Favorites and Not Favorites for 2019
Text © Richard
Gary / Indie Horror Films, 2019
Images from the
Internet
As always, I will republish
the rules I have about such
lists as these first:
I have an issue with “Best of” and “Worst of” year-end lists for the
following reasons: most are chosen from either those that play in theaters. For
me, I like to watch the DIY ones, for these tend to have more heart. My list
consists of films that I saw and reviewed in 2018, not necessarily ones that
were released in that year.
As for Best and Worst, I never liked those terms; art is just way too
subjective, which is why I called them Favorites and Not Favorites. That being
said, even the “Not” ones have redeeming qualities, and the fact that they don’t
touch me means nothing. I have hated films that have won tons of awards, and
liked some that other find abhorrent, so don’t take anything I say, good or
bad, as the definitive. It’s just opinion, and I welcome you to agree or
disagree. It’s all good.
These two lists are alphabetical, rather than ranked (another thing I
don’t believe in).
FAVORITES:
The Blood Hunter
Directed by Trevor Styles and
Chas Llewellyn
Vampire films are a dime a dozen, and
yet even with a low budget, sometimes you get to find one that is not only a
decent story, but stretches the boundaries in new ways that add to the legend
rather than taking away from it. For our tale
here, we meet our pitiful (to start) hero Deckard, a survivor of being in the
armed services in the Middle East. Since returning home, his wife left him, his
teaching job is gone, his daughter died, and his son is in a wheelchair. It’s
no surprise that he is deep into his own cups, i.e., he’s an alcoholic, and
dealing with depression He’s even lost his faith (more on that later). But is when
the story takes off into a blood and gore-soaked extravaganza. He
manages to join a small group of vampire slayers called the Blood Hunters, who
seem to shoot up a bunch of vampires but have trouble killing them, or at least
this particularly robust, young-looking trio who are reminiscent of The
Lost Boys (1987). The Blood Hunters pull the teeth of the vamps, and
sell them to the highest bidder for their powers which are achieved if the
teeth are ground up and ingested. There are some
parts of the story that are predictable, but even within those tropes, the
story takes some incredibly interesting turns that you just don’t see coming.
There was a lot to enjoy; one reason was the take-no-prisoners approach in that
you really never know who is going to die in many cases, both good and bad
guys, old and young. Also the gore is way plentiful and most of it looked
great, even with the blood being a bit too brownish (much of the film seems to
be shot with a yellow- or brown-tined filter). There
is an undercurrent of Christianity and faith that runs through the film both in
literal and symbolic ways and even though it permeates the entire film in both
subtle and explicit ways, it also never deflects or overruns the story. What
I also want to point out is that the film is shot beautifully. The area around
Billings, MT, is used with nice brushstrokes, especially those around farms.
The pacing of the editing is well done, with the action scenes a bit quicker,
but not to the music video speed where you can’t make out what the hell just
happened. It’s actually used the way many Westerns are, with long, lingering
scenes that let the viewer absorb not only the action, but the surroundings,
which I always enjoy. Sunlight and shadows, dusk and dawn, all are played out
in tones that are warm and lush, without being overly romantic. Just enjoyable
handiwork. The directors certainly left the
story in a way that it can continue, which leaves me encouraged.
Original full review and trailer HERE
Clownado
Directed by Todd Sheets
Director Todd Sheets has smashed-up the mash-up by combining Sharknado with the recent clown mania that has culminated in the remake of IT. There are actually many film tropes used throughout Clownado that the aficionado of the genre are able to easily check off, but here is the thing: Sheets takes those and turns them on their heads by de-cliché-ing them and making them his own. Savanna is trying to rob and escape the evil clutches of her abusive husband, Big Ronnie, who owns a run-down traveling circus. Of course this idea goes bad and she knows he is going to kill her. What else to do? Get a gypsy woman to place a curse. Through this action, Ronnie and his clown henchmen become demonized, able to use tornados to travel after her and our quadrant of overaged teenage heroes, who are eventually joined by a couple of tornado hunters. Taking place all in one night, the story is one continuous chase and capture, filled with lots of blood and gore and a very nice body count when all is added up. Not only is the viscera not shied away from (i.e., off-camera), but it’s usually shown in close-up. One of the things I really like about Sheets’ films is that he is not limited by a particular body type. Not everyone is a model who is size 0, or plastic surgery’d to the point where chests are practically immobile from overpacking. Sheets’ cast is filled with people who look like those you might actually meet on line at the bank, eating at the table next to yours, or fighting a gaggle of giggling killer clowns from cyclone space. This is actually a beautifully shot film overall, and Sheets gets some great angles and frame-work, and the story never drags. These nasty clowns are entertaining as hell, and the fodder characters are fun as well and keep the viewer interested.
