Review: Galaxy Games

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

Galaxy Games (aka Sol Invictus)
Directed by Ben Carland
High Octane Pictures; Event Horizon Entertainment
84 minutes, 2022
https://pixelpictures.net/sol

Wisely changing the name of the film from Sol Invictus (meaning The Sole Undefeated), the new title is supposed, I assuming, bring up tingles of the popular and profitable The Hunger Games franchise, as well as hinting at Squid Game (2021). Actually, it was a smart marketing decision.

For this sci-fi drama, groups of rival Academy students (I’m not sure if they are meant to be high schoolers or college level, but the cast is definitely older than the range in the story) are sent off to another planet to participate in the Sol Invictus. The plan is to succeed in science and personal growth, and in Hunger Games fashion, only the winning team gets to go back to Earth.

Of course, pretty soon, things go off the rail, as the rival groups are stranded on that planet. Right off the bat, I am wondering if this situation is accidental, or part of it all, like in Stephen King’s 1979 novel, The Long Walk. Part of their problem is that not everyone shows up due to a malfunction, and worse than that, most of the supplies are somewhere in limbo as well… including a large portion of the food.

One of the team captains assumes totalitarian style methods to still try and accomplish the goals of the game (“I still have a competition to win”), so they can get home. Considering all that is going on, will Earth even miss them? The whole point of the story is to get them stranded because the masters of the Games do not like “mediocrity.”

The landscape of the planet confuses me a bit as it looks a lot like Earth. The heavily testosterone-laden group (no women in the Academies back on Earth? Damn that Supreme Court) arrive on a desert plain, with an ocean just over the hill, yet they can be seen running through a forest.

Of course, they are not alone, as you can tell with the film’s poster art. There are creatures on the planet, known as Hunters, that look like a cross between a beetle and an arachnid (among other insecty things like worm-snakes), signaling a Starship Troopers (1998), though budget constraints limit the number of CGI beasties. I should note that even though the budget is low, they look decent for what it is.

Perhaps a good question for the makers of the film would be, to whom exactly is this being marketed? All the male actors look like they just stepped out of a 1990’s boy band, so perhaps teenage girls? The sci-fi action may bring in some teen boys, but this is definitely not aimed at the adult market, unless perhaps one is into cosplay mentality (not meant derogatorily at all). Mind you, this is a level above, say, The Power Rangers (no full body monster costumes, for example), but it is also hardly sophisticated enough to be a generalized attraction for a wide demographic.

It is, however, relatively high energy, with the angst of Dorothy wanting to go home, but with handheld shaky cameras in the action scenes to emphasize the drive of the events onscreen.

Like Robert Heinlein’s 1959 Starship Troopers novel more than the film version, this is a treatise of how the government has become authoritarian and militaristic mindset has settled into a norm. It actually is interesting to see this film in a time when one political party in the US is using militaristic methods to grab control the populace, though no mention of religion is present here.

I can guarantee I will not be the first to say this, but there is definitely a Lord of the Flies (1963, 1990) vibe to the toxic macho masculinity of who gets to run the shebang, with kindness or cruelty, depending on the one grabbing the ranks at any time. This changes a number of times throughout, as some people disappear for various reasons, or others pop in from the Games.

This is not as savage as Flies, however, in that despite some deaths, from creatures or of human origin, there is cooperation and bonding mixed in with the duplicity of loyalties (i.e., to self vs. the Social Contract). It occasionally feels like The Martian (2015) idea, as the survivors adapt to their environment.

The cast is actually well seasoned with many credits to their names in most cases, so the acting is on line for the story. Tyl (Jake White) is obviously the lead from the start, and does well in the role. My favorite character, though, was Howard (Tyler Thomas), as the quirky guy. Then there is the bully of the batch, Lex (Sky King), who takes an action I do not believe as it is against his very character…but I will forgive it for the “Kumbaya” moment

For what it is, a film geared to the teenage mind, with no cursing, no nudity, very little blood (though one gross scene of infection), it was relatively sci-fi with some social commentary, where is just where sci-fi should be: there is an old axiom that states that films about the future are actually about the present. In this political climate, I can see that.

IMDB listing HERE 

Review: All Must Die

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

All Must Die (aka Utdrikningslaget; Alle må dø)
Directed by Geir Greni
Snurr Films AS; LevelK; Breaking Glass Pictures
83 minutes, 2019 / 2022
https://manymore.no/film/alle-ma-do/

Uff da. No, that is not a comment on the film, but is just about the only Norwegian I know other than some foods (e.g., krumkake, Lefsa, Lutefisk). I have been to Oslo and Bodø in Norway, and this was filmed in the former; it is in Norwegian with subtitles. Thanks to Google translate, I know the original title of the film (the long, single word above) translates to The Bachelorette Party.

