Review: Hollywood Werewolf

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Hollywood Werewolf
Directed by James Balsamo
Acid Bath Productions
91 minutes, 2023
www.facebook.com/profile.php?id=100063503922846

As I have said before, when you get a James Balsamo film, you get consistency: bizarre silliness, puns, cameos, and it rarely rises above ridiculous. And yet, every time I hear a new one is out, I get excited. If you are looking for some deep, serious narratives, meaningful acting, and arty motifs, well, you just have not been paying attention.

Andy Dick, James Balsamo

For his latest, he has managed to rope in Andy Dick (most known for “NewsRadio” and bad behaviour) as the titular Elliot Wolf. He was a child star who hit the lowest points possible, not including being a werewolf (which we see right off the bat). But it was this that led him to the lead part of (a different, as is pointed out multiple times) visionary director Elliot Wolf’s new film, Hollywood Werewolf.

The premise of this film is a mock documentary by director Wolf about actor/werewolf Wolf. Confusing? I think not. This style sets up well for the inclusion of many and many a cameo by cult musicians, actors and filmmakers, a motif that is omnipresent in Balsamo’s films.

Documentary films tend to be short segments strung together in a common theme or topic. This gives a chance for multiple people to ad lib and have some obvious fun as they promote their own characters, such as “Saved by the Bell’s” Troy Fromin’s audition tape for (director) Wolf’s next art film, “The Life and Death of an Avocado.” Mixed in are insults to (actor) Wolf by the likes of a fired cue-card guy, his limo driver (who turned Wolf in when he killed three strippers, but still drove him to the trial), and his poor bedraggled manager, Marvin Orange (Balsamo regular and voice actor for multiple Manga films, G. Larry Butler).

Then, of course, there are interviews with (actor) Wolf’s ex-girlfriends, whose talking heads are mixed with “sex tape” scenes of them in a shower, covering themselves with various food substances, such as chocolate sauce and baked beans/hotdogs (surely to show up in Balsamo’s nudity Sexy Time collections).

I will say that some of the jokes that are bandied about throughout generally work pretty well here, many dealing with the names of films, or insults to actors (such as Lindsay Lohan; see the trailer below). Some people interviewed are given names like Chet Taint and David Davidson, and have descriptor titles like “Wind Enthusiast” or “Urethral Sound Enthusiast.”

Balsamo has come a long way from cameos where some band member(s) or actors were obviously filmed in an alleyway or on the street during a convention where they just insult Balsamo’s character, whichever it is in a particular film. Here his drop-ins play parts and seem more connected to the storyline (and from what I can tell, this ain’t nuthin’ compared to one of his next films, Robot Dracula), such as Eric Roberts, who has also appeared and starred in a number of Balsamo releases.

As for Andy Dick being the star of this, well, I will say he was physically present. He did not seem very engaged with what he was doing, but he actually is not in the film very much (which is probably a good thing), but the name recognition works. I liked the sparse werewolf make-up, though, which reminded me – in part – of Michael J. Fox’s in Teen Wolf (1985)

Despite the bouncing boobies and petulant puns, there is an interesting sociological aspect to this film. No, I’m serious! On one hand, it is a commentary on the temporary fame of child stars and how it can screw up one’s life. There are so many examples of this, like Anissa Jones (d. 1976, age 18), Aaron Carter (d. 2022, age 34), Todd Bridges, Erin Moran (2017, age 56), and Dana Plato (d. 1999, age 36), as well as so many others. Child actor Paul Peterson even “founded a child-actor support group, A Minor Consideration, to improve working conditions for child actors and to assist in the transition between working as a child actor and adult life” (Wikipedia).

Another aspect worth noting is the effects of fame on those unprepared for it, and how the need to sustain that level of notoriety even when undeserved for any real talent (think Kardashians). That is where our titular Wolf stands, at the crossroads of both of these junctures.

IMDB listing HERE

Serial Review: The Green Hornet (13 Episodes; 2 Discs)

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The Green Hornet
Directed by Ford I. Beebe (d. 1978); Ray Taylor (d. 1952)
Universal Pictures; VCI Entertainment; MVD Visual
258 minutes (appx. 20 min per episode), 1940 / 2023
www.VCIentertainment.com
www.MVDVisual.com

The last serial I reviewed was 1946’s The Monster and the Ape. And now, here we are with an even earlier one, The Green Hornet. No, do not expect Bruce Lee (d. 1973) as Kato, the role on the television series that arguably made him a household name in North America.