Director Todd Sheets has smashed-up the mash-up by combining Sharknado with the recent clown mania that has culminated in the remake of IT. There are actually many film tropes used throughout Clownado that the aficionado of the genre are able to easily check off, but here is the thing: Sheets takes those and turns them on their heads by de-cliché-ing them and making them his own. Savanna is trying to rob and escape the evil clutches of her abusive husband, Big Ronnie, who owns a run-down traveling circus. Of course this idea goes bad and she knows he is going to kill her. What else to do? Get a gypsy woman to place a curse. Through this action, Ronnie and his clown henchmen become demonized, able to use tornados to travel after her and our quadrant of overaged teenage heroes, who are eventually joined by a couple of tornado hunters. Taking place all in one night, the story is one continuous chase and capture, filled with lots of blood and gore and a very nice body count when all is added up. Not only is the viscera not shied away from (i.e., off-camera), but it’s usually shown in close-up. One of the things I really like about Sheets’ films is that he is not limited by a particular body type. Not everyone is a model who is size 0, or plastic surgery’d to the point where chests are practically immobile from overpacking. Sheets’ cast is filled with people who look like those you might actually meet on line at the bank, eating at the table next to yours, or fighting a gaggle of giggling killer clowns from cyclone space. This is actually a beautifully shot film overall, and Sheets gets some great angles and frame-work, and the story never drags. These nasty clowns are entertaining as hell, and the fodder characters are fun as well and keep the viewer interested.
Original full review and
trailer HERE
The Dark Days of Demetrius
Directed by Dakota Ray
This
is the sixth film by Dakota Ray. His specialty is life at the lowest strata of
crime in the street. He focuses in on his fictional city of Sunnydale, which is
actually a stand-in for his home turf of Denver. This
Demetrius (Dakota Ray) is also known as the Live Stream Killer (aka LSK), as we
learn from the narration in the first 10 seconds of the film past the prologue
and credits. He kills random people and live streams it to millions of his fans
who revel in the death and destruction in his wake. Anyone
who is familiar with Ray’s work knows it is immediately identifiable as his, as
Ray has his own style of filmmaking, which is unique, something you don’t often
see these days. While he manages to keep his “auteur” title, this film is
actually way different (and similar) as his others. First
of all, his editing is tighter, and more importantly, his storytelling has
grown. Here, Ray takes a single story that runs throughout its length, though
it is still broken up into chapters. His iconic look of using colored
filters remains, but mostly he uses a dark blue one here (and occasionally
red), almost giving the film an India Ink manga feel, full of close-ups mixed
into the action, and a voice-over to let you know what Demetrius is thinking.
You rarely hear him speak, but you hear his thoughts in Ray’s unique, deep
rumble of a voice. The characters we meet tend to be creepy at best, and scary
human monsters at their nastiest. Ray bring out the worst traits of people, and
that’s kind of what makes his stories so interesting. Demetrius,
like many serial killers, is a self-professed sado-masochistic narcissist. He
revels in the power of self, through the killings and his website, often
looking at his own reflection through a mirror or his cell phone camera lens.
These kinds of murderers are “hungry” for attention, and Demetrius is no
different, as his crimes become more violent, and his need for notice grows. He
starts to contact the victim’s families to taunt them, and even gets the press
involved. A news reporter, Clive becomes involved
and begins to lose what’s left of his objectivity. Clive is not beyond trying
to save what’s left of his reputation by leading with blood
and guts. This used to be called yellow journalism, but now it’s just common
news commentary. But Clive’s a bit of a nutcase narcissist himself, and is
actually closer aligned to Demetrius’s mindset. As
one dips into the reality of situations, there
are a couple of questionable actions such as someone peeing on a body. No
one would do this, because it would easily give the police a DNA sample. In
theory it makes a point of motivation of a character, but the detective story
watcher/reader in me saw this as a red flag.
There
are some funny moments here, such as Clive writing about the intersection of
“6th and Vagina,” which amuses me for two reasons: the first is obvious, and
the second is that it doesn’t say what 6th (Avenue? Street?). A couple of more things is that the SFX are practical
(as opposed to digital) and pretty good, and most of the music is by death
metal band Emperor ov Larvae [sic]. You
just know there is a comeuppance coming for some characters, but which ones is
not assured until the end, which is a strong point for the film. This is definitely among my faves of his films to date.