The original name makes perfect sense because you will never guess what is the focus of the film, at least at the start: Gina Moen’s Bachelorette Party! But hold on there, I know there are some reading this thinking this is going to be silly, but the thing is that Gina (Vicktoria Winge) is a fan of all things horror. So, guess what the Bachelorette Party is going to be when it comes to a theme? And as things being what they are in the genre world, that is a good thing for the audience, but it certainly will not be for Gina and crew.

Vicktoria Winge

After an ominous start, including a flashback of an argument with her fiancé Even (AndersV Rydning), Gina and her pals are off to a – you got it – secluded farm out with out-buildings (e.g., barn, workhouse) surrounded by woods, miles from anywhere in Heggelia, to celebrate. If you think all Norwegians are pale and blonde, the cast is quite diverse, which is more accurate. Good choice on the director’s part.

Including Gina, there are six women: Camilla (Julia Schacht), who wears a Brooklyn tee and drives the van, Ida (Veslemøy Mørkrid) who is Even’s sister, Stine (Marte Sæteren) in a checkered shirt, Marte (Tinashe Williamson) who is the Maid of Honor, and co-worker Elise (Linni Meister) who is overdressed for the occasion (work clothes), considering the locale of the event.

As is common for this getting-away-to-a-remote-location genre goes, basically the first 20 minutes or so is the car ride, as we get familiar with the half-dozen so the viewer can get an idea of their personalities and some social dynamics. Normally I find these rides boring, but I like the characters, so my interest remained focused. But there are also a bunch of clues in there, on a second viewing of the film (yeah, I watched it twice).

By the end of the first act, I have a guess on the killer, and the reason behind it. I will let you know if I’m right, but not who it is, so no spoilers.

It’s clear these women like each other, even with the occasional behind-the-back talk, which is part of life in the real and reel world. Lots of shenanigans such as a twisted and drunken “treasure hunt” of sorts with Gina that leads to territories beyond the map (sorry, a little General Semantics snuck in there). Things dissolve quickly at this point and follow some directions I was not expecting (again, always a good thing). For me, the oddest thing was the plan to have all of Gina’s ex’s come to the house, as well. That felt icky to me.

That Gina is a horror fan, and there is a similar theme to the get together, this leads us to not be sure at times what is part of the party and what is not for quite a while. What this does is add a dimension to the story that most genre fans watching this might connect to on various levels. I have to say, I was totally impressed with how everything worked out.

In that vein, I was totally wrong on my guess on the killer, but that is because so many red herrings were weaved into the story, and that was part of why I liked this so much. Also, the cast is quite engaging, especially Winge. That being said, I found Schacht and Sæteren also strong in their roles.

The SFX appear to be all practical, and they look great. There is lots of carnage, most seen after the fact, but enjoyable nonetheless. I also enjoyed how Director and co-writers Geir Greni and Robert Næss pace the film, and work in the reveal as nearly the entire third act.

If you have ever been to Norway, or even seen pictures, it should come as no surprise that the scenery is beautiful, sometimes artfully shot by drones (as films now are wont to be if there is any kind of traveling). Just breath-taking. In fact, through the whole film, Torstein Nodland’s cinematography is lovely to watch, even though half the film is shot at night.

Though I had some issues, which seem to have stuck with me, I found this to be enormous fun that takes some standard motifs and throws it on its ear a bit. At the end, as the credits rolled, I found myself smiling with satisfaction. I hope there is a sequel.

All Must Die will be available on Digital, VOD platforms, including iTunes, Amazon Prime Video, Google Play, Xbox, and Vudu. In the US, there will be a dubbed version.

IMBD listing HERE

Review: Love Crime

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

 

Love Crime
Directed by Nicole D’Angelo
CineRidge Entertainment; Cinema Epoch; MSC Productions
67 minutes, 2022
www.facebook.com/cineridge/
I have been really been impressed by this local collective of multi-pronged actors/directors/writers/filmmakers. They all support each other both in front and behind the camera, and still manage to be prolific on a meager financial means.

One consistency is that their films tend to be minimalist, taut, and more often than not psychological. I have reviewed a number of them, such as Quarantine Girl (2020; also directed by D'Angelo), Choke (2020), and Heartbeat (2020). 

Nicole D'Angelo

Our fare for today is a crime drama, founded somewhat on Arizonas-based Jodi Aria (director Nicole D’Angelo), who murdered her lover of a tempestuous relationship in 2008, Travis Alexander (Shane Ryan-Reid). I don’t obviously know what their real relationship was like, so when I refer to the actors’ role, I will use the first name, and for the real person, their last in this review to slow down the confusion.

Time is very fluid in this story, as the chronology is bounced around, yet the timeline of where we are at any scene is clear, thanks to some good direction and editing (more on that later). For the prologue, Jodi is already arrested and in holding as she interacts with grizzled police officer Ross (Sam Dobbins). He is stern, yet sympathetic to Jodi, unlike his boss, Detective Mace (Lisa London), who sees this as a case to be a publicity slam dunk (the real trial was heavily mediated).

