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© Richard Gary / Indie Horror Films, 2018
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Reviews
are in alphabetical order, not by ranking
American
Virus
Directed
by Shane Ryan
Mad
Sin Cinema
5:39
minutes, 2015
Short but effective, this transgressive
film shows a group of home-grown biological terrorists who release a zombie
virus, only to find it literally bites back. Co-written and starring director Ryan
and Kathryn Eastwood (yes, the chair-talker’s daughter), it’s done cinéma vérité (rather than it’s ugly
stepchild found footage, though there
is some of that here, too), following their – err – followers and they roam
around the city spreading the disease through injection into homeless people. Its
second act is very bloody (as the image attached can verify), and Eastwood, who
is both attractive and looks like she can take any of the women on “GLOW,” is a
solid force as she mocks the audience. Terrorism isn’t just bombs, this posits,
it’s so much more; as the title implies, though, is the real virus the disease
or rather is it the people who release it? A really nice release that will just
flow by quicker than the virus shoots through the dropper’s neck.
Trailer HERE
Guerrilla
Directed
by Shayne Ryan
Mad
Sin Cinema
13:05
minutes, 2017
This film is an interesting experiment
into late ‘80s style exploitation cinema with colorful pastel lettering that
looks spray painted, which makes sense as it takes place in 1989. Without
dialog (and with possibly the chance of a sequel which would not surprise me
from the exceedingly prolific Ryan), we follow the before, during and after
of a missile that brings a virus to California. We see this through the eyes of
a 10 year old girl who shoots 8mm film of what she is witnessing (I wonder who
will be alive to process it, but I digress…). She is strong, and trains herself
in martial arts, and we get to see some of that action over electronic-ish
1980s style music that sounds like it could be from Rocky. To me, most of the impressions given feel more ‘70s than
near 1990 (roller skating, arcades, big clothes, etc.), but it definitely is a
beautiful portrait of some longer
time gone that I’m willing to admit. It’s pretty easy to follow what the action
is despite lacking dialogue, though a series of title cards for different time
aspects helps. My fave part, though – and this is me being a media theorist –
is the bloopers reel during the credits where Ryan shows how hard it is to
shoot a period piece without the achromatic cell phone popping up everywhere.
This is true; I recently went to a local (to me) Zombie Walk, and out of 100 pictures, only 15 didn’t have a cell
phone it in somewhere. I also enjoyed how Ryan trips from one subgenre to
another. This film feels a bit silly, but in a good way, like it was a child
making it; I’m assuming that’s the point considering the age of the protagonist
filmmaker. Also makes me thing of the mode of something like the Spy Kids franchise.
The
Halloween Girl
Written
and directed by Richard T. Wilson
Mad
Shelley Films
18:52
minutes, 2015
www.facebook.com/pages/Mad-Shelley-Films/304829823050722
I’m a little late on the draw with this
one as I lost track of it for a while. I’m glad I had the chance to see this in
its original incarnation, which I’ll explain later. I wouldn’t necessarily call
this a horror film per se, but it does have a demanding ghost and a Halloween
theme, some intense moments, and certainly a heart at its center. In the story,
Luke (Nicholas Zoto) is a lonely kid with a sad, alcoholic mom (Christine Parker)
who’s recently lost her job (because of her drinkin’?). In the playground, Luke
meets and befriends the older and titular Charlotte (Catherine Kustra), whom he
refers to as “The Halloween Girl” because of the colors of the clothes she’s
wearing. It’s pretty obvious on some level who she is, but yet there still remain
some nice surprises in store. It’s beautifully shot, with some nice angles,
lighting, and moments that vary between Hallmark and Horror. It makes an
enjoyable viewing. Meanwhile, as I was elsewhere, Charlotte has been spun off
into the hit horror Web series, “Under the Flowers,” which is about to begin
its second season. I think I may check that out, if this is the direction it’s
heading.
Trailer for “Under the Flowers” HERE
Heir
Directed
by Richard Powell
Fatal
Pictures / Red Sneakers Media
13:58
minutes, 2015
Just because a picture takes us on a
track that doesn’t conclude in that preconceived direction tends make it better
rather than not. This intense tale from Ontario introduces us to a dad with a
secret (Robert Nolan) and his barely teenage son (Mateo D’Avino), who travel a
distance to meet up with his old college buddy (scream king Bill Oberst Jr.).
They share a secret that of course I won’t share, but it’s creepy and it’s
green. The first half could have been about any number of social ills plaguing
the West these days, but this delves into something deeper, darker, and yes,
greener. Everyone does a decent job, but it’s Oberst, who is a naturalistic
actor of the highest level, that manages to keep the camera and viewer’s eye. The
best way I can think of to describe his character is as follows: as someone
once said to me about someone else in real life (as opposed to reel life), he’s just… not. But again, it’s also not
what you might be expecting, either.
This is a beautifully shot piece that feels a bit claustrophobic at times,
which only adds to the chill factor. The Butcher Shop did a great job with the SFX,
and there is some fine editing work here, as well. Worth seeking out.