Original full review and trailer HERE
Demon
Squad (aka Night Hunters;
Full Moon Inc.)
Directed
by Thomas Smith
In a new world of who can top whom with gross violence and
vivisections, sometimes someone has to step up and say, “Hey, here’s some good
entertainment that’s based on the story, rather than being gory.” We are
introduced to Nick Moon, a hard-hitting PI (Paranormal Investigator) modeled in
the Sam Spade mode of the Noir detective stories. He’s got a smirk a mile long,
an odd hat, and can throw an incantation or two for the viewers entertainment
and his prey’s detriment. His assistant/Girl Friday is empath Daisy O’Reilly,
who gets to see as much action as does Nick – and rightfully so, as she’s an
interesting character in her own right. Into
their squalid office comes vivacious femme
fatale Lilah Fontaine, a rich man’s daughter who hires Moon to find her
missing dad. Of course, if you read mystery novels, you know there’s more than
meets the eye-candy with Lilah. The world our three main characters inhabit is
a normalized mixture of human and demon, though most of the time it’s easy to
tell who is which (which is who?) by the make-up. While searching for Lilah’s
dad, Moon and company get involved in the search for a mystical power source
for a knife of unimaginable power in the right/wrong hands. Of course, every
demon and religious order is trying to get a hold of it for whatever means, be
it to use it to evil ends or to nullify that from happening. Naturally, all
plots merge into a single point in the story. The visuals as quite nice, without there being jump cuts.
Brown tones seem to prevail, and a bit of steam punk paraphernalia is certainly
present in Moon’s arsenal. Fulmer and Liley have been shown to have a nice
platonic chemistry together in earlier Smith films, and continue to do so
here. What’s also enjoyable is the level of a-wink-and-a-nod humor that
runs throughout the story. For me a large part of what makes this film so much
fun is that it’s story based rather than the plot revolving around wounds.
While viscera are all well and good, it’s nice to follow a plot that is
interesting in its own self.
Original full review and
trailer HERE
Directed by Henrique Couto
The
indie filming scene around Dayton, Ohio, is not to be ignored. There is a core
of directors and actors that overlap into a powerful and quite interesting
clique of artists, such as Henrique Couto and Erin R. Ryan, among others. For this release, director Couto has assembled some of
his regulars and also new talent to release a demonic tale involving a Ouija
board and the requisite evil spirits.
The
center of the film is troubled Sylvia (lovely Joni Durian), who has several
mental ailings, such as ADHD, agoraphobia, OCD and seems to be somewhere on the
autistic spectrum. Durian does a strong job playing a wide range of emotions
right from the first scene, which is off-putting until the viewer realizes
pretty quickly that she’s not just quirky, but rather disturbed. Her guardianship is in the hands of her brother Sammy,
who obviously cares for her, but is on the brink. He buys board games that she
likes to play solo. He also does his best to stop her from self-destructive behavior
and tries to help her focus on a task. He’s getting to the point of burning out
and drinking too much. Among the stack of games Sammy misguidedly brings home
is said Ouija board and malevolent forces are not far behind; especially when
the dissonant note music starts on the soundtrack when the board is introduced.
Sylvia is obsessed with a desire to make friends (she feels like those she
watches on television are “friends”). And it is this that Sylvia’s trio of
spirits of the Ouija board manipulate for their own purposes. It’s understandable that Sylvia is attracted to these
spirits: they appear caring, tell her truthful dark secrets about others in a
blunt manner, and keep reminding her that they are all in the middle of playing
“a game.” The purpose of said game is the question the audience will be asking,
though it comes across as obvious very soon (hey, it’s a relatively short – but
perfect length – film). Dorian’s acting style can be
quite jarring here, as she shows the audience Sylvia’s brain trying to process
the information of what is happening around her. It took a couple of minutes to
get into the vibe of it until her situation is understood, so it works well.
Her moments of lucidity under the guidance of the spirits becomes the oddity,
which works really well. Most of the rest of the cast is pretty good in their
performances; the spirits can be a bit over the top in the acting department
here and there, but in the long run it all works together. These spirits, wisely, are very different from not
only the principal characters, but among themselves. Also, they are different
from most other demons (I’m assuming) you would expect from this sub-genre.