Not counting the extras on this Blu-ray, which I will get to later, there are over four hours of the main attraction. In the day, you would have to wait week-by-week to see the entire piece, which would be over 3 months. Now, it is all in one go, and thanks to the new habit of binge-watching entire seasons of shows, this is quite doable (though it will probably take me a few days to get through all of them, and the extras… I have a life…).

Unlike most modern heroes, such as Batman and Spider-Man, both of which came later, the Green Hornet character started out as a radio series in 1936, created by George W. Trendle (d. 1972), transferring into the serial and adapted by Fran Striker (d. 1962), thanks to its esteem. It was popular enough to snag the original radio series, two different film serials in the 1940s, the infamous television show in the 1960s, and a major film in 2011 with Seth Rogan of all people as the title character. The 13 Chapters of this program are listed below. One of the most recognized theatrical serials released, this is naturally in black and white, but it is a crisp, new 2K scan of the original 35mm master.

In this first of two series, the focus is not exclusively on the enemies of the State (i.e., spies) from the War in Europe, but the good old Racketeers and gangsters. Right off the Bat-man, in an unnamed city, we meet rich newspaper heir Britt Reid (Gordon Jones; d. 1963; note that the voice of the Green Hornet is Al Hodge, d. 1979, who played him on the radio and would go on to portray “Captain Video” on television) and his Korean scientific genius sidekick/”valet” Kato (Keye Luke; d. 1991, known as Master “Snatch the pebble…” Po from the “Kung Fu” television series). In the heavy exposition (as it is the first episode), Reid saved Kato’s life in Asia, and he is now working for him in gratitude; in the opening scene, Kato invents a new and faster car motor, which Reid states, “Wait until I release this on the world.” Wait, it was invented by Kato… Oh, yeah, it is the 1940s. Also helping in the house is brogue-speaking ex-cop/reporter/bodyguard Michael (Wade Boteler; d. 1943) who, unlike Alfred the Butler in Batman, is unaware of the Green Hornet’s identity; he is, however, the comic relief.

The other two main “good guys” are the only returning female in the cast, Reid’s feisty secretary, Lenore Case (Anne Nagel, who would star opposite Lon Chaney Jr. in 1941’s Man-Made Monster; d. 1966) and on occasion, the fast-talking reporter at The Sentinel, Jasper Jenks (Phillip Trent, d. 2001). Notably, there are only three other women who appear, all in a single chapter, and all uncredited. Future star Alan Ladd (d. 1964) has a bit part as a novice pilot (also uncredited).

A line that comes up often is “a new Robin Hood” as the incentive for the vigilante. The Green Hornet’s goal is to wipe out corruption between politicians and a variety of other scams, such as construction company who are using kickbacks to use faulty equipment and materials in their building sites, insurance fraud, a car thief ring, and so on over the course of the 13 chapters, though most of the topics are revolved around transportation. The syndicate is run by a mysterious man on the phone.

Like Batman in the early days especially, Greenie is seen by the police establishment as a bad guy, possibly trying to get rid of the syndicate to start his own. Only a loyal employee sees the good side.

The Green Hornet’s car, Black Beauty, is souped up by Kato (who was originally Japanese on the radio show but switched due to the war in the Asian Theater), makes a buzzing sound like a hornet, that I have learned is made by a Theremin. It is supposed to go 200 miles an hour, but as it speeds past the camera (in sped up footage), the sound is flat, without a doppler effect. Even that is not mentioned in the IMDB list of goofs. Strangely, most people get into their vehicles from the passenger side, rarely from the driver’s. The soundtrack that is worth noting is the nearly constant use of Rimsky-Korsakov’s 1900 “Flight of the Bumblebee,” for obvious reasons.

The acting is completely wooden as is true of nearly all B-films of the period (not just serials), as if doing stage acting, and the dialogue is laughable. However, this is truly fun to watch, and it really is better done than most other serials I have seen. It also mixed footage shot for the series, as well as adding in some historical b-roll (e.g., mining, dam building, etc.), especially in the first chapter. As for the car chases, well it is pretty obvious they play the same footage throughout all the chapters. I am sure this was a wise budgetary decision: remember, the B in B-films could stand for low Budget. These features were not made to make money on their own, but to draw people in with a stream of cliffhangers (a term originated in serials) to see the feature film and its lesser budget companion (e.g., double bill).

