By Joseph B. Mauceri

- Friday, April 25th, was a gorgeous day in New York City. A day better spent out doors than in a movie theater. Still, the film junkies were out in mass to consume the cinematic fare being offered at the 2008 Tribeca Film Festival. We got to enjoy a bit of the day, savoring the morning, as our screening day began at noon with The Wild Man of the Navidad.

THE WILD MAN OF THE NAVIDAD
Director/Screenwriter: Justin Meeks and Duane Graves
Producers: Duane Graves, Justin Meeks, Kim Henkel
Director of Photography: Duane Graves
Score/Music: James Brand, Ben Buchanan, Charlie Hurtin, Marshall Jones, James McCrea, and David Turnbow.
Special Makeup Effects Artist: Justin Meeks & Charles Robertson
Cast: JUSTIN MEEKS (Dale S. Rogers), TONY WOLFORD (The Wild Man of the Navidad), CHARLIE HURTIN (Karl Crabtree), ALEX GARCIA (Mario Jalisco), STACY MEEKS (Jean Rogers), EDMOND GEYER (Sheriff Lyle Pierce).
-SYNOPSIS - The Wild Man of the Navidad realizes an old Texas legend with a vintage '70s horror visage. Based on the journals of Texan Dale S. Rogers, the film follows Dale, his wheelchair-bound wife Jean, and her oft-shirtless, lazy-eyed caretaker Mario, who fondles Jean whenever he can. They live on a ranch in the sparsely populated, moonshine-soaked Texas town of Sublime, where Dale's family has lived for more than five generations. Each night, he sets food out on his porch, but this isn't for any pet cat-it's for a mysterious creature that, according to local lore, has inhabited the Navidad River bottom for more than 100 years. Inside, Dale, Jean, and Mario wait in silent paranoia while the house shakes with growls and snarls right outside their door. Though the ranch sits on vast acres prime for hunting, Dale has resisted opening up the land. But after the prodding of some of the rifle-loving townsfolk and the loss of his job, he gives in and opens the gate to the compound-then the hunter becomes the hunted. (By film’s website)
- REVIEW - With the associate producer of Tobe Hoper’s “Texas Chainsaw Massacre” on board, the narrative and visual style of Justin Meeks and Duane Graves’ film does bare a slight resemblance to the 1974 horror classic, but it stops there. The film definitely has a unique voice, largely due to this legend the filmmakers have unearth and crafted into this highly stylized film. The cast is as rough and rugged as the landscape and it all plays into the suspense and tension of the film, as well as a solid foundation of authenticity. Not as many scares as massive amounts of tension and suspense, but just the right amount of effect gags to satisfy the most die-hard horror fan. The filmmakers come up with this creature that runs around covered in animal skins so they can save the big reveal for the very end and it enables the creature to run amuck during the day. One of my favorite elements of the film is co-director-screenwriter Justin Meeks in the lead role of Dale S. Rogers. His performance is this delightful amalgamation of Bruce Campbell and Mungo McKay (2003’s UnDead). This is a film in dire need of a drive-in and hopefully you’ll have the opportunity to see it in a theater.

For Additional Festival Screenings Click: THE WILD MAN OF THE NAVIDAD
Official Site: The Wild Man of Navidad

Next up on our screening schedule:

