Wednesday, August 31, 2022

Review: Guilt

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

Guilt
Directed by William Chaffin
Few Man Crew Films; Brave Runner Films; Indie Rights Movies
75 minutes, 2022
www.facebook.com/Guiltmovieproject

Two quick comments that I will follow up with later. First, this is a relatively short film at 75 minutes (i.e., perfect length) so the action begins pretty right off the bat. Second, this incorporates a mixture of horror and psychological uncertainties, which is right up my alley. Love it when reality and in the mind combine for a bit of confusion on the viewer’s part.

We are introduced to our protagonist Elizabeth Stanton (Anna Hoots) as she comes home to her parents, Ann (Sarah Turner Holland) and Josh’s (Christopher Rowley) house, with luggage that matches her car. Love that bit. But things are not – of course – as simple as that, as she has images/dreams of a demon, smoke filled rooms (I remember the days when music clubs were like that, but I digress…), and murder.

Anna Hoots

Y’see, Elizabeth has a history of schizophrenia but is now off her meds and obviously has a touch of OCD. She is just home from undergrad college with an ironic psychology degree, and wants to live a normal life. However, her college roomie and best friend Victoria (Darby Flynn) is dead and she is accusing Victoria’s boy friend, Kyle (HaRoon Khan), though the police, led by Detective Olivia Mattingly (Liz Fletcher), believe it to be suicide. Also on the case is an ex-priest-turned-Private Investigator, the appropriately named Matt Gravesman (Jared Noble); his business card reads “Paranormal PI.” In an odd conversation together, Mattingly tells Gravesman that she is “not very religious,” even though she has a prominent cross necklace. Anyway, I found that amusing. They are adversaries of sorts at first, which means, I am guessing, they will team up before long.

Through all this, Elizabeth keeps having violent dreams where that robed demon is killing people she knows, and awakes to find out they are actually dead. Is it the demon or a manifestation of her own personality that is knocking people off? And why hasn’t she been arrested, when she admits she was the only one in the room when someone died, other than her demon self that is supposedly trying to possess her? The bodies pile up, an she’s still running around off her meds and claiming she’s not schizophrenic.

The only one who believes her is Gravesman, who used to perform exorcisms when he was still a priest. In certain parts of the film, though not prevalent, there is an undercurrent of religiosity that sometimes feels a bit overdone, but luckily its only in a few scenes, or I would have exorcized this film right out. As with most exorcism films, there are a number of Catholic tropes, such as saying the “Hail Mary” (aka “Ave Maria”) prayer from Luke, along with the general “Our Father” from Matthew (I may be an atheist, but that does not mean I am ignorant).

The demon is leaning on Elizabeth because it is feeding on her guilt of events earlier in her life, hence the name of the film.

The biggest issue I have with this is that it goes against its own philosophy about being possessed when dying, but I will not say who or under what circumstances because that would give away one of the better surprises in the film. However, perhaps they were going for the possibility of a sequel? If that is the reason, then I can relax about it.

Hoots, Liz Fletcher, Jared Noble, David Moak

Despite a few holes such as the couple I mentioned above (the rest are pretty minor), there are some good surprises throughout, which I did not see coming (always a good thing), and I liked the make-up. I also like the bread-and-butter filmmaking of Elizabeth’s dreams being indicated by either smoke or a smoke filter. Sometimes the smoke is a bit on the dark side, giving some nice shadow effects. Speaking of which, the cinematography by Benjamin Paul Rigney, who has worked mostly on shorts, is to the point without drowning in arty flair (including the drone shots which seem to be all of the same street/same height/same angle, arguably shot at the same time; you can tell the difference of time though, by the varied cars traveling the road).

Even so, the film is a stripped-down, meat-and-potatoes (there goes a food analogy again) fare that is what it is, with no real pretentions or artifice. While there is some profanity, there is no nudity, no gore, and I cannot remember any blood, but there is at least a decent sized body count, including some that are not expected.

Overall, this can be an enjoyable afternoon sojourn into the world of priests (and ex-priests), a cool demon, and exorcisms.

IMDB listing HERE 

Available free on TubiTV HERE 



Thursday, August 25, 2022

Review: Safe House 1618

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

Safe House 1618
Directed by Calvin T. Shepherd
Outsiders Film Company; Black Sparrow Media; High Octane Pictures
102 minutes, 2021 / 2022
www.facebook.com/calvintshepherdfilms
www.octanemultimedia.com/

There is no question the three Holt sisters are badass, possibly the most I have seen since the trio in House of Bad (2013). They are on a mission for revenge, which is how we are introduced to them in the prologue. Even with full masks and not speaking for this part, you start to get a feel for their personalities which are sure to come up though the story.

