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With a blazing carpenter influenced score How the Sky Will Melt bounces between abstract comedy, introverted drama and psychedelic horror. This grainy 8mm film plays like an artifact of unknown origin that you're just never sure what to make of but you know you won't forget anytime soon. Per Wade's Q&A after the film, Sky is to remind you of that moment when you wake up at 3am to some random movie on the TV. You don't know the movie, you don't know its story, you are drowsy and the movie is using its own abstract dream-logic. Well, mission accomplished. Sky's narrative is far from straight forward and at times it feels a bit lost in itself. However, it was a real treat, especially projected on a large screen and blasting its terrific score. Some of the acting is amateurish but honestly this doesn't matter. The dialogue is sparse with intent and even the slightly off delivery works in favor of the strange artifact atmosphere.

The plot follows Gwen, a musician. Her band, let's say, is on hiatus after a bizarre event. She returns to her family home in a small town and becomes lost in the idleness of such. All sorts of weird sh*t happens, usually involving vibrant colors and "Magic Winks", a cassette playing pair of goggles that apparently matches visuals to audio for some augmented experience. All of this is presented in a colorful 80s yet timeless retro-future setting that matches the killer score. Yeah, It's a weird film . .FEED ME YOUR COLORS…FEED ME YOUR COLORS>> FEE D M E Y OU R COL OR S

peep that teaser tho: https://vimeo.com/96262793

You Make Me Feel So Young is the latest feature from Zach Weintraub, who I'd guess is a die-hard do-it-yourself indie filmmaker generating clever witted and artistically fresh cinema. The film follows the story of Justine, a girl doing her best to become comfortable with her fading relationship. Weintraub makes it look easy by presenting a simple story in a simple setting but it's the moody undertones and canted black and white melancholic style that serves it so well. And while that all sounds so drab there's brief moments of comedy that carries the film along. Weintraub also has a way with long takes by toying with our perception. He commonly uses off-screen action and/or plays with the depth of field in an act of cinematic language – a sort of punch-line by way of focus.

It's far too easy to let Hollywood control your cinematic experience so please do yourself a favor and look for those under-appreciated filmmakers out there.

Ken Russell and Dario Argento live in Rob Zombie's satanic panic throwback, The Lords of Salem. Here's an easy to hate film of the year - a simplistic story, choppy progression with an overt style over substance complex - but it's also the most noteworthy horror film of the year. Zombie has put out something original to himself and to the current stream of contemporary horror cinema - a bombastic, stylized, psychedelic slow burn with the most bold use of satanism I've ever seen on film. As mentioned above, Zombie is echoing the disturbing eclectic works of the likes of Russell and Argento. There's an underlying essence of oddity and ambiguity that makes this film something more than a run-of-the-mill spook-fest with all of modern horror's poor qualities. All of the Zombie "haters" really should be thanking him for being unique to the scene - I mean, how many generic ghost stories and paranormal crap-tivities can we endure?