Year: 2018
Director(s): Boots Riley
Writer(s): Boots Riley
Region of Origin: USA
Rating: R
Digital, Color, 105 mins

Synopsis: In an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a macabre universe.. (Source)

Sorry to Bother you arrives at a time when we’ve fallen asleep at the wheel. Despite a new revelations everyday, marches every weekend, families being separated, we’re at the point where all of this injustice is so commonplace, we’re systematically growing numb. Boots Riley’s directorial debut is the wake up call to all of this. It’s a furious satire that bends the needle so far into absurdity that it swings back to normalcy and becomes too real to laugh by the time those credits roll. Falling somewhere in between Office Space meets Get Out, Riley’s film is dense and unforgiving, piling on so much lunacy that it’s hard to keep up. Still, this film has some real teeth. Behind the colorful presentation and defiant eccentricity is a rallying cry, dissecting cultural erasure and corporate evil in a way that we can no longer ignore.

Cassius (Lakeith Stanfield) is so desperate for a job, he weasels himself into a telemarketing firm. There, the employees (people of color working for white bosses) are treated like slaves, working for commission while doing a job that’s nothing less than invasive. Those who do well are promised to become power sellers, moving to higher floors and earning obscene amounts of cash. Struggling to do his part, Cassius makes a breakthrough when a coworker urges him to use his “white voice”. In essence, this voice lifts the burden and hardship from his tone of delivery, as well as erasing his cultural identity. Still, Cassius turns out to be a natural with his white voice, slaying phone lines and moving up even as his coworkers and artist girlfriend, Detroit (Tessa Thompson), begin to rebel against the company status quo. As Cassius climbs the corporate ladder, he’s forced to confront the hideous nature of his new position, one that threatens to plunge the world even deeper into chaos.

Riley’s ability to render Cassius and Detroit’s nightmarish reality is both hypnotic and repulsing. This isn’t a film that’s here to play nice, and beneath the surface humor, is pitch black reality. As such, the dystopia that Riley’s created is as immersive as it is subversive. Riley tackles everything from fair wages, minority struggle and a locked cycle of apathy and corporate conditioning. This may be the year’s most punk rock film. It lures us in with its colorful strangeness only to pull the rug out from underneath us. Still, for a film that’s as aggressively weird as this, it never feels without purpose or meaning. Every frame is an assault on the senses, and one that couldn’t come at a better time, showcasing Riley’s singular voice while harnessing it as a weapon.

The cast couldn’t be more perfect, either. Stanfield’s Cassius makes it all feel believable, selling the desperation of his character and a thirst for self-betterment, no matter what the cost. It’s because of Stanfield’s reliability that the film’s inherent silliness feels like it has stakes, and that we understand the humanity that gets lost in the shuffle. As Detroit, Tessa Thompson gives the film an unpredictable energy. She pops up every now and then, always striking like lightning and helping to solidify the film’s brash, unhinged world. Elsewhere, the film is lined with performers who stand their own. Steven Yeun’s Squeeze offers a more grounded counterpoint, Danny Glover’s Langston gives the film some gravitas, Armie Hammer’s Steve is a cartoonish villain who cuts deep, and Omari Hardwick’s mysterious Mr. Blank thrives in subversion. There are way too many others to note, but there isn’t a single weak link in the chain.

Sorry To Bother You is a new classic. Riley plays by his own rules, daring us to keep up every step of the way. As the film’s screwball antics coalesce into a real whopper of a third act, we’re treated to a volatile cocktail of social upheaval, bizarre oddities that are beyond this world and characters whose call to arms light the spark for something incendiary. Riley’s film is a proper disruption for the machine, a breath of fresh air that hides deeper meaning behind and ignites a fire with its anarchic insanity.

SG

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If you’ve been following whispers about the ever-evolving Cloverfield franchise, then you’ve heard that Overlord was at one point (or still is?) one of the next films in the series. This trailer doesn’t seem to connect, but it is pretty awesome and only time can tell… From the outset, this is an original, big-budget genre bender with a great cast, stunning visuals and a lot of weirdness. It’s the kind of thing we just don’t see much of anymore, and that’s always a good thing.

We can dig into the Overlord mysteries when it hits theatres, November 9.

SG

The post Yes, You Wanna Watch The ‘Overlord’ Trailer Right Now appeared first on CROMEYELLOW.COM.

Welp, get ready to stand in line, both physically and on the interwebs, because Mondo just mic dropped it with these. Though the poster boutique will have plenty to offer in person and online for this week’s SDCC, these two are the standouts. I mean, these are so good, they’re instantly two of the year’s best, and possibly definitive art for both films.