For identification purposes, Joelene (Jasmine Day) is the short, gothy black haired one. Lee (Matison Card) is the redhead who assumes leadership. The last is the rebellious blonde Jamie (Brittney Carpenter), who listens to music via a headset in the shower (who does that?!). The last “fourth wheel” is their male driver, Craig (Jesse Davis), who is a bit of a dick who is not the sharpest stick, and not to mention a pill addict. After the hit that opens the film, they are given a safe house (guess the address?; filmed near Ft. Collins, CO) for forty days. Also, their go-between betwixt the world and a way out of the country and the assassins is (again, male), The Doctor (Randy Rochford in a cameo).

There are a lot of issues facing the crew, including a lack of cohesiveness between the sisters, each one isolating in their own way (not to mention the contraband against the rules of the house, which they are warned about by The Doctor), and a heavy dose of cabin fever. However, that all is the least of their problems, as their victim was the son of a (assuming Republican) nasty politician, Senator Kelly (Andrew Hook), who is withholding evidence to the police to take care of his own revenge-for-the-revenge problem – even though his son was an abusive and violent Matthew Cawthorn-type) through his own dubious connections. The hit man dispatched is the evil, methodical, and soulless No. 1 (Ryan Fredericks).

Brittany Carpenter, Jasmine Day, Matison Card

The question is, who will be the weakest link of the house’s occupants? Mentally unstable with PTSD and vivid nightmares, some of which we get to see? Jamie, who misses her boyfriend and takes risks to express that? Lee, who is suffering from a case of concussion? Or the slacker, horny and stoned driver? Which ever it comes to be, it’s inevitable that No. 1 will show up at the house, and the games will begin (my guess is in the third act)

Through a sheer case of stupidity (mixed with cabin fever), sure enough, No. 1 finds the place (will not say how but you can see it coming a mile away), and that is when the tension escalates, and the killing begins. No. 1 has a reputation, as is explained earlier, of being unkillable. Is this a supernatural touch added to the story, or is it that he’s just too damn good at his job? Either way, I am curious to see who walks out of this alive (I have my guess, that again, I will not share).

An opportunity lost here is that the house itself could have been made more of a character. Sure, the red light in the bathroom, newspapers on the wall, all help you know where you are, and some of the secrets they reveal that will be exploited later, but it is just there, when it could have been made so much more, especially since they are trapped in there for so many days. It really is neither here nor there for the storyline, just a musing on my part. However, I believe it was a wise choice to only show No. 1’s face once in the whole film, with lots of POV shots to represent him; other times, he is disguised.

Matison Card

The film nicely builds upon itself using layers of tension and violence, but even so, it could use editing, such as the step-by-step shots of making a packaged salad (which I am certain is to show a purposeful methodology of the killer, but is not interesting), or the driver’s psychedelic revelry (while it is cinematographically interesting, it does not add much to the story). Sometimes, and this is true of other films as well, the tension of an action about to occur that is obviously coming, lasts too long to the point of either annoyance or boredom, and that happens at least once here. Again, it is in the editing.

That being said, once the violence starts with No. 1, and I do not believe I am giving anything away since that is the direction in which the film is going from so early on, it really kicks into high gear with both violence and bloodshed, making it worth the wait.

Jasmine Day

While I have said a couple of harsh things here, but please understand that this is an enjoyable film. While I was right about the survivor of the ordeal, that did not take away from the action. The characters were consistent, which I always like, and the acting was well played. As for the storyline, in the long run, it was well done, even those times I yelled at the screen as a character did something ridiculous, though it moved the plot along.

It is also beautifully shot with some fine artistic moments, even some I kvetched about for length, by ace cinemaphotographer Eli Solt. As a crime drama, with ramped up violence, it was worth the watch.

Available on iTunes/Apple TV, Amazon Video, VUDU Fandango, Google Play, Xbox, YouTube, and RedBox Digital.

IMDB listing HERE



Saturday, August 20, 2022

Review: The Burned Over District

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

The Burned Over District
Directed by James Coleman and Vincent Coleman
ColemanFilms; White Lion Studios
103 minutes, 2022
www.ColemanFilms.com
www.facebook.com/colemanbrosfilms

Wikipedia states that “The term ‘burned-over district’ refers to the western and central regions of New York State in the early 19th century, where religious revivals and the formation of new religious movements of the Second Great Awakening took place, to such a great extent that spiritual fervor seemed to set the area on fire.” This movement, like the Temperance Societies, were mostly women, and these gatherings led to Suffragettes and the Women’s Rights movement. But this film, which takes place in the modern time, has a darker meaning, which I will not give too many spoilers.

