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Black Lodge Hosts Premiere Screening of Cuddly Toys

“Young women are at risk of many dangers, horrors and trauma as they leave adolescence, two out of 100 girls will have a tragic ending,” reads the synopsis for Kansas Bowling’s latest film Cuddly Toys

That statistic is completely made up, but that is to be expected from a film that harkens back to the genre of mondo. “It’s sort of like a forgotten genre that I’m trying to bring back,” Bowling says. Popular in the ’60s, mondo films are pseudo-documentaries, usually depicting sensational and exploitive topics, or shockumentaries. “A lot of the mondo movies back in the day, they would say it was all real, but sometimes it’ll be completely fictional. And then sometimes it’d be like a mixture; sometimes it’d be all real. But this is a mixture.”

With its title coming from a Harry Nilsson lyric — “You’re not the only cuddly toy/that was ever enjoyed/by any boy” — Cuddly Toys takes a nuanced and dark approach as it depicts true and fictional stories about growing up as a girl in America, with 100 actresses participating. “It’s somewhat of a horror movie, somewhat of a comedy.”

The fast-paced film, Bowling says, takes inspiration from her life, from girls she grew up with, and from the actresses themselves. “There’s just a bunch of smaller stories put together to make up a bigger story, being reconnected through the on-screen narrator,” she says. 

Now 27, Bowling wrote the film when she was 19. “It feels funny putting out this, like, teenage movie now that I’m older,” she says. “I wasn’t a teenager too long ago, but, yeah, it’s a little more angsty than I am now, I guess.”

Bowling directed her first feature, B.C. Butcher, at 17, and shot the film, starring Kato Kaelin, in her dad’s backyard with money raised from bussing tables. After its release by Troma Entertainment, Bowling went on to direct over 30 music videos and act in films such as Once Upon a Time in Hollywood. Cuddly Toys will be her second feature. 

“I just love movies,” Bowling says. “I’ve always been really passionate about them, but I guess I just feel like there’s a lot of stories that haven’t been told or haven’t been told in interesting ways.”

And Cuddly Toys promises to be “interesting,” for sure. “I don’t want to give too much away,” Bowling says, “but based on people’s reactions to it — sort of not knowing what to do with it — I feel like it means it’s not like anything they’ve seen before.”

The reactions have been myriad, with some people walking out at times due to some intense and graphic content, but Bowling has taken joy in both the good and bad reviews, noting her pride that the film’s left an impression either way. 

“I didn’t make it for a certain demographic,” Bowling says, “and that’s actually what was a little difficult about getting it out there. It’s not for a certain person, but all sorts of people from different walks of life have been connecting with it. So that’s been really cool to see.”

Cuddly Toys’ premiere tour will make its way to Memphis this Sunday, August 13th, 7 p.m., and Bowling will be in attendance for a Q&A in conjunction with the screening at the Black Lodge. 

For more information on the screening, visit here. Check out the trailer below.

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Music Video Monday: “Little Icarus” by Louise Page

One of the hallmarks of Louise Page’s sound is the arranging skill she brings to her songs. Her solid piano playing always keeps things grounded, but her crack band often supplements that with horns, inventive rock guitar, and other elements. That’s not the case with her latest album, though. The whole point of Play Nice, an album written and recorded during the first year of the pandemic and released in 2021, is to strip all of that away. Befitting the isolation of those times, the album presents only a singer and her piano: intimate, raw, and real.

The unvarnished sound is matched with some of her most personal lyrics as well, and that’s one of the striking qualities of this single, “Little Icarus,” where she questions both her own trustworthiness and that of her lover or other person in her life. And yet, like the fabled mortal of Greek mythology who flew too close to the sun and suffered for it, there’s a romantic yearning in the song as well. It’s a theme ripe for bringing to life visually, and Page, director Ben Siler, and producer Chris McCoy (the Memphis Flyer’s film editor) have done so with stunning clarity.

