VALE MIKE MCPADDEN

Alternative culture fans the world over are grieving the passing of one of the great voices of the underground, Mike ‘McBeardo’ McPadden. The author, podcaster and commentator, a beloved advocate for art that challenged conformity, left us on Wednesday 16th. The cause of death is unknown at this time; he was 52.

The outpouring of shock and grief was immediate when news of McPadden’s sudden passing emerged via social media. His publisher at Bazillion Points, Ian Christe, boke the news, stating “With this guy goes an unrivaled wealth of first-hand experience with the gritty NYC movie scene circa 1982...It's crushing to wrap my head around the loss.” Author and friend Lee Gambin posted, “I'd known Mike for a long time and he and I shared a lot of the same passions and loves, and that is something I will treasure forever.”  

The Brooklyn-born McPadden spent his youth in the grindhouse fleapits and revival houses of 1980s New York City, a lifestyle that fuelled his passionate love for and encyclopedic knowledge of genre cinema. He honed his early writing skills in the offices of adult magazines Genesis, High Society and Screw; he became Entertainment Editor at Hustler, working alongside legendary publisher Larry Flynt. His connection to the adult sector extended to screenwriting, having worked with director Gregory Dark in the mid ‘90s on such films as Devil in Miss Jones 5: The Inferno and Animal Instincts III: The Seductress. (Pictured, right; a youthful McPadden on the NYC cinema strip) 

He began self-publishing with a stream-of-consciousness punk bar newsletter called The Downtown Beirut Top 10 List. This led to his iconic culture ‘zine’, Happyland, which he once referred to as, “your standard Xerox-and-staples hate zine of the ‘90s”, written from the point-of-view of a life “getting fucked up, taking drugs, going to the movies on 42nd Street, going to see bands, and making fun of people”. He often wrote under the pseudonym ‘Selwyn Harris’, named after the last two theatres from his old district to have remained open. In 2003, he relocated to Chicago to become Head Writer for the Mr. Skin website. His work would also be published in The New York Express, Vice, VH1 and Merry Jane, amongst many others. 

McPadden would draw upon those formative years in the Time Square theatres to author the acclaimed books Heavy Metal Movies: Guitar Barbarians, Mutant Bimbos & Cult Zombies Amok in the 666 Most Ear- and Eye-Ripping Big-Scream Films Ever! (2014) and Teen Movie Hell: A Crucible Of Coming-Of-Age Comedies From Animal House to Zapped! (2019), both considered classics of B-movie academia. Inspired by Danny Perry’s ‘Cult Movies’ book series of the early ‘80s and editor Zack Carlson’s 2010 essay compilation Destroy All Movies, McPadden crafted a pair of mammoth works that encapsulate two cinematic sub-genres.

In recent years, the booming podcast movement had allowed Mike McPadden to further enhance his standing as both a film historian and wonderfully engaging personality. Paired with University of Wisconsin’s Ben Reiser, 70 Movies We Saw in The ‘70s is a heartfelt retrospective series that allowed McPadden to draw deep from memories of his most passionate movie-going years (24 episodes); in Crackpot Cinema, McPadden would be joined by the likes of actor Pat Healy and producer Aaron Lee to playfully recall some of cinema’s stranger achievements (29 episodes); and, with Diabolique editor Kat Ellinger, the comedy celebration Busted Guts (2 episodes). Read her heartfelt tribute to her friend here. His work in the podcast field extended to social media director on the hit show Gilbert Gottfried’s Amazing Colossal Podcast and contributor for Crimefeed. 

His razor-sharp wit and ability to instantly recall filmmaking anecdotes also made McPadden one of the most in-demand DVD audio commentators. His observations can be heard on such releases as Amazon Women on the Moon, Let’s Kill Uncle, Private School, Adjust Your Tracking, Jeremy, My Science Project, Shadow of the Hawk and the South Korean teen romp Sex is Zero.

Mike McPadden is survived by his wife, Rachel and young family. A GoFundMe campaign has been established and we encourage you to contribute.

HEAVY METAL, ALIEN ROMANCE AND KILLER FAIRIES AMONGST MONSTER FEST HONOREES

A Norwegian death-metal tragi-comedy, a romantic millennial riff on Close Encounters of the Third Kind and a sexy Aussie revenge-noir were the eclectic feature film honourees at Monster Fest 2018. The four-day event closed out its 7^th season at Melbourne’s Cinema Nova last night, with an awards ceremony/after party that maintained the high spirits and horror community camaraderie that have become synonymous with Australia’s premiere horror film celebration.