John Harvey Sheedy

Right at the beginning, on a winter’s day, in a deep and dark Rochester, NY (well, around those parts, anyway), there has been a tragedy that sets up the story for the ironically named protagonist, Will Pleasance (John Harvey Sheedy). His mourning, early on in the film, brings harbingers of misplaced anger and guilt. He is supported by his sister, Katie (Amy Zubieta) and somewhat by his mom, Michelle (Connie Neer). Mom’s a piece of work: not only does she willfully steal Will’s wife, Natalie’s (Sarah Santizo) jewelry, but she comes in from a snowy walkway onto his white carpet without removing her shoes. Sacrilege!

While out shooting for game, Will runs into a place with hanging symbols from the trees (think of 1999’s The Blair Witch Project) and other signs of cultism, as described by a neighbor, Fred (Robert Lindquist). The question to me at this point, is whether Fred turns out to be a good guy or a bad one. Which brings an interesting concept and the film’s title. While the original meaning was a frightening level of Christian fervor (as they are wont to do), this flips it on the side and turns that zeal into something darker and mysterious.

I do not believe it is coincidence that at a specific moment, with his hair akimbo, Will resembles the classic paintings of the Jeebus figure, as he faces down the Demonic cult (why is it always mostly women as adoring followers and those abused, and a male as the sole head?), led by greasy-haired Daniel (Michael Cieslla).

Amy Zubieta

Gender politics-wise, this film is the exact opposite of what the original meaning of the Burned Over District was in history: then it was Jeebus leading to the fight for Women’s Rights, to this film which features Dark Gods and men leading women. This also reminds me a bit of Jug Face (2013), about an evil demanding sacrifices in a pit in the woods, though it supposedly lives in the sky. Part of its power is to make you see things that are not there, such as in Oculus (2013), especially in a particular scene.

Some parts of the film tend to be dark (in lighting as well as story), the cinematography by James Coleman is shadowy and promotes the feeling of forbiddances as secrets unfold, especially in the woods.

Michael Cieslla leads the cult

Despite the gender politics that I may self-admittedly be reading too much into, the cast is quite solid, although Zubieta is a particular stand-out. The SFX look really good, especially in the third act when everything ramps up to a fervor, though it never loses sight of where it is in the story. Most of the gore effects seem practical, but there are some decent CGI Dark God effects. Speaking of that, the Coleman Brothers did a pretty bang-up job on the story, with a three-step build-up that is compelling. I am a sucker for gods and cult stories, and there are both some familiar parts, and some imaginative ones, as well to keep the warm fuzzy motifs (the whole robed cult thing, the alters, the rituals, etc.), and the surprises to feed the mysterious (not gonna tell).

The film is broken into three very distinct (districts?) acts: the first is kind of a slow build as it introduces the main characters, despite (or because) of the tragedy involved. When the second act begins, it certainly picks up quite a bit, and by the revenge tour of the third act, it is wildly filled with action and gore. But the whole thing needs to be watched to get the flow of it, and I recommend that.

IMDB listing HERE

 



Monday, August 15, 2022

Reviews: The Necro Files; Necro Files 3000

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

The Necro Files
Directed by Matt Jaissle
Visual Vengeance; Threat Theatre International Inc.; Wild Eye Releasing; MVD Entertainment
72 minutes, 1997 / 2022
www.facebook.com/thenecrofiles/
www.wildeyereleasing.com
www.MVDEntertainment.com/
This film is a classic in the home movie subgenre. Essentially, what that means it that it was shot on video. Visual Vengeance is one of the few companies that are rereleasing the lowest quality looking films imaginable, which is, well, fantastic. The reason? Because of the imagination behind it. The execution? Well… Note that this film has been cleaned up significantly, and the quality of the visuals are quite good, unlike most of the VV fare which is seen in their trailers.

Named after “The X Files,” you gotta love a film that starts with the obligatory shower scene with full frontal nudity (Theresa Bestul). Serial killer and rapist Logan (Isaac Cooper) is not far behind, chased by a couple of police detectives:  the ultra-violent after a bomp on the noggin Martin Manners (Steve Sheppard) and his partner, the mustachioed Orville Sloane (Gary Browning), that latter of whom has a personal stake in the whole affair as his sister was a previous victim.

Steve Sheppard and Gary Browning

Long story short, dead killer, who is raised from his “slumber” by a group of Satan worshipers by killing the baby of the rapist’s victim (yes, an obvious doll). Be careful what you wish for because what arises is a flesh eating and extremely violent zombie.

