Telluride ’21: An Introduction or, the Train Doesn’t Stop at Any Stations

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by Walter Chaw I use these trips to the Telluride Film Festival as year-markers: summaries and confessions sometimes filled with hope for the new year, although I find I live almost entirely in the past, in fear of the future, neglecting the present. I don’t think this is an unusual malady (indeed, it might be the common malady), and shaking loose of it may be the pestilence that finally ends us and not any other. This year, I took a different route to Telluride, not through the canyon, but straight across the I-70 to Grand Junction, then south to the sheltered valley where Telluride sits. Partly I did this for the novelty of it (I haven’t driven over Vail Pass since an accident I had there…can it be a decade ago already?), and partly out of wanting to pick up my friend Katrina from the Grand Junction airport to drive her down to meet her husband at the festival. Every time I go through the Eisenhower Tunnel, I remember that particular passage from The Stand and how, several years ago, I listened to its audiobook on the way up to a different Telluride. It was the first time I’d made it to the end of the novel. A die-hard fan of King’s, I nevertheless find his fantasies difficult water to tread. Colorado is a beautiful state, though I worry that the lakes and rivers are looking as low as they’re looking right now. I doubt I’ve ever seen them quite so dry.

A Website Turns 24…

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FILM FREAK CENTRAL turns 24 this month and I became curious what our 24 most-read reviews might be. Unfortunately, we didn’t sign up for Analytics until 2014, and any record of our traffic before then has evaporated from the Internet. So, uh, here’s a countdown of our 24 most-read reviews since, um, 2014. Few surprises on here (longtime visitors to the site can probably guess what took the #1 spot, with 147,457 reads), but definitely a head-scratcher (#6) or two (#20). Perhaps the biggest takeaway? No Marvel. DC is another matter entirely, though. Thanks again for reading and supporting us!-Ed.

Sundance ’21 – An Introduction

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by Walter Chaw I think there are so many film festivals now that it’s never not festival season. As a consequence, no one festival is more important than any other festival. They’re each a different tentacle of the distribution/exhibition octopus, an appendage of chthonic horror. If any distributor happens to show some apparent innovation, call it a novel mutation: temporary and vestigial on the body impolitic. Celebrate A24 and NEON, in other words–but I have an idea that everyone is connected to the same profit motive. Meanwhile, the festival clockwork churns on unimpeded.

“The 50 Best Films of 2020” by Walter Chaw

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There will be libraries written about the fallout from 2020: memoirs and sociological studies and an entire generation of art forever coded to this collective flashpoint. If the trauma from an event like 9/11 can reshape the discourse for the next decade, how long will the afterimage of the pandemic–of probably 500,000 known dead when all’s said and done from wilful mishandling and a lack of financial, medical, and institutional support–linger in the minds of the survivors? How will we, together, come to terms with our current status as a banana republic, vanquished in a non-shooting war by foreign dictators, and on the verge of witnessing the pathetic, ignoble death of our brief experiment? It will go, and we won’t even fight.

Fantasia Festival ’20: Introduction

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Fantasia Festival runs from August 20 to September 2, 2020. For more details, visit their website.

by Walter Chaw I don't have a lot to add about how exceptional Montreal's Fantasia International Film Festival is or what a shame it is not to be able to have it in person this year. I don't know that there's a lot I can add to any conversation right now. I do have something to say, I guess, about how much film festivals have meant to me over the last few years as I deal with sometimes-crippling depression–about how just being in rarefied air among friends and colleagues who only know me as a film critic means…something. It represents a possible present where I don't have regrets and resentments, though, in fairness, I don't have either of those things much anymore. Time has worn me out and down, grooves in me where the needle skips.

With everything going on in the world right now, it's difficult to find the mental bandwidth to think and write about movies. Nevertheless, they're still coming out--on various platforms and streaming services and on Blu-ray and DVD--and I want to assure our readers and patrons that while our coverage has slowed, we have no plans to abandon the site, which turned 23 (!) in May. Partly in celebration of that and partly just to brighten your day, we recently made the first five entries in Walter Chaw's Patreon column "Life During Wartime" available to all. (See links below.) In each…

We’re Still Here

The quarantine has slowed down our progress a bit here at the mothersite, but we'll be back next week with more reviews. In the meantime, Walter Chaw has started a column for our Patreon subscribers called "Life During Wartime," about watching and discussing films with his family. To all who have offered their support recently, financial and otherwise, we can't thank you enough. My best to our readership during this uniquely difficult time. Bill Chambers,Editor

“The 50 Best Films of 2019” by Walter Chaw

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2019 will be defined for me by two things–one is interesting, the other is not. The “not” is that my friend Sam killed himself. He used a gun. Sam and I disagreed about guns. He had been in various levels of law enforcement, retired to be a 9-1-1 operator, found himself traumatized after his service, and moved across the country to be closer to his young daughter and ex-wife. To be a dad, you know. Sam owned a lot of guns, but in the last couple of years, he began to ask me about statistics and troubling trends. Mass shooting events devastated him–as they devastated all of us, before we got used to them–and the doctrine and culture in which he was raised started to show its limitations as a strategy for species survival.