It is also fun to check out the tropes of the time, just before gangster films were phasing out for war propaganda and a hint of realism, though one story deals with illegal arms shipments by someone with a slight German accent (Fredrik Vogeding; d. 1942). For example, everyone wears dark suits and ties, fedora hats, and when guns are fired, they are always handguns, with the shooter standing straight up, one foot slightly behind the other, and shooting at waist level. There are numerous fist fights in every episode, and all are unintentionally humorous and cliché. Love this stuff.

Wade Boteler, Anne Nagel, Gordon Jones, Phillip Trent

There are lots of fine, subtle moments, such as the visual of a phone dial spinning melding into another location of a truck tire going ‘round. In another, Chase saying a line and cutting to one of the bad guys saying the same line. It is reasons like this that this serial was so popular.

The extras are on the second disc. They start with Don Blair and Chris Rowe reading from Clifford Weimer’s “I Am…The Green Hornet:’ Chapter Six: The Hornet in Hollywood’” (8 min). This is part of an “autobiography” taken from the perspective of The Hornet, “himself.” It is done with old-radio style vocals discussing the jump from aural to visual. Continuing with the audio aspect are two earlier radio episodes of “The Green Hornet”: “The Parking Lot Racket” (1939) and “The Highway that Graft Wrote” (1940; appx. 30 min each). The last digital extra is a Trivia (e.g., Reid is the grand-nephew of The Lone Ranger) and Photo Gallery. On the physical side is a lengthy booklet written by prolific cultural historian Martin Grams Jr.

Serial title list (disc 1):
Chapter 1: The Tunnel of Terror
Chapter 2: The Thundering Terror
Chapter 3: Flying Coffins
Chapter 4: Pillar of Flame
Chapter 5: The Time Bomb
Chapter 6: Highways of Peril
Chapter 7: Bridge of Disaster
Chapter 8: Dead or Alive
Serial title list (disc 2):
Chapter 9: The Hornet Trapped
Chapter 10: Bullets and Ballots
Chapter 11: Disaster Rides the Rails
Chapter 12: Panic in the Zoo
Chapter 13: Doom of the Underworld

IMDB listing HERE

Review: The Killing Box

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The Killing Box (aka Grey Knight; Ghost Brigade; The Lost Brigade)
Directed by George Hickenlooper (d. 2010)
Motion Picture Corporation of America (MPCA); MGM; Ronin Flix; Scorpion Releasing; MVD Visual
82 minutes, 1993 / 2023
www.scorpionreleasing.com
www.mgm.com
https://mvdb2b.com/s/TheKillingBox/SR6687

More Americans were killed in the War Between the States, aka The Civil War (1861-1865), than in any other war in which the United States fought either before or after. Both sides were abusive to the other in so many ways, both the northern Union Army, and the slave-loving Confederates. Amazingly, so many years later, the traitorous Rebels are still honored for some reason (“The South will rise again!!”). Their symbol, the Confederate Flag, now stands for treason and racism, but for a while there in the 1970s-‘80s, it was the representation of rockabilly and the good ol’ boys (and girls) of “The Dukes of Hazard.” But I sort of digress…

One aspect you may notice about this film from 30 years ago is that there are many stars that have basically past their prime since that time, and others that were on their upward trajectory.

Let me start right off the bat that wherever the story takes, even in the beginning, the work of director George Hickenlooper is a force to be reckoned with. For example, the opening sequence is shot in sepia (though full color comes after the credits), that brownish tone that was present in early photography. Also, there is no shying away from the blood and gore of that war. Many men had limbs amputated due to the shattering effect of the weaponry and infections that would follow, sans anesthetics, and this is reflected early on.

