Text © Richard Gary / Indie Horror Films, 2015
Images from the Internet
itn distribution / North 40 Productions / Options Entertainment / MVD Visual
83 minutes, 2012 / 2014
www.mvdvisual.com
In their
compound, they built a cell to hold women and a torture chamber attached to the
house to, well… It’s estimated by the amount of bones found on the property
that they had killed and buried approximately 15 to 25 people, both men and
women, straight and gay. This included some entire families. Usually the men
and at least two infants were done away with right off, and for the women, it
took a lot longer.
Actually,
there are a few issues I have with director Fretzen’s first time out in a
feature. For one thing, he can’t seem to make up his mind if this is a roughie
or an art project, as sometimes the camera will just stay on the subject, and
other times, we get the odd angles, the filtered lighting, and the switch
between color and black and white depending on the time period. For example,
there is some artistic albeit sledgehammer symbolism, such as a dripping faucet
being a metaphor for a life slipping away.
There are
also little anachronistic things like the camcorder that is used is more modern
than the correct time period. In 1985, when L and C were captured, I bought my
own camcorder that was then top of the line, which was $700 and weighed 7
pounds that rested heavily on the shoulder. The one in the film, if I’m not
wrong, is a much smaller s-VHS that was introduced in 1987 (man, I love the
Internet!). Also out of sync is that Sonia’s (Thompson’s) back is full of
tattoos, and that certainly didn’t become mainstream before 1985.
Mad Sin Cinema/ Rainy Day Parade Productions
Wild Eye Releasing
90 Minutes, 2012 / 2014
www.wildeyereleasing.com
www.mvdvisual.com
The true story is about Alyssa
Bustamante (Katie Marsh), a bored 15-year-old girl from a rough background who viciously
murdered a 9-year-old girl, Elizabeth (Kaliya Skye). Her story made the
headlines around the world in 2009 for two reasons: first, of course, is the
shocking brutality of the assault of a young life, and second, that in a
technological world, so much of her life over the previous year had been
recorded on the ever present cell phones.
There is an interesting mix of self-shot filming (i.e., supposedly shot by the characters of each other) and other times recorded by an unidentified “third person,” mostly likely just meant to be cover shots of both of the main teen actresses, although the hand-held shakiness remains the same.
The film follows three concurrent
storylines, as it were. The first is Bustamante and The Sidekick (Demi Baumann),
and occasionally Alyssa’s brother, as they ramble through their lives,
Bustamante bullying her friends and relations in small ways that would
eventually explode into self-destruction through the annihilation of another. We
don’t realize we can see the state of her mind, as in real life, she came from
a family of poverty, violence and substance abuse.
As with House on the Hill (see above), there is some speculation and changing of the story to fit the film; it should also be noted that this is “Inspired by the true crime.” During the end credits, Director Shane Ryan does acknowledge that people were blended and liberties were taken. For a piece of cinema that was filmed in four days on $300, and was largely shot by the cast, it does have both a chilling aspect to it (especially the abusive scenes, be it inter- or intrapersonal), mixed with an almost facile feel to the everydayness of some of the actions between the characters. It’s the contrast, in part, that makes this so compelling, and for me more so on a second viewing.
Extras abound on this DVD, running nearly twice as long as the film itself. Along with a deleted scene and some alternative scenes, there are trailers for it and a bunch of other films, such as Portrait of a Milk Carton Girl and Abducted Girl: An American Sex Slave. The highlights though are two different version of the piece, including a 20-minute early cut from 2011 that is mostly without dialog called “The Columbine Effect” (under the directorial pseudonym of Bone Shin) that is mostly confusing if you haven’t seen the full feature, and an hour form of it as well called “Me, Myself and Us.” It’s a completely different cut and order of events (except the ending chronology), and while it’s decent, it’s not up to the full feature, and is rightfully and thankfully in the extras section.
Images from the Internet
The reason I have put these two reviews together
is because they both deal with infamous crimes from unlikely killers, one the
slovenly serial murder Leonard Lake, and the teenage child murderer, Alyssa
Bustamante. They also take different perspectives of the crime, but mix either
real or aped images of the criminals involved.
House on the Hill
Directed by Jeffrey Frentzenitn distribution / North 40 Productions / Options Entertainment / MVD Visual
83 minutes, 2012 / 2014
www.mvdvisual.com
The story
this film is based on is well known and documented. In essence, during a year
or so in the mid-1980s, shlubby, bearded and balding 40 year old Leonard Lake
and his “soul mate,” also chubby and rumpled Chinese national Charles Ng lived
in a rural and deserted area outside San Francisco.
