Back in September, standing outside of Austin's Paramount Theatre, myself and a couple of others listened to Darren Lynn Bousman as he talked about the challenges he was facing in getting Lionsgate to properly release his Repo! The Genetic Opera. The studio had taken down rave after rave after a select screening several months before, and now the next night's Fantastic Fest screenings were as good a chance as any to prove the film's worth.

Well, I saw the film the following night amidst an impressive turn-out of die-hard fans, so while I may have already made my own thoughts clear, I cannot deny its growing (and all but inevitable) cult following, and it seems that neither can Lionsgate. Following a limited release and successful road tour, Bloody Disgusting reports that each will be expanded in the weeks to come to include the likes of Phoenix, New Orleans, Boston, Philadelphia, and Houston.

As for everyone else, you can either keep your fingers crossed for a third tour (though Bousman and co-creator Terrance Zdunich may want to see their families for the holidays, who knows) or just wait for the DVD, which will apparently still hits stores in January.

A week ago, I finally tore through Alan Moore and Dave Gibbons' acclaimed graphic novel, Watchmen, which I'd only recently prompted myself to make the time for after years of recommendations (the recurring threat of ending spoilers for a movie that I'd inevitably see was a catalyst unto itself).

It really is a tremendous work, and I'm as curious as anyone else to see how Zack Snyder's film turns out, but the one comparison that I kept coming back to was how much Watchmen reminded me of Richard Kelly's much-maligned Southland Tales, with each being a sprawling tale of an alternate reality in which several narrative threads are building towards the threat of a looming apocalypse.

Between that and the news of Kelly's latest being pushed back, I find myself tempted to give it another look-see -- especially since my first viewing wasn't exactly held in the most proper of environments. I'm sure that there's a method to Kelly's madness, but it's an indulgent, unpredictable film whose very story density I enjoyed more in and of itself. I doubt that I'd share those sentiments if instead first subjected to the three-hour Cannes cut, but if that version were ever released, I wouldn't be against giving it a spin. (My overall sentiments fall closer to Jette's.)

So, what say you, the readers? Did you see it? Did you finish it? Love it? Hate it? Or maybe, just maybe, did some of you land somewhere in between? (And for bonus points, what don't pimps do?)

I'm not exactly sure where IMP Awards dug up this alternate poster for Kevin Smith's Zack and Miri Make a Porno, but for my money, it's an equally creative and eye-catching way to sell the stars compared to the current stick-figures-and-'Porno'-free campaign ... a campaign which, it should be said, hasn't stopped the flick from grossing $20 million by this past weekend, which is about on par with most of Smith's recent work and (again) not bad for an advertising angle that didn't push either his name or the faces of leads Elizabeth Banks and Seth Rogen.

Besides, I really don't think the bright colors and cute animals would have led anyone to believe that the (admittedly sweet) Zack and Miri falls in line with, say, Happy-Go-Lucky, but we'll honestly never know if swapping colors for controversy would've had the same effect. (Hey, I still think that the Canadian poster would've done just fine.)

Check out this new (cutesy?) poster after the jump ...

Repo! The Genetic Opera is tailor-made to attract a fan following in coming years. To an extent, this stage-inspired future-set goth-rock horror musical already has, and its limited release – not to mention a concurrent road-show tour – is fitting for a film unique enough to never worry itself (nor its studio) with a screen count in the triple digits. This is a cult classic in waiting for Hot Topic teens who still believe that Tim Burton directed The Nightmare Before Christmas and won't know who Joan Jett is when she makes an appearance; the emphasis here falls heavily on 'cult' and not so much 'classic'.

City of Ember was the surprise closing-night film at Fantastic Fest, but I found out about the surprise a little early (which is always fun). I was able to see the film earlier in the week so I could interview director Gil Kenan, who showed up in Austin with surprise guest (to me, too!) Bill Murray for the closing-night festivities. Kenan has directed a pair of entertaining and visually stunning family-friendly features, the Oscar-nominated animated film Monster House and now the City of Ember adaptation, which opens in theaters on Friday. Not only that, but Kenan landed both of these projects right after he graduated from UCLA, where his short film The Lark won him a lot of attention. We talked about what he's done to make City of Ember as beautiful a film as it is, and how he found such compelling lead actors. He's currently linked to a new Robert Zemeckis production, Airman, and we took a minute to discuss that too. Check it out after the jump.