As Page herself writes, “I’ve always loved using mythological references in my music, and the story of Icarus has been one that I’ve loved for quite some time — it has inspired so much art, both ancient and contemporary. Something I loved about working with director Ben Siler was his interest in making homages both to the original story of Icarus and also to the various works across time inspired by Icarus.”

Look for local rapper and producer Lawrence Matthews for his star turn as Icarus here. Often celebrated for crafting his own videos with a painterly sense of the visual, he brings that same attention to detail and artful integration to this project. And if the song asks some tough questions, it also revels in romance, with palpable chemistry between Page and Matthews as the video progresses.

“Little Icarus”

As Page further contemplates the song and the video, there is certainly love here, but … it’s complicated. “From my perspective as the writer, the song ‘Little Icarus’ is a love song, albeit a tragic one, that the Sun is singing to Icarus,” she writes. “My thought process was, while the sun isn’t a personified character in the original myth, the sun is responsible for melting Icarus’ wings. One might say the sun is responsible for his downfall — although most would say his own hubris brought about his fall. This thought process of personifying the sun became a metaphor for myself and my own fears about hurting others and being hurt by love.” 

Page is also quick to share the credit for this vivid teleplay with her collaborators. “Ben Siler, the director, had the idea of there being two Louises in the video — one inspired by Sun God imagery and one more inspired by David Bowie in The Man Who Fell to Earth. These two versions of self are open to interpretation by the viewer. Is one version of Louise reality and the other fantasy? If so, which is which? It’s up to the viewer to decide.” 

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Music Video Monday: “Voices” by Joecephus and The George Jonestown Massacre

Today’s Music Video Monday takes a troubling, high-energy, color-saturated trip into the minds of Joecephus and The George Jonestown Massacre. “Voices” is a riff-heavy banger about, well … maybe about being your own best friend?

“No one ever calls one me,” Josephus sings. “That’s OK cuz I’ve got voices in my head.”

Well, maybe it’s a bit more sinister than that. 

“Voices that talk to me all through the night/Voices that tell me everything’s alright/Voices that tell me things untrue/Voices that tell me everything about you.”  

The band tapped Memphis director (and the Flyer’s own film and TV editor) Chris McCoy to capture the anxiety and paranoia of it all. And McCoy did it all, too — producing, directing, shooting, and editing, with some help from his wife and Memphis film editor Laura Jean Hocking for finishing touches. 

The finished product is a dizzying, dazzling display of disquieting imagery. Silent-movie-era Satan, fairies, and a guy spitting up … coins? 

“Since I was doing everything myself, I tried to keep it simple,” McCoy said. “I was going in an entirely different direction with it until I showed [singer Joey Killingsworth] the first cut. 

“He introduced me to the films of Segundo de Chomón, a Spanish filmmaker from the very early silent era who was kind of a proto-Surrealist. So, I threw away what I had and started over, remixing Chomón’s images with the band’s performance.” 

If you’d like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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Indie Memphis 2022 Saturday: A Full Plate of Films

The 20222 Indie Memphis Film Festival is in full effect on Saturday, with a crowded lineup of films from all over the world. 

French director Alice Diop has gained acclaim for her documentaries. Her latest film Saint Omer is her first narrative feature. It tells the story of a young journalist covering the trial of a horrific crime who is forced to come to terms with her own traumatic past. 

Directors Jack Porter Lofton and Jeff Dailey dig into the past and present of a Memphis institution. The ’Vous is a documentary about Memphis’ most famous barbecue restaurant, The Rendezvous, which has been a hub for culture and tourism Downtown for 70 years. The 2:50 p.m. screening will be preceded by a reception at Playhouse on the Square. 

If you’re looking for some snack-sized docs, there’s the Hometowner Documentary Shorts Competition bloc at 3 p.m. at Circuit Playhouse. Five Memphis directors bring stories of courage and shine lights on injustice with these moving and challenging films. 