Adrian Pasdar, Corbin Bernsen

As Capt. John Harling (Adrian Pasdar; 1987’s Near Dark), who is also a preacher, is getting ready to retire, he is called back to duty by General Haworth (a cameo by Martin Sheen) to serve under Col. George Thalman (underrated Ray Wise, of “Twin Peaks” fame). It seems soldiers are being killed via crucifixion, St. Peter style: upside down on an X-shaped cross (e.g., the symbol of the Stars and Bars flag), by an alternative army led by confederate Maj. Josiah Elkins (Roger Wilson). To help Harling, is Union prisoner and confederate leader Col. Nehemiah Stryan (Corbin Bernsen, of “L.A. Law”). As with the tropes of the likes of Hell in the Pacific (1968) and Enemy Mine (1985), two sworn enemies will join to survive.

Seems there are some undead soldiers who are attacking and killing both sides, and when they do, those combatants also become zombies. Not the slow, flesh-eatin’ kind, but nearly human with their intelligence intact. The revenge of those killed, especially Confederates apparently, is a motif that had been used before and after in the likes of Two Thousand Maniacs! (1964) and its remake 2001 Maniacs (2005), and The Fog and its remake (1980; 2005). The difference is that while the Maniacs and Fogs are ghosts, for this film they are the undead; heck, they are even horny. The only ones that seem to not come back are those crucified.

With Thalman in charge, and being an obvious bad guy, the regiment sets out to find the zombies. The group includes a runaway slave, Rebecca (Cynda Williams, who was married to Billy Bob Thornton at the time). This leads to an interesting exchange, where Stryan claims, “God is a Southerner, John,” to which Harling replies, “You think he keeps slaves, too?” The obvious answer is, no he does not keep them, but according to the Bible, he permits people to do so: Exodus 21. For me, the argument is that the whole threat of hell is meant to enslave humanity to God. But I digress, again… Rebecca is more than she appears, being a mute voodoo priestess (and what would the Bible say to that?).

Matt LeBlac (right)

Some of the soldiers, sometimes in cameos, include David Arquette, pre-Sling Blade (1996) Thornton, Alexis Arquette, A.J. Langer (who plays a boy, so this can never be shown in the state where it is supposed to take place), and in his first film role, Matt LeBlanc, who never gets to ask, “How you doin’?”

I have learned (from IMDB) that the dead soldiers were written to be vampires, but the director turned them into zombies having been raised by an evil voodoo entity, so he did not have to do as many night shoots. But knowing this, helps makes sense of certain scenes and dialogue (e.g., biting and not crossing running water). Personally, I think the story makes more sense as blood-drinkers. Just an FYI I am passing on.

Willaims, Bernsen

There is a surprising amount of blood and gore (by René Dashiell Kerby, who also worked on 2003’s Cat in the Hat and Star Trek in 2009) for a film of this level at that time. The cinematography and pacing occasionally looks and feels a bit like an “ABC Movie of the Week,” but it does not shy away from the bloodletting, so I am good with it.

One thing I found frustrating was the lack of the evil entity/entities in the cave that “turned” the soldiers. It is discussed, but never shown. Were they planning on a sequel? I do believe that this would be a good film for a reboot and up the violence ante.

Honestly, with this cast, I was not sure what I was anticipating, but I will admit that my expectations were low. It was much better than I anticipated, even with some slow moments here and there. It also make me think of 30 Days of Night (2007) more than any of the ...of the Dead releases.

This is ridiculous because it is anachronistic, but I was kinda hoping the soundtrack would play Duane Eddy’s “Rebel Rouser” and/or Billy Idol’s “Rebel Yell,” possibly over the final credits. We do, however, get a version of “Dixie” and “Yankee Doodle,” which is more appropriate.

Bonus materials are English Subtitles for the Deaf and Hard of Hearing, DTS-HD Master Audio, High-Definition Blu-ray 1080p Widescreen Presentation (1.78:1), and a new 2020 HD Master. Also, there are a nice stack of B-film trailers from the 1970s-1980s, both genre and mainstream, as well as a surprisingly blurry version for this one.

MDB listing HERE

Review: Motion Detected

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Motion Detected
Directed by Justin Gallaher; Sam Roseme
Asterlight; Freestyle Digital Media
www.freestyledigitalmedia.tv/film/motion-detected/
80 minutes, 2022 / 2023

As much as this is a thriller (rather than horror) about a fear of one’s environment, it is also an acknowledgement of a dread of AI technology in what is supposed to be the sanctity of the safety of home. A recent subgenre has focused on home invasions, such as with Becky (2022), but those deal with the human element. This is more in the line of Demon Seed (1977), as self-aware digital manipulation rather than, say, robots are the issue. But it seems there may be even another side to this.

