KISSY COUSINS MONSTER BABIES Receives 100th Film Festival Prize

Can 100 film festivals possibly be wrong in giving a 90s retro comedy lovingly referred to as KCMB, which commenced shooting 26 years ago and finally wrapped in April 2018, as many film festivals nods including "official selections" and other assorted awards? What is it about this strangely zany, off-the-wall piece that has captured the imaginations and attention of such a multitude of festivals and festival directors around the world?

One festival director called it, "Biblical F***ing Amazing!" Another said, "The Indie film community is experiencing a Time Warp! A NEW Cult Classic has arrived. So Brad, step to the right and make room for 'The History of Everything: Kissy Cousin [sic], Monster Babies and Morphing Elvis'."

The reviews jump the proverbial shark even more. One reviewer states, "It is very rare to watch and evaluate a movie that presents a complete, experimental and effective style and unique language: that's the case of this very peculiar movie 'The History of Everything Circa 1993 to the Present Formerly Known as Kissy Cousins Monster Babies and Morphing Elvis'." Still another reviewer says, "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."

KCMB director and multi-Emmy Award-winner, Wayne J. Keeley, states without hesitation (and certainly without ego) that the film is destined to be the next "cult classic of all time - even bigger than 'Rocky Horror'!" In fact, characters in the movie within the movie within the movie comment that it will irrefutably become the next Rocky Horror. Keeley's Emmy Award-nominated, and multi-award-winning writer-director-producer wife, Stephanie C. Lyons-Keeley, who is a co-producer and co-writer of the most recently shot scenes in the film, but who wasn't around for the parts 26 years ago as she was a mere babe in arms ;) admits that her husband can be wholly childish, a tad narcissistic, and annoyingly delusional at times, but she says this is not one of those occasions. After all, can 100 film festivals, most of which are IMDb qualifiers, reviewers and others be suffering from the same delusions?

We bet your interest is piqued and you're wondering now what the hell this film is all about.

Jerry Seinfeld might say it's about "nothing" - and he may just be close to the mark. That is if "nothing" can be defined as ballsy imagination and the shameless idolatry of all things celluloid. When KCMB hits the big time, its producers are expecting late night screenings in which audiences will receive Spark-like notes that offer clues to the countless homages and pop culture references embedded within it. Like with Rocky Horror, audience participation will be strongly encouraged (no toast or rubber gloves required, however). But hey, if it doesn't go right to the big screen, the hungry producers will settle for a multi-million dollar offer from Netflix or Amazon - they're not picky.

We've digressed, sorry. Here's what KCMB is really about (drum roll, please)...

It's all things 90s with a fast forward to the present. It illuminates the creative process of moviemaking and exposes what Hollywouldn't. It's about deception, delusion, satire, politics, prejudice, and parody. Ultimately, it is a mockumentary that can in no way be easily categorized or defined.

The film stars David Belafonte (Harry's very talented son); the also very talented Australian comedic actor and producer Steve Kearney; off-the-wall, multi-threat actor, writer, director, teacher Jack Plotnick, and many, many others including David's gorg wife, fashion maven Malena Belafonte. Sadly, some of KCMB's cast did not live to see the culmination of the 26-year production history, among them, Nipsey Russell, Dr. Joyce Brothers, and Professor Irwin Corey.

Realizing we've actually told you nothing of the plot, and since everyone knows art is so damn subjective, does it really matter what KCMB is about as long as it kicks ass and resonates with its audience? We can tell you everyone whose seen it thus far walks off grinning ear to ear while at the same time, scratching their heads. But we ask you again, can 100 film festivals possibly be wrong? That's rhetorical, don't worry. We don't expect you to answer that.