Deeply religious, Jodi projects the same onto Travis, as the devout tend to do. She is way more committed to this relationship than Travis, yet she is still a believer. As I said, the real relationship was tumultuous, and this is expressed between break-ups and rejoinings. This is smartly symbolized in the editing, as some B-roll scenes are shown both going forward and backwards.

The personalities of the two main characters are also back and forth, in that they often complement each other, and yet they are quite different. Jodi is what I call god-delusional, grasping on to the weights of faith to keep herself steady. Travis, on the other hand, is a motivational speaker who is quite glib and sometimes impatient with Jodi’s questions about remaining “pure” in some ways; he is constantly using his experience with words and charm to console her, but you know he is being dishonest and it is almost as uncomfortable to watch as her divinity focus. As they swirl around each other, Mace makes like a bulldog trying to break Jodi’s façade, which may be her truth or her self-imposed wall to protect herself from what she has done.

Shane Ryan-Reid

It is easy to see the cracks in both Jodi’s armor of love of Travis and god, as much as it is to see through the weakness of Travis in both. Her overwhelming needs outweigh his lack of them, and in the film, there is no black and white personalities nor actions, as they both have their issues that they bring to the relationship. The fact is that this was a long-distance relationship, with him on the road a lot (Arias and Alexander actually lived in different states).

With multiple events happening over the overlapping timelines, I was quite impressed with the video editing by Michael Tang, which highlights the minimalist and stark (there’s those words again) cinematography by Gregory Hatanaka and Caleb Tou. For example, there can be two opposite events happening, such as an argument and a sex scene interwoven together, and it works. Occasionally, the writing by Jamie Grefe shows some nice flairs as well, such as when Mace states to Ross, “If truth is bitter, my coffee should be, too.”

D'Angelo’s double duty as both lead actor and director proves she is capable for the task. I was truly impressed with the artful directorial skill in which she handles the story. The film may be on the short side, but it was the perfect length to tell it.

The film is available to watch for free on Tubi, and on demand by Amazon and Vimeo.

IMDB listing HERE 

Review: Baby Assassins

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

Baby Assassins (aka Beibî warukyûre)
Directed by Yugo Sakamoto
Rights Cube; Far East Films; Well Go USA Entertainment; Hi-Yah!
95 minutes, 2021 / 2022
www.wellgousa.com/films/baby-assassins
@WellGoUSA

When I first read the title, I was confused: was this about infants in diapers who kill people, or adults who kill toddlers? Of course, in both cases, I was wrong (pretty sure I would be). I should have known better as this film is from Japan.

The “babies” in question are two teenage high school girls and possibly future cosplay objects, Chisato (Akari Takahasi). and blonde Mahiro (Saori Izawa). They are the innocents who are both about to graduate from assassin school, and are highly trained to kill. Needless to say, there are some strong comic elements to the story as they butt heads.

The film is on a couple of different tiers: first, there is the stereotypical two opposites needing to work together to survive with fun and merriment, and then there are the (literally) deadly serious assassinations, where the ladies come into their own. Like many teenagers, even with their killing expertise, it’s the simple and every day tasks that are filled with angst (such as adding whip cream to a meal).

Like “The Odd Couple” (whatever incarnation), their personalities are different, and yet they overlap in Zinn Diagram means. For example, Mahiro is Gen Whatever, with a slacker attitude of not-caring or wanting to be bothered, whose wardrobe choice is PJ bottoms and a tee (at one point it’s a Lou Reed Transformers one); and yet, she has an inclination towards philosophy. Chisato, on the other hand, is more focused, but just as lost in menial tasks. Thing with Assassin School is that, as implied, they teach killing but not social skills needed for employment or fitting into society. This is a really interesting added on touch.

Reminiscent of the series “Dead Like Me” (2003-04), between assignments the women are expected to hold down jobs that will not bring much attention to them. For example, Chisato, at some point, works in a small waffle eatery as wait- and kitchen staff, but is totally out of her element.

Now, 20 minutes into the film, and we are somewhat familiar with their sitch, enter the credits and a flashback to them first being thrust together. The commentary on government bureaucracy, such as taxes, housing and basically not taking care of their own (sound familiar?) permeates the underscore of the film. This is used both as comedy fodder and with a figuratively pointed stick.

Another jab of the elbow in the side is the Japanese tendency for older men to be attractive to younger women, as I mentioned previously. Be it an assassination target or a store clerk, the two are hit on mostly by adult men. Creepy; always was, always will be.

Things get a bit darker in the third act, as our heroines are at odds over attitudes, and to add to the mix is confrontations with a Yakuza (must be powerful; he has all of his fingers), his blowhard son Kazuki (think Sonny Corleone), and revenge seeking, psychotic, over-the-top enthusiastic daughter, Himari, who seems to be about the same age as our two killin’ protagonists.

