The 2011 Los Angeles Film Festival has been going on for the past couple of days in Downtown Los Angeles and Collider has been there checking out the latest offerings from the indie world along with some buzzed about films from Sundance and SXSW. We’ve provided some reviews for Drive and The Devil’s Double already and after the jump you can read my thoughts on some of the films that have played the festival so far like Haunters, Senna, Sawdust City, and Once I Was a Champion.
Monday night The Los Angeles Film Festival hosted a special screening of Lee Tamahori’s new “Iraqspolitation” film, The Devil’s Double followed by an after party at the Ritz Carlton hotel populated by numerous celebrity impersonators as well as real life celebrities. Collider was on hand to see the film and scope out the festivities.
While at the party, I spoke briefly to Twisted Pictures co-owner and Saw producer Mark Burg about his upcoming reboot of the Texas Chain Saw Massacre franchise. “It’s going great,” said Burg. “We start shooting July 18th.” When asked about Bill Moseley’s connection to the film Burg hesitated, saying that the ink wasn’t dry on the contract. He did however confirm that if Moseley is in the film, which looks very likely, he will not be reprising his role as Choptop from 1986’s The Texas Chain Saw Massacre Part 2 but instead playing an entirely new character. Read on for a review of The Devil’s Double.
There is absolutely no doubt in my mind that Drive will be remembered as one of the best films from 2011. It will also go down as the film that truly introduced the world to director Nicholas Winding Refn. To put it simple: Drive is amazing.
Refn wastes absolutely no time in letting you know that the film you are about to watch will have a unique style of its own as the film opens with a bumping synth score as a neon pink cursive title font starts rolling over immediately striking shots of Ryan Gosling cruising around a moody looking Los Angeles. Refn makes sure that you know from the start that you are going to be watching a film that is obsessed with being as cinematic as it possibly can. You can hit the jump to read my full review.