Review: Her Name Was Christa

Text © Richard Gary / Indie Horror Films, 2022
from the Internet

Her Name Was Christa
Directed by James L. Edwards
Buffalora Entertainment Group; RoseRed Lane Films; Flowtac Entertainment
120 minutes; 2020
www.facebook.com/HERNAMEWASCHRISTA/

In our lives, we have all met people like Steven (director James L. Edwards), who are lonely and middle aged, building a wall around themselves and acquiesces at work while living a shallow life. If I hadn’t met my wife, that could have been me. Bald headed with a “janitor’s” moustache and a bit of pudge, Steven is a telemarketer, making sales in a room full of others doing the same. He takes pride in his work, but is abused by his unappreciative boss. Mainly, Steven is lonelier than he will let on, perhaps more than he realizes, even joining an online dating service.

Steven meets the new guy at work, fast-talking Nick (Drew Fortier), a narcissistic and crude dude who is there for the moment because it was the only job at the time that would hire him. He’s young, attractive, and has latched on to Steven, convinced it is his job to get Steven laid. I have known guys like this at work, too, especially in the 1980s, but I digress…

Following Nick’s suggestion, Steven visits a girl of the night, Raven (Kaylee Williams) in a both humorous and cringingly unhappy experience with which I can sympathize. This leads to another idea by Nick: “the girlfriend experience,” where the paid party pretends to be a girlfriend to loosen things up a bit.

By a coincidence and a moment of kismet, he meets the future Christa, a corner hooker named Candy (Shianne Daye), whose favorite band is “The Velvet Underground with Nico.” Good start I would say. They set up the ground rules, and they start hanging out together. As the relationship progresses, they are sort of in a yin and yang situation. For Steven, he’s happy just to have someone to cuddle with, not necessarily looking for more, but for Candy, this confuses her since her entire life revolves around men using her for sex, and here is someone who is into something a bit emotionally deeper though he is aware of its parameters, and that is an experience she has never dealt with before, that someone would be interested in her as a companion rather than an object.

Over time, their bond becomes stronger until a series of tragic events unfold, taking the film into another level that might classify it into a horror (perhaps a psychological one). By this point, it comes out as a study of a mental breakdown that is reminiscent of a more romanticized version thematically of Decay (2015) or, if you want to stretch it a bit, Nekromantic (1987), without the “real-life” intensity, thanks of Steven’s mindset (such as it is). Oh, those crazy Akronites.

The film’s gore level picks up a notch or five, as we see the differences between what’s going on in the mind, flipping back and forth with the reality of the situation, most effectively displayed when a split screen is used. Another interesting way to approach the film, especially on a second viewing, is to realize that some conversations between two people are actually happening in one head, and the talk and motives reflect that. And this film is particularly dialogue-heavy, and while it keeps the interest in its long two hours (more on that after), it is important to remember that this is the director’s first feature, and he would show some of his humor more in upcoming releases.

The only two real complaints I have, as it were, is that it really didn’t need to be a full two hours, and could easily have about 20-30 minutes honed from it (just add it to the Deleted Scenes folder on the Blu-ray). The other is the main musical synth theme on the soundtrack, which sounds like he was trying to emulate Goblin in the 1980s, but I found it quite irritating. Loved the film, but not this aspect of it.

I am really looking forward to future films by James L. Edwards. Perhaps a nice text editorial work by a second party might be good, but he is so incredibly on the right path. His stories themselves are great, and he always seems to manage to throw in some nice twists and turns. That all makes it fun.

IMBD Listing HERE 

 

 

 

 

Review: Seobok: Project Clone

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

Seobok: Project Clone (aka Seobok; The Clone)
Directed by Lee Yong-ju (aka Lee Yong Zoo)
CJ Entertainment; Well Go USA Entertainment
114 minutes, 2021
www.wellgousa.com/films/seobok-project-clone

Korean cinema is going through a bit of a Renaissance right now, in part thanks to Train to Busan (2016), a glorious zombie flick which set the fire burning in the West, along with the more mainstream and Oscar© winner for Best Picture Parasite (2019; though, personally, I would rather watch the 1982 film with that name).

But like every other culture’s art, there must be the B-pictures, which tend to fall into the area of genre films. For Seobok, it is two-fold, touching on both action and sci-fi elements. Think RoboCop (1987), Scanners (1981), and arguably Captain America: The First Avenger (2011) as the toe-dipping into these mutual categories of taking the human form and making it into the next generation of what is a person, as it were.

