two recent IFP Market documentaries - Kristi Jacobson's Toots, opening theatrically, and Lucia Small and Ed Pincus' The Axe In The Attic, receiving it's World Premiere at the 45th New York Film Festival. See "Alumni in the News."


John August holds a unique position as not only one of Hollywood's most sought-after screenwriters, but also one of the filmmaking community's most active and helpful members. August's first produced script was Go (1999), directed by Doug Liman, a triptych of interweaving stories which played out like a junior version of Pulp Fiction. He has since written the animated Titan A.E. (2000) and both Charlie's Angels movies, and collaborated with Tim Burton on Big Fish (2003), Charlie and the Chocolate Factory and Corpse Bride (both 2005). All the while, he has also been passing on his professional expertise to others by answering online readers' questions, maintaining a blog (at and participating in Sundance labs.

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