After a quick prologue that gives a whole new meaning to the idea of the monster in the closet, we meet Eva (Natasha Esca) and Miguel (Carlo Mendez), who are house hunting in Los Angeles after moving from Mexico City thanks to some violence by a gang called El Diablo that occurred there. The shady real estate agent, Julie (Katelyn MacMullen in a cameo, who has been Willow Tate on “General Hospital” since 2018 for over 450 episodes), is a bit of a cliché for these kinds of films, although usually appearing in renting haunted houses in the trope.

The casa in question is a “smart house” that has controls, cameras, security systems, and so much more, run by – get this – Diablo Controls. The voice (Jasmin Walker) of the system talks in a steady monotone, reminiscent of a female version of HAL in 2001: A Space Odyssey (1968), or even Siri and the “Read Aloud” feature on Microsoft Word. Wonder where this is going… Hmmmm. Meanwhile, PTSD-ridden Eva is stuck alone in the house on the first night by her husband who returns to New Mexico for a business trip. ‘Natch. So now we know who is the main character.

Eva is struggling to figure out her own paranoia and fear, and the new system in the house. Plus, bad dreams are not helping. Meanwhile, something glitchy this way comes as a digital, staticky looking CGI figure is seen roaming about.

A nice touch is a mixture of possibly malevolent technology and perhaps something else, mixed with an older Latinx religious aspects as Eva visits the dark, mystical version of Christian voodoo (if you will) Templo Santa Muerte, a real place on Melrose. Love it when both religion and technology mix in a story, with it being in conflict rather than on the same side. Another thing I noticed is that although they had all the modern tech, such as phones, computers, etc., there was no television in the house. Again, hmmmm. 

There is a bit of overlaps from previous films, seen in moments that could have been influenced by the likes of the Paranormal Activity franchise (starting in 2007), spooky kitchen action via Poltergeist (1982), and Prince of Darkness (1987).

There is no doubt that this is Esca’s film, as she is in nearly all scenes. She carries the role well, being both sympathetic and still giving a vibe of strength within the PTSD from the past (other than giving into a vice or two under stress). Everyone else in this limited cast is there fleetingly, including Mendez, such as Diablo technician Ray (Roland Buck III), Eva’s on-line therapist Dr. Olivares (KIimberli Flores), nosy neighbor Nancy (Julie Brister), and rattled co-Diablo client Reed (Bob Clendenin, a semi-regular on “Scrubs” and “Cougar Town”). A cast this minimal gives me the impression it was possibly filmed during the COVID period.

My one issue with it, though, is that it is too long for the actual story, with a lot of roaming around the house and grounds with dissonant music playing on the soundtrack. It was the only time I was truly distracted and taken out of the story. And this has nothing to do with anything really, but why do so many genre films have gratuitous scenes of someone brushing their teeth? It seems to have replaced the nude shower moments that used to be so prevalent. Pet peeve, sorry.

On the other hand, the soundtrack is sparkling, filled with Latin music that is both contemporary, and yet feels somewhat traditional at the same time (think of the equivalent of a new band who plays classic rock).

My feeling is that they are thinking of doing this as a franchise, for three reasons: first, there are a lot of users indicated that use Diablo Controls, so that leaves room for many more stories. Second and third, is the what and why of Diablo. What is the reason for this all happening, and what is the motive behind it. Perhaps they will continue with the stories, or perhaps, at some time do an origin piece, all of which I would be interested in seeing.

This is an enjoyable entry into the ghost in the machine category, stretching the envelope a bit here and there, mixing and matching genres and tropes effectively. A great start for the directorial debut of both Gallaher and Roseme, who are known more for screenplays and producing.

This film is available on Digital HD and VoD, including iTunes, Amazon, Vudu, Comcast and Verizon.