Part of the opening premise is a tale as old as time…well, at least since the 1960s secret agent film period. Through a bunch of intrigue that you know will make sense at some point involves a secret medical project under attack (it is not hard to figure out that it has something to do with cloning, considering the title), a retired and addicted government agent is reluctantly called out of retirement for one last job by the powers that be, referred to as (of course) The Company. In this case, that ex-retiree would be Ki-Heon Min (Gong Yoo).

Gong Yoo and Park Bo-Gm

As an aside, there was a cultural moment I found interesting. Ki-Heon is talking to a male doctor, Dr. Song (Ron Guan) on the project, and is introduced to the woman who heads the whole thing, Dr. Im Se-Sun (Jang Young Nam) and then Ki-Heon turns his back on her to ask him a question, which he mansplains. Why would he not ask the head? And it’s interesting to see someone smoking a cigarette in a scientific lab. Perhaps I am too woke? But, as always, I digress…

Obviously, Seobok (Park Bo-Gum) – which is alternatively spelled Seo Bok in places – is said first human clone (though I get the feeling that somewhere in the world there are real human clones). But he’s closer to Sil in Species (1995) than pure human, for he cannot naturally die (though under certain circumstances, and that he can be killed). He has grown to a full adult in 10 years, and can also control objects around him with telekinesis like Carrie (1976/2013), and his blood can cure diseases. Among other things, Ki-Heon is entrusted to save him from whomever is trying to squash the project through violent means. Seobok is also an innocent, Jesus-like character in his manner and the “miracles” he can perform through things like healing and telekinesis. But we all know how that story turned out for JC.

While K Ki-Heon is a bundle of tension and energy, Seobok is awkwardly stoic and unemotional, and a bit naive about the world, sort of like the Jim Carey character in The Truman Show (1998), but without the charm and peace of mind. He’s spent his whole life in a lab being painfully experimented upon, and no companion to entrust his thoughts, other than the doctors who are torturing him. He is both enlightened in some ways, and completely oblivious in others. Either way, he has no social skills.

Because we are dealing with secret government agencies, of course we must add in the genre of the likes of The Bourne Identity (2002), with a lot of intrigue, and double and triple crosses. Some you will see coming, such as the well-worn trope of a transport truck and cars being ambushed on the road. I am not giving anything away, because a 5 grader will see it coming a mile away.

One of the things I find amusing (because it is fiction) is in this film, as with many imports, the Americans are the villains. Remember, this was filmed during the Trump years, so I can understand the contempt considering this is made in South Korea, and Trump idolizes their enemy, the leader of North Korea. Jingoistic yahoos from the US South may be offended by this notion of US baddies, without looking at the socio-political implications that imbue it. For obvious reasons, while most of the film is in Korean (with pretty clear captioning), there is some English as well.

There is also a bit of a buddy movie subtheme going on, as Ki-Heon and Seobok bond trying to get out of dangerous situations. There is no real humor as with most buddy pics, but the bonding is there as both men need each other is other ways to save their lives. They are both reliant on each other, one for their abilities of the mind, the other of the body (i.e., shooting and martial arts fighting).

Unlike some of the Asian action films, this starts off more as a character study with occasional bits of violence thrown in, but I really enjoyed some of the quieter bits, such as Seobok experiencing a marketplace for the first time, or he and Ki-Heon talking over a bowl of instant Ramen Noodles, Seobok’s first “real” food (are those packaged soups really food?; it certainly is filled with sodium) as he’s only had “supplements” at the lab.

By the half-way mark, the two main characters are on their own, trying to survive a number of different elements after them, with Ki-Heon’s skill and arms (both physical and McLuhan-esque extensions, i.e., guns) and Seobok’s almost Buddha-like-calmness and telekinesis as their shields to fight their way to possible safety.

The film is overly long at 1:54, but some obvious moments are bound to happen, including some philosophizing about life and death since Seobok can stay alive under the right circumstances and Ki-Heon has six months to live. Also, you just know that Ki-Heon will bring up the “human” emotions in Seobok, and in return Seobok will give Ki-Heon strength to face the inevitable. Despite their differences and cliché distrust at the onset, they form a friendship that goes beyond their expected roles in each other’s lives.

While there are spirts of action sprinkled throughout, most of the film deals with the psychology of our two main protagonists, philosophizing about life and especially death, and what is our purpose, with just a hint of religiosity thrown in between the lines. Naturally, the main thrust of the real action is in the final reel, as it were, reminiscent of both Carrie and Lucy (2014).