They are a little girl obviously played by an adult, a wise-acre wiseguy gambler who also helps Sylvia with recipes
in the kitchen, and a punk rocker who wears her hair in a distracting Misfits’
front rattail style. As I said, Couto does not usually dwell in the house of
cliché. There
are some beautifully shot sequences that are effectively unnerving, such as
Sammy’s recurring dreams about Sylvia’s future. This is story- and
character-based, and I say it’s all the better for it.
Original full review and trailer HERE
Purgatory Road
Directed by Mark
Savage
These days there are a
lot of strange readings of the Bible’s contents, including an “every word is
truth” fanatical factiono. Well the main character of this tale makes them look
like wusses when it comes to raining God’s punishment on mere mortals. The main focus for this story is Father Vincent. who
believes in the literal word and work of punishment as described in the Old
Testament. Calling himself a Roman Catholic priest, in fact he has been
defrocked by the Church for his fanatical beliefs, fostered by a tragic series
of events from his youth.
In other words, Vinnie
is a psychotic serial killer feeling justified in his ways, like Dexter, as he
delivers what he believes to be God’s punishment on the wicked: salvation
through death, via gun, knife, whatever. Helping him reluctantly on his path is
his younger brother Michael. He is relentlessly picked on by Vincent as not
being as supportive as he would like, even as he aids in chopping up the
multitude of bodies. The two travel around a region of Mississippi in a beat up
old camper, which has been turned into a traveling “confessional”; and if the
Padre does not believe you are repentant, it becomes a bit of an abattoir. Of
course, Vincent does not recognize his own foibles, including that of lust. Meanwhile, a sweet and squeaky voiced young thang
named Mary Francis is on a murder streak as she is also a psychotic serial
killer in her own right. She picks up on the brothers’ vibe and manages to
widdle her way into their lives and livelihood by joining the band of blood.
She has no hesitation in ending life. She and Vincent couldn’t be more similar,
not counting the religious differences. And you know at some point this trio is
going to explode into violence among itself through viciousness and double
dealings. In that way, it does not disappoint. The moral compass of
nearly all the characters is askew, as they make their way through the mire of
sin, truth and forgiveness, and lack thereof. With wicked good lighting and
angles, this is solidly atmospheric and full of gothic horrors. There is no shying away from the violent nature of the
characters, nor their actions. There are some both physical and emotionally
squeamish moments throughout, all handled beautifully. The film is sheer
brutality from beginning to end, but the story keeps up with it. Never having
been a fan of violence for violence sake, I like the story to bring the
intensity, rather than the other way around. This one never lets up. This is a top notch film that is full of thrills and
terror that is palpable by the characters. The acting is solid, as is the
writing and cinematography. It’s a perfect storm in a positive direction.
Original full review and trailer HERE
A Record of Sweet Murder (aka Aru yasashiki
satsujinsha no kiroku)
Directed by Kôji Shiraish
How far would you go for
your career? Would you risk life and limb? Is your ego that strong? These are
some of the questions that are subtly asked in this film from South Korea (with
subtitles). There is a possible supernatural element in this film: an escapee
from an asylum, Park, is on a killing spree because he is desperate to raise
someone from the dead. He claims the voices in his head from God tells him he
needs 27 victims, and so far, he’s up to 25; at that point, even those he
killed will be resurrected, though he is not sure how. So, a news reporter, Kim,
and her camera dude, Tashiro (the film’s director)
accept his invitation for an interview and to make – err – a record of sweet
murder. They’re hoping for the best as Soyeon and Sanjoon share a childhood
friendship. When the three meet, no doubt it’s fraught and tense with Sanjoon
holding assorted weapons. He is waiting on a Japanese couple to show up, and
once he’s done away with them, it’s showtime. But – and it’s a big one – things
are not as simple as they appear. This couple have their own excitable violent
issues, which continues to keep the viewer guessing what will happen next. The
tension constantly builds and by the half-way point the ferocity never lets up.
Most of the action takes place in a single room of an abandoned apartment
building, which gives you the feeling you and they can not escape without some
damage being done. It’s brutal with so many twists and turns, so there is
little burnout for those of us who enjoy this kind of thing. All the action we
see is through the single lens of the camera held by Tashiro. Normally, found
footage films bore me, but this takes a different angle in that the entire film
is one continuous shot. Needless to say, everything is in real time. Because
it’s all in one shot, I wonder about the pragmatics of the film, such as
rehearsal and script. Was it mostly adlibbed or strictly written? While it’s clear Park is quite nuts and will
do whatever it takes to achieve his deadly goal, he is also pitiable because
it’s not a method he’s comfortable with and it pains him to take lives. At one
point he wails, “I can’t do it by myself anymore.” As for the violence itself, it’s
the very real process of stabbing, clubbing, choking, etc., and the camera
doesn’t lovingly swarm around it, but rather keeps it shocking and
uncomfortable.