Two of the surviving Satanists (who were in the group to hopefully get laid), the not-too-smart Barney (Jason McGee), who wears a Smashing Pumpkins Mission to Mars tee which is apparently quite rare these days and selling in the hundreds of dollars, and Jack (Christian Curmudgeon; like others in the cast, such as Ann R. Key and Drew Burymore, I am going to go out on a limb and say that’s not his real name), who wears plaid flannel (remember, this is filmed in Olympia, WA, in the ‘90s), try to resurrect a demon that will take care of the zombie, but instead raise the baby (again, it’s a doll) that flies around, also killing people while it searches for its zombie daddy. You read that right. I am only expressing this here because that is part of what makes this film so infamous among the subgenre. Well, that and the extreme level of gore.

I will be honest, and posit that I do not like scenes of rape, even if it is with a zombie and a 12” prosthetic dong/dildo). Never did. If you will pardon this soapbox paragraph, I once got into conversation with Frank Farel, the producer of Street Trash (1987) at a private pre-release showing of the film about how I objected to the rape scene in that film, and that it was gratuitous. I enjoyed the rest of the film, but that part just seemed so unnecessary and sexist. Then again, it was the 1980s, and envelopes were purposely pushed. But I stand by my conviction.

Isaac Cooper

The gore level in this film is over the top, and of course, that’s a good thing in this case. Piles of offal more than blood fill the screen often. For a gorehound, it is a pleasure, especially since it looks like they got it from a slaughterhouse; and yet, it is so extreme, it is almost cartoonish at the same time. Good times.

The acting is horrendously wooden, but I will chime the same tune I have been stating since the beginning of this review, and that is, it is what is expected in this subgenre. If you are looking for, say, Halloween (1978, 2007) quality, you are looking in the wrong place and will not be satisfied. If, however, you are like me, and marvel at how something this low budget and independent managed to do as much as they did with the means they have, this film is actually better than most.

Part of the relative success of the release, in my opinion, is the camerawork and editing by the director, Matt Jaissle, who works with the material (cameras, etc.) at his disposal, and has made this to look, well (and I mean this as a compliment), better than it should. Sure, the story itself (by first-time screenwriter Todd Tjersland, who also plays the head of the Satanic cult) is kinda ridiculous; the flying baby is priceless.

Speaking of fake names, it comes to the crew as well, such as “The X Files” related Dana Duchovny and David Fox, but the one that caught my eye was Gilles de Rias (if you are into serial killers, he’s worth looking up on Wikipedia; I have known about him for decades).

The music is often a varying hum, which actually works well for the film. There is some humor woven into the story (especially around the flying baby and the sounds it makes), though I would not necessarily call this a comedy.

Having heard of this film for years, I was not sure exactly what to expect from this, but I was not disappointed. In fact, it was much better than I was expecting, and again, I give that credit to the director who took a really silly story and, on some level, made it all work.

There is a whopping number of extras on the region-free Blu-ray that took me quite the time to get through. They include (but not all) a new, full-length audio commentary with the director, Matt Jaissle, where he has lots of good stories about the filming, and what’s going on in a particular scene you may not have noticed. A second full-length audio commentary is with Matt Desiderio of the VHS distribution label and podcast, “Horror Boobs,” and Billy Burgess of the Druid Underground Film Festival. They are knowledgeable about the film, and yet are not clinical, as I find some of the commentaries for, say, Fulci films. They seem to be there to have a good time and share that. It’s also amusing how they attach things that aren’t related to “show off” a bit (I would do the same), such as calling the opening shower scene a nod to Psycho (1960), and the Cassio soundtrack reminiscent of Blood Feast (1963). They are there to do a job, but because they are having so much fun doing it, that is transferred to the listener.

Next up is a brand-new video, “A Chat with Director Matt Jaissle” (7 min), as he roams around a cemetery with a handheld camera (with no stedi-cam) as he discusses other films he’s made, his influences, and getting The Necro Files started. It’s short and sweet. This is followed by a couple of Matt Jaissle’s Super 8 Short Films from when he was a teenager: “The Paroxysm Plague”, a zombie flick, and “The Adventures of the Walla Monster” (which includes a homage to Leatherface, Michael, and Jason). They are as amateurish as you can get, but that’s part of what makes it so much fun. A third 8mm short, “The Corpse” (1987; 9 min.) is a bit better realized along storyline and execution.