The film is beautifully shot, with scenes of what I believe is Seoul, and the countryside as well. The visuals are crisp and the action is not overly edited, which is a rarity these days. While there are some cliches, as I have stated earlier, the story remains interesting albeit overly long. There is also a nice use of brief flashbacks that help us understand the protagonists and antagonists a bit better as far as motivation toward, well, let’s say good and evil. All in all, it was a good watch, even if it is, for me, a single-viewing film.

IMBD Listing HERE 

 

Review: Flee the Light

Text © Robert Barry Francos / Indie Horror Films, 2022
Images from the Internet

Flee the Light
Directed by Alexandra Senza
Mythic Trips Entertainment; Wazabi Films; Breaking Glass Pictures
81 minutes, 2021 / 2022
https://www.mythictrips.com/
www.breakingglasspictures.com

Perhaps, hopefully someday soon, there will come a time when having a woman director with a largely female cast and crew will not be something special to be applauded, but for now, it is still noteworthy. And yes, many times there is a completely different feel to a film – a sense of purpose and urgency, and often with a larger meaning – when a woman is at the helm. And that she is Canadian is the icing on the cake. For this release, the first-time feature director is Alexandra Senza, and the writer is also the head of Wazabi Films, Jennifer Mancini.

 Filmed mostly in North Bay, Ontario, which is 3.5 hours north of Toronto in a beautifully forested area and relatively not too far off the Trans-Canada Highway (Hwy 1), we are introduced – post-prologue – to two sisters: there is sensible Andra (Annie Tuma) – whose name, a derivative of Andrew, means “warrior” – and troubled Delfi (Ariana Marquis) – whose name is an alternative spelling for where the mystic lived in Greek mythology.

Annie Tuma, Ariana Marquis

Action-wise, one would think that Delfi would be the focus of the film, but instead, it relies more on Andra as the gatekeeper for whatever is coming down the path. This is telegraphed a bit by an unseen psychic on a phone. The first act sets up the relationship between the college-age women and indicates some of the troubles Delfi is having (the one with her hair, that’s seen in the trailer, is brilliant). There is something chasing after her – or them – from the past. This leads to a (brief, thankfully) road trip to where they went to camp together, yes, in North Bay (which is name dropped in the film).

 While there, they both start seeing things, like Delfi sees a (beautiful) dog that I believe is a Husky/wolf mix, and Andra runs across an older woman, Kata (Canadian singer Jane Siberry) with mystical powers, who pops in and out. And what is the mysterious force that is after the sisters? Interestingly, Delfi’s eccentricities (for lack of a better word), has actually given her the means to protect herself against the demon or Kundalini, or whatever it is, better than Andra, for whom this is out of her ken.

 It's nice to see a possession film that is not the usual Catholic/The Exorcist (1973) type of well-worn motif, though I have been informed recently that exorcism actually dates back to Old Testament times and with Jews, but it has been relatively recently conscripted by the Catholic church and thereby become one of our cultural icons. Exorcisms have also been prominent in places like Haiti and parts of Central Africa. One thing that exorcisms have in common, in the real world, is that they often lead to the death of the person “possessed.” But I digress…

 Thrown into the story is some reincarnation concerning a guy name Sid (Jamar Adams Thompson), whose role reminds me of a younger version of the Scatman Carothers-Dick Hallorann part in The Shining (1980), who comes to the rescue after a bonding experience with one of the sisters.

Jane Siberry

I really enjoyed that this film totally avoids the “most women good / most men bad” formula, or as I call it, the Thelma and Louise (1991) Syndrome. That’s too Second Wave Feminism for my tastes (think Andrea Dworkin [d. 2005]), and is totally overdone and obvious in the cinema world. Though I may get some blowback for this previous comment; present-day Feminism makes much more sense to me.

 While dealing with covens and witches, the film thankfully avoids any The Craft (1996) types of tropes, or that witches are evil, such as in Suspiria (1977/2018) and still manages to be a modern story while talking about an ancient evil. That’s a nice touch that kept my interest.

 The evil, whatever it is, is the darkness though it “hunts” in the light, hence the title, seducing the possibly host with its glow, but honestly, the dark/light is more metaphorical for malevolence and goodness, than the literal sense. Again, this is a wise choice.

Generally, the acting, especially by the two leads, is excellent. This is enhanced by the make-up SFX by Rhonda Costin, Bill Buttery’s cinematography, and really fine editing by Brigitte Rabazo. There is some luscious drone work high over the woods of North Bay, a beautiful part of the country.

 This is a strong directorial debut for Senza, and if the indications for a possible sequel are correctly foretold, I look forward to it.

Available on iTunes/AppleTV, Amazon, Google Play, Xbox, Vudu, Vimeo, and on cable and satellite.

