Text © Richard Gary / Indie Horror Films,
2015
Images from the Internet
Full Circle Filmworks
75 minutes, 2015
www.fullcirclefilmworks.com
www.facebook.com/seanweathers
As
usual, Sean plays some fantasy version of himself; for those who don’t know, Alan
Smithee is a pseudonym often used by directors who want to keep their real name
anonymous for whatever reason. Smithee’s discussions about making indie films
and wanting to break into the majors is probably a theme in Weathers’ life as
well, but in this fictional version, things are going from bad to worse.
Sean
always manages to wisely use his films as a political forum, sometimes quite shrewdly.
For example, at the beginning of this one, while celebutard Kim Kardashian
(played by the much cuter Erika Smith, who steals her scenes as Kim, being
hysterically funny and scarily accurate) is being interviewed about her images being
released, the news scrawl of the bottom of the newscast indicates a black youth
hade been shot for smoking a cigarette the cops thought was weed, while a white
CEO who embezzled millions gets a slap on the wrist. This segment can also be
interpreted in a non-spoken comment on Kardashian’s
history of sleeping with African-American men (though in the case of Kanye, an
African-American man-child). Weathers is one of the few, brave indies that knows
how to weave the real-life horrors into the fictional ones.
Images from the Internet
The Fappening: The Director's Cut
Directed by Sean Weathers Full Circle Filmworks
75 minutes, 2015
www.fullcirclefilmworks.com
www.facebook.com/seanweathers
Brooklynite
and urban cool guy Sean Weathers has finally returned to the horror genre with
his take on the 2014 events of the cell phone hacking and mass distribution of
nude celebrity pictures. Some have given the event the name “The Fappening.” For
those who don’t know, the word “Fapping” is to – er – take oneself in hand
while looking at said type pictures. Me? I’m old enough where my first thoughts
were of the Supremes.
The
trouble starts in this story when lothario director and actor Alan Smithee (Sean
Weathers), who not only has a problem with what Kinky Friedman used to call
Peruvian marching powder, i.e., coke, he sleeps with many women, which gets him into deep doggy doo-doo when his personal sex
selfies are among those distributed by the Fappening.
Seybelle Silverphoenix and Sean Weathers |
Not
only is Smithee having trouble getting his latest project financed and is in profound
debt and about to be kicked out of his Brooklyn apartment (Weathers’ own
apartment substitutes for Smithee’s), but since the Fappening, no one will
touch him and the women he photographed and taped having sex (shown in a
montage in somewhat detail near the beginning; Sean does love to show off his
toned bod and in the act with hot women...hmm, wonder if I’m jealous…) are now
getting together a for a class action suit because he didn’t erase the evidence
as they had asked.
This
is all getting too much for him, until he snaps (as his characters are wont to
do). Through some power of anonymous suggestion, he dons a mask and grabs a big
butcher’s knife, and sets off to stop everyone on the lawsuit list. This leads
to a large body count via various means of disposal, though mostly by stabbing.
Tina Krause |
Weathers
has gathered quite the cast here, many playing a version of themselves, i.e., characters
having the same names as the actors. For example, the person he wants for his
agent is one of my fave 1990s scream queens, and fellow Brooklynite, Tina
Krause (pronounced Kross). I have been
a fan since her W.A.V.E. days (though I wasn’t a fan of that company’s S&M
releases), and I had the chance to meet her once at a New Jersey Chiller
Theatre; she was nice to me and let me take a picture.
Other
actresses doing similar turns include Rachel Robbins and fire dancer Sky Soto.
Then there are the cameos of genre directors, again as themselves, such as the
great Lloyd Kaufmann (who Weathers once interviewed on his podcast, and came
across as, well, Lloyd Kaufmann on Toxie steroids), Joel Reed (1976’s Bloodsucking Freaks), and Jerry Landi (2014’s
Bloodmarsh Kracoons, a film I
definitely would love to see). Landi was also the Cinematographer for The Fappening, replacing (temporarily?) Weathers’
usual film companion d’arms Aswad
Issa.
As
for the women who play the disgruntled bedmates, well, most are quite stunning.
For example, there’s Weathers’ stalwart Sybelle Silverphoenix (she’s been in
more of his films than any other actress) in electric blue lipstick who shows
she can handle self-effacing humor, as when she says to Smithee’s landlord, “I’m
Jennifer. I know you remember me; it’s kind of hard not to.”
I
would also like to take a sec and give a nod to Adonis Williams. In Weathers’
films, he’s the threatening gangsta hoodlum / drug dealer. Well, he plays a
similar role here, but it’s much more flushed out, and his acting skills have
actually grown quite well. Not DeNiro yet, but he manages to be both scary and sympathetic
at the same time. Nice work, Adonis; in some weird way I’m proud of you.
Meanwhile, as an inside joke, Adonis’s character is named Jason Voohrees, but
he doesn’t get it when Smithee keeps giving him the names of horror characters
(e.g., Freddy Kruger) as people in the film and record industry to throw him
off, as he does not recognize any of them.
Erika Smith |
There
are many shrewd moments throughout the film, and one that’s bound to stick out
and be memorable, is the humorous scene where Weathers is talking with Robbins,
and they start using the lyrics of “Don’t You Want Me” by the Human League that
sneak in naturally as conversation, starting with “You were working as a
waitress in a cocktail bar when I met you…” About this, Weathers told me in an IM message,
“…when I rehearsed it I realized how close the scene fit the song, so the day
before we shot it, I said screw it and just rewrote the scene and put the lyrics
in; most people get a laugh out of it. … I love it when movies [I see] make me
want to play a song.”
Rachel Robbins |
This
is Weathers’ straight-out first feature horror film in a long time, so it’s
good to see him get back to his roots. The cast and crew hide the fact that
this was probably a micro-budget release, and Sean knows how to work the
locations to give it a fuller feel. Even when the action takes place in his
small apartment, you never feel claustrophobic.
To
me, the one flaw in the film, and this is a lack of suspension of disbelief on my part, is that I cannot believe he was
able to do that many killings without being caught, even though all the action is supposed to take place in a single day. One person is on a cell
phone to the police screaming his name, and he never, ever wears gloves. Also,
some of the killings are done in his own apartment, but you never see him get
rid of the bodies, even when people come and go there.
As I’ve
said before, with each release, Weathers’ style is becoming more of his own
form, and being helped by Landi I’m sure has helped him to get further to
achieving that goal. Definitely one of Weathers’ better films, and I’ve enjoyed
most of them.
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