The Chilean Talk Show Segment (4 min.) is okay, except I do not speak Spanish. However, I am impressed they showed some of the graphic details (including dildos) both sexual and violent, while the group of hosts laugh it off. I wish this was captioned. More importantly is the documentary, “Dong of the Dead: The Making of The Necro Files” (20 min.). This is essentially a one-shot of Jaissle (with some brief clips) where he once again talks about the beginning of the film, the shooting, and especially the reaction afterwards (including a Chris Farley story!). It is engaging. Then there are also some Visual Vengeance trailers, including two original ones for the main film.

Included is a bonus Movie, the sequel Necro Files 3000 (2017) and its trailer, the film of which is reviewed below.

Some of the physical extras include a Limited Edition Slipcover for the first pressing, a retro VHS sticker set, the Necro Files Official Condom (yes, you read that correctly), a Reversible Sleeve featuring the original VHS art, a Collectible Mini Poster, and a 2-Sided Insert.

IMDB listing HERE  The trailer is at the bottom of the reviews.

 

Necro Files 3000
Directed by Matt Jaissle
Superpuppetanimation; VidEvil Video Company; Carilliam Pictures; Gravehill Production
62 minutes, 2017 / 2022
www.facebook.com/necrofiles3000/
This is actually the second sequel for the film, the first of which was The Necro Files 2 (2003), which Jaissle only had a limited contribution. It took 20 years for this second and official sequel to be released.

In the beginning… is the prologue. It shows a clip of the Satanists in the first film, raising up Logan, but in black and white. Instead of Isaac Cooper, we get a rapacious and cannibalistic… skeleton marionette. Yes, you read that right. In fact, from this point on, which is in color, all the characters are either puppets or dolls; the women victims are Barbie-esque, reminding me of Superstar: The Karen Carpenter Story (1987), which also used dolls. The obvious question is, of course, how does a skeleton (never mind a puppet) rape with no foot-long schlong as did the original Logan, never mind a plastic one?

Professor Blackthorne and Phineas Hogweather

We are then introduced to the protagonists of the film, Professor Blackthorne, an expert in the occults whose beard and eyebrows are drawn on with a marker, and Logan is brought to his attention by an investigative journalist, Phineas Hogweather (the latter is played by an elfin-eared “yokel” puppet; is that a commentary on modern journalism? Neil Postman would be proud).

Odd thing is, the gore level is high, and actually looks decent next to the plastic “victims” which are torn asunder. Not only that, but his plan is to resurrect “a death god to roam the planet,” exclaims the professor. They chase skeleton Logan to different parts of the globe, such as the Amazon Forest. Apparently, Logan travels to these destinations via supernatural portals. Then again, I’m watching a film about puppets. There are humans in the film, usually in the background or B-roll, shot in Ann Arbor, MI, such as trick or treaters, or crowd shots. Being shot around Halloween makes some nice costumes.

Victim and skeletal Logan

While the film tries to be funny, it kinda doesn’t achieve it much, but is still fascinating to me to watch how far they’ll go. For example, in a somewhat racist scene in the Amazon, there is an almost direct reference to a particular Bugs Bunny cartoon where Bugs meets an Aboriginal tribesman from Australia (“WhadIsay?” was Bugs’ response, rather than the professors, “Oh, shit”).

And what happens when the prof and Phineas hack into the Pentagon’s deadly Godzilla-sized Killbot 9000 (referencing Alex Jones conspiracies, of all people). This leads to the irony of the story, that P&P are responsible for killing a multitude of more people than Logan. While all that is happening, can you find Waldo? (I did.)

Stick around for the blooper reel in the credits. Okay, so much of the film is just ridiculous, but I certainly enjoyed particular aspects of it, like the bravery of the crew creating this in the first place, and for $1000. Also, there are a lot of cool references that pop up here and there (like the Waldo thing). Do I recommend it? For the right frame of mind, certainly. If you have a low threshold of insanity, well…

IMDB listing HERE  





Wednesday, August 10, 2022

Review: Aliens, Clowns & Geeks

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

Aliens, Clowns & Geeks
Directed by Richard Elfman
Elf-Maniac Media; Fusion Features; Unfound Content; UnLTD Productions; New Island Associates; Salem Street Entertainment; MVD Visual
90 minutes, 2019 / 2022
www.hipsterfilm.com/
www.mvdentertainment.com

There are certain films that can only be described as bat-shit crazy. That’s not meant as a pejorative in any kind of way, it’s a style. For example, there is Killer Klowns from Outer Space (1988), for which this film has been compared, Café Flesh (1982), Dr. Caligari (1989; a fave of mine), or The Forbidden Zone (1980). The last one is especially important in this list, because it was directed by Richard Elfman, who also helmed this ditty.