If you grew up in the ’80s or ’90s, odds are you remember Reading Rainbow. In Butterfly in the Sky, directors Brett Whitcomb and Bradford Thomason put the spotlight on LeVar Burton, the beloved host who taught millions of kids to love books. Oh, and did you know he was also in Star Trek: The Next Generation

Eighty-four-year-old Polish director Jerzy Skolimowski has had a rich and varied career as a writer, actor, and director. His latest film has an unlikely star: a donkey. EO is a reimagining of Robert Bresson’s 1966 film Au Hasard Balthazar, which tells the tale of a lowly farm animal’s travails as he is passed from one owner to another. This one’s a real heartstring-tugger. 

For something completely different, Indie Memphis has a new program. A subcategory of Departures, which houses the more experimental short subjects, Travels showcases the mid-length films that often get left out of shorts programs. The four films include “Nosferasta: First Bite,” Bayley Sweitzer and Adam Khalil’s story of Oba, a 400-year-old Rastafarian vampire. 

The Art of Eating: The Life and Appetites of M. F. K. Fisher is a biography of the legendary travel and food writer who was once called “the best prose writer in America.” 

And finally, if your rock doc appetites were not satisfied by Antenna on Friday night, there’s Meet Me In The Bathroom, the documentary about the 2000’s indie rock scene in Brooklyn which produced The Strokes, Yeah Yeah Yeahs, LCD Soundsystem, and Interpol, among others. This is an exciting and well-made doc with some incredible performance footage and a soul-bearing interview with rock goddess Karen O. 

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Indie Memphis 2022 Friday: Antenna

One of my first questions for director Chris McCoy after watching Antenna was what punk rock means to him today. To this, he responded, “I don’t know. What do you think punk rock means today?” Being born in the 2000s, I don’t think I have ever really listened to punk. Not being born in Memphis, I had never even heard of the legends from the Antenna club, until I watched McCoy’s documentary.  

The story of the Antenna is told through the many faces of punk rock, including writer and stealth narrator Ross Johnson, director Chris McCoy (who is also the film and TV editor for the Memphis Flyer), editor/producer Laura Jean Hocking, Antenna club owner Steve McGehee, and former Flyer music writer John Floyd. All together, this team took three years to create the documentary. Hocking details the beginning stages of the film where they started “with more than a hundred hours of archival footage. We had 1,100 still images and 88 interviews, some of which were three and four hours long.” Hocking describes her editing process as “a big project that at the time, when I was making it, I had a lot of nervous breakdowns.” 

The inspiration behind Antenna was McCoy’s desire to tell “a story about Memphis that needed to be told, that had not yet been told.” This was the story of the Antenna, a punk rock club that stood on Madison Avenue from 1981 to 1995, a forgotten era of Memphis music — specifically Memphis punk rock music. McCoy calls it a “weird mutant strain of music that grabs little bits from a whole bunch of different kinds of music.” 

Jimmy Barker at the first Antenna party, 1980. 

As such, the Antenna club was “a place where you could be weird,” Hocking says. The club was not your usual Beale Street bar but an eclectic refuge where outsiders, weirdos, gays, and anyone without prejudice could be their authentic selves. Especially in its early days, Antenna’s punk rock spirit made it a place for experimentation, dedicated to the fight against conformity. A specific example McCoy uses is “one of my favorite shots in the movie is the video we found of that dude heckling The Replacements, saying, ‘We don’t care how famous you are!’ That’s the essence of the entire club right there in one moment.” 

Between the crime, the poverty, and the political turmoil, Memphis can sometimes seem cursed and hopeless. This is even mentioned with Johnson’s opening line of the film: “Memphis is cursed.” McCoy comments on this idea saying, “I always call Memphis your drunk uncle. I can complain about him and what a deadbeat he is, but nobody else can say something about it.” This spirit is encapsulated in the Antenna’s story, in “the story of those musicians who are still here and who didn’t get the recognition that they deserved,” McCoy says. Indeed, the Antenna club hosted various artists like R.E.M., Big Ass Truck, The Panther Burns, and The Modifiers, but these are just some of the artists that defined the era of punk rock and the resistance against conformity. 