LET THE RIGHT ONE IN
(Låt den rätte komma in)
Director: Tomas Alfredson
Screenwriter: John Ajvide Lindqvist
Producers: John Nordling, Carl Molinder
Director of Photography: Hoyte vaj Hoytema
Composer: Johan Söderqvist
Special Effects Makeup: Mattias Berg and Love Bergström
Principal Cast: KÅRE HEDEBRANT (Oskar), LINA LEANDERSSON (Eli), PER RAGNAR (Håkan), HENRIK DAHL (Erik), KARIN BERGQUIST (Yvonne), PETER CARLBERG (Lacke), IKA NORD (Virginia).
- SYNOPSIS - Twelve-year-old Oskar lives in a drab village outside Stockholm, where by day he's the victim of relentless bullying, and by night he dreams of revenge. Slipping out of sight of his single mother, Oskar fills a notebook with news on the gruesome killings that have set neighborhood nerves on edge-someone is tying people up, breaking their necks, and draining their blood-and rehearses knife moves in the icy courtyard of his apartment complex. One night, an apparition appears on the decaying jungle gym behind him: Eli, the new girl next door. A pale, serious young girl, she only comes out at night and doesn't seem affected by the freezing temperatures. A subtle romance blossoms between Oskar and Eli, and she gives him the strength to fight back against his aggressors. But Eli, alas, needs something more than just Oskar’s friendship and love - blood. Eli knows that she can only continue to live if she keeps on moving. But when Oskar faces his darkest hour, Eli returns to defend him the only way she can. Adapted for film from Lindquist’s best selling book of the same name.
- REVIEW - Absolutely one of the most brilliant horror narratives I’ve had the pleasure to watch in the last decade. There is a dark underpinning to this tale that is extremely reminiscent of the classic works of author Richard Laymon. The film tells us that there are supernatural forces out their in the world. They maybe in conflict with our human nature, but often the real monsters can be found within the ranks of humanity. This film poignantly addresses this as they present Oskar and Eli as a yin and yang – Oskar is the albino twelve year-old being driven towards the darkness by society, Eli is the dark and mysterious who struggles with the darkness of her nature and strives for some aspect of good in her life. Even in the darkest moments of this tale the fillmakers maintain a level of innocence that is intensely emotional. I have cried at movies, lost it like a baby the first time I saw “E.T.,” but this is the first time I have ever shed a tear during a horror film. This film works on just so many levels – the score is emotionally lyrical, the cinematography is breathtaking, the special effects are wickedly delightful, and the performances are so genuine that you can not help being caught up in the drama. A large part of that also revolves around how the film weaves in aspects of the mythology with contemporary situations. It fits together in such away that we never question the drama because we have a familiarity with this mythology. We know people who would act this way in these situations. We understand that children love monsters and adults teach them to fear. Also, there are some truly dark elements to this tale that are never discussed, but upon reflection one can see their implications. Much like a good book, “Let The Right One In” is a genre masterpiece that upon viewing you are compelled to see again and share it with your friends. Audiences and critics too often look down upon genre films, but Let the Right One In proves not only the potential but also the validity of all that good genre films can offer and audience.
For Additional Festival Screenings Click: LET THE RIGHT ONE IN

Our final film of the day:

THE COTTAGE
Director: Paul Andrew Williams
Screenwriter: Paul Andrew Williams
Producers: Ken Marshall, Martin Pope
Director of Photography: Christopher Ross
Composer: Laura Rossi
Special Makeup Effects Supervisor: Stuart Conran
Principal Cast: ANDY SERKIS (David), REECE SHEARSMITH (Peter), JENNIFER ELLISON (Tracey), STEVEN O'DONNELL (Andrew), DAVE LEGENO (The Farmer), DOUG BRADLEY (Old Man).
- SYNOPSIS - Peter is a real wimp. He's got a domineering wife and even a fear of moths. So how'd he end up holding a potty-mouthed gangster's daughter, Tracey, hostage in an isolated country cottage with his brother, David, a hardened criminal? Every step of Peter and his brother's simple plan goes wrong. Their head-butting hostage seems to be more trouble than she's worth, her bumbling brother, Andrew, who is in on the scheme, can't even get a decent ski mask, and they certainly hadn't counted on two murderous Chinese gangsters lurking in the woods. When their hostage escapes on a bathroom break, the chase leads them to a seemingly abandoned farmhouse where someone dangerous lurks-and he has an axe, a freezer full of hands, and who knows what in the basement. Now the trio must try to come together and attempt to survive something far more sinister than Tracey’s crime boss father.
- REVIEW - Okay, I love the cast, the direction is outstanding, and it harkens back to classic Sam Raimi gorestick days of the “Evil Dead” films, and even “Darkman.” However, I’m a tad jaded after seeing last year’s New York City Horror Film Festival’s winner “Botched.” Another horror comedy, the pacing, timing, and editing of that film were much more along the lines of a Raimi film. The Cottage’s pacing tends to reflect more of a traditional British comedy, but with enough gore to please both Monty Python fans and Sam Raimi fans alike. In fact, Laura Rossi’s score at times is reminiscent of a classic Danny Elfman score that enhances the comedic timing. The main casting is brilliant, combing physical and facial expressions to sell the comedy. I feel some the ancillary characters aren’t taken far enough, such as these great actors who play the martial arts killers, who never get their moments to die on screen. Overall, The Cottage is a fun, greasy popcorn movie, perfect fare for a bit of a midnight film crowd – the kind of folks to sneak a flask or a few beers into the theater.
For Additional Festival Screenings Click: THE COTTAGE

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