The whole Elfman family is pretty interesting, actually. Richard and his brother, Danny, formed the Techno New Wave band Oingo Boingo, and of course, Danny went on to greater things being the main soundtrack writer for Tim Burton. Then there is Richard’s son, Bodhi Elfman, who has proven himself as a solid actor, and he also stars in this film.

Bodhi Elfman, Rebecca Forsythe, and the obelisk

But let’s get the ball rolling, and put in the Blu-ray and begin the show. We start off in the world of Los Angeles out of work actors, where we meet anti-hero Eddy Pine (Bodhi). I say “anti-hero” because he’s a bit of a blow-hard jerk. But I’m sure he’ll redeem himself by the end. In this world comes a clown with a robotic voice asking for Eddy to “give birth to an obelisk.” Henh? Again, I’m sure it will come to make sense in the story.

How insane are we talking? Not too far in, Eddy has a three-way with two sisters, one of whom is Bodhi’s actual step-mom (Anastasia Elfman is married to the director). This was kind of creepy to me, but I’ll get by. This of course, leads to him giving birth to said obelisk (I won’t tell which end it comes out from), also know as the Jamtoid Key. I don’t know what that actually means yet, either, but hopefully all will become clear at some point.

Verne Troyer

Everyone seems to not only know about the object, but wants to possess it: there is the scientist who believes it could either be beneficial or destroy everything, Professor Von Scheisenberg (French Stewart; yes, that French Stewart) and his assistants, including Eddy’s love interest, Helga (Rebecca Forsythe) and her sister Inga (Angeline-Rose Troy, who also plays Eddy’s drug- and sex addicted Mom), two “Men in Black,” some Chinese gangsters, etc. But Eddy is also aided by his Trans sister, Jumbo (Steve Agee), who owns a night club. Thankfully, Jumbo is mostly treated equally and accepted by the main characters. I found that a positive. What is a woman? Whatever the hell she wants to be, and should be accepted as such. Period.

While all this madness is going on, there is another storyline that will collide with full force later on, I am sure. There are two spaceships floating around in a war over the object to either control the Earth and turn us into slaves, or just outright blow this planet up. There are some green aliens who are kind of homogeneous, and then there are the clowns, whose leader, Emperor Beezel Chugg (Verne Troyer, aka Mini-Me, in one of his last roles; d. 2018), who is a murderous authoritarian.

To be honest, I would have liked to have had more of the clowns and aliens’ storyline. And where are the geeks? If you don’t know, geeks were sideshow people who did disgusting things like bite the heads off live chickens. Perhaps I am overthinking it, and they mean the scientists, as intellectuals are sometimes called by that name. The Oxford secondary definition (noun) is “an unfashionable or socially inept person.” Well, perhaps they mean Eddy, who is a bit off when it comes to socializing.

There is a lot of sex in the film, but no nudity. The women are incredibly attractive, especially the two sets of sisters, so if you want some eye candy, you can find it here. However, with the exception of Helga, most of the female cast is secondary and there for the, well, eye candy.

I’ll say one thing about the Elfman name, it’s large enough to attract the attention of some well-known actors, such as Stewart, George Wendt (yes that George Wendt), and Troyer. And then there’s nearly the whole Elfman clan who show up at some point. And the incidental music? Well, guess…

The make-up for the aliens and clowns is pretty effective if occasionally cheesy (in a purposeful and good way), and the effects were generally CGI with lots of green screen, but only in particular scenes. This helps give the overall effect of an ‘80s film.

Forsythe, Elman, French Stewart, Angeline-Rose Troy

The version I saw was on a Blu-ray, and you know what that means: Extras. The first is “Aliens, Clowns and Geeks: Behind the Scenes” (34 min), which features Interviews with the cast and crew, including Danny Elfman (who is interview by a marionette), musician Ego Plum, Bodhi, Forsythe (sans the Swedish accent), Troy, Stewart, Wendt, Agee, among many others, including the cinematographer, Howard Wexler. Since there are some actors who play multiple roles, it is interesting to hear the perspectives on that, as well. This is mostly a series of talking heads, but the content keeps it engaging.

Next is an “Interview with Writer/Director Richard Elfman” (4 min). In his hideaway office, Elfman talks at the camera with flair and exuberance, intercut with some behind the scenes footage of him in director’s mode. Other extras include Ego Plum’s music video, the joyous “Mambo Diabolico” (Plum is the grandson of Leon Trotsky and Frida Kahlo!!). I really like the insanity of this instrumental that mixes Middle Eastern tones with Latino rhythms. Last of the biggies is the original theatrical trailer, along with a few others, including Forbidden Zone.

