Keith Fulton

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Lost in La Mancha Review


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It's always a struggle to get a film made, but few filmmakers have had to endure as much hardship in seeing their visions realized than Terry Gilliam. The Monty Python alum and director of such modern-day fantasy classics as Time Bandits, The Fisher King, and Twelve Monkeys, Gilliam is a director who finds order only in disorder, and anyone familiar with the unbelievably troubled productions of The Adventures of Baron von Munchausen and Brazil knows that he has often had to fight tooth and nail to protect his films from the studios financing them. So when word came out that Gilliam was ready to set sail on his dream project - a unique and expensive version of the Don Quixote legend entitled The Man Who Killed Don Quixote, to be filmed on location in Spain - it was, as usual, taken with a grain of salt. A Gilliam film, fans know, is not something to count on until the ads start running in the newspaper.

Well, the skeptics won this round. Beset by innumerable obstacles, The Man Who Killed Don Quixote never made it past the first few days of principal photography, and all that was left was Lost in La Mancha, Keith Fulton and Louis Pepe's alternately entertaining and depressing account of Gilliam's failed attempt to film his Quixote opus. The documentarians, who previously collaborated with Gilliam on The Hamster Factor and Other Tales of Twelve Monkeys - a behind-the-scenes look at the production of his 1995 Bruce Willis time-travel vehicle - were granted unprecedented access to the Quixote set. In a fortuitous decision for Fulton and Pepe, the duo chose to accompany Gilliam to Spain for preproduction, and were therefore privy to the tumultuous series of events that would eventually lead to the project's downfall.

Continue reading: Lost in La Mancha Review

The Ghosts of Edendale Review


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With recent Hollywood flicks like The Haunting and House on Haunted Hill, it seems like the ghost story may be experiencing a resurgence. Unfortunately, today's audiences are too gore-friendly for ghost stories to have much impact any more -- and screenwriters haven't been able to come up with an original approach that makes it work, either.

Writer/director Stefan Avalos revists the genre with The Ghosts of Edendale, a digital video feature that's hit and miss. Avalos's first mistake is to set the film in Hollywood, with all of his characters in "the business." Dozens of film industry cliches are rigorously run through before we get to the actual plot: Couple from the east coast (Paula Ficara and Stephen Wastell) move to L.A. to start a new life. Rachel (Ficara) is a model trying to become a writer. Kevin (Wastell) is, um, also a writer.

Continue reading: The Ghosts of Edendale Review

Keith Fulton

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