A raucous true-life account of the toxic dynamic within an Oslo rock group, Jonas Åkerlund’s Lords of Chaos was the popular winner of the Golden Monster Award. Featuring a charismatic lead turn by Rory Culkin (pictured, above) as founder of the group Mayhem, whose legacy included genre-defining music, acts of domestic terrorism and murder, the announcement of the film’s win was met with a collective roar of approval from the large crowd, many of whom were metal aficionados energized by just having seen the Closing Night film.

Best International Film was awarded to Jason Stone’s First Light, an alien abduction-themed love story starring Stefanie Scott (pictured, right) as a teenager who returns imbued with special powers and Théodore Pellerin as the love-struck boy who helps her flee. Adapting story beats from Spielberg’s classic UFO tale, Stone deftly melds sci-fi elements, teen romance innocence, blue-collar suburban life and indie sector cool into a deeply affecting fantasy-drama.

David Barker’s Pimped, a dark dramatic thriller in which an act of sexual deception leads to fatal complications, earned the Best Australian Film trophy in a very closely contested category. So tight was the race for the top honour, feature judges Jon Nilsen, Film and Content executive from Event Cinemas, and SCREEN-SPACE managing editor Simon Foster awarded director Robbie Studsor a Special Jury Prize ‘for Artistry and Vision’ for his surreal Perth-shot Oz-noir thriller, Burning Kiss.

Not for the first time in his career, Lars Von Trier proved a divisive influence, with judges split over the worth of his serial killer epic, The House That Jack Built. It would ultimately earn the Dane the Best Director trophy, in a field that also featured S.Craig Zahler for his own controversy-rousing pic Dragged Across Concrete, and Gregory Plotkin for the stylish, crowd-pleasing ‘80s slasher homage Hell Fest. (Pictured, below; Von Trier, centre, with his cast at Cannes, 2018).   

Monster Fest’s commitment to the short form horror narrative was reinforced with a further four award categories honouring truncated terror stories, judged by the team behind the popular Plato’s Cave film show on Melbourne’s 3RRR 102.7 FM. The Best Victorian Short went to Feast on the Young, a dark-hearted ‘woodland nymph’ folk tale from Victorian College of the Arts graduate, Katia Mankuso; the Best Australian Short was won by Joshua Long for his colonial-era creepshow, Post Mortem Mary; and, Santiago Menghini’s kitchen-set nightmare Milk earned Best International Short. Taking the fan-favorite honours for Best Overall Short Film was the Helsinki Mansplaining Massacre, a timely piece of MeToo-inspired pitch-black satire from Finnish filmmaker Ilja Rautsi.

The final award handed out was the Trasharama Golden Lomax, presented by the reliably 'engaging' raconteur Dick Dale, programmer of the iconic 'extreme shorts' program; it was bestowed upon US filmmaker Brian Lonano's BFF Girls. Awarded earlier during the festival was the Best Student Short, which was won by Neuroplug by Deakin University student Caleb Turland. 

MONSTER FEST FETES FIERCE FEMMES AT CLOSING NIGHT KUDOS

The closing night awards ceremony at Monster Fest 2017 became a celebration of girl power in genre cinema, with all four feature film prize winners centred by fearless lead actress performances. The 2017 festival jury, comprised of screening platform OzFlix boss Ron Brown, Events Cinemas programmer Jon Nilsen and Screen-Space’s own Simon Foster, noted the roster of quality films to feature strong female characters in this years line-up, which wrapped a sell-out season at Melbourne’s Lido Cinema last night.

The festival’s top honour, The Golden Monster, was awarded to Stefan Ruzowitzky’s Cold Hell (Die Hölle), a German/Austrian co-production starring Violetta Schurawlow (pictured, above) as a witness to a brutal murder who finds herself being stalked by the killer. The Monster Fest trophy continues the high-energy thriller’s award momentum; the director accepted the Best European Film silverware at Lisbon’s MOTELx Festival Internacional de Cinema de Terror, while Schurawlow collected the Best Actress honour at the prestigious Fantasia Film Festival.

The festival’s closing night selection, Coralie Fargeat’s directorial debut Revenge, a brutal, blood-splattered survival epic starring Matilda Anna Ingrid Lutz (pictured, right) as a vengeful rape victim and Kevin Janssens as her toxic male tormenter, collected the Best International Film prize. The judge’s decision came on the back of some spirited debate, with both Rainer Sanert’s monochromatic arthouse-horror oddity November, starring Rea Lest, and Adam MacDonald’s slow-burn black-magic thriller Pyewacket, with Nicole Munoz, in the mix until the final decision was handed down.