Trailer HERE:
In
Darkest Slumber
Directed
by JT Seaton
Cat
Scare Films
4:30
minutes, 2016
For hundreds of years, many of us grew
up with Grimm’s Fairy Tales, which in
its pure form were often horrific (and many of which have been turned into genre
films). And every once in a while, such as with the likes of Roald Dahl, there
will be additions to the canon. Which brings us to this modern fairy tale of a
comatose woman (the up and coming Samantha Acampora) who is dogged by a
flamboyant evil spirit in modified clown – or possibly harlequin, as that is
more trickster – make-up (Jonathan Grout). [As a sidebar, Acampora would make a
great petite-yet-sexy Harley Quinn.]. With a flourish language written by the
also quickly up-and-coming Michael Varrati, we get a great story and a moral at
the end that is true to the Fairy Tale genre. The narration is by the legendary
Lynn Lowry. The film has a bit of an ethereal feel to it, as the camera and
editing flow a bit like a river, and nice plays with lighting. At less than
five minutes, it’s quite the satisfying excursion in Girl Power!
Love
Is Dead
Written
and directed by Jerry Smith
Sickening
Pictures / Dexahlia Productions
10:50
minutes, 2016
As the song says, “Love hurts / love
scars…” We learn the truth of that from the two protagonists of the film after
a prelude of Peter (porn actor Aaron Thompson) talking to his shrink
(genre-regular Ruben Pla, who tends to play doctors in films like Contracted and Insidious). In flashback
– and in the shower – we meet the naked and tat-covered Peter, and his equally
tatted and naked wife, Mara (Joana Angel, also a porn star, though she is pushing
into more mainstream genre-style films). It is obviously not a joyous moment,
which leads to further unhappiness. While this is not classically a horror film, the tension is strong.
Sometimes it’s a bit hard to make out what the sobbing Mara is saying, but the
point is understood. This is Jerry Smith’s second film (both shorts), though is
he known more for his writing about
genre films¸ so it’s great that he’s actually participating now. He manages to
get some decent shots in what is obviously a cramped space, and the story is
short enough not to lose the viewer. Yeah, I found the sheer volume of tats a
bit distracting, expecting Ray Bradbury or Rod Steiger to show up any second
(not really, considering they’re both dead, but hopefully you get my point). It’s
a well-made short, and worth the view, depressing as it is.
Film HERE
The
Minions
Directed
by Jeremiah Kipp
Lauren
Rayner Productions
11:17
minutes, 2014
Not to be confused with the Pixar
characters which are every-witch-where
[sic; pun intended], the title here focuses on William (the veeeery tall Lucas
Hassel), who is caught in a bind. He hears Abigail (Lauren Fox) chastising him
for getting involved with two “witches’ minions,” the very drunk Katrina (Robin
Rose Singer) and her friend Sarah (Cristina Dokos), who is trying to get her
home safely. The film plays one of my favorite film thriller motifs of what is
real and what is imagined. The film mostly takes place on a dark New York (and
Brooklyn) street, with nearly all the color drained out of it, giving it a
faint, wan hue to match the mood perfectly. As William becomes more besotted
and entranced, events evolve suddenly
and sharply. This is a lovely film that plays games with both the characters
and the audience.
Film HERE:
Oni-Gokko
(Tag)
Written,
edited and directed by Shane Ryan
Mad
Sin Cinema
8:13
minutes, 2011
Director Ryan takes on J-Horror in this
languid yet skeevy story – told in Japanese – about two sisters, Miki (Eri
Akita) and Aki (Mariko Miyamitsu, aka Mariko Wordell), who once played a game
of tag that did not end well. How much is a ghost
story and how much is a guilt story
is left up to the viewer. Razors are one of my ewww points, and it’s put well to use (even if not in close-up).
Despite some screechy dialogue between the siblings, the pace is slow with long
shots of the birthday suited duo. Even though short, it takes some patience to
take it all in. A nice, neo-arty excursion, and I’m glad Ryan took the chance.
Painkiller
Directed
by Jeremiah Kipp
Action
Media Productions
15:54
minutes, 2014
Even though this film is a few years
old, it’s even timelier now when doctors are either overprescribing or removing
opioids like Fentanyl due to its addictiveness, leaving some in constant pain,
suffering both from withdrawals and the original pain for which the drugs were
given in the first place. For this film, through flashbacks we learn about two
romantically involved scientists (Thomas Mendolla and the cute Kelly Rae
LeGault in an obvious wig) who genetically design a small crab-like creature
that, when imbedded in the spine, lives off pain while releasing endorphins. Of
course, this being a genre film, there are unforeseen consequences. In a nice touch, it’s not just the effects on the
host, but those who are attracted to it. This is solid body horror, but despite
its physical harshness, it’s not what I call a squishy, making it palpable, on some levels, to a more general
horror audience. It’s well done; the pacing is solid with a nice build-up.
Film HERE
Directed
by Marc Cartwright
Glass
Cabin Films
0:15
minutes, 2016
Yeah, sweet and very short. And yet, for its exceedingly brief time on the screen,
it actually works as a narrative. Sure, there are no deep philosophical
meanderings, nor any kind of subplots
and exposition, but there is a bam! If
you’ve ever found a hair in your food, this may do more than just gross you
out. I don’t want to give anything away because, hey, you’ll get there in a
quarter of a minute anyway. Baker Chase Powell, who has a kind of Zac Efron
vibe, does well in conveying emotion without words and without much time. This
is a really fun watch, and even if you hate it (though I don’t know why one
would), shit, it’s 15 seconds of your life. Give it a try.
Film HERE
Richard, thank you for reviewing Richard Powell's HEIR here, for your kind words about it, and for all IndieHorrorFilms does for our genre.
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