On one hand, Martin Ansin’s The Man Who Fell to Earth is a stunner, bringing together the film’s dense layers and experiential character work with a stunning image steeped in pain and style. On the other, Rory Kurtz’s Annihilation is nothing less than we’d expect from the knockout artist. His piece is stark but bold, harnessing sophistication through typography and image. Just wow.

Follow @MondoNews this weekend for info on how to snag these prints. If you’re on the ground at SDCC, Mondo will be at Booth #435. via

Martin Ansin / The Man Who Fell to Earth (online reg) / 24″ x 36″ / Screen print / Edition of 375 / $65

Martin Ansin / The Man Who Fell to Earth (SDCC var) / 24″ x 36″ / Screen print / Edition of 225 / $90

Rory Kurtz / Annihilation (online reg) / 24″ x 36″ / Screen print / Edition of 325 / $75

Rory Kurtz / Annihilation (SDCC var) / 24″ x 36″ / Screen print / Edition of 200 / $85

SG

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I only recently discovered Paul Mann, but I’ve been keen on his work every since. In a stroke of perfect timing, Vice Press is releasing a new poster for The Prisoner, by Mann himself. As an artist, Mann’s aesthetic feels timeless. The textures, brushstrokes and compositions feel like they’re from a classic era, yet they don’t feel dated. This poster for the beloved show proves a perfect match between artist and property, and it’s instantly one of this year’s faves.

On sale this Friday, July 27th, only at Vice Press.

50cm x 70cm / Offest litho fine art print / Edition of 150 / Hand numbered / $50

SG

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Philip K. Dick’s Do Androids Dream of Electric Sheep? is mostly synonymous with Blade Runner, but it is important to remember that the original story still has a life of its own. Alan Campbell’s new piece is a reflection of the inspiring novel, one that mines some of its more understated elements for a unique print. Needless to say, Campbell’s art strays from the bright pop aesthetic we’ve grown to associate with the film, instantly making the art that much more special.

Available now from Alan Campbell Art.

18″ x 24″ / 3 color screen print / Edition of 50 / Signed and numbered / $52

From Campbell: Do Androids Dream of Electric sheep? is the starting point of the film we all love, written by Phillip K Dick, published in 1968, the film is pretty faithful to the novel, with a few differences, the biggest of those to me was the use of Animals, in novel the full story is pushed along by Deckard wanting a proper animal, the ultimate status symbol after the nuclear war that has killed most of them, he riles through a catalogue from a pet store, phoning the pet store and keeping count of what he can afford if he kills all the replicants and gets the associated bounty’s. I focused the main part of my print on this; the ostrich, being one of the desired animals, while the spider is related how the replicates treat animals near the end of the novel, without empathy.

SG

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First off, if you haven’t yet, yes, you need to go out and see Sorry to Bother You. Boots Riley’s film is one of the year’s best, an assault on the senses that forces us to act and feel. To promote the film further, this new poster from Midnight Marauder has just been released, and, of course its beautiful. Just like the film, the art is a jam-packed pop culture collage that reads like an urgent call to action. I can’t stop looking at this thing.

Head out to theatres, and check out more art from Midnight Marauder.

SG

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Year: 2018
Director(s): Panos Cosmatos
Writer(s): Panos Cosmatos, Aaron Stewart-Ahn
Region of Origin: USA
Aspect Ratio: 2.35:1
Rating: n/a
Digital, Color, 121 mins

Synopsis: A broken and haunted man hunts an unhinged religious sect. (Source)

Imagine the wildest heavy metal mixtape ever created. This probably includes long hair, leather, blood, mayhem, otherworldly vistas, demonic creatures, cults, illegible metal typography and revenge. Now, multiply whatever feeble images you’ve conjured up and multiply them tenfold. Yep, Mandy has all of those and more. Director Panos Cosmatos’ latest is a rock opera shaped by loss and anger. It takes us outside of ourselves and transcends its frame with otherworldly images and an unmistakable sense of poignancy. Unlike most films, which we sit back and watch as bystanders, this immerses us on deeper level. It’s also a film that’s more insane that what words can say, because it’s expressly about what words can’t say. In essence, this is a pure dream, one steeped in instant iconography and led by Cosmatos’ singular vision of neon-hued rage.