IMBD Listing HERE 

 

Review: Brimstone Incorporated

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

Brimstone Incorporated
Directed by James L. Edwards; Brad Twigg
Buffalora Entertainment Group; Fuzzy Monkey Films; Panic Button Films
97 minutes; 2021
www.facebook.com/Brimstone-Incorporated-100935518481130

As I have often postulated on this blog, I am a fan of anthology films, especially ones that were put together by few directors, thereby giving a more consistent feel to the films. The one exception here is a story by Brad Twigg, but we’ll get to that when we get to that.

What is interesting to me is that not counting the wraparound, there are only three stories spread across the time span, which means there is more of an opportunity to build suspense. This is a rare way to present an anthology film, but it is quite effective. Each of the stories lasts about half an hour.

The set-up wraparound tale, “Tempter and Associates,” is the titular Brimstone Incorporated, which is a law firm  that serves as the gateway to Hell, so the “cases” involved is good vs. evil/natural vs. supernatural matters. They are, one might say, fulfilling the St. Peter role, for those going in the opposite direction. The receptionist/assistant, Lilith (Tharasa DiMeo), serves the same purpose as Cerebos, guarding the sanctuary, but the three-headed dog is much tamer. Each person is interviewed by Gregory Asmodeus (Drew Fortier) to see whether they are worthy to be in Hell or not. Gregory is appropriately smarmy, but also a hoot.

James L. Edwards

The opening story, “First Date,” concerns a man named Richard (director James L. Edwards) and his first date with Renee (Shianne Daye), two-weeks after they met on a dating site. This takes place in a busy diner (because isn’t that where you would bring all your first dates, rather than a restaurant?).Things unravel quickly as we learn the truth about just how psychotic is Renee. As a sidenote, when I worked in the World Trade Center in the mid-1980s, there was a co-worker who was hyper Christian, as Renee claims to be, who was one of the most vicious human beings I have ever met, because she was sure Jesus was on her side no matter what horrible way she treated anyone (she tried to get me fired on a number of occasions because I was a non-believer). She was quite attractive, and the longer I got to know her personality, the uglier she became to me. I digress, but this is true of Renee and her devotion to Jeebus. The story ends with not one, but two twists that I didn’t see coming. That’s nice.

Drew Fortier

The next tale, “Mama’s Boy,” sees the titular Justin Parker (Tim Hale) arriving at Gregory’s desk to defend his honor, or lack thereof. Justin seems like the shy type, but he’s actually quite a ladies man beyond his level, considering he’s a bit of a dullard. The reasons are explained by the end. Anyway, mommy dearest, Priscilla (Sasha Graham), is overly protective of her son, and will do anything – and I mean anything – to keep him “safe” in her eyes. This includes donning a mask and cape and going on deadly adventures. We see a large body count in this story, dealt with in many gruesome fashions (e.g., fun). For our edification, we meet his latest flame, Brittany (Kaylee Williams, who stood out in The Horrific Evil Monsters in 2021; reviewed HERE) whom he brings home to dinner with has darling matriarch. Will Brittany be up to the task and win over murderous mom? While there are some, again, nice twists and turns, it’s not quite to the O. Henry-esque level of the first story, but is significantly satisfying.

Shianne Daye

The last story is “Skunk Weed,” and is directed by Twigg (see I told you we would get there!). It concerns John Simmons (Tim Novotny), a salesman whose job it is to sell jingles written by his agoraphobic brother, Bennie (Rick Jermain). While we meet John in the “Tempter” wraparound, in the main story, the only person you see in the tale proper is Bennie, who isa bit of a slovenly guy in an Oscar Madison kind of way. John has sent him some “special” skunk weed; I’d be shocked if you didn’t know that was another name for pot. But this blend is different, giving Bennie odd and gory hallucinations, such as some cooking eggs turning into a bloody brain. This could easily have been one of those late ‘60s “Dragnet” kind of “Don’t use drugs, kids” propaganda, but the twist at the end explains all and is, again, unexpected. I thought they were going to twist it in a different way, which would have been a bit cliché, but they avoided using old motifs. 

Kaylee Williams

The acting is quite well done, especially considering the impressive volume of the cast overall. That being said, Fortier really does steal his scenes, seeming quite natural in the role (well, after all, he is the guitarist of bands like Bang Tango and Zen from Mars). The SFX make-up is quite the joy. Yeah, it tends to be a sloppy mess rather than “surgical,” but honestly, I like it like that.

I don’t know if this is going to be a franchise, but I would look forward to seeing more of these stories.

IMBD listing HERE