I don’t want to forget to add to stick around for the final credits. There is some amusing stuff going on there.

Overall, the film is quite a bit of fun. Despite the inclusion of a lot of scientific mumbo-jumbo (i.e., none of it is real), the plot is simple: get the obelisk, there is plenty of running around and action scenes (including one martial arts sequence with Helga), and it is as goofy as hell. Not as outrageous as Forbidden Zone, but a bit more coherent, narrative wise, yet remains out there in glorious WTF-ness. I enjoyed this a lot.

IMDB listing HERE 

Friday, August 5, 2022

Review: The Expat

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

The Expat
Directed by Gregory Segal

4Now Films; Badladz Productions; Spring Fairy Entertainment
96 minutes, 2021 / 2022
www.facebook.com/expatmoviephilippines

For some reason the term “Expat” (short for “expatriate”) has come under fire as being racist. I see this as a culture war argument, and will be ignoring it completely in this review. I believe if a person of any country of origin goes to another place, they are an expat of their own country, and an immigrant in the new. Race has nothing to do with it.

Anyway, there was a time in the late 1960s through the 1970s where the Philippines was a place to shoot grade C horror films that were so bad, they have become classics, such as Twilight People (1972) and Mad Doctor of Blood Island (1968), most of which starred surfer boy John Ashley.

Lev Gorn

This film is a murder mystery, but a really seedy one that actually made me feel uncomfortable at times. Right away, we are introduced to the titular expat, Nick Spiro (Lev Gorn, from the TV series “The Americans,” a show about, well, immigrants). He’s an ex-Marine who has moved to the Philippines “to do things.” It is not clear what that is, or whether it is a “vacation” (he says “for a while”) or permanent. By the title of the film, I’m going with the latter.

And what does this representative of the US do first-thing? He goes on the hunt for women for sex, through a local website. Ugh, gives masculinity a bad name. And this isn’t even 5 minutes in, he’s walking around hitting on every attractive local female he can find. He is also not kind to the women who agree to his bed. The next morning, he’s “Okay, get up, time to get out, I’m busy.” But he’s not. We don’t see him doing anything other than roaming around. I already don’t like this guy.

As his ridiculously large amount of “conquests” builds, something strange is happening in that his partners are turning up dead in alleyways with slit throats. This guy is prolific in the bedroom so the body count builds up.

Mon Confiado

On the case is Detective Cruz (Mon Confiado), who is a weird mix of likeable, but has no compulsion in whacking a guy about the body to get information, including Nick. Thought he was going to be the good guy, but I don’t think there is a “good guy” in the story. That also seems to include some run-ins Nick has with another Ugly American, just billed as the Well-Dressed Man (Billy Ray Gallion), who I’m guessing ends up having a larger part in the story at some point, perhaps even as a red herring.

One of the things annoying me is the total disregard for the women involved, with the sole exception of Cruz’s wife, Angela (Lara Morena). As the bodies stack up, Nick is more worried about himself and keeps on keeping on, knowing the danger he is putting these women into without a care. Like someone knowing they have AIDS and still sleeps around unprotected. Even Cruz is more concerned about the effect on the “community” than the women themselves. But I would also add Segal, who wrote and directed this, as being complicit in this attitude. With rare exception (such as said Angela, or the one woman who has any substance in the film at all and possible love interest, Delilah [Lovely Abella], for example), most of the females are seen as expendable, occasionally topless, with no character behind them except as sex objects to be killed off after moments on the screen.

Even Delilah, Nick treats her more like a servant that a potential girlfriend. He has her cook for him, won’t help her with chores (“Laundry isn’t my thing”), and at some early point when she asks if he’s coming back, he just leaves without answering. Total toxic masculinity on display, and just not a nice person. The writing also hints that she is interested in him as a possible sugar daddy for her young son. That being said, Abella plays her role with charm.

That being said, my favorite character in the film is the Mindoro Police Chief (Leo Martinez), who does the frustrated comic relief, dealing with incompetent underlings. Other good points is that there is some beautiful scenery as there is a large use of b-roll around Manila and Mindoro. I’m not certain if it was shot for the film, or is stock footage. There is an attempt to show both the touristy areas of bright lights and beachheads, but there is also a wise emphasis on the poverty that is there, as well. To me, this was the strongest message of the film, which was secondary to the actual story and often not explained, just placed there.

Gorn, Lovely Abella

There are minor rumblings around some possible geopolitics and local ones, but the film’s conclusion fizzles out into a nothing burger. Considering the number of people who are killed (yes, all women, who are seen as expendable), there is no blood seen, the bodies are at a distance, and we only see them after the killing. There is hardly any action onscreen other than a couple of moments here and there.