In the first two acts, there are some decent kills scattered throughout, and somewhere along the way I made a note for myself, “Increased violence in the third act?” Of course there is, including one superb fight with Izawa, who has some Taekwondo training, and a Yakuza. Now, the fight scenes are not overly choreographed to ridiculous level, with people flying through the air, or stylized like the infamous corridor scene in the original Oldboy (2003). This is sloppy in a good way, more like fighting than something sterile in a mainstream release.

I also really liked this dive into modern Japanese culture. In fact, there are two things discussed that I had to look up: the first was a food called Oden, which is a fish cake stew (ironically, I was eating fishcakes while I was watching this… ”it’s a small world, but I wouldn’t want to paint it” – Steven Wright. But I digress…). The conversation about it takes on almost a Tarantino-eque quality, without the camera needing to swirl around the couch. The other is the use of the expression Moe Moe Kyun, which apparently means something like happiness to a level of blushing.

The director does really well in translating the personality of our two assassins to be likeable characters, even when they misbehave. He also has a way of showing the mixture of action and the lull between without getting boring. It is a mash-up of the mundane and murderous mayhem. Sometimes the action comes as a surprise, which was quite pleasant, and other times, it builds up. Also, pleasant.

By the end, it kind of leaves it off as a possible franchise, as the Japanese are wont to do with police procedurals and gangster mayhem. If this comes to be true, I will enjoy seeing what happens next with Mahiro and Chisato.

The film is available on the martial arts streaming service Hi-Yah!, and the digital and Blu-ray versions will be accessible on August 16, 2022.

IMBD Listing HERE

 

Review: Higher Methods

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

Higher Methods
Directed by Nathan Suher
IM Filmworks
97 minutes, 2022
www.highermethods.com/

A little talked about subgenre of the horror field is the meta “ensemble” of actors who struggle on set with dangerous minds and often knives. Be it a film set, backstage at a play, or in this case, a drama acting class, the darkness will be exposed.

There are usually two ways of viewing these: first, is as an actor who can watch and say, “That’s like so-and-so,” or “Been there, done that.” The inside joke, as it were. The other is as a fan of the theater/movies/etc., which is where I approach the topic.

Michael Christoforo

We meet our protagonist – anti-hero? – Matt (Michael Christoforo) literally in the spotlight, in a darken room, as he is interviewed in sharp patter written by playwright/screenwriter Lenny Schwartz, as the room tilts and the tension is immediate. Damn, if it isn’t shot amazingly, right out of the gate. I’m hooked.

Outside the rave is raving and Matt meets Shannon (actor/singer Jamie Lyn Bagley; I’m a fan from way back), as the snuff is sniffed and the hook-up commences. Oh, not for that, but for acting classes with John Edward Marcus (Aaron Andrade; again, a fan), of the Razor’s Edge Acting Studio. Sharp writing. This is when we meet the rest of the esoteric students for the class, as well, filled by a defensive woman, The Muse (Abigail Jean Lucas), a man-child, Shane (Brad Kirton), a mother-figure, Vanessa (Marybeth Paul), and of course, Shannon.

Aaron Andrade

They all are subservient to Marcus’s “genius,” and we get to see his patter/pattern of mixing death threats with sage words, all designed to bring out the actor in the actor. Andrade does a chilling job in the role, making “The Kaminsky Method” look like a merry go round in comparison.

There are a lot of subtle commentaries of what it is like to be a struggling working actor, or in the case of one particular star, Cameron Stark (Anthony Ambrosino), the fickleness and fecklessness of the acting milieu can be twisted and turned in a second.

Matt, meanwhile, has a secondary motive for being in this class, and that is to find his long-lost sister, Katherine (Kayla Caufield), who took the class from Marcus 10 years earlier. But is he really there for her, or himself?

Abigail Jean Lucas

There is a deep psychological undercurrent that runs through the film, which escalates at an alarming rate after Matt takes a hallucinogenic drug, and the roller coaster ride begins not only for Matt, but the audience as well as the lines of reality and psychology get on a Tilt-A-Whirl-ish mental space as the second act kicks off into literally high gear.

At this point, I want to point out the editing of the extended sequence by Eileen Slavin that highlights the beautiful cinematography by Ken Willinger, taking this from a low budget psychological horror (with some violent scenes) to a cinematic splendor.

Despite the beauty of the image and the occasional knife and drug play, this film is wordy. Some of it is pop psychology, such as “There is no death here; she’s on celluloid,” to the fanatical ravings of Matt, and especially of Marcus.

Jamie Lyn Bagley

Another central theme here is honesty. The stripping down of one’s barriers to reveal the rawness underneath that even the actor themselves have trouble seeing through their own ego, history and general mishigas. Matt is a pile of inner conflict, and everyone around him is pressuring him to be “real,” in an occupation where everything is fake. This could have been tedious, but Schwartz’s writing, as usual, is taut, drawing the viewer in while also being appalling in the treatment of the characters by others and themselves.