Outcasts like Milford Thompson, Melody Danielsen, Alex Chilton, and The Klitz were able to express their true selves to the world. When daytime talk show host Marge Thrasher told The Panther Burns they were “the worst thing that ever came out on television,” bandleader Tav Falco just smiled. The Modifiers took pride in being “the most hated band in Memphis.” They were simply just, being themselves, and any hate or fear simply fell at their feet as they performed. “The attitude was, we dare you to like this music,” says McCoy. 

Tav Falco and the Panther Burns on Marge Thrasher’s talk show. 

This film is truly a labor of love and takes the audience back to the time where music not only united a community but also created a place to escape from the prejudices of society. McCoy remembers “hanging out at the Antenna from ’89 to ’95, when it closed.” Watching the film, I understood what it might feel like to be transported back to the ’80s, with a front row seat at the Antenna. Hocking says this was intentional. “We wanted you to feel like you’re at the club or hanging out with these people or in a round table discussion with them.” 

Framing the film this way makes for a very intimate connection with something that to me, previously seemed foreign. Throughout the film, I found myself identifying with the Antenna crowd and their love for a place that shielded them from the rest of  society. Seeing the many faces of punk rock and former Antenna attendees profess their love for the Antenna club, made me wonder if there was anything similar to the Antenna club today. When the film ended, I felt like I had just been to my first and favorite rock concert in my life. 

Lisa Alridge singing with The Klitz.

Antenna speaks for itself with its continued and growing popularity even after its premiere 10 years ago in 2012 at the Indie Memphis Film Festival. The film has been awarded the Audience Award, Special Jury Prize, and other various awards at the Oxford Film Festival, and it is recognized as one of the most popular films in the 25 year history of the Indie Memphis Film Festival. Although the film has an immense love among its audience, it cannot currently be released commercially because of issues with obtaining music rights for the 50 different songs present in the film. McCoy and the film’s producers have spent the last 10 years trying to raise money to pay the artists for their songs and give them the recognition they deserve. Despite several investors’ and distributors’ interest in the film, fundraising efforts have always come to a halt and been unsuccessful. Thus, the film can only be caught at film festivals and on rare occasions. 

The next screening of this film will be on Friday, October 21st, 8:45 p.m., at Playhouse on the Square during the Indie Memphis Film Festival to celebrate the film’s 10-year anniversary. Tickets ($12/individual screening) can be purchased online or at the door if not sold out already.

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New On The Big Screen: Viola Davis, Pearl, and The Evil Dead

August is traditionally a slow month at the cinema as the summer tentpole season plays out. But this August, we’re also seeing the downstream effects of the pandemic production bottleneck. The surprising upshot is that the dearth of megabudget projects has created openings for a wide variety of new films to hit theaters, many of which are well worth your time.

The biggest release this weekend is The Woman King. Viola Davis is the only Black woman to have achieved the “Triple Crown of Acting” — winning an Oscar, an Emmy, and a Tony. She’s one of the elite group of actors who have an entire Wikipedia page devoted to listing her awards. Now, at age 57, she finally gets the big action role that all movie stars get these days. Davis stars as General Nanisca, the leader of the Agoji, an all-female group of warriors who defended the West African kingdom of Dahomey. Think The 300, but with Black women.

The surprise success of Rian Johnson’s Knives Out spawned a mini-wave of cheeky murder mysteries. The latest is See How They Run. Yes, we’ve gathered you all together because one of you is a murderer. Maybe more than one. We’re not sure. It’s complicated. This one is set in the 1950s, when a hit play in London is being adapted for a Hollywood movie by director Leo Kapernick (Adrian Brody). When the director turns up dead, Inspector Stoppard (Sam Rockwell) and rookie Constable Stalker (Saorise Ronan) are assigned to crack the case. The suspects are an all-star cast of pretentious theater people including Ruth Wilson and David Oyelowo. Watch Ronan’s hilarious deadpan in this fun trailer.