Original full review and trailer HERE
Scarecrow County
Directed by John Oak Dalton
Dalton started off strong with directing his first feature, The Girl in the
Crawlspace (2018). This release was mostly shot in and around
Farmland, Indiana, though filming was done as far as Dayton, Ohio. What I
particularly like about the script is that the characters are more fully
developed than most indie films, the dialog doesn’t talk down to the audience,
and the plot is both simple and nuanced at the same time. Small town librarian
Winnie gets ahold of a diary of a gay teen who had died, which leads to a
series of events related to that occurrence. Meanwhile, there is the mysterious
titular scarecrow that is going around killing people. While you don’t need to
be a rocket scientist to know these events are related, it’s how it
all works out that is the focus of the film. Scarecrows are certainly not new
to the horror audience, but Dalton has taken a common trope and played with it
enough to make it interesting with the story’s own psychological drama. The
film is populated by a large and complex cast, including Winnie’s schizophrenic
and agoraphobic cartoonist sister Zoe, whose drawings literally speak to her,
Zoe’s promoter with the multicolored hair (Manic Panic?) Marlys, the pent-up
angry Prentiss who has recently returned
to town after a two-year service in Afghanistan, and lots of the character’s
dads and friends (few moms involved that are living, apparently, despite the
female-heavy cast). A way he wisely saves some money on the production is
holding off on prosthetics and digital SFX. In other words, as this film is
strongly story-oriented, all of the killings are done off-screen. I commend
this, even as I like some blood in my meat, but again, if the story holds up as
this one does, it becomes almost unnecessary (even if noticeable). The
scarecrow looks kind of cool. It’s mostly in the background, and often when a
kill is about to happen, it and the area around it are filled with blue smoke
and lights. It telegraphs what is going to happen, but honestly, it’s pretty
obvious, even with a few good jump scares. Much of the cast of The Girl
in the Crawlspace has returned for this new release. The acting is
mostly decent, especially among the female leads and the occasional male ones. What
compels this film especially to be worth watching – beyond the editing, which
is quite good – is the writing. Sure, there are some really cool nuggets, such
as the mention of the band the Dead Milkmen, and even some dark humor thrown in
here and there. For a second feature, it’s pretty obvious that Dayton can have
a solid future in both writing and directing. Let’s support
that.
Original full review and trailer HERE
SheBorg (aka SheBorg
Massacre)
Directed by Daniel Armstrong
What cult films often have in common is
that they are all silly, but they have a charm, engaging characters, and
quotable dialogue. I was surprised to find that this film has all those same
qualities. In the prologue we are introduced to the titular cyborg as she
escapes from an alien prison ship. Back on earth in a small city in Australia, punk
rockers Dylan and bestie Eddie are also in a pickle with authority. Joining up
with a wanna be rocker, Rik and
scientist/genius/nerd Velma, our intrepid heroes head out to the local puppy
farm for various reasons, and come in contact with the SheBorg and those she
has “turned” into her cyborgish followers. Needless to say, mayhem is the order
of the day. This film has it all: extreme blood, extreme fisticuffs, and some
dialog that will make you howl, such as the one for which this film has been
getting noticed, “This isn't a map! It's a blueprint for a Romulan space
vagina!” If you have any trouble understanding the accent, the film comes with
captions which I found very helpful at times. Even though they are bitter
enemies, there is a personality similarity between the SheBorg and Dylan in
that they are both into interrupting culture, though on different levels. The
‘Borg is all about Chaos and its destructiveness, while Dylan is into rich girl
pseudo-punk Anarchy. Mainly, though, it’s just goofy sci-fi and horror fun. As
I said, I was surprised by just how much I enjoyed this film. It was funny,
bloody and so over the top that it was entertaining from one end to another.
There’s a lot of fighting, and gore. People are covered with blood though
nearly the whole thing. The main point is that this is a silly and enormously
enjoyable exercise in lunacy and extremity. Aussies are known for that with the
likes of Road Warrior and the early films of Peter Jackson. This has been one
of my favorite films so far this year, as nonsensical as it was. I can’t really
explain it other than to note that after some serious exercisers in horror,
it’s nice to see some humorous fun that works, even when it doesn’t always make
sense.
Original full review and trailer HERE
The VelociPastor
Directed by Brendan Steere
A
priest who turns into a velociraptor? I’m all in, dude!