Amid the dark and shadowy imagery is an equally dark look at the life of an actor in a very stylized form, where the person is irrelevant to what they can bring, whether it be as a marketing object or as a shell of themselves. This was covered in a more depressing way in the film The Day of the Locust (1975), but thankfully this one is invigorating, rather than disheartening, like Locust.

Everything is precise in the film, from the lighting, to the costume design by Lily Spencer, and the whole minimalist art design by Michelle Parenteau. The colors are as muted as the lives they are hiding within, symbolizing the emptiness the characters feel. Even the music by Indy Shome is electronic and stark, sometimes honing down to nothing but a low, two-note hum at tense moments.

If you are looking for a slasher to watch while winding away your weed, you have come to the wrong shelf, my friend. This is much deeper and thought-provoking, laying on the side of the psychological in a way that director Richard Griffin did with Long Night in a Dead City (2017; also co-written by Schwartz and acting by Andrade and Caufield, among others). In fact, this would be a great double feature; but be prepared to be walking into walls afterwards.

This also makes me think of Bob Fosse. No, hear me out. What made Fosse famous was his precision: there was not a move, a single digit that was not where it meant to be; the same could be said about this film. It feels very intensely scrutinized as far as look, acting, and motion. Even the perfect lipstick on the faces of The Muse and Shannon are precise. The director, Suher, has obviously taken some amount of care to get everything to line up to be a piece of art cinema that could be talked about in classrooms. But to just watch it on the screen on one’s own? Well worth it if you like a mind fuck of a film. And I mean that as a positive.

IMDB listing HERE 

Documentary Review: American Werewolves

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

American Werewolves
Directed by Seth Breedlove
Small Town Monsters; 1091 Pictures
81 minutes, 2022
www.smalltownmonsters.com

It is always a good day when I get the chance to see a documentary from the king of the cryptids, Seth Breedlove. While one may watch his series of films, you never doubt the sincerity of the filmmaker (i.e., cash grab), but he appears to be dedicated to the topic. I respect that.

This is not the first werewolf he as covered, though the last one was more centralized in the Bayou with Skinwalker: The Howl of the Rougarou (2021). This is a hard film to find by title searching because an Internet exploration result is inundated with An American Werewolf in London (1981), which should come as no surprise to genre fans…or anyone else. In this case, he looks at the lycanthropy phenomenon on a more general basis, across Middle America, such as Ohio and Kentucky (especially Land Between the Lakes National Park).

Another difference, and one I am looking forward to, is that Breedlove’s approach is different this time. Usually, he uses a heavy mix of writers, scientists, fringe keepers, and eyewitnesses. Here, he relies on more on eyewitness testimony. He still presents some “paranormal investigators” to help the viewer situate themselves into the lycanthropic mentality and history, including the locations, but my issue is that “experts” are always second-hand accounts, whereas these witnesses are first-hand, making what they say more chilling. How much they believe in this is another story, but it is conveyed in non-professional talk, and more from the gut.

There are some interesting euphemisms given to the creatures right off the bat, such as “upright canids” and “Dogman” (should that be “Dogperson”?).

It is no surprise that most of the sightings have been in extremely rural areas, as is true with most cryptid encounters (with the possible exception of Mothman, also discussed in a previous Breedlove documentary, if you are interested). In cornfields. the woods, which would be a more natural habitat for a wolf of any kind, it makes sense. The main description is a six-to-eight-foot hairy dog headed creature that walks on two legs, a la The Howling (1981) or Dog Soldiers (2002).

Another difference between this and other Breedlove films is that there is no host nor narrator, and the interviewees do all the talking; though there are placards to let us know the location and the name of the person. Also dissimilar from earlier releases is that there is a discussion and description of possible cryptid killings, though they leave it open for interpretation, because it is not possible to prove in a court of law.

The two longest stories are held until the third act, and they are pretty intense. There is some waxing poetic along with the tales of the encounters, be it with a single creature or multiple ones. For me, it got even more of whaaaa? when Bigfoot is introduced in a cameo for Land Between the Lakes (Sasquatch in the north, Dogmen in the south, and overlap in the middle). Definitely more cryptid bang for the buck.

It is interesting how Breedlove lets his interviewees tell their experiences mostly uncut, other than some edits, to get the full effect of what they claim to have seen and how they felt. Most first-person interviews are all over the place and occasionally laughable, but these tell a story, which is intriguing and kept my attention.

Mixed between the stories is some b-roll clips of a man in a Dogman costume, for effect, that actually works. There is less animation than usual, and shots of the woods, sunsets, and the costume beastie with the amber glowing eyes, is perfect to accompany the stories.

Not fer nuthin’, but I find it interesting that both areas covered are Red States. One of the interviewees mentions that everyone who goes into the LBtL National Park should carry a gun, and I wonder about the connection with the location.

The film is available on iTunes, Amazon Prime Video, Vudu and FandangoNOW.