Ti West’s X was another surprise hit last spring. Now, the director and his star Mia Goth return with a prequel to that juicy bit of neo-exploitation cinema. Pearl tells the origin story of the elderly killer in X by flashing back to the silent era, where the titular Texan only wants to get out of the sticks and get famous. Early reviews have generated Oscar buzz for Goth, who, as you can see, is absolutely killing it.

It’s Time Warp Drive-In weekend, and if you’re a horror fan, this one is a can’t-miss. Sam Raimi scored the year’s second-biggest box office hit with Doctor Strange in the Multiverse of Madness. You can see how he got his start with 1981’s The Evil Dead. Now considered a masterpiece of horror, The Evil Dead was shot on a shoestring budget in East Tennessee, and gained a big enough cult following to greenlight a sequel. Evil Dead 2 returned star Bruce Campbell to the Rocky Top hills, this time with more money and more know-how. Just look at this incredible scene, a masterclass in both practical effects and walking the thin line between horror and comedy.

The evening at the Malco Summer Drive-In will conclude with the third Evil Dead film, 1992s Army of Darkness, in which our not-too-bright hero Ash is transported back in time to save a medieval kingdom from the Deadites. Listen up you primitive screwheads! This is how it’s done!

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Music Video Monday: “Little Crystal” by Model Zero

“Hot stuff! I can’t get enough!” Even in the current heat wave, some Memphians survive the summer by simply owning it. And now, as we bake under the blazing sun, we’ll all be singing that deliciously catchy line from the new single by Model Zero. I choose this heat! Yet the hot stuff that the band sings of may also reside on the dance floor, in a disco ball, or even in a little crystal.

Just what that little crystal is doing to us is unclear, but there’s some kind of transcendence happening — as seen in the video, when the Model Zero lads-about-town find their night of pool displaced to a land of wizardry. Perhaps they were transported there by some esoteric piece of quartz in their vintage drum machine?

Singer/guitarist/sythesist Frank McLallen offers this bit of insight into the sheer grooviness of the new single and video: “‘Little Crystal’ is a break in the surrounding gloom,” he writes. “It’s a sense of hope and travel, love and magic. We’ve already spent the first album recording our anger, fear, pain and distrust. It’s time for Little Crystal take our hands again so we can dip in that hot, hot stuff.”

For her part, video director Laura Jean Hocking was delighted to have the Little Crystal take her hand. “Model Zero is one of my favorite Memphis bands,” she notes in a statement. “I had wanted to do a video for them for some time, and the plan finally came together. The concept I brought to ‘Little Crystal’ meshed perfectly with a visual theme they had in mind, based on art director Sara Moseley’s ‘Candy Cult’ motif.  

“In the ‘magic band’ section, the inspiration for director of photography Chad Barton’s camera moves and lens choices came from the original promo clip for The Rolling Stones’ ‘Jumpin’ Jack Flash’ and Parquet Courts’ ‘Homo Sapien’ video.  I wanted the magic band to be pure escapism, wild and colorful, a portal into a world where you can dance the darkness of the world away.” 

Watch for more Model Zero coverage in this week’s Memphis Flyer music feature, out on June 29th.

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Music Video Monday: “What’s Louder Than Love?” by Mark Edgar Stuart

Memphis folk-rock stalwart and MVM frequent flyer Mark Edgar Stuart‘s got a new album coming out called Until We Meet Again. “It’s a quasi-concept album about life, love, and afterlife,” he says.

The lead single, “What’s Louder Than Love?” exemplifies the mood of the record, which Stuart calls “Nothing too heavy, and nothing too personal … My past videos have been melancholy, so this time I wanted to come out swinging with something upbeat and light-hearted. I figured after the past two years we’ve had, who wants to hear more sad shit?”

