Text © Richard Gary / Indie Horror Films,
2014
Images from the Internet
Making Monster Productions / Blue Dusk Productions
Apprehensive Films
93 minutes, 2014
www.afcinema.com
www.mvdvisual.com
Images from the Internet
Attack
of the Morningside Monster
Directed by Chris EthridgeMaking Monster Productions / Blue Dusk Productions
Apprehensive Films
93 minutes, 2014
www.afcinema.com
www.mvdvisual.com
The
fictional town of Morningside is in New Jersey, and the two top cops are a local
(Tom Haulk, played by Robert Pralgo), and one from the Bronx (Klara Austin, embodied
by the underrated Tiffany Shepis, who started out in the Troma camp). I really didn’t
get a Jersey vibe from the film (it’s based on the more rural Wharton area; I
drove through it on 80 more times that I remember) mostly due to the lack of
Tri-State accents, but considering it was filmed in Lawrenceville, GA, that’s
not surprising. All I’m sayin’ is it goes
without sayin’, as I once overheard someone say.
Someone
is gruesomely (of course!) killing off some local drug dealer scumbags while
wearing a hooded robe and a cool ritual mask (see the DVD cover above). Using
various devises such as power slicers and a kind of mace, victims are immobilized
and have internal organs removed; sometimes this happens while they’re still
alive.
There
is nothing exotic or artsy about this film as far as form goes, but sometimes
meat and potatoes is just what is needed. Skip the weird shadows, the strange
angles, the symbolic lighting, and just get to the “meat” of the matter.
Director Chris Ethridge, in his first full length release, cuts to the chase
and gives the audience a taut and bloody drama without the bells and whistles,
just gristle. Perhaps, over time, this will change, but that’s okay, too. I
believe that many directors try too much on their first outing, and find out
that it’s harder work than was necessary to advance the action. The fact that
this release has won a bunch of awards in festivals shows that it’s definitely
reaching where it is needed.
You
know what’s a good sign? I didn’t figure out the killer for a while, which is
rare. I made guesses, and was wrong on three of them. When I did figure it out,
about 20 minutes before the end, I thought “really?”, sometimes the trickiest of
all choices is in front of your face.
For
a first full feature, Ethridge manages to find some real talent, with lots of
credentials. The two leads, for example, are seasoned professionals, with
Pralgo being in a bunch of high-level cable shows and major films, and Shepis has
a long history in the genre. The big name here, though, belongs to Nicholas
Brendon, who was Zander in the popular series Buffy, The Vampire Slayer. Okay, yeah, he’s a pretty one-note
actor, but there is no doubt he is known.
For
me, the fault that is in the film – and this is true of most genre releases
both big and small – is the shallowness of exposition. Why is someone from the
Bronx the Deputy Sheriff? What is her background? Who is the Sherriff’s girlfriend (Catherine Tabor)? The bad guy’s wife
(more cameo than anything by the lovely April Bogenshultz)? There is,
fortunately, some indication of why the Sherriff is so committed to his best
bud’s wife (Amber Chaney, who played Avox in The Hunger Games)?
On
the flip side, what is great about the writing is that it isn’t cut and dry in
that the “monster” is not – er – unhuman (e.g., Jason, Michael). Mistakes are
made, and people who should not be involved become victims by accident. I think
this is a real bonus and one I’d like to see kept up in other films. Kudos. Also,
there is a great red herring a bit over half-way through that is not only well
played, but well placed.
Nudity
is kept at a minimal, and the gore effects look really good. There isn’t an
overabundance of visceral matter, but what is present is nice and messy. Most
of it is post-attack, rather than the actual action.
The
extras are a couple of trailers and an interesting commentary track with the
director/co-producer, writer/co-producer Jayson Palmer, and co-producer Michael
Harper discussing the production, actors, and all that. Though I don’t remember
who is saying what (one of the problems with three or more people on a track),
it’s kind of irrelevant because it’s the info that matters.
I
like that the film doesn’t do the usual killer pseudo-teens + sex = death
(though there is a bit of a nod to that), and that most who die deserve it, so
when those who aren’t “worthy” bite it, it actually makes it more moving. It
may be meat ‘n taters, but as I said, sometimes you can get more accomplished
by going for why the audience is there in the first place.
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