Text © Richard Gary / Indie Horror Films,
2015
Images from the Internet
Fourth Horizon Cinema / R and Productions / Wild Eye Releasing
89 minutes, 2015
www.CaesarAndOtto.com
www.WildEyeReleasing.com
www.mvdvisual.com
Images from the Internet
Caesar and Otto’s Paranormal Halloween
Written, produced, directed and edited
by Dave Campfield Fourth Horizon Cinema / R and Productions / Wild Eye Releasing
89 minutes, 2015
www.CaesarAndOtto.com
www.WildEyeReleasing.com
www.mvdvisual.com
This is not your father’s Caesar and Otto.
Let me ‘splain.
The Caesar and Otto franchise is like the Abbott and Costello collection (and I certainly
am not the first to make that comparison) in that they are a series of films
about the same two characters; here, they are half-brothers who share a dad, and
have a deeply conflicted love-like-hate relationship.
Caesar (Dave Campfield) and Otto (Paul Chomicki) |
In previous films, Caesar and Otto’s Summer Camp Massacre (2009) or Caesar and Otto’s Deadly Xmas (2012), Caesar
Denovio (Dave Campfield) was pretty unlikeable, kind of like Stinky Davis (a
pre-Three Stooges Joe Besser) character from the “The Abbot and Costello Show” (1952). The character also had a weird,
halting, annoying voice. Well, here’s the change: Caesar has matured – a bit –
and some of what made him so criticized has been taken away. He’s not as one-dimensional
and shallow, he’s not as mysteriously girlish (despite the opening sequence),
and he’s definitely not as mean. Don’t get me wrong, Caesar’s not a guy you
necessarily want to hang out with, but Campfield has done a spectacular job
revisioning him as a fuller, more realistic character, and occasionally
likeable, which makes it easier to identify with him without taking away what makes
Caesar Caesar. Oh, and that voice is mostly gone. From the commentary, that
also works well with/for Campfield.
Less is changed about Otto Denovio’s (Pau
Chomicki) slovenly demeanor, but he is also softened a bit. He was always
likeable, but here he becomes more of a big, smelly (wash that orange shirt
already!) teddy bear, still looking for love, or for this film, his long-lost,
thought-to-be-dead mommy (Beverly Randolph, one of the leads in 1985’s The Return of the Living Dead). One
thing that hasn’t changed I’m happy to say is that Otto’s voice, or rather his Lon’Gyland (aka Long Island) accent, is
still front and center.
With many horror comedy films, you can view
this as just plain silly, but if you are wise to the ways of indie spoof horror,
you will recognize just how smart a film it actually is; definitely the
strongest of the series to-date. I may be giving away too much too early, but I
enjoyed all of this film.
One of the smartest things about the premise,
which I’ll get to shortly, is that Campfield breaks down the fourth wall to
make many meta comments, such as the fact that in most of the Paranormal Activity franchise, nothing happens, until the very end, the
rest being dull. But the meta part is the indication that like reality
television, the found footage subgenre
is actually a sneaky way to make inexpensive films with little crew (e.g., no
camera people because it’s either the actors who are doing the shooting, or the
cameras are just mounted on walls), yet tend to bring in decent bucks.
Another
finger to the side of the nose is the in-jokes that follow through all of the
CandO films, such as Avi K. Garg’s Police Chief character getting seriously
hurt but being okay, and losing limbs that are just resewn on again and agan
(his “Oh, come on!” line reading is
hysterical; oh,
and shhh, check out the Easter Egg commentary by him). Additionally,
there is the main villain, the nearly Satanic Jerry (Ken MacFarlane) and his
minion, Roberta (Samantha Barrios), who return from previous CandO excursions.
Also, CandO themselves have some shticks they repeat, such as jumping out of a
moving car when mad (it’s a humorous bit).
JamieLee Ackerman |
The
plot is, well, bizarrely fun and a bit all over the place, as is almost always
true in spoof comedies because there is so many references (more on that
later). Our hapless bros and their scene-stealing father, Fred (Scott Aguilar)
take a job housesitting for Jerry’s mysterious mansion for the season, where
lots of weird and Ooo-WEE-oo (hear
that as played by a Theremin) paranormal
activity seems to be happening. There are also two servants, one a lovely
lass gardener named Gilda (Josephine Iannece, aka JoJo, aka Campfield’s
real-life girlfriend), and the other a quiet and kind of scary chef, Kyla
(JamieLee Ackerman, posessing a lovely Irish lilt), who always seems to be
carrying something sharp. Next door to the abode are a couple of high IQ’d retired
Playboy bunnies, Jamie (Troma queen Tiffany Shepis) and Judy (Stef Barkley).