The real Charles and Leonard |
Though
quite obviously effective, poor Lenny and Chuck never had the pop sensation
cool factor of, say, Ed Gein, Jeffrey Dahmer, or John Wayne Gacy. These guys
were unattractive inside and out.
Now, nearly
everything I’ve learned about Lake and Ng (L and N) is found online on
Wikipedia and sites like that (yes, I read them before seeing the film).
Apparently, every victim in this film is either given another name as they
aren’t included in the list of known victims, are multiple stories concatenated
into single people, or are the conjecture of the filmmakers. This includes the
two women who are the main focus of the story: first, there is Sonia (Naidra
Dawn Thomson), the only victim who lives to tell the tale (indicated early on
in the film, as the main action is told in flashback), and Karianna (Shannon
Leade), both of whom are drugged at a party and awaken in the bad place. They
are kept around by L and N for cleaning, frequent rapes and other physical
abuse, and for Sonia to videotape all the mistreatments and demises.
Yes, we
get to see quite a bit of brutality, very little sex, and even less nudity,
which confused me. Anyway, people are stabbed, drowned, beaten to death, etc.
in sort of a parade fashion. We are introduced to a character with a photo of
the actresses’ face and a name / date who they supposedly play went missing.
Then comes the abuse, with lots of talking in between, threatening, demanding
of money, and then death. Why Sonia and Karianna are left to live so long while
others are dropped around – make that in front of – them, is not really
explained.
Stephen AF Day as Leonard |
The actors
who play Leonard (Saskatoon-born Stephen A.F. Day) and Charles (Sam Leung) play
their roles excellently, but they are, quite frankly, too good looking for the
roles. Rather than roly-poly dorks who look harmless, Day and Leung look
intense, with Day appearing too young for the role and ruggedly handsome, and
Leung seems kind of like a dashing “badboy” hoodlum from a TV show like Buffy. The real killers are much
creepier because of the unassuming way they looked.
Sam Leung as Charles (with Erin M. Young) |
What drove
me most crazy was mixing the history up, such as how they got caught, which is
mostly right, but a key point is off (i.e., they were not in the same place).
That isn’t that bad by itself, I admit, but it seems to be an issue through a
lot of the actual events, rather than the conjecture of the killings we see; as
Ng was found guilty of seven deaths because the other bones were not
identified, there is more we don’t know about victims than we do, giving the
writers ample room to stretch that part to fit the film. Again, I don’t have an
issue with that, but dicking around the known parts is what I find…off-putting.
One of the
things I really liked about the project is that interspersed through the film is
actual footage of Lake, videotaping himself admitting about building the cell
room, what he expects from his women / slaves, and this gives us an insight to
the real twisted thoughts of this unkempt killer.
While I know
I’ve been hard on the film, I would also like to point out, again, this is the
director’s first time at the helm. Sure, he and much of the crew and cast have
been involved in serial killer films before, such as the Frentzen produced Killer Pickton (2006) and Black Dahlia (2006), but that’s not the
same as being in control of the product. It’s good that he has found a niche in
the serial killer subgenre, and I look forward to his growth in bringing us
more mayhem.
My Name is A, By Anonymous
Written and directed by Shane RyanMad Sin Cinema/ Rainy Day Parade Productions
Wild Eye Releasing
90 Minutes, 2012 / 2014
www.wildeyereleasing.com
www.mvdvisual.com
I shot a man in Reno, just to watch him die.
–
Johnny
Cash, “Folsom Prison Blues”
This is certainly not the first film
about real life teen thrill killers, nor is it the first to use an artistic
frame for it. For example, there was Hitchcock’s Rope (1948), a fictionalized version of the teen Leopold and Loeb
murderers, and Peter Jackson’s Heavenly
Creatures (1994). This is also not the first movie to use a
pseudo-documentary (i.e., handheld cameras) to give a realistic feel to the
film. However, that also does not mean this film is either repetitive or
derivative.
Kate Marsh as Alyssa |
If you look up Alyssa on YouTube, you
can see a lot of that footage, from which some of the film is based upon (i.e.,
copied), such as the touching of an electrified cow fence wire (a safeguard system
much more intense, I might add, than one for constraining horses), or donning
Alice Cooper inspired make-up and pointing a finger-gun to her own head while
sticking out her tongue. In a 24-hour televised news world, the original
selfies were played on major outlets repeatedly for weeks as her trial was
followed as intensely as was Andrea Yates, who drowned her five kids in Texas
and found not guilty by insanity, or Casey Anthony, found not guilty of
murdering her toddler daughter.
