Psycho Cinema is the sister organization run by the hostest-with-the-mostest Faye G. They bring rarely-screened horror, sci-fi, and obscure films to the Alamo Drafthouse Cinema in Winchester. Join Faye’s group by clicking this LINK and prepare for the unexpected!
Tuesday, March 1st at 7:30pm
Just before PULP FICTION would make him a household name, Quentin Tarantino wrote the blood-spattered story that inspired director Oliver Stone’s NATURAL BORN KILLERS. Tarantino’s second tale of lovers on the run (after 1993’s TRUE ROMANCE) ignited worldwide controversy for what many saw as nothing more than the glorification of violence and destruction. Unlike TRUE ROMANCE’s generally sweet-natured Clarence and Alabama, Mickey and Mallory Knox (as played by Woody Harrelson and Juliette Lewis) were cold-blooded, deranged and mostly merciless.
In 1994, a time in which the only major “reality show” was MTV’s THE REAL WORLD, Tarantino envisioned a society in which mindless millions eagerly devoured a steady diet of exploitation, sleaze, brutality and shamelessly self-promoting, self-declared celebrities. That’s the environment in which NATURAL BORN KILLERS takes place, and it’s a dizzying jumble of images, sound bytes, fragments of TV commercials, samples of music and anything else Stone can throw at us. Beginning with a whirlwind courtship that’s depicted in mock-sitcom-style (complete with Rodney Dangerfield as Mallory’s slovenly dad, who tossess off one-liners like “Two pounds lighter, you’ll be Miss Ethiopia!” as casually as he makes cracks about incest and wife-beating), Mickey and Mallory immediately begin living up to their billing as they cruise across in America in a 1970 Dodge Charger, leaving a trail of corpses in their wake. They are followed by Australian TV host Wayne Gale (Robert Downey, Jr.), who turns them into living legends on his “American Maniacs” show. The killer couple’s journey down Route 666 becomes, in Gale’s telling, “a candy lane of murder and mayhem,” and viewers eat it up.
Switching back and forth between color and black-and-white, between vicious satire and shocking horror, Stone constantly plays with our expectations: cartoonish themes and kooky sound effects accompany savage murders; Mickey and Mallory’s car seems to roar through fields of giant dandelions, skies full of fireworks, even through the flames of Hell; bullets hang in mid-air and airborne meat cleavers travel in slow-motion as they find their targets, etc. NATURAL BORN KILLERS scared the bejesus out of moviegoers in 1994; today, as we all deal with daily bombardments of media and messages through the Internet and our iPhones, when mass shootings are analyzed and scrutinized endlessly in the name of “news,” it’s impossible to deny that this relentlessly audacious film was made by people who saw the crazy world to come.
Saturday, March 5th at 10:30am
Tuesday, March 8th at 7:30pm
Friday, March 11th at 10:55pm
On a sunny summer day in the French countryside, drifters Jack (Andrew Simpson) and Véronique (Joséphine de La Baume) hook up and hit the road together. But when they accept a ride from a local oddball (Frédéric Pierrot), the pair finds themselves thrown into a deadly game of cat and mouse in which nothing is what it seems. Bursting with nonstop twists and turns and an undercurrent of Hitchcockian malice, this riveting psychological thriller is a hell of a ride. Legendary cult actress Barbara Crampton co-stars.
Tuesday, March 15th at 7:30pm
“A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.”
It’s a tale as old as time: A rookie FBI agent is tasked with tracking down a serial killer who skins his victims and the best way she can find said peeler-of-humans is to forge an unholy alliance with another incarcerated serial killer who is dangerously charismatic and an unrepentant cannibal.
Seriously though, there is nothing old or rote about director Jonathan Demme’s masterful horror thriller. It stormed the box office in 1991 and rightfully made a clean sweep at the Academy Awards that year, picking up Oscars for Best Picture, Actor, Actress, Adapted Screenplay and Director — one of only three films to ever manage such a coup.
Friday, March 18th at 10:55pm
Tuesday, March 22nd at 7:30pm
Warriors…come out to play-ee-ay.
Preposterously themed street gangs, electrifying synths, raging fisticuffs and a lean, mean, macho man story. Cyrus is the toughest, baddest all-round coolest gang leader around and he’s assembled all of the gangs in New York City to unify them. But when Cyrus ends up dead, The Warriors take the wrap and every face painted, spiked bat carrying, homicidal maniac in the city is out to kill them as our true-hearted, iron-willed Coney Island rumblers punch, bite and bleed their way home through the labyrinth of Manhattan.
Walter Hill can film a city and make it sweat with toughness, capturing the filthiness of urban decayed vacant subways, crooked alleys and abandoned buildings to turn them into a spectacularly violent playground of insanity. CAN YOU DIG IT?
Thursday, March 24th at 7:15pm
In their quest for free beer, bumbling Canadian brothers Bob (Rick Moranis) and Doug McKenzie (Dave Thomas) wind up working at the Elsinore Brewery. The hapless lads uncover a sinister mind-control plot spearheaded by Brewmeister Smith (Max von Sydow) and must stop the scheme, which also involves Uncle Claude (Paul Dooley), a member of the Elsinore family. As Bob and Doug try to prevent Smith from taking over the world, they also manage to drink plenty of their favorite sudsy beverage.
Tuesday, March 29th at 7:00pm
It’s an easy night on patrol for Arda, Remzi and the rest of their police unit: a bit of cards, a bit of football, a bit of barbecue. They could never know what to expect when summoned out to support another group of cops at a remote building. And by the time they realize what they’re facing it will be far, far too late.
One of the great pleasures of the film festival world is the opportunity to witness the development and emergence of a promising young talent. This is very much the case with young Turkish helmer Can Evrenol, several of whose shorts have screened at Fantastic Fest in the past, including the short film that provides the basis for this. Evrenol proves himself a master of mood and tone with BASKIN, meticulously crafting a sort of baroque puzzle box sure to provoke a visceral physical response in even the most jaded. While too many young hands are content to shock in the name of horror without ever reaching for true fear, Evrenol goes a step beyond. BASKIN is a film to dread, a film that slips deep into the psyche and uncovers the topography of hidden nightmares.
Less a film to be deconstructed and talked about than it is a film to be experienced – though there’s certainly plenty to deconstruct – BASKIN more than delivers on the promise of Evrenol’s short film work, bringing the young Turk to screens seemingly fully-formed as a new auteur of the horror world