Text © Richard
Gary / Indie Horror Films, 2022
Images from the Internet
Death Count (aka Numbers)
Directed by Michael Su
Mahal
Empire; Blaen-Y-Maes Bootleg Films; Mezek Films; Gravitas Ventures
81 minutes, 2022
www.facebook.com/deathcountmovie
I love when old tropes are used, and with some imagination thrown in, making it something worth watching, even when it feels so familiar yet puts new skin on it.
In this case, it’s a mash-up of strangers who wake up in a cell and have to compete to be the last person standing. Or, at least, living. They are put through a series of trials and devices, such as in the Saw franchise (2004-Present as of this writing), Cube (1997), and Funhouse (2019). And like the latter, the Internet plays a part.
But I am getting ahead of myself here…
Eight people wake up in separate, dingy cells. They are assigned numbers like on “The Prisoner” (1967) rather than names by the mysterious and partially masked Warden (Costas Mandylor, who was in some Saw flicks). They are (and if you are not interested be warned I am about to list them all with those who played them, if you want to skip this paragraph): #1 (Denny Nolan), #2 (Wesley Cannon), #3 (Sarah French, who has been in the likes of 2012’s Dropping Evil, 2015’s BiteSchool, and 2015’s Insectula!), #4 (BJ Mezek; also the Executive Producer), #5 (Delvanny Pinn, in 2012’s classic Where the Dead Go to Die), #6 (Robert LaSardo, who you will definitely recognized, between his goatee and his tattoos; I’m a fan), #7 (Kimberly Lynn Cole), and finally #8 (Dave Shecter)
Sarah French
While the prisoners are dying, they are vying for online “likes.” In other words, as long as you are popular and do not disobey the Warden’s rules, you may have a chance. Fortunately, right off the bat, some refuse to comply, leading to some quick, violence, and enjoyable deaths. As with Saw, each are assigned to do some self body harm or be “eliminated” (e.g., have their head blown off by implanted explosives in their necks). This is straight out of the Saw playbook, on a cruder level, as the devices here are less elaborate. Both Saw and Hostel (2005) are referenced within the film’s context by newscasters.
Costas Mandylor
Because the whole thing is online live to gather the likes, everyone can see it (but not trace it), so naturally the cops are on it, led by Detective Casey (how-the-mighty-have-fallen Michael Madsen, who has lately been playing the indie horror route). Madsen looks like he is floating through the role, which actually does not surprise me considering his career projectory. This is probably for the bucks, which I do not blame him. That said, his voice is incredibly gravelly like he is gargling with rocks, he moves incredibly stiffly like he is in actual pain, and he has a cut over his eye that looks real and is unexplained, possibly from a non-acting incident. The police are having trouble taking it seriously at first, but that’s bound to change.
So, a question I have is that I wonder how the Warden can not only afford to build the series of cells, but the technology involved with the communication system and devices. That question also goes out to Jaw’s Jigsaw (but perhaps the latter was answered and I missed it). Or maybe I should just drop it and enjoy it for what it is.
Michael Madsen
One of the brilliance of this film is that it is perfect for being recorded during a Covid outbreak. Here are a group of people in separate cells who, except in rare cases, are never seen together, so they are naturally isolated while the characters are in their cells. That would make this a patchwork like a jigsaw (no pun intended) that was craftily put together, piece-by-piece. Creativity during stressful times and making it work is smart. Hell, technically, nearly all could be filmed in the same cell with different characters over time, and the viewer would not be the wiser. Again, the latter makes me think of Cube.
Got to say, if’n I was in the situation that these prisoners find themselves, I would just let them explode my head early on than do self-mutilation. It would be so much less painful for a quick end, because I know I will not be the one who gets out, if anyone does win this “game,” which essentially amounts to body horror and torture p**n. For those who are into that kind of thing, I highly recommend this. If you are any bit squeamish about blood, mutilation, self-harm, and the like (e.g., fingernails), you are warned.
Robert LaSardo
There is a level of sadism that permeates not only the workings of the story, but in the viewing of it as well. With Saw, there was a level of imagination in the trappings of the deadly devices which, yes, is torturous, but it is highly imaginative. There was also a layered level to what was happening and why. Here, it is everyday instrument and a large part of the violence is self inflicted mostly with general tools (hammer, boxcutter, and much more). There is a certain layer here, too, as we learn that the choosing of the participants is not quite as random as one might think at first. This does give a bit more cohesion to the story that I was happy to see.
The last person standing (I am not saying if they survive or not) is pretty obvious throughout, but that’s okay. It does nothing to diminish from the events happening. However, the last minute of the film seems unrealistic (which has nothing to do with the main story, and I’m afraid I cannot say why without giving away spoilers), but I am not sure if it was meant to fit in to the cycle of the story, or looking for a sequel (or franchise?).
With its faults, the film is effective
if you are into body horror, and I would endorse it for that audience.
IMDB listing HERE https://www.imdb.com/title/tt12338246/?ref_=fn_al_tt_1
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