We see the incessant relying on the
need to film oneself to make oneself real, whose reality is a mixture of David
Cronenberg’s Videodrome (1983:
“Television is reality, and reality is less than television”) and Gus Van Sant’s
To Die For (1995: “You aren’t really
anybody in America if you’re not on TV”). This film also gives breath to a feeling
of ennui of its characters: no matter what is happening or how hard life is
treating them, there is a feeling of Other that permeates the day-to-day
narcissistic filming. These are life issues and possibly cultural mental
illnesses that Bustamante had in common with Leonard Lake and Charles Ng,
though the body count differed substantially.
There is an interesting mix of self-shot filming (i.e., supposedly shot by the characters of each other) and other times recorded by an unidentified “third person,” mostly likely just meant to be cover shots of both of the main teen actresses, although the hand-held shakiness remains the same.
The real Alyssa |
A second story follows The Performer
(Teona Donikova), a sad teen who imagines herself in the limelight as a highly
stylized singer (we are shown an entire imaginary music video from her mind),
rather than the suggested abusive relationship with her dad (no moms are seen
in this film). The third follows The Angst (Alex Damiano), who is full of anger
both towards the world and herself. We are shown that through her bulimia, her
self-derisive selfie-videos (vidfies?), and a monolog aimed at God. We also see
in bitter detail the sexually violent relationship she has with her dad.
Of course, all these stories come
together at an important story intersection. Hints of the level of personal
destruction are shown throughout, and realized in the third act (titled “The
Final Chapter”). I have to say, I figured out where the director was going with
the ending about 10 minutes before the answer, which is probably around the
time the viewer is expected to have that aha
moment.
Both these films and all four stories
here deal with an either an ideal or a nadir of one, expressed through the ego
machine of a cell phone camera and small cameras, as characters perform for
themselves and for others. It’s personalities that are more performativity than
“real,” often without the participant even realizing how shallow their vision
of the world becomes, full of ego and the Self. Running through all is also a banality of evil, instilled by the
overwhelming technological desire for both information input and output (feeling
the almost addictive need for selfies
is an example of both).
As with House on the Hill (see above), there is some speculation and changing of the story to fit the film; it should also be noted that this is “Inspired by the true crime.” During the end credits, Director Shane Ryan does acknowledge that people were blended and liberties were taken. For a piece of cinema that was filmed in four days on $300, and was largely shot by the cast, it does have both a chilling aspect to it (especially the abusive scenes, be it inter- or intrapersonal), mixed with an almost facile feel to the everydayness of some of the actions between the characters. It’s the contrast, in part, that makes this so compelling, and for me more so on a second viewing.
Extras abound on this DVD, running nearly twice as long as the film itself. Along with a deleted scene and some alternative scenes, there are trailers for it and a bunch of other films, such as Portrait of a Milk Carton Girl and Abducted Girl: An American Sex Slave. The highlights though are two different version of the piece, including a 20-minute early cut from 2011 that is mostly without dialog called “The Columbine Effect” (under the directorial pseudonym of Bone Shin) that is mostly confusing if you haven’t seen the full feature, and an hour form of it as well called “Me, Myself and Us.” It’s a completely different cut and order of events (except the ending chronology), and while it’s decent, it’s not up to the full feature, and is rightfully and thankfully in the extras section.
Then there are two earlier short
films directed by Ryan. One is the nearly 5-minute effective tribute to
Japanese gore from 2011 called “Oni-Gokko” (translated as “Tag”), which could
be seen as a tribute to Japanese director Takashi Miike, or possibly the “Guinea
Pig” series, with just enough gore and artistic merit to raise some eyebrows.
The other short is the 16-minute “Isolation” from 2001. It’s a moody piece
mostly in black and white about poor 16 year old Billy (played by Shane Ryan in
his directorial debut; I’m guessing a student film). Missing his mom who was
murdered when he was younger to the point of depression, we follow him and his
thoughts as he walks through a desolate town, possibly bleaker because of his
emotional state. You can see a lot of a theme going here if you compare the
short with the feature.
Ryan seems to specialize in Kids (1995; I’m certainly not the only
one who had this connection as I have since found many reviews comparing them)
style films dealing with teens in trouble, including pedophilia, the sex trade
and other forms of teensploitation – honestly, none of which I’ve seen, so I
won’t comment on them directly – but here he has found a niche of teen murders
that works well. This has a very ordinary-everyday
Creep Creepersin feel to it (he is thanked in the credits), and is all the
more scary for both the actions and lack thereof, and especially for the
viewers’ reaction to the mixture of the two.
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