In 1983, Red (Nicolas Cage) is a lumberjack who lives a very simple, secluded life. His existence has purpose, however, with Mandy (Andrea Riseborough), the raven-haired love of his life. The couple have more than what they need within each other, unspoiled by what lies beyond the dense forest around them. Enter enigmatic cult-leader Jeremiah Sand (Linus Roache). He leads a handful of followers known as the Children of the New Dawn. When Sand sees Mandy by chance, he’s instantly consumed and knows that he needs to have her. After his plans go horribly wrong, he’s set on a collision course with Red, who hunts the charlatan with the wrath of something not quite of this world. Bodies will be mangled, chainsaws will fly, and Red will go to the ends of the earth in a fit of consuming vengeance.

On surface, Cosmatos’ film is a deceptively simple revenge story. Deeper, it’s a vivid experience that thrives through subconscious impulse. With each act, Cosmatos immerses us within shifting moods and ideas. From pure bliss, to nightmare and then something more cosmic, the evocative narrative twists into something bigger than any explanation. Since the film adheres to its own unhinged sense of logic, it’s free from the tethers of reality and forges a literal dark path into the blood-red unknown. Horror fans absolutely won’t be disappointed with what unfolds on screen, but Cosmatos’ film is also more complex than its contemporaries. First and foremost, this is about the psychological toil behind a well curated slew of genre trappings. We truly feel every ounce of desperation and violent act of catharsis. Needless to say, the final product is a bold statement that straddles art house sensibility with crowd-pleasing awe, even as it drags us straight into the deepest parts of hell.

Despite the unparalleled world-building, this insanity works because of the humanity beneath. The effort is literally brought to life by a trio of hardcore performances. As the titular character, Riseborough is the film’s soul. Though she has the smallest part, she makes a huge impact, making the most of her scenes and building Mandy as someone who carries a lot of strength within. As the vengeful Red, Cage delivers one of the best performances of his career. By design, his dialogue is minimal, leaving the actor to do a lot of heavy lifting through physicality and an emotive face that speaks without words. As things ratchet up in the film’s third act, Cage ties everything together, spouting one-liners that can feel both threatening and tongue-in-cheek. Near stealing the show, Linus Roache’s Jeremiah Sand is the embodiment of evil male toxicity. Roache’s performances is masterful, evoking fear and an uncanny charisma which downplays how dangerous he is. Roache is definitely the centerpiece of the film’s study of everything that’s vile, constantly going beyond what we expect and never ceasing to peel back layers.

More than most, this film was designed for the big screen. It’s a vicious attack on the senses that was meant to be seen large and loud, and we can’t help but want to get lost within it. I realize a lot of this may sound like a hyperbole, but I kid you not, Cosmatos’ film is not of this earth. This is a singular achievement from the mind of a madman, and proof that words like visionary or auteur are used too loosely and freely. Mandy is a phenomenal head trip that evokes Jodorowsky spliced with Sam Raimi, and with a trancelike narrative that will undoubtedly make Refn weep. The more I think on the film, the more it reveals itself to me, and I can’t wait to see it again to dive even deeper.

SG

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I fell in love with Carol Danvers’ Captain Marvel because of Kelly Sue DeConnick’s recent run. She just felt like no one else, anchoring a grounded, rich world steeped in friendship and pure fearlessness. There really is just so much that this character can bring out, and there’s no better time for her to make her mark than now.

As has been hinted, this film isn’t a traditional Marvel origin story, but more of a “defining” story. Danvers will already have her powers, but will find herself in a critical juncture as she returns to Earth while caught in the middle of an intergalactic war.

In addition to the hope and awe of this teaser, we get first glimpses of the film’s 90s setting, the Kree homeworld of Hala, young Marvel characters/villains and finally, a glimpse of the red, gold and blue suit in action. It all looks great!

I. Cannot. Wait!

SG

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600 Cronenberg fans. Beyond Fest. An entire day of blood, sex, violence and social taboo. To say that The Shaping Of Rage, all-day Cronenberg marathon was one of my most anticipated of the fest, would be an understatement. Having not seen these films for some time, I was excited to experience them on the big screen, and with like-minded fans who knew every part of them front and back. Needless to say, the experience wasn’t a let down, and every film still spoke powerfully about a director who was always clearly ahead of his time. I packed four bottles of water, a few snacks, and was ready to have my existence blown to bits.

The print for Shivers was a Frankenstein assembly, culled together from numerous sources. One scene had French dubbing, and the opening title had the film named The Parasite Murders.

