We’re on FIRE!
We have to state from the beginning that The History of Everything… is among the most unique comedies we’ve had the chance to watch at this festival since day one. Filmed and produced in a ‘short’ period of more than two decades, this brilliant comedy feature is exactly like a good wine: it gets better as time goes by.
The film is divided in two parts that are very important for the storyline – the first one dates back to the beginning of the 90’s, (more precisely 1993) a time when the standards in art were different and when everything looked like an edgy music video for the new wave of teenagers. The second part of it is represented by ‘the present day’ time, where Trump is already an important key figure, and subjects like Obamacare or other news bits appear as everyday subjects. For us, the first part of this feature film is our favorite one because it brings back that vintage yet not that old feeling we grew up with, reason why we literally can see our childhood there. For any 25+ years old viewer, this movie will be like a passage to a brilliant childhood, where monsters were something normal in high-school movies, where loud screamings were covering the fake laughters of the so-called live audiences, where the haircuts were as bad as the pop music (with some exceptions, of course), and where the vintage presence made you feel the dusty smell of a vacuum cleaner on a Saturday morning.
The two main characters, Peter Grover (played by Steve Kearney), and John Potters (played by David Belafonte) are the ultimate typological characters for that generation. Whilst going through Wayne Keeley’s film for the second time, we really felt the true vibe of the 90’s in these two characters, all the more so since their first encounter looked like when Beavis met Butthead. The comedic effect gets more powerful with every scene.
It’s not hard to observe the real subtle side of this movie, which is the general mocking of everything and everyone. In the first part, the old one, Peter and John are making fun of the industry, the actors or the casting habits whereas in the second part they come to focus their attention on mundane subjects. Overall, this film superbly combines the old and new vibes, delivering a set of emotions any generation can relate with. And yes, it is true what the director stated in the plot overview: “The next Rocky Horror”, and that’s because when watching it we felt the same energy and sense of uniqueness we have experienced years ago when The Rocky Horror Picture Show was everywhere. The History of Everything is nevertheless a timeless (soon to be) classic!
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https://www.romeprismafilmawards.com/2018/10/19/the-history-of-everything-circa-1993-to-the-present-formerly-known-as-kissy-cousins-monster-babies-and-morphing-elvis-by-wayne-keeley/Rome Prisma Independent Awards
“The History of Everything Circa 1993 to the Present Formerly Known as Kissy Cousins Monster Babies and Morphing Elvis” by Wayne Keeley
When we talk about “language” we mean that in every aspect of this movie there’s a peculiar approach: acting is crisp and grotesque and the two actors from the first part of the film create a world of their own. All their mimics, movement and body language create a very funny rhythm that entertains us and makes a very subtle satire of some popular cliches of cinema. It is funny to see actors like Jack Plotnick and Steve Kearney when they were younger in a move that was released now.
Cinematography, considering that the most of the film was shot long ago, now gives us back a TV 90’s image that is perfect for this kind of narration. It brings us back to the lighting and camera work of Twin Peaks and to that kind of imaginary.
Editing is where most of the ideas of this film lie: the hundreds of associations with classical Hollywood movies make the whole film an interesting tour into the History of Cinema and of its cliches.
Screenplay presents a very funny plot twist that works like a chinese box: suddenly the main story becomes a movie inside a movie and that episode opens up new possibility for this picture. The second part of the film is a little less complete technically speaking, and the switch to today’s camera has proven to be difficult to manage.
Overall the whole movie looks like it has been empowered by the long time that has passed before the release: it now looks like a massive critique and satire of the whole entertainment system done through the same images, soundtracks, words and sounds that it has created in these 125 years.
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The History of Everything Circa 1993 to the Present F/K/A Kissy Cousins Monster Babies and Morphing Elvis by Wayne Keeley
The History of Everything Circa 1993 to the Present F/K/A Kissy Cousins Monster Babies and Morphing Elvis – I mean, for starters, what a title. But yes, moving on from that mouthfull [sic] of a name, this film is, as its title might indicate, absolutely bonkers in the best way possible. Watching it, at the start, I actually couldn’t believe it was real.