Editor’s Choice: The Year in Blu-ray (2019)

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by Bill Chambers I learned to appreciate the benefits of streaming this past October when I became so fatigued from illness that getting up to load a disc may as well have been trekking across the Sahara. (It really put the “physical” in physical media.) Then Disney+ launched, and “Maclunkey” happened–a startling reminder that streaming content can change at the drop of a hat depending on corporate or creator whim. It remains a struggle to fight complacency, though, given that a) the screener pool is drying up and b) even the cheapest disc will probably set you back as much as a month’s subscription to a streaming service. In short, I wouldn’t call this a definitive or comprehensive list of the year’s best discs by any stretch, merely the best among those I had an opportunity to audit. But FILM FREAK CENTRAL will never stop championing physical media, for a variety of “because”s:

SDAFF ’19: An Introduction

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by Walter Chaw I'm statistically past the midway point, alive for more years than I will be alive for again, and I've spent most of my time denying, being embarrassed by, often hating, who I am. I was born in Colorado in 1973, raised in downtown Golden in a Norman Rockwell postcard of an existence. I walked to school, walked to the little silversmith store my dad owned when it was over, earned pennies at the barbershop on the corner where the mayor, Frank, operated the first chair. I got my money shining shoes and catching flies in the little plastic bags my dad used to put little gems in for his customers.

Please Stand By

For those who don't follow me on Twitter, some health issues have been keeping me away from my obligations to the site, editorial and otherwise. Updates will (continue to) be sporadic until further notice. In the meantime, check out our festival reviews of current releases, including Parasite, Pain and Glory, Joker, and Judy, and keep refreshing because new content will appear whenever it is humanly possible. Bill Chambers,Editor, FilmFreakCentral.Net

Telluride ’19: Epilogue

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by Walter Chaw There's a scoop in the mountain face on the way back from Telluride, like a bite has been taken from the rock. Below is a clear, blue lake fed by snowmelt, so the water is bitterly cold. I found it by accident. I stop there every year to break up my drive. This year I sat on the beach for a while, stood up a few bleached wood branches into something like a cairn, took my shoes off, dug my toes into the sand, and soaked them for a minute in the water as shoals of fry darted around. I sucked air in through my teeth. I nodded off to the sound of the water lapping and the wind in the grass by the road, and I thought of this passage from The Sound and the Fury:

And I will look down and see my murmuring bones and the deep water like wind, like a roof of wind, and after a long time they cannot distinguish even bones upon the lonely and inviolate sand.

Attn: The 27th Annual Vintage Film Festival

Attention classic-film buffs and TCM junkies: Since FILM FREAK CENTRAL is technically a Canadian website, based in southern Ontario, I wanted to take this opportunity to tell you about the 27th annual Port Hope Vintage Film Festival. Running from September 27-29, it's a rare opportunity to see classic films--such as Top Hat, Abbott and Costello Meet Frankenstein, and La Belle et La Bête (the theme for 2019 is, you guessed it, Famous Cinematic Duos)--on the big screen, at Port Hope's gorgeous Capitol Theatre (pictured above). Proceeds go to the Marie Dressler Foundation, which is raising money this year to provide…

Telluride ’19: An Introduction

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by Walter Chaw About 16 months ago, my mom received an 18-month diagnosis–meaning she has maybe two months to live. We'll see. When I broke it to my parents that I was dropping out of the engineering track at college to pursue a degree in English, there was a lot of silence and then my mom said: "Don't write about us." I don't think I honoured her request for even a second. This is the first time I've written about her directly, but I don't believe it's possible to not write your shit. I mean, if you're doing it right. I think if you read my stuff, for whatever reason, with the right eye and the right experience, it wouldn't be difficult to nail what my issues are. They're florid and manifold: beware when hunting monsters and all that.

Fantasia Festival 2019 – Our coverage begins

Overture, curtains, lights,This is it, the night of nightsNo more rehearsing and nursing a partWe know every part by heartOverture, curtains, lightsThis is it, you'll hit the heightsAnd oh what heights we'll hitOn with the show this is it Tonight what heights we'll hitOn with the show this is it Fantasia International Film Festival runs from July 11th to August 1st in Montreal, Quebec.

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Just in time for the first photographic evidence of a black hole, Claire Denis's High Life opens in Canada this week alongside Max Minghella's directorial debut, Teen Spirit. We--that is, Angelo Muredda and yours truly, respectively--covered them at last year's TIFF. Also hitting an unspecified number of screens this weekend in advance of its VOD debut is David Robert Mitchell's Under the Silver Lake, which made Walter Chaw's Top 50 of 2018 back when we thought a leaked rip was as official a release as we were going to get. Lots more to come post-Easter.-Ed.

Some Offshore Activity: “One Heat Minute”

by Bill Chambers Recently cited as one of the "100 Podcasts Worth Listening to" at VULTURE, Australian Blake Howard's "One Heat Minute" has seen Howard and a panoply of guests doing the lord's work of dissecting Michael Mann's Heat one minute at a time since August, 2017. It was my honour to join him for minute #139, in which the police check Chris Shiherlis's fake ID after his wife Charlene signals him that the coast isn't clear--although Blake isn't a stickler and our conversation turned out to be far more wide-ranging than that. Just a heads-up if you want to…