IMBD Listing HERE

Reviews: 5 Various Ghost Titled Films: Alone in the Ghost House; Ghost Box; Ghost in the Graveyard; The Ghost of Goodnight Lane; Ghost Witch

Reviews: 5 Various Ghosts Titled Films

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

All of the films covered below have the word “Ghost” in the title, and all of these films are recent, since the millennium.

These films below are not ranked, but are listed alphabetically, all from TubiTV, so they are free to watch. Note that my snark is truly meant to be fun and rib-poking with a touch of stream of consciousness. I had just the right low-budget expectation for these films, so I was not blindsided by anticipating a theatrical extravaganza experience. After all, when it comes to the cheese level, there are times when ya want melted brie on toast, and at others, Cheez-Whiz on animal crackers. I enjoyed these films for precisely what they are. Links to the coming attractions for all of them are at the bottom of each review.

 

Alone in the Ghost House
Directed by Henrique Qouto
New Dynamic; Camp Motion Pictures
82 minutes, 2015
www.facebook.com/aloneintheghosthouse
Amazingly, I have not seen this before. I am a big fan of the director, Henrique Couto  and screenwriter, John Oak Dalton, as well as much of the regular troupe of Ohio-based actors who appear here. For the found footage story, husband and wife wannabe ghost hunters Lana (Joni Durian) and Derek (John Bradley Hembrick) are on a cross-country tour to film supposed hauntings, and one stop includes the Devil’s Commune, supposedly the most haunted house in the country, where all the artists who previously lived there were murdered. They arrive with their videographer Ford (Couto) who you hear more than see since he is behind the camera, outsider comic artist Sophie (Iabou Windmere) who is also an art historian that is familiar with the history of the Commune and its participants, and a psychic, Tabitha (Erin R. Ryan). They all plan to spend the night. Based on a barebones script, this was filmed in three days, in chronological order, and nearly all the dialogue was invented on the spot, giving it a feel of authenticity in its language. It also shows some improv skills. Because it’s based on “raw footage,” we get to see some humorous flubs such as false scares; however, this is probably a nod to all those ghost hunters shows and how they do what they do to reel in the audience, like a magician who shows his/her work. While technically I would not refer to this as a comedy, there are definitely some intentionally funny moments thrown in that are quite effective. There are also bloopers (real or not, I’m not sure) that are added (remember, raw footage). Like nearly every other ghost hunter show on reality television, not much happens as far as hauntings go, but there is still enough tension here to keep the viewer paying attention (with the exception of one conversation between Ford and Sophie that goes nowhere and could easily be excised). As far as the ending, man, I did not see that coming, and is actually the kingpin of the story, summing it up nicely by… well, I’m not telling. Honestly, I’m not a big fan of the whole found footage subgenre in general, but this is the third one by Couto I have seen (though it is not the only kind he makes, being he does multi-cross genres), and he has a way of making it interesting. Plus, there is a nice gratuitous shower scene.
Trailer is HERE 

 

Ghost Box
Directed by Michael Jarzabek
NXT Level Productions; MBUR Films
61 minutes, 2019
http://www.ghostboxmovie.com/
I am interested in this because it is, as of this writing, the only film listed for the director and its writer, Erik Papucci. Short and sweet, clocking in at one hour. And yet, it feels much longer. It takes nearly halfway before our protagonist, Eve (Alicia Frame) gets off her drunken ass to take any kind of action. At the onset, she ignores a phone call from her mom (Asta Razma), who dies in a car accident, presumably while trying to text her daughter. Eve, filled with guilt, ignores her job, and becomes a solid wino. Her friend and sculpted coworker, Brad (Randy Bernales), comes over to be a friend and enabler (i.e., he brings more wine). Her turning point comes when she orders the titular ghost box online. As this film focuses a lot on technology (such as a large use of cell phones and this object), it makes sense she would turn to an electronic medium to try to contact her mom. A ghost box is an EVP (Electronic Voice Phenomenon) that supposedly records the voice of the dead. This one is a weird modified AM/FM portable radio (hey, a friend of mine is convinced he heard a ghost say “yes” on his answering machine tape). But even before using it, in place of a Ouija Board I guess, there is a shadowy shawled figure that resembles the final ghost of Dickens’ A Christmas Carol. following her which I assume is up to no good. It also looks like CGI. When she uses the device, and combines it with Ouija and Tarot, she gets more than she bargained for, as is par for this type of film (Ouija = undesired evil spirits). Soon, she’s in a battle with an invisible entity that opens doors, knocks things over, lights candles, and starts a (vinyl) record player (Parrot Label, which put out Tom Jones and Englebert Humperdinck, among others; why do I know that?). Will she be able to rid her abode of the cowled one, or will she join her mom? Yeah, I won’t say, but any action happens in the last 20 minutes. And why doesn’t she leave as things get all messy? No, she invites Brad over (man protector stereotype) and calmly humming while taking a shower. This is after all the destruction and seeing the shadowy figure on a…nannycam? The acting in this is passable, and the film is quite amateurish, but as I said, it’s short, so, as Dorothy said, “Things come and go so quickly, here.” It’s threadbare and some of the effects, like the transition shots between events (e.g., the moon crossing the sky) look a big cheesy, but nods considering the budget. There is promise here, so let’s keep that in mind. From the ending, without giving anything away, I’m not sure if this was meant to indicate there will be a sequel, or this was intended to be a series. As a side note, at one point, Eve wakes up at 3:33 AM, which reminds me of another, fun film 3:33 AM (2014). There is a shower scene, but no gratuitous nudity, nor blood or gore. Lastly, there is a really nice subtle plug for PAWS Chicago/ a no-kill animal shelter.
Trailer is HERE 