After getting past the over-used Star Wars titles I was surprised to find an exquisitely authentic 90’s office, VHS look and snappy dialogue. I’m not sure when this was shot, as it is too perfect to believe it to be a set… so I have no real understanding of it if is from the 90’s or a period piece. Nonetheless, it is all a bit sharp and fabulous with its energy.
The hop in time, when the film becomes digital, is a momentary adjustment… but all in all The History of Everything Circa 1993 to the Present F/K/A Kissy Cousins Monster Babies and Morphing Elvis is quite a fabulous indie construction, and Wayne Keeley, his cast of acutely-on-the-edge performers, and the wizard editors of this retro mirage should celebrate their film, its style and what a convincingly wild film they’ve thrown together.
Now excuse me, I have a downtown office to visit, where I’ll be pitching a film about producers in the 90’s.
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Kissy Cousins Monster Babies and Morphing Elvis
Written by Wayne Keeley | Review by Prarthana Mitra
Kissy Cousins Monster Babies and Morphing Elvis, sounds quite a mouthful at first, but as a film that engages the fullest extent of your imagination (and beyond), the title makes perfect sense. It is the name of the film within the film which stands to become a cult classic of our generation. Wayne Keeley’s 30-minute short film, shot over 25 years, is a decoupage of the choicest icons, scenes and motifs from Hollywood’s golden era, warped into a self-reflexive tale of how a couple of Hollywood producers save their sinking careers. Not without getting themselves into a creative soup first, of course.
As we follow two coked-up producers try their hand at screenwriting, seek inspiration in everything—from Jurassic Park and Elvis Presley to popular American culture and proverbs—we are introduced to the irony of the entire exercise. We also can’t help but marvel at the brilliant use of the past and present of cinematic history to depict an all-too-known future. The heady concoction serves as a kitschy testament to the evolution of American cinema, and for Keeley, who began filming it in 1992, this stemmed from the extended temporality of the film. Incorporating a wide array of cinematic techniques and technology (that became available to him by and by), the stylistic progression depicted in the movie curiously generates a currency for relevance. Passing mentions of Donald Trump and a cameo from Hillary Clinton also helps.
The colour tones of “vintage” cinema blends with the muted pastel shades we have come to recognise in Hollywood films today. But what is more universal, is the struggle and intrigue that comes with the dream of making it big in Hollywood. Behind all the madness, mindlessness and frenzy is a surrealist quest for creativity. In a Mulholland Drive-esque twist, we learn that the two protagonists are only cogs in the mechanised reproduction of art, that modern filmmaking has become. They are trapped in a system where their ideas, which aren’t exactly original ideas to begin in, are being harvested by an unknown sinister entity.
David Belafonte and Steve Kearney perform an absurdist drama, voicing and gesticulating Keeley’s visions to cinematic reality. The film harks back to famous characters and tropes, including Charlie Chaplin, Sharon Stone and Nosferatu, all of which make for a highly enjoyable watch (to the film school geek) and a rib-tickling political satire of the industry (to the intuitive viewer). The seamless edits elevates the viewing experience and cerebral impact of the film. At times, it even reminded me of the masterful video collages of Ukrainian artist Miknu.
Keeley, an Emmy-winning producer himself, is also a seasoned film and documentary maker, and has made numerous hit music videos. He brings his familiarity with the medium and the sector to the table with Kissy Cousins Monster Babies. He hopes to deliver the next Rocky Horror Picture Show, and to be honest, he has hit the bull’s eye. This 25-year-old comedy does an excellent job in refreshing audience memory with pastiche woven skillfully into the fabric of a fantastical narrative. But as we all know, there’s a fine line between the real, the unreal and the surreal.