Like
most of the CandO franchise, it always feels like it’s a mix of horror and a
kind of twisted 1930’s farce in that the action and the dialog happen really fast (thus I recommend more than a
single viewing since I had noticed things all the times I watched it). It’s
important to pay attention, because things come
and go so quickly around here. This is true of the especially subtle bits,
such as someone getting slapped and the sound is off-sync’d, or words and hints
that are written in the background with magnetic letters.
Some
of the references are pretty obvious (Halloween
[a mix of 1978 and 2007], Paranormal
Activity [2007], The Shining [1980],
etc.), but picking out some of the hopelessly obscure ones are also fun. For
example, and I’m not sure if this was intentional or not, the half-circle openings
on the porch reflect nicely on the “eyes” of the house in The Amityville Horror (1979), also referenced within the story. Adding
a clip from the Campfield short Piggyzilla
may also reference the pig seen in the window of the original Amityville. Perhaps I am overreaching?
Brinke Stevens and Brinke Stevens (check your pants) |
Every
opportunity is taken to inject some humor with a nod and a wink, such as some
title cards; for example a church called Our Lady of Low Production Values.
Most of the dialog is filled with nuggets: Jerry mentions that previous
caretakers at his house went crazy from isolation (sound familiar?), but when
we see the house, it’s just on a suburban street. Or there is a brief
commercial for stronger deadbolt locks, reflecting on an earlier, funny gag.
Another throwaway bit, again about previous housesitters, is mentioning “that
guy who resembled James Brolin and tried to kill his whole family, and then
married Yentl.” Then, as the Fred tells Otto, “…Your mother died a couple of
years before you were born.” Did I mention that two grave diggers are named
Lenny and George (no mention of rabbits, though)?
There
is also a very sly bit with an exorcist priest named Fr. Jason Steiger, named
after two horror priest actors, Jason Miller (d. 2001) of 1973’s The Exorcist and Rod Steiger (d. 2002) of
The Amityville Horror (joyfully
played by CandO regular Deron Miller), where he’s turn over to the “Vatican
Police” by a fellow priest named Jude (John Thomassen) for $30. These lines are
spoken so fast, it’s easy to miss some of these gems. And if you think I have
said too much, I have barely put my paddle to the water.
Maximo "Frank" Sorrentino and Felissa Rose |
An additional gem is the maaaaaany cameos
that show up frequently. To name drop just a few, there is the ever lovin’
Debbie Rochon (too many great films to credit just one), Andre Gower (lead kid
in The Monster Squad [1987]), Sean
Whalen (Twister [1996]), Vern Wells
(the main mohawked villain of Mad Max 2:
The Road Warrior [1981]), Brinke Stevens who is one of foremost scream
queens of the modern VHS-and-beyond era (as a twin wallet-stealing ghost;
again, too many credits to pick), and Paul Guay (creator and co-writer of 1987’s
Liar, Liar). In a really nice and
thoughtful placement as a media-minded married couple who deal with psychic interactions,
are Maximo “Frank” Sorrentino (of the TV show “The Sorrentinos,” and brother of
“Jersey Shore’s” “The Situation” Sorrentino) and Felissa Rose (actor / producer of indie films).
Why is this so exquisite? Because they were both together in the early slasher
classic Sleepaway Camp (1983); Rose
was the lead.
There is some well-done gore (e.g., head
smashed under a car wheel) as well as some cheesy stuff (a mannequin head, for
example, in a fantasy sequence). For nudity, as is consistent with a CandO film,
there is a single acknowledgedly gratuitous topless generic scene (in Deadly Xmas, it was in a shower, here it’s
at a strip club). Doesn’t matter, it’s the story that still keeps you in your
seat.
Now, let’s talk about some of the extras on
this loaded disk. First, there is an interesting commentary with Campfield, Iannece and Ackerman.
A second commentary has a number of cast and crew, including Chomicki and Aguilar;
it gets a bit hectic telling who’s who, and there is some talking over each
other, but there’s lots of good info, as well. The viewer also gets a short
Blooper Reel, a Facebook promo video with Campfield and Ackerman, a really nice
tribute to the late cult actor Robert Z’Dar (d. 2015), a 50+-minute on-set audio
podcast interview with Campfield and cast members (including Rochon), and the
complete “Son of Piggyzilla Trilogy (commentary available), which lasts 6
minutes. Of course, this being a part of Wild Eye Releasing, there are a number
of cool trailers, some of which I’ve had the pleasure to review.
For everything I whined like a little bitch
about the last film, that’s how much I liked this one. It is a really good
laugh, a well-researched film, and an attention keeper – especially for those
genre geeks – from the first second to the last. There have been plenty of horror
spoofs, such as the Scary Movie
franchise, A Haunted House (2013; the
sequel was in 2014) and Vampire’s Suck (2010),
with the exception of the first Scary
Movie (2000), they all fall to the wayside in comparison.
So make sure you stick around for the final
credits, as always with a CandO film, and I’m looking forward to the reported
next film in the franchise, Caesar and Otto’s Spring Break of the Living Dead.
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