 

Ghost in the Graveyard
Directed by Charlie Comparetto
Cellar Door Films; JARS Productions; Dark Coast
92 minutes, 2019
http://ghostinthegraveyardmovie.com/
Taking place in Mt. Mariah (the name Mariah means “Bitter”), though filmed around Tarrytown, NY, and hour north of New York City, the prologue sets up the basic story of a group of pre-teen girls playing the titular game in a cemetery (sort of the equivalent of saying “Bloody Mary” in a mirror) at the same time a witch (nice cameo by Afrikaner and indie horror legend Maria Olsen) is nearby doing an incantation. Through an accident, one of the girls, Martha (Shiloh Verrica) becomes a murderous spirit that only one of them can see. But the main story starts 10 years later and Sally (Kelli Berglund) is back home with her family, including her dad (another big name, Jake Busey). She comes back to finish up her final year of Catholic high school and there, meets up with her best friend Reed (Joah Carmody) who has sexual tension between them, of course. And also, of course, he is dating Sally’s arch enemy and head of the local group of stereotypical mean girls, Zoe (Olivia Larsen), whose nearly every piece of dialogue has that bully tone of sarcasm in all situations. What the hell would Reed see in her, other than a sexual object? Yeah, she is beautiful: this is a world filled with unrealistically stunners who could be models, right out of television central casting; no ugly or chubby or skinny people of any gender need apply. For me, this is the first real false step. This seems to be playing to teen girls who are destined to face body dysmorphic disorder. For some reason, Sally wants to fit in with these cretinous creatures. This wanting to be part of the clique of snobs and evil people is right out of the Mean Girls (2004) playbook. Again, cliché. I’m a third through the film, and while there have been deaths, it feels a big dragging up to now. Also, despite the title, most of the sightings of Martha go well beyond the reaches of the cemetery in which she passed; she can show up anywhere, even during the obligatory gratuitous bathing scene (in this case, nudity included). There are other noteworthy actors such as Royce Johnson of numerous television superhero shows of late, and lots of cameos, including Nikki Blonsky, the lead of 2007’s Hairspray, Jason James Richter, who was the kid/lead in Free Willy (1993), and Joseph D’Onofrio from A Bronx Tale (1993), among other mafia-related flicks. But the ghost is only half the story as there is a conspiracy brewing which we are given tiny hints of, though I’m sure it will all come out in the end, as they do in genre films, and then there’s the pesky satanist underbelly. The story shows some of its cards pretty early on, though bit by bit, so the surprises are not as shocking as I believe is supposed to be expected. And, man, I’m still only half way through. There are some nice, subtle references to other films, such as a crossword puzzle whose answers include “Hellraiser” and “Boomstick”; that made me smile (film needs more of that). Needless to say, the action ramps up for the third act of good vs. evil, filled with double crosses in all directions, and flipping of perceptions of who is what, but along with that it becomes convoluted and a tad confusing. Also, the last act gets really preachy and heavy handed, like this was a Christian film, the kind that might star nut-job Kirk Cameron, rather than a nice story about witches and Christians (for example, 1973’s The Exorcist was about good vs. evil, and even though it dealt heavily with church dogma, it wasn’t preachy). They also make it abundantly clear that this is meant to kick off either a sequel or franchise. I would like to add that the cinematography by Przemyslaw Reut is stunning and occasionally breathtaking.
Trailer is HERE 

 