Bassist Landon Moore directed the video. “It was 100 percent his vision,” says Stuart. “All I did was just walk around Midtown and hang out with some of my favorite Memphis people — mostly those who worked on the record like my two producers Reba Russell and Dawn Hopkins, plus musician pals Will Sexton and Shawn Zorn. There’s tons of great cameos too including Keith Sykes, Jerry Phillips, and Matt Ross-Spang … Making this video was an absolute hoot. My favorite scene is Steve Selvidge and Rod Norwood airing out their Facebook rivalry on camera.”

If you’d like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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In Theaters This Weekend: Mystery, Disaster, and the Biggest Movie Star in the World

The Super Bowl is over (who won again?), and you’re looking to get out of the house and catch a flick. You’ve got a lot of variety to choose from in Memphis theaters this weekend.

The big debut is Uncharted, a $120 million adaptation of the hit video game series starring Mark Wahlberg and the spider-guy who is arguably the biggest movie star in the world right now, Tom Holland. Zombieland director Ruben Fleischer’s film is an origin story for Uncharted‘s fortune hunter Nathan Drake, and an action-adventure in the tradition of Raiders of the Lost Ark and Tomb Raider. Judging from the trailer, you’ll believe 15th-century caravels can fly!

The other new release this weekend is Dog, starring Channing Tatum as a PTSD’d vet of the War on Terror who gets a simple assignment: Drive a decorated war vet to their partner’s funeral. What seems like a milk run turns into a nightmare when the passenger turns out to be a total bitch.

But now, the real reason I’ve called you all together here on Al Gore’s interwebs: One of you is a MURDERER! Well, not really (But maybe? Who knows?), but that’s what Agatha Christie’s fastidious detective Hercule Poirot says in Death on the Nile. Kenneth Branagh plays Poirot and directs an all-star cast, including Annette Bening, Russell Brand, and a champagne-swilling Gal Gadot, in this adaptation of Christie’s quintessential detective mystery.

If that’s not enough Kenneth Branagh for you (and really, can anyone have enough Branagh in their life?), Belfast, his black-and-white, semi-memoir of growing up in Ireland during the Troubles is still at Malco Ridgeway. The film was nominated for seven Academy Awards, including Best Picture, Best Director, and Best Supporting Actress for Dame Judi Dench.

If you’re looking for a total disaster, Roland Emmerich has got you covered with Moonfall. Realism has never been his strong suit, nor has logic or taste or respect for basic norms of filmmaking, and this one is no exception. You’ll believe the moon can’t fly!

And finally, if you can’t believe a boat can fly, or that a dog can earn a purple heart (spoiler alert: they can), or that Kenneth Branagh is interesting, or literally anything about Moonfall, maybe you’ll believe that extremely hot person Jennifer Lopez can be hot for comedic sad-sack Owen Wilson. If that’s the case, then set sail for rom-com island with Marry Me.

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Music Video Monday: “Don’t Come Home” by Emily Rooker

Happy Valentine’s Day! If you want to warm your heart with stories of love, Daphne Maysonet’s Flyer cover story awaits with champagne and chocolate.

If, on the other hand, you’re done with the pretty lies of “romance,” Emily Rooker welcomes you to Music Video Monday.

Rooker is a Memphis based singer-songwriter and a member of the Memphis Flyer’s 20<30 Class of 2018. In “Don’t Come Home,” she’s giving the final brush off to a lover who has been neglecting her for too long. “How long do you think I’ll wait? / All alone and keeping faith / I’m not running, running, running looking for you / I’m not waiting any longer, baby / I’m through.”

She created this spectacular video with DP and editor Mitchell Carter, who shot Alex Hensley (another 20<30 alumnae), Mariah Venzant, Krystal Jackson, and Kristian Thomas doings some truly twisted pole dancing. Along the way, the girls get to go full Charles Foster Kane on the boudoir. And really, is there anything more satisfying than trashing a room after a bad breakup?

The video, which was shot at the Bartlett Performing Arts Center, will appear in the upcoming Venice Short Film Festival. Enjoy!

If you’d like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.