One of the most gorgeous-looking films I've seen this year is City of Ember, the Fox/Walden adaptation of Jeanne Duprau's young-adult fantasy novel about a post-apocalyptic underground city. Although the story is aimed at younger audiences, it's still enjoyable for grown-ups. The movie should be viewed on as large a screen as you can find, giving you the sense that you're this close to the fascinating and decaying city where the story is set.

The movie's prologue lays out the premise clearly. In the future, something goes haywire that causes the end of the world, but fortunately top U.S. scientists have created an underground city to keep a portion of mankind safe. The inhabitants will not be told about the Earth's past, so they won't be traumatized and will assume that their underground city is the only civilization. A box with instructions for returning to the Earth's surface will open in 200 years, which should be time enough for the Earth to be inhabitable again. However, over the course of time the box becomes lost, and after more than two centuries have passed, the city is starting to run out of resources and is falling apart.

Remember Broken Lizard's Beerfest? Whatever you thought of that 2006 comedy, it's difficult to dispute how incredibly astute the filmmakers were with rattling genre expectations in just a single scene. See, the American team's greatest beer guzzler, "Landfill", has passed away under shady circumstances, and right when everyone's ready to throw in the towel, in walks Landfill's identical twin brother, who they knew nothing about but who happens to have been told everything about each of them. Better yet, he's more than willing to even adopt Landfill's name, in an effort to bypass that whole awkward 'getting-to-know-you' stage.

It's every end-of-second-act "what do we do now, coach?" dilemma from an inspirational sports movie mercifully condensed to a couple of rapid-fire beats, and even if the rest of the film otherwise adheres to said sports movie formula, it's nice knowing that audience and actors alike were not going through the paces entirely unaware of how clichéd the entire narrative was.

What were the breakout films at this year's Fantastic Fest? Which French horror film had audiences squirming and arguing at Fantastic Fest and Toronto's Midnight Madness? What question couldn't James shake during Zack and Miri Make a Porno -- and what, according to Scott, is that film's secret weapon? And which October films are waiting to be your new fave film of the fall? Joining James this week to talk about all of the above -- and more -- is Cinematical's Managing Editor Scott Weinberg. ... Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

For the first time in its four-year history, Austin's Fantastic Fest decided to premiere a handful of its titles on the internet, thereby giving the hardcore genre fans of the world a chance to sample what this festival is all about. One of those titles was South of Heaven, which I decided to watch online, so as to give myself the option of seeing something else once the festival began. Plus I figured, hey, if the movie's are already posted (albeit temporarily) on the net, then how "top-grade" could they be? Surely the FF crew would save the BEST stuff for the actual festival, right?

Wrong.

I finished the film at about 3:30am and I immediately dropped the following email to the Fantastic Fest programmers, and this is a censored-yet-direct quote from yours truly:

"Just finished watching South of Heaven, and I can't remember the last non-horror flick I was this jazzed about. It's the Coens meets Sam Fuller while watching Looney Tunes and making an '80s mix tape full of The Smiths and Depeche Mode. I (freak)ing loved it."

Above: Jasper Sharp, author of Behind the Pink Curtain; the Alamo Drafthouse; Sean Donnelly (blue shirt), director of doc I Think We're Alone Now; Rian Johnson (glasses), director of The Brothers Bloom; Devin Faraci (glasses and beard), writer, CHUD.com, in the midst of debate; Jay Slater, English writer, ready to resolve a debate by boxing.

What qualifies a mainstream comedy like The Brothers Bloom to screen at Fantastic Fest, a festival reknowned for its horror, science fiction, fantasy, and other hard-core genre entries? One answer might be: 'Because co-founder Harry Knowles said so,' but even Knowles wondered if the film belonged in the program. The better answer might be: 'Why the heck not?' The best film festivals in the world are programmed by knowledgeable people who are passionate about presenting films they love to audiences who are eager to discover great new work.

In his introduction to the film, which was presented as the first "secret screening" of the festival (titles not revealed in advance; the shows always sell out anyway) on Tuesday evening, Knowles expressed his conviction that writer/director Rian Johnson "creates his own worlds." Certainly there are fairy-tale aspects to Johnson's featherweight con man tale, but I doubt anyone present really cared if the film "belonged" at the festival or not. The steady stream of visual gags drew near constant laughter, though I agree with James Rocchi that the film drags too long and, for me, edged too far into sentimental obscurity. The Brothers Bloom opens wide in January.

My screening day began with horror thriller Donkey Punch, a conventional yet refreshingly hard-edged dive into depravity that could be summed up as "threesomes never end well for anybody," a modern updating of the 80s slasher film notion that sexually active teens must pay for their sins by dying in repulsive ways. It's due for limited release in January.