Best Australian Film went to the crowdpleasing horror-comedy Tarnation, featuring Daisy Masterman, a raucous riff on Sam Raimi’s Evil Dead pics from Monster Fest favourite Daniel Armstrong (MurderDrome, 2013; From Parts Unknown, 2015; Sheborg Massacre, 2016). Turkish director Can Evrenol, who burst onto the horror scene in 2015 with the cult shocker Baskin, took out the Best Director award for his follow-up film Housewife, an typically disturbing ‘end-of-days’ vision that melds Rosemary Baby-type paranoia with Lovecraftian imagery with a game lead turn by Clémentine Poidatz.

Beyond the allotted categories, the Monster Fest jury also feted Gary Doust’s Horror Movie: A Low Budget Nightmare with a Jury’s   Special Mention. The fly-on-a-wall account of the traumatic process director Craig Anderson went through to make his passion project, the low-budget splatterfest Red Christmas, was deemed to have captured the filmmaking spirit that drives so many of those who submit similar works to Monster Fest annually.

The extensive contribution of the short filmmaking community to the Monster Fest program was also acknowledged with plaudits going to Alberto Viavattene’s Birthday (Best Overall Short Film); Mia’kate Russell’s Liz Drives (Best Australian Short); Seamus Murphy’s Reunion (Best Victorian Short Film); and, Remi Weekes’ Tickle Monster (Best International Short Film).

 

CANNIBALS, CADAVERS AND CHRISTMAS KILLERS IN MONSTER FEST WINNERS

The latest ‘New Wave’ of international genre talent was singled out for 2016 honours at the Melbourne horror celebration, Monster Fest, held at the Lido Cinema in upscale suburban Hawthorn last night. Attended by fans and filmmakers alike, the tone for the occasionally raucous event was set by evening sessions of Paul Schrader’s unhinged crime melodrama Dog Eat Dog and the highly anticipated Closing Night feature, Jim Hosking’s stomach-churner The Greasy Strangler.

                             Pictured, above; Olivia DeJonge and Levi Miller in Safe Neighborhood

The festival’s coveted ‘Golden Monster’ Award went to Raw, Julia Ducournau’s teen cannibal drama that wowed critics and audiences at Cannes, where it won the FIPRESCI Critics Prize, before earning similar kudos at festivals across the globe. A guest of Monster Fest since her film opened the event last Thursday, Ducournau was present to accept the award, along with the Best Effects nod, a hotly-contested category that saw Ben Wheatley’s squib-epic Free Fire and Dain Said’s Malaysian vampire folk-lore tale, Interchange, challenge for the prize.

Best International Feature was awarded to Andre Overdahl’s terrifying morgue-set nightmare, The Autopsy of Jane Doe, starring Brian Cox and Emile Hirsch (pictured, right). The Norwegian filmmaker’s follow-up to his cult hit Troll Hunter was shortlisted in several categories, but a particularly competitive field kept the trophy tally to one.

It was a unanimous jury decision to award the Best Australian Feature to Chris Peckover’s Christmas season splatterfest, Safe Neighbourhood. The Australian-shot, US-set black comedy also earned budding teen star Levi Miller (Pan; Red Dog True Blue) the Best Actor nod, for his wildly inventive, against-type portrayal of a good kid turned horribly bad, opposite Ed Oxenbould and the equally impressive Olivia DeJonge. The Best Actress honour was awarded to Mackenzie Davis for her spin on the sociopathic ‘single white female’-type in Sophia Takal’s Always Shine.

Polish director Bartosz M Kowalski earned Best Director for his scorching portrait of alienated teen psychopathology, Playground; the spiritually-infused ‘black magic’ thriller A Dark Song, from Irish feature debutant Liam Gavin, earned dual mentions for Cinematography (Cathal Watters) and Score (Ray Harman). At the behest of the festival jurors, a Best Documentary slot was created to honour Sympathy For The Devil: The True Story of the Process Church of The Final Judgement, director Neil Edwards’ study of the British occult movement f the 1960’s. A humble and truly surprised Edwards was on hand to acknowledge the honour.

Jury members also singled out for ‘Special Mention’ the cast and crew of Rohit Mittal’s Autohead, an Indian found-footage film that follows a repressed rickshaw driver’s descent into homicidal madness. The Monster Innovation Award went to Alice Lowe (pictured, right), the star and director of Prevenge, a ‘pregnant femme-fatale’ satire that the British actress conceived and shot while in the late stages of her own pregnancy. Festival director Kier-la Janisse had the honour of bestowing the Audience Award upon local-lad Addison Heath’s grindhouse shocker, Mondo Yakuza.