It’s
important to note that this is not just a version of a werewolf film, it’s
actually more. In no particular order, it’s an homage to the amazing bad horror
films of the mid-VHS period of the late ‘70s-early ‘80s, before there was CGI
(most of the effects are practical, but there is one key digital moment during
a flashback sequence in the middle); also it’s as played-straight comedy filled
with deliberate errors to emulate the micro-budget VHS features; it’s brilliant
in its own goofy way; and there are so many genres thrown in and mixed in a
bowl here it’s bound to get your attention, a multitude of styles of movie
mayhem from that period you liked.
After a tragedy, Father Doug
travels to Asia where he comes in possession of an artifact that lets him turn
into the titular creature: a very rubberized man-in-a-suit that looks more like
a mini-T-Rex. Meanwhile he comes to the acquaintance of forbidden love object
and hooker Carol, while gangsters and a Chinese warlord priest with Japanese
Ninja guards who speak Korean come sniffin’ around with various agendas. E Who
will win the battle for Doug’s soul, as it were?
This
isn’t the first one of use deliberate measures to show low budget and
incompetence, but it’s still a hoot. Here, there are action shots missing with
a notice for the CGI to be added later, and when a head is ripped off, it’s
pretty intentionally obvious that it’s a store mannequin’s topper. The fight
scenes are straight out of the Dolemite school of martial
arts. There are other fine moments that had me laughing out loud. The acting, again, is a mix of purposefully hammy and
dead serious, and the two leads especially not only excel in this, but really
seem to be having a blast playing these roles. Meanwhile there’s lots of blood
and cheesy-type gore, enough to make a splatterfest fiend smile, but not
necessarily turn off a neophyte fan of the red stuff. One
of the strong points of the film is the look and editing. There is a lot of
split-screen action that is incredibly well done for a group that is this
novice, i.e., haven’t made that many features yet. Beautiful to look at and
kept the pace moving along.
Original full review and trailer HERE
Wretch
Directed by Brian
Cunningham
Right from the start,
this film hits a number of interesting buttons on many fronts, including
psychological, paranormal, a creature feature, and a few hikes in the snowy
woods around Louisville, KY. At a party, we are
introduced to the three leads, who have been friends for years. The couple is Abby
and Caleb, and the third wheel is Riker, who also obviously has a thing for
Abby. They are Millennials who like to drink and drug, and are spiritually
holding out for something better, be it between each other or through
mind-altering substances. One thing they don’t seem to feel assured of is their
sense of self-being. This plays a sharp dynamic in the story. With a
slow burn and languid pace, we get to know these three and their conflicts
between themselves and each other as they cling to the same old ruts and
conflicts they seem to be drowning in, rather than to explore new avenues of
change. This is where most of the tension of the film arises, but of course,
there is so much more. Each of the three is
flawed in their own way. Riker is a “morose drunk” who has anger issues dealing
with his unrequited passion for Abby as well as living with his mom and sister.
For Caleb, I don’t want to go into too many details, but being faithful is not
one of his strong suits. As for Abby, she’s lost and confused, and afraid to
make big changes even though it’s obvious the reasons she should. The
three spend a night in the woods imbibing on a hallucinogenic substance, and
Abby claims to see something in the woods, which may have followed her home. Is
it real? Is it in her mind? Is it the drugs? That is the direction the film
takes. There is a lot of angst in the film, as it digs into the psychology of
these three, while still hinting at something more, and it’s actually quite
well done. Don’t get me wrong, there is sex, blood and violence, but it’s kept
somewhat in check by the story (and rightfully so). The acting by the three
leads is well done. This is especially interesting as the film is filled with
local Louisville underground theater actors who are relatively unknown outside
of their home turf… so far. As for the creature feature aspect, real or not
(and I’m not giving any spoilers), it looks pretty cool. We rarely get to see
much of it, again for the better. Another stylistic tactic that works for well
for the film is that the narrative is not straightforward, but jumps around in
its timeline; under Cunningham’s choices and sharp editing, however, the viewer
is never lost on where the characters are at any time, even though it seems
some wear the same clothes most of it time (gotta love low budgets!). One might consider this
a found footage film, but it is quite modified in its approach; yes, there is a
lot of handheld cameras by the cast filming the action, which is key to one of
the sub-stories, but the single camera is also focused on the trio when they
are by themselves, as if someone is filming who is not acknowledged within the
story and essentially making the viewer the camera-holder. This style is way
more interesting than just the usual found footage fare.