The Ghost of Goodnight Lane
Directed by Alin Bijan
Shoreline Entertainment; Inception Media Group; FTG Media; Media World Studios
96 minutes, 2014
https://www.facebook.com/GhostOfGoodnightLane/
One of the things that attracted me to watch this was the cross-genre cast, which includes Billy Zane, Danielle Harris, and Lacey Chabert. Seems to be this is par to the underrated Harris, who often does indie films, but a downward trend for Zane of Titanic (1997) and now doing the “McGruber” television show, and Chabert of “Party of Five” and Mean Girls (2005) who now seems to specialize in television-released Christmas-themed films. To be fair, they all have multitudes of credits, so they are doing okay, I guess. As for this film, I immediately have a question from the first five minutes: at a busy film Dallas production studio, there is a film editor who is a workaholic, so he’s there all the time. Why, suddenly, is he being “haunted” by the main and evil spirit? His death is pretty cool, with the digital effects reminding me of The Haunting (1999) remake. The studio proper, which used to be a house owned by a mysterious older woman, Thelma (Allyn Carrell), has been sold and is getting ready to be razed for a new building, and the angry ghost is not having any of it. Her backstory is given in pieces in flashbacks as she gets involved with the Charles Manson (David “Shark” Fralick) cult. Even with the normal stretch of credibility in this kind of film, the power of this ghost is enormous enough to question the film a bit. She can cause objects to move, appear on video both in image and sound, make people do things to themselves, possess bodies, and cause others to just disappear through I’m guessing is some kind of portal. And for the large cast (i.e., body count) of production crew and models, well, once they know there is something screwed up going on and see our ghostie on tape, they take an unrealistic sweet ass time getting out of the building; I would be in my car before the second hand reached one minute. The unclear question through a lot of this is whether the ghost is Thelma’s daughter Jeanie (Alisha Revel), or Jeanie’s daughter by Manson (i.e., the evil one), Carly (Sophia Arias), or both. The acting is typical fare for this kind of film (just a tad either over- or under-emoting). As the comic relief (ad libs?) owner of the production company, Zane is both the best and most natural actor here, but also feels like he’s phoning it in sometimes, like “I can’t believe I’m making films like this…I was in Titanic, dammit!” The fight between the aging-yet-attractive ingénues is amusing, though. The effects are mostly CGI, but looks decent and bloody. This is the kind of film that is a bit silly, and yet serves its purpose. Lots of jump scares, and generally I enjoyed it for what it was. And through it all, in the words of Snoopy, it was a dark and stormy night. Oh, and there is a gratuitous shower scene here, too.
Trailer is HERE 

 

Ghost Witch (aka The Legend of Seven Toe Maggie)
Directed by Joseph Lavender
Black Flight Studios; Wild Eye Releasing; Scene and Heard; Grindhouse Productions
97 minutes, 2015
www.facebook.com/7toemaggie/
Supposedly “based on actual events,” there is a double and incomplete (to be explained later in the film) prologue that takes place in rural Georgia (perhaps being off-kilter would explain what is going on in voting practices in the 14th District of that state). The beginning segment is to set up the main body of the film that includes a bikini and bully party to snag that T&A audience of teens. This introduces nerd Zeke (Chase Steven Anderson) and possible love interest Mattie (Mandi Christine Kerr, who was in “The Walking Dead” and has no idea how to hold a slice of pizza when eating it: vertical? My Brooklyn pizza snob sensibilities are screaming. What’s next, pineapple?). Both are into the paranormal and fortunately her dad is a real estate agent who owns the mysterious house where Seven Toe Maggie (three less, not two more on one foot) was murdered about 50 years before. Since Zeke is part of an amateur ghost hunting group of oddballs called the G.H.O.S.T. Paranormal Team, reminiscent of the troupe from Twister (1996), soon all of them start the second act together to check out the place. They include gear genius Cameron (director Lavender, who also starred in 2011’s Exit 101), Ellie (Jessie Bockenek), Ben (Josh Sinyard), and his cynical girlfriend Kylie (Christina Pykles). Subtle weird things start happening pretty quickly, like doors opening or slamming shut, and creaky sounds, even before both the older waitress and the groundskeeper, Jenkins (Pete Ganas), fills the stereotypical “Ah’d turn back if Ah wuz you” role. Amusingly, the story gives nearly everyone a chance towards the early part to go off by themselves (for aspirin, to take a gratuitous bath – sans nudity – in a really rusty tub, or out to the van, for example) which gives 7TM a chance to show her presence. And yet, even though they are supposed to be paranormal hunters, none of them seem to be cognizant of anything going on (I found this extremely amusing, though I don’t believe it was intended to be), even when one of them goes missing for hours. Other questionable things include when the cops (counting Travis Breedlove, who also played a sheriff in Exit 101) arrive, they don’t mention the possibility of one of them being assaulted, and the cops just come into the place without a warrant. The group also proves to be terrible liars (but why lie?). Maybe it is typical behavior of law enforcement in Georgia. Meanwhile, I’m about half way through and waiting for the third act when hopefully all hell breaks loose. Meanwhile… One personal peeve that drives me crazy, and this is hardly just this film, the women (in this case Matti and Kylie) keep saying they should go, and the guys (mostly Zeke and Ben) insist “we’ll figure this out” and refuse to leave. Men need to listen to smart women. Anyway, as I easily predicted (as any genre fan would), the third act is filled with action, most of the body count comes in here, and while there isn’t a whole bucket of blood, it still has a squeamish moment or two. Overall, it was a fun ride.
Trailer is HERE