As Cronenberg’s first feature, the film still holds up as one of the most horrifying ever made. It imagines a massive, self-supporting luxury apartment complex housing an insidious secret. We quickly find out that a scientist has created a parasite designed to make people act out their most carnal, primal impulses. The experiment creates a zombie apocalypse in which the film’s disease is spread through sexual assault.

Modern context only amplifies the film’s progressive ideas about sex and gender politics. Even with its low budget, Cronenberg is telling us a story that has gotten more important as time passes. A truly forward-thinking film that dared to explore our most intimate, self-destructive urges without abandon.

Rabid continues where Cronenberg’s debut left off, but this time with a more focused perspective from its female protagonist. The unwitting guinea pig of a plastic surgeon, a woman named Rose (Marilyn Chambers) finds her self a vampire of sorts, luring those around her and then literally feeding off of their blood. The results turn her into a Typhoid Mary of sorts, unleashing a plague that quickly spreads and turns Canada into a war zone.

Again, looking at the way that Cronenberg is subverting ideas about sex and violence, the film takes on a tragic lens. One reading shows us a woman who no longer feels connected to the world around her. She acts upon primal necessity and is brutally punished for it. There are other ways the film can be seen as well, but nevertheless, it’s another underrated work from Cronenberg, whose style and taste for the taboo is beginning to pick up steam.

Next up, the print for Cronenberg’s The Brood was immaculate. It looked incredible, with a lot of the film’s bright production design and shadowy atmosphere contrasting nicely throughout.

As Cronenberg’s next foray into body horror after Rabid, The Brood, is easily his first masterpiece. Though the film still tackles a bit of the sexual implications from his previous films, this one is much more psychological, using Freudian touches to capture the manifestation of rage. Just as Shivers and Rabid, the film is about externalizing the internal, resulting in some of his most iconic creatures, and leading up to a jolting last act that includes some unforgettable imagery.

Huge ups to Oliver Reed’s steely performance and Samantha Eggar for that show-stopping, climactic reveal.

This may also have one of my favorite Cronenberg endings, closing with a shot that indicates how the effects of trauma can be passed on to our children.

Last up, Scanners, also with a great looking print, feels slightly out of place within these films, not as psychosexual, not still serving up a story with a lot of bodily carnage.

Looking at the film now, this feels like Cronenberg’s superhero film. Featuring a secret society of people who can scan other people’s minds, the story takes on an espionage plot with big social implications. The Beyond Fest audience applauded at the film’s opening head explosion, and to this day, the scene absolutely still delivers.

As a sci-fi thriller, the film moves very fast, offering a more heightened reality than Cronenberg’s previous films (which ironically felt more grounded), and a deeper mythology to chew on. The film’s closing moments tie things together in an unexpectedly personal way, and lead to a very trippy ending that makes our minds race with possibilities.

Having not seen this for a long time, I didn’t realize that Patrick McGoohan was in the film and had such a pivotal role. All in all, this feels like something Nolan might’ve made if he dipped into horror, and I’m surprised this hasn’t been remade yet – I think it’d be great to see it done today.

After Scanners, Beyond Fest surprised us with a Q & A with the legendary Michael Ironside, who took the stage to give us a few anecdotes about Cronenberg himself. He gave us some hindsight into the making of Scanners, about how Cronenberg would share his dreams on set, and how his favorite Cronenberg film was The Brood. Answering a question from the crowd, he also told us that the best directors he ever worked with are all great listeners, capable of understanding the communal aspect of making films, and using everybody to their best abilities.

After 4 films and 8 hours, my mind was torn to shreds, and my body was physically exhausted, but wow, that was one of the greatest experiences of my life. Though none of these films are particularly rare and easy to find, seeing them projected on the best screen in Los Angeles, and with a crowd hungry for them, was an experience I’ll never forget.

These films still hold up with ease, and are a testament to an artist pushing not only his own boundaries, but anyone willing to listen.

SG

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Bottleneck Gallery is hitting NYCC with a bunch of prints, and one of them is this stunner from Rockin’ Jelly Bean. The mysterious artist has gone a bit out of his bubble for this one, tackling the Marvel team with his singular style. Honesty, this poster is pretty amazing, but it also bums me out because of the ongoing James Gunn/Disney drama. This series is easily one of Disney’s best, and their willingness to curb it so quickly is pretty disappointing. At any rate, rad poster.

Hit up Bottleneck Gallery’s blog for more releases and info, and their NYCC booth #2610.

Reg / 19″ x 31.5″ / Screen print / Edition of 325 / Hand numbered / $60

Var / 19″ x 31.5″ / Screen print / Edition of 150 / Hand numbered / $75

SG

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