Original full review and trailer HERE
ZOO
Directed by Antonio Tublin
This zombie
apocalypse dramady takes place in London, though it’s origination is from
Scandinavia. The world is infected with a virus which turns people into wild
flesh eaters (“fast zombies”), but the debate can be later discussed on whether
these are technical zombies because we’re not really sure if they are still
alive. We are introduced to very attractive couple John
(Ed Speleers, best known for Eragon in 2006 and “Downtown
Abby”) and Karen (Zoë Tapper, who has appeared in several British programs such
as “Mr. Selfridge” and “Demons,” where she played Mina Harker). When the infection shebang hits the fan, they are
in a strained relationship due to not being able to reproduce their beauty to
children, so they are stuck in their high-rise apartment waiting for rescue
while the world explodes around them. They hunker down with food they’ve stolen
from other apartments, and apparently a vast amount of wine and various hard
drugs. These tight quarters, of course, force them to
refocus their relationship and rebuild their bodies to fight whatever may come
through the door, and relearn about each other. The dialogue is witty and there
is a strong, dark sense of humor about it all. But while the
world turns dark, strangeness also is rising in John and Karen’s haven when a
couple from the building that they don’t know (but whose apartment they
pillaged) show up at their door asking for help. Reluctantly, they let that
other variance of evil in. This second couple see what our heroes have, and
plan to do whatever it takes to make it their own, in their version of murder
and pillage…but who’s the stronger and willing to risk the most? But this is only one set piece that includes roving
gangs, intimate dialogue, and yes, those pesky zombies that are only present in
the storyline on occasion, though they are the spine to the entire story. This is personal and claustrophobic as nearly all
scenes are shot in their apartment, and as other characters may come and go,
John and Karen and their travails and swirling relationship are the focus of
the story. There is definitely some violence and blood, but no
more than you would see in a gritty crime drama, but because it is so sparse,
it also makes it even more effective in a little-is-more way. Sometimes the
violence comes as absolutely shocking, other times you’re cheering it on, as
this couple delve ever further into a symbiotic unit that focuses on what
must be done, while the mayhem also robs them of their social humanity
piece by piece. That’s what makes this a smart film, in that the
presence of zombies are always felt, but rarely seen, and the story focuses on
the cultural breakdown while waiting for that rescue. This is a strong film
that wisely refuses to take any one direction of thriller or romance, but
manages to have extended periods of both, and they make it work. Of course, the
quality of the actors and a strong direction by Tublin also help. If you want a bloodfest, this is not the zombie
film you are looking for; if you want a deeper story with some human emotion,
well, it’s worth checking out.
Original full review and trailer HERE
NOT FAVORITES:
Death House
Directed
by B Harrison Smith
Usually, I’ll talk about the cameos towards the end of a
review, but to mix it up a bit, here are just some of the people involved: Adrienne Barbeau, Michael Berryman,
Barbara Crampton, Sid Haig), Kane Hodder, Lloyd Kaufman, Tony Todd, Dee Wallace
Stone, Danny Trejo, and supreme-o Scream Queens Debbie Rochon, Brinke Stevens¸
and Tiffany Shepis. Agents Trina Boon and Joe Novak are given a tour into a
secret prison where only the most heinous and insane murderers are stored by
the government. Employing a Dante reference, it goes down nine levels until it
reaches the worst of the worst, and possibly supernatural beings associated
with Hell itself. After an incident, all the prisoners
are let out to roam. The skels and the agents are working their way down to the
lowest level for their own reasons. The results are gruesome at best, walking
down long dark tunnels with flashlights at worst. There is a fine mixture of social and religious
commentary, and a philosophical bent, rather than merely relying on blood and
gore – of which there is plenty. This both works for and against the story, as
it tries to be too many things at the same time. The film jumbles around and
focuses more on dark hallways and flashlights, basically skipping most floors.
One could argue that it might be seen as derivative to do the floor-by-floor
bit. As I suspected, most of the cast
appears in cameo form, but some are extended, and others are main characters.
Honestly, it’s fun picking them out of the crowd, but it also is kind of a
waste of talent. Having people like Brinke and Tiffany just standing in the
background of a group shot made me sad. There were times I had no idea what was
going on, between the dark and the philosophical, and was looking forward to
the Smith commentary track, which actually was
quite useful in clearing up things a bit, even though I didn’t really need him
repeating so much dialog that was onscreen. Am I sorry to have watched this? No, I don’t think that
would be an accurate statement. There are things to like about the film, but
honestly, considering the firepower of its cast and crew, there are definitely
moments that dragged that could have been excised, and replaced with acting
rather than standing in the background for some of those onscreen.
