Text © Richard Gary / Indie Horror
Films, 2013
Images from the Internet
Wild Eye Releasing
82 minutes, 2008-2012
Wildeyereleasing.com
MVDvisual.com
The publicity for this indie is proud
to state – and does so often – that they had the whole idea of watchers as some
kind of overlords to a group of teens who are brought together in seclusion for
a reason unknown to the youngsters way before the recent hit, A Cabin in the Woods (2012). And
rightfully so. Do I think the makers of Woods
ripped off this film? Highly unlikely, even though it took four years to film
this one, but Dropping Evil is low
budget enough that it probably wouldn’t have been noticed by the big boys.
This piece of cinema is definitely one of the more ambitious indie films I’ve seen in a while, and certainly a brave release. It’s not surprising it took so long to record and let loose. The question I have is as follows: how successful is it in reaching its goal?
Images from the Internet
Dropping
Evil
Directed by Adam
Protextor Wild Eye Releasing
82 minutes, 2008-2012
Wildeyereleasing.com
MVDvisual.com
This piece of cinema is definitely one of the more ambitious indie films I’ve seen in a while, and certainly a brave release. It’s not surprising it took so long to record and let loose. The question I have is as follows: how successful is it in reaching its goal?
Well, certainly, there are problems. Note
that any indie film has its issues,
no doubt, especially one with this vast a cast and ambition in story. And the
sheer filming time frame must bring
its own set of issues.
From what I can figure out through some
of the story is that there are at least three separate levels going on (how
very X Files / Lost). First, there’s
the four life-long mid-20s high school students off for a weekend in the woods,
including a couple (Tom Taylor, Rachel Howell), and as a possible set-up, a
nerdy girl (Cassandra Powell) and a volatile religious fanatic (Zachary Lint; he
even gets upset when his bottle of juice is next to a beer can in the cooler). Add
a little tripping powder and “Mr. Jesus” (whose name is Nancy, by the way,
which is never really explained other than his mother chose it) gets busy with
an ax, as is seen on the DVD box artwork.
On the second story level, we view the
ValYouCorp organization, who apparently specializes in artificial body parts
and robotics (played by actors wearing motorcycle helmets), but who seems to be
looking at a (evil?) larger picture than is let on at first. It is run by scheming
CEO (played by name character actor Armin Shimerman; you’d know him is you saw
him, e.g., as Quark on Star Trek: Deep
Space Nine, or Principal Snyder on Buffy
the Vampire Slayer). His vision, involving the four friends, could change
the fate of the entire world.
The third level is more meta-physical
and less clear. From what I can figure out, it involves God, who seems to be
missing (shades of Kevin Smith’s 1999 Dogma),
a host of other older gods and goddesses from the Classic Greek period, and
even older gods than that called the Titans (whom Zeus defeated to become king
of the gods in Greek mythology; scarily, I knew that without having to
Wikipedia it. That’s right, I used it as a verb, wanna make somethin’ of it?). A
new war coming? Again, it is reminiscent of another film, The Prophesy (1995).
This is a mixture of both a dark comedy
and an occasional slapstick one, the latter of which is more successful. For
example, one of the better moments is handled deftly by the lovely and
underused ex-Troma actor and current exploitation queen Tiffany Sephis, who
plays the goddess Dionysia (I met her once at a Chiller Theater Con in New
Jersey during the 1990s, during her Troma days, and she was very nice).
Honestly, as original as the story is,
and credit should certainly be given, it is also exceedingly convoluted. Half
the time I didn’t know what anything meant to the storyline, and there isn’t
really too much of a conclusion that explains it. I would, however, recommend
following the film with the two deleted scenes and especially what is called
the “sequels,” three shorts (between 15 and 20 minutes each) that come with the
DVD in the extras. My guess is that it was either too much footage for put in
the film, or too short amount to make a true, complete sequel. But it will
definitely help fill in some of the questions (but not all) that are bound to
come up. And besides, this is the only way to see any of the footage of ‘70s
action star Fred “The Hammer” Williamson, in a bit of an extended cameo that is
not really explained well¸ as is another short bit by Edwin Neal, who plays the
POTUS; not bad for someone who started as the insane hitchhiker in the original
1974 The Texas Chain Saw Massacre.
The film has a bit of everything (too
much?). For example, when God is missing, people do not die no matter how grievous
their injuries, and the dead also arise. This gives way to an amusing social
bias between those who died before or after God’s disappearance. This would
make an interesting full-length feature in itself, especially in our current zombie-fixated
and partisan culture.
With this entire convolution, what
actually annoyed me was the shoddy camerawork. It felt like a high school
project. Shaky cameras are bad enough, but badly handled shaky cameras are
something else. There are also some larger choice questions I had, such as: if
ValYouCorp can make a camera that that fit inside someone’s eye without being
detected, then why does their hit team need to film their excursion into the
woods with a 1980s sized camcorder?
Despite my whining, there are a lot of
imaginative uses of the image, such as thoughtful switching between color and
black-n-white, stylized imagery (including with the hit team mentioned above), and
the occasionally really smart use of contrast and lighting.
There are a few good giggles in there,
and at least three times I found myself laughing out loud. It’s a fun film, but
it does take some work to watch (i.e., it can’t be put on in the background if
you want to make anything of the plot), and whether you think it is or not,
could depend on factors such as some history with J.J. Abrams and Chris Carter
material, how stoned you are at the time of viewing, and level of patience. Especially
the latter. I enjoyed the experience, but felt exhausted.
As a sidebar that has nuthin’ ta do
with nuthin’, I find it cool that the actresses of the two couples of youngins
have last names that rhyme.
VOD [HERE]
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