By Monday, we were more than halfway through Fantastic Fest. On the one hand, festgoers who were just there for the weekend had departed, thinning the crowds slightly. On the other hand, some of us realized that there were still tons of movies to see and only a limited time, so we had better try to get into as many films as we could. I know some people who managed to see 5 or 6 films a day. I'm not one of them -- too wimpy.

One movie I saw and liked on Monday was Santos, a superhero film from Chile. When director Nicolas Lopez took the stage before the movie, I recognized him as one of the judges from Thursday night's Air Sex Championships. He was a wonderfully unpredictable judge and turned out to be a charming speaker during the intro and later during the Q&A for his film (as shown in the photo after the jump). Santos is about a comic-book artist who doesn't realize he has the same superpowers as one of the characters he writes about -- and at various points in his life, he's called upon to use those powers. It's very funny, but if you get the chance to see it, bear in mind that many of the gags are not at all family-friendly. Santos was produced by Elizabeth Avellan of Austin's Troublemaker Studios (which produces Robert Rodriguez's films) -- no U.S. distribution deals as of yet, but I hope that changes.

(from left to right) Fantastic Fest programmer Zack Carlson, Fantastic Feud co-hosts Devin Steuerwald and Scott Weinberg, and Not Quite Hollywood director Mark Hartley

With the weekend came no sure rest for Fantastic Fest attendees. Saturday kicked off with, among other things: a screening of Conquest of the Planet of the Apes shown from an HD master of a cut unseen in over thirty-five years; initial screenings of the very popular Tiffany stalker doc I Think We're Alone Now and the very anticipated Swedish vampire drama Let the Right One In (which can now fall firmly in the former category); and a boat party held in honor of Donkey Punch, in which several youthful types face some serious consequences after their high behavior on the high seas. Did life end up imitating art on that front...?

Arriving at my place of lodging shortly before 3:00 a.m. very late on Saturday night (or early this Sunday morning), it felt like a short night at Fantastic Fest. That's not to say that everybody parties until dawn, but with three (sometimes four) screens pumping out a steady stream of genre flicks all day long -- some of which don't start until well past midnight -- Fantastic Fest attendees might be forgiven for losing track of "normal" hours.

That's what happened to me on Friday night, which stretched well into Saturday morning. But before that craziness ensued, there were the films, and I got to see a typically odd combination, beginning with Ole Bornedal's Just Another Love Story. One of two productions that the Danish director made last year, Just Another Love Story plays like While You Were Sleeping on acid, which is basically how Alamo Drafthouse / Fantastic Fest programmer Zack Carlson described it in his introduction. A family man is mistaken for the boyfriend of an accident victim in a coma. When she wakes up, the deception ensues.

Rather than romantic comedy hijinks, Just Another Love Story pushes quickly into dark dramatics and the fantasy of a mid-life crisis before circling back around to the territory inhabited by Jonathan Demme's Something Wild. I followed that up with The Substitute, also directed by Bornedal, which was a big box office success in Denmark. It's easy to see why. The terrific Paprika Steen lets her hair down, so to speak, as a farmer's wife who is possessed by an alien life form.

I have a special place in my heart for Fantastic Fest because it was the first film festival I attended and covered professionally, for Cinematical back in 2005, the year the fest started. The 2005 fest was a long weekend of genre films, attended by a small enough crowd that you felt you knew everyone there by the time it was over. Since then, Fantastic Fest has expanded to nine days, added all kinds of crazy parties and events, become notorious for "secret screenings" that premiered films such as Southland Tales and There Will Be Blood, and introduced filmgoers to any number of international science-fiction, horror, animated, and other "fantastic" films.

In its fourth year, Fantastic Fest has grown so large and popular that its opening-night festivities moved from the genre festival's traditional Austin venue, the Alamo Drafthouse on South Lamar, over to the Paramount, a hundred-year-old theater in the middle of downtown that seats about 1200 people. The theater was packed for the opening-night film, the U.S. premiere of Zack and Miri Make a Porno, and writer-director Kevin Smith was also on hand.

The venue may have been the Paramount, but the minute the lights went down and a vintage trailer for Thunder Cops appeared onscreen, it felt like Fantastic Fest. Festival co-founder Tim League appeared onstage in a bright kimono, with a giant gong next to him, and announced, "With a stroke of this gong, I am about to declare this festival ... awesome!" Kevin Smith then introduced his film with a long and bizarre story about how he recently broke a toilet, then confessed that this had nothing to do with the film, he just wanted to tell the story.