Original full review and
trailer HERE
Devil’s Revenge: Special Edition Blu-ray and
Soundtrack CD
Directed by Jared Cohn
We
meet John (Jason Brooks) as he and a couple of buddies go digging around
looking for an ancient Aztec relic. In Kentucky, I’m just sayin’. He is happy
to risk his and the others’ lives looking for this thing thanks to brow beating
from his dad (Will Shatner), despite the negative affect it has on his wife
(Jeri Ryan). The story behind the relic search is a bit convoluted, having
something to do with an ancient curse on John’s family back from the days when
his family were Spanish conquistadors (what?). It seems John’s little
expedition may have deadly effects on some of his crew, but even worse than
that it has “woken” something evil. John wisely (sarcasm) takes his family back
to the cave, to get the relic and destroy the curse on his family that seems to
have never manifested before he went spelunking in the first place. Along with
his suddenly supportive wife after years of demanding he give up the search,
John takes her along with his teenage kids. The special effects vary widely in
their effectiveness. The creatures look cool; however, the explosions and blood
look digital and not very well done; when things get blowed up real good, it
looks like Battlestar Galactica- era FX. I didn’t mind that too much, but it
was a bit distracting from the story. There are definitely some issues I have
with the film, one being that it seriously needs some deeper editing. There are
just too many shots of people walking through the woods. Also. there are
certain scenes that are repeated numerous times, especially flashbacks to the
Aztec days. But to me, the weakest point is the writing. For example, there is
Shatner showing up near the cave in a golf cart, of all things. Another is the
questionable use of a large number of explosive devices inside the cave,
without any damage to the cave itself. Besides, would these devices have any
effect on Aztec demons who have returned from the grave for so-called revenge?
And what’s with the use of the word “Devil” in the title when none of these
creatures are actually Satan-related. With Shatner’s character, it seems like
the script can’t make up if he’s a good or bad person. He certainly browbeats
his son to the point of taking enormous risks, and yet at other times he’s made
to look like a loving father.
Original full review and trailer HERE
Kiss Kiss
Directed by Dallas King
Oh,
Jeez. I
have oft touted that when a film takes a group of different tropes or clichés
and mixes them all together, something new and interesting can be sired. But
other times, if it doesn’t go deep enough, it becomes plebeian and ho-hum. It
also depends on what the tropes are and of what interests they
include whether it is on the side of interesting or blasé. In this film you
have a military conspiracy to create a better soldier through chemistry. This
is hardly anything new. Another here is women-on-women violence and love/sex,
from lesbianism to Mixed Martial Arts. In bikinis of course. In the beginning 20 minutes, we meet four
friends who are exotic dancers… excuse me, “ladies” (as one character insists),
since we see sensual movements, but no nudity. They get an invite to a wine
tasting, which turns into wine drinking, that turns into a cocaine frenzy, and
to no one’s surprise, a drug-fueled kidnapping by the military. Y’see, the US
military is trying to make stronger and controllable soldiers, so of course
they use barely dressed women dancers as their sample group. Say what? Under
the control of this drug, they fight other women and, to no surprise, each
other, to the death. Here is a reason why I found this annoying: there is no
antagonist for nearly any of the actual fights. The women are just punching up
each other. If there were an enemy, such as Russians, Chinese, North Koreans,
whatever, it would be easy to take sides and the fighting might be fun and give
you someone to boo or cheer for; here, it’s just our four friends and a few
random women with no backstory – this fantasy was obviously written by men. The
writing is quite basic with no great lines or witty plot points; even the
double-crosses can be seen coming due to lazy scripting. The filmmaking tries
to be arty but looks more like a softcore porn shoot thanks to the lighting and the editing, and
the acting basically consists of anger – even before the drugs are administered
– and growling. Also, all the fighting and the sex scenes are filmed the same
way, with colorful lights and slo-mo. All the women have silly names, like Kiss,
Treasure, Kurious, Fortune, Dream and Promise aka Tia (Aunt?).
The bad guy/head of the army program is called Gibson, but at least he is given
real dialogue, relatively speaking, other than, “No! Please!” and “Grrrrrrrr”
(note that a lion’s growl is added over the sound of the participant’s scream).
I came away from the film feeling annoyed more than being filled with ennui
(it’s certainly not boring) but maybe I’m too old for its market subject. And I
happen to like both a good story and to think – even with a cheesy film – while
the action is going on.
Original full review and trailer HERE
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