I found this release totally frustrating. It moves at a snail’s pace with way too much dialogue where nothing of substance is being said, there is hardly anyone to really like, especially the main character, and it goes in circles. I think I would rather see some of those old John Asley horror films from way back when.

While most of the film is in English, there are some bits in Filipino, with easy-to-read subtitles. Honestly, it’s not that much if you are subtitle-phobic.

IMBD Listing HERE 



Wednesday, August 3, 2022

Review: The Exorcists

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

The Exorcists
Directed by Paul Andrich
Terribly Important Films; The Movie Agency; Winnipeg Film Collective; Bayview Entertainment
88 minutes, 2022
www.facebook.com/bayviewentertainment/

Films that are focused on exorcisms rarely lean towards the comedy (well, intentionally), but some do, like Repossessed (1990), and more recently The Good Exorcist (2018). The concept of Exorcists for hire is also out there, but I like the idea of something so dire being up for laughs. Especially after The Song of Solomon (2015). 

One of the nice things about a theme of exorcists for hire is that it means we get to see a few of the processes, and each will be different. In this Winnipeg-based film, we meet Patrick, or Pat (Jordan Guay), as he is getting fired from his day job as a video editor, thanks to Covid. But he ends up, thanks to timing, working as a videographer for the titular exorcist, Tom (director Paul Andrich).

Meanwhile, a trio of dastardly villains, led by, of course, Damien (Susan Loewen), and backed by the likes of clown-masked Brian (Daniel Cormier), have wrangled a sacred object which leads them to the path of opening up the gates to another dimension to let in the Dark Lord. Mundane objects (e.g., a pair of specs that are supposed to be from the 13th Century, though they look like the $2 reading glasses you get from the large pharmacies like CVS, or in this case, Shopper’s Drug Mart) are the key to unlock the evil.

Tom is a bit of an odd character, but he comes up with surprise after surprise in his skills, which actually are humorous to watch. Patrick is at first taken aback by him, but not only do you know they will find a common pathway, but that pathway will also collide with Damien and crew in the third act.

I have to say, this film is actually quite smart and takes some leaps and bounds in the writing that are truly fun. There humor is very carefully honed, with subjects such as sexy Mennonites in Manitoba. There is also a veeeery subtle bit about suburban design as Patrick tries to find a house among circular cul-de-sacs. A lot of prairie cities are doing this now (and they always have similar names, such as Smith Crescent, connected to Smith Lane, connected to Smith Drive, and so on, all leading into each other). As you can see, the humor isn’t broad and goofy, and in fact, it is wisely used judiciously and that makes it work. Some of the best humor is when the characters are playing it straight to the events around them, and this is one of those.

Another subtle aspect that I enjoyed is that they equate a group of Jesus fanatics as not being much different than the Satanists, though in this story, both are real. Of course, in my opinion, they are both actually based on mythology rather than reality, praying to something they have never seen (on faith). This is a sharp commentary, though it’s taken with a Lot’s Wife size of salt (ever notice she was not given a name in the Bible, though her fate is remembered more than Lot’s?). Though both sides are represented, this is not a religious film that preaches.

The film also does not preach about Covid. Tom is a bit on the Conservative side, and Patrick is more Liberal (though I cannot imagine he actually votes). The masks are used as props more than anything else as some wear them, some do not (I still wear mine in public). Its presence in the film is mentioned often (unlike the vaccine) so, again, there is no preaching one way or another.

Manitoba is also mentioned a few times in various degrees of an elbow in the side kidding; kind of a “why Manitoba?” as one character openly states about a key object. I’ve only been to Manitoba once (Winnipeg) to attend a going-away party, driving through downtown to the ‘burbs that look very similar to that getting lost sequence. Thank god for GPS on my phone: got me there, got me out.

Secondary characters find their way into the fray as well, such as Frank (Ward Massner) and Tom’s girlfriend, Elaine/Gloria (Athena Metallinos)… the film explains that double name, and I do not want to do it.

Sometimes the acting comes across a bit like community theater, but personally, I like community theater. It is totally appropriate for this film, which I enjoyed from beginning to end. The writing, the bread-and-butter cinematography by Daniel Collins all works together. This is an acting troupe that got together and did their own thing.

As the director/writer/producer, Paul Andrich told me, “I’m an acting coach. During the beginning of the Pandemic, when everything was in lockdown, to boost morale I paid my own acting clients to act in a film that we made together. I used my own savings to fund it.” Respect, Paul. And truly, if you readers get a chance to see this hidden (for now) gem, I highly recommend it.

IMDB listing HERE