Prarthana is presently in between odd jobs and obtaining her master’s degree in literature. She loves modern poetry and meditative cinema. Based out of Calcutta, Prarthana observes people, football, films and enjoys writing about all three. Of late, she relates to Frank Ocean’s music. Her writing experience consists of writing for various sites such as Try Cinema, The Indian Economist, Doing The Rondo, Saintbrush and various academic journals.
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Pinnacle Film Awards for Narrative Films
This movie had me rolling in laughter. Kissy Cousins is a great comedy with a high production value. A++
— Festival Director Pinnacle Film Awards
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Straight-Jacket Guerrilla Film Festival
Biblical Fucking Amazing!
— Festival Director, Straight-Jacket Guerrilla Film Festival
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Direct Online Monthly Film Festival
Watch the Awesome Film Kissy Cousins Monster Babies…
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Not another Blog on the Cinema …
I am the Director of MEDFF, one of the most followed film festivals in Europe, which aims to promote and interact with artists from all over the world. The competition between the new entries of the Cinema and the so-called “veterans” has had a significant impact on the results obtained. Thanks to the MEDFF and the judges who collaborate with me every day, the new levers of Cinema have grown and been discovered. Cinema has no age, anyone can be part of it and anyone can become an essential part. Everyone has their own audience waiting for it. All we need to do is to suggest a path to follow, with zeal and perseverance, to express ourselves and make ourselves known. This is the concept that I would like to transfer via this blog.
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LARGO FILM AWARDS
Filled to the brim with retro nostalgia, Kissy Cousins is a 90s smack in the face. From the Star Wars opening to the costumes and set decor it’s beautifully constructed yet completely contained.
Kissy Cousins only just counts as a short, with its 40 minute running time its more of a medium, and this at times causes a drop in interest. It could potentially benefit from cutting the length by ten minutes or so. That said, the dialogue is excellent. Written to fit in with the aesthetic of the piece and embrace itself for what it is, rather than pretend to be something it isn’t.
The cinematography and production design are flawless. The film is almost completely contained in one room yet the designers have done an outstanding job creating the perfect 90’s set. The same can be said for costume and make-up.
The story itself may not break any moulds [sic], but it is so well presented and paced (aside from the odd lull) that it doesn’t matter. It’s there for pure entertainment and that is exactly what it provides. AS I stated, it embraces what it sets out to be and that fun and self awareness shines through to provide the audience with something that is pure popcorn endulgence [sic].
A well made, cleverly constructed and designed and overall utterly entertaining piece of film that will make anyone born in the late 80s swoon with memories.
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Wayne Keeley’s short has that vintage crazy experimental vibe that can be used in film and even then it will remain a fiction in all sense. The movie packs everything from cult classic references, to a great selection of yesterday news. Although the production went on for over twenty-five years, the short feels extremely fresh and has a lot of strong points.
Kissy Cousins Monster Babies is one mockumentary that every fan of this genre should definitely watch. The story floats into a sea of pop references starting from the 80’s and coming to Donald Trump’s “Making America great again”. Jon and Peter are two struggling Hollywood producers that go on a dry streak. They desperately need to create something new in order to come back in the spotlight. Their solution? To combine parts of old movies and stick them together with the glue of their imagination, and to create the new hot-shot blockbuster. The result? Well, it may be way more than both of them thought in the first place. Before watching it we were interested in knowing what the title was about, and obviously, it was in vain to assume the real meaning of it. Then, as we started watching this film, it became clear and altogether funny: the title refers to an old saying that translates, in a very blunt way, that incest is the thing that creates monsters. We’re sure it is a reference to some movies from the 90’s or even early 2000’s because we remember watching some back then dealing with this particular matter.
Even though Kissy Cousins Monster Babies is a satirical short film, the narrative is a serious matter for Keeley, who did an amazing job, making it stand out. For us, the storyline is the best thing about it for the reason that it deals with a vast period of time while the story cuts are impeccably used. The way Keeley creates subplot after subplot, and then suddenly cuts it to seem like a minor event under the magnifying glass of another character that is under the magnifying glass of another event, is the emotional twister that made us get really into it.