IMDB listing HERE

Review: La Petite Mort 2: Nasty Tapes

 Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

La Petite Mort 2: Nasty Tapes (aka La Petite Mort II)
Directed by Marcel Walz;
Matador Film; Bogatzki-movie.com Movie Production;
Unearthed Films; MVD Visual
90 minutes, 2014 / 2023
www.facebook.com/la.petite.mort.2/
www.unearthedvideo.com
https://mvdb2b.com/s/LaPetiteMort2NastyTapes/UN-1149

This is the second chapter of this German transgressive cinema directed by goremaster Marcel Walz (who as since moved and started filming in Los Angeles). In the first installment, the yucky stuff was handled by Olaf Ittenbach, who is absent this time. Still, I have no doubt that will not slow down the ultraviolence. Again, the film is in German with English subtitles. But honestly, I get the feeling, the libretto is not going to matter as much as the visual. The gore effects this time are handled by The Gruesome Twosome, and Megan and Ryan (d. 2019) Nicholson. A cult SFX wizard, Ryan also directed the likes of the Gutterball franchise, Hanger (2009), and Star Vehicle (2010). 

In the first piece, LaPetite Mort, released in 2009 (though taking place in 1998), we are introduced to the Masion La Petite Mort in Frankfurt, where travelers are tortured for the deep web viewing pleasure, as well as an opportunity for rich people to fill their violent fantasies (a la the Hostel franchise), but online. Honestly, I would not be surprised if this actually happens, but as I have never been on the dark web and have no intentions of doing so, I will never know, nor do I want to see that.

Yvonne Wolke, Annika Strauss

The new owner of La Petite Mort is sexually amorphous Monsieur Matheo Maxime (Mika Metz; d. 2017), with his two hench – er – women, brunette Dominque (Annika Strauss), who returns from the first film, and blonde Monique (Yvonne Wölke). Both could have been in the video for the Divinyls’ song “Pleasure and Pain.” They are aided by others, such as the Sexy Nurses (Gabriela Wirbel and Nicole Neukirch), the well-named Eva Brown (Bea La Bea), and Matheo’s wife, Jade (Micaela Schäfer).

In the first film, we are introduced to some tourists who end up at the Jail Bar, and how they end up in Masion La Petite Morte, as well as the follow-up. Here, there is no context, just torture broken up into segments that have title cards such as “Sushi Time” with info on the victim, and how much someone is paying to have them eviscerated. As Ralph Kramden may say, “Pins and needles, needles and pins…” Victims are of both sexes, so there is that. There are also “between” segments with testimonials from happy customers who either paid for the chance to kill, or do the body work themselves. And all of it on camera.

Micalea Schafer, Mika Metz

Much of it is from the perspective of the Web cameras, so it is nearly found footage style, but there is also some “backstage” drama with Matheo and the women who work for him. Even this internal tension is caught on video, as the characters occasionally look directly at the camera and comment.

A sort of by-product of this style is that the person watching this is not just a viewer, but is a participant of the feed.

Gabriela Wirbel, Nicole Neukirch

Stylistically, it is actually shot beautifully, focusing on the faces (or parts thereof) in close-ups of most of the characters, in a darkish, reddish tone. Also, for some reason, there is some clips of Carnival of Souls (1962) and Night of the Living Dead (1968) shown on a monitor (the former also of facial close-ups).

Each set piece has a slightly different feel, such as one called “Gasrechnung” (“Gas Bill”) which has a definite World War II feel, with Eva Brown giving herself a Hitler moustache in blood. Most of this segment is in black and white as in a Leni Riefenstahl-style propaganda film. Interestingly, there is an added censor image over certain parts of the uniforms, which show Nazi iconography. German film: detailed torture permitted, but no symbols of the “fatherland.”

Like Tod Browning in films like Freaks (1932), some odd humans are thrown into the mix, such as The Twins (Barbara and Patrizia Zuchowski). There are also some cool cameos throughout from cult genre filmmakers and/or actors, such as Dustin Mills, Haley Madison, Uwe Bowl, Mike Mendez, Adam Ahlbrandt, and Ryan Nicholson (d. 2019).

Despite splashes (drips?) of laughter in a couple of moments, everyone seems to be unhappy, be it through body dysmorphia, boredom while inflicting pain out of repetition, and of course, the subjects of the sharp objects. This is a pretty joyless film, with minimal humor, though there are some dark moments of it scattered throughout.

The first extra on the Blu-ray is the “Making of La Petite Mort 2” (13 min), which is essentially extended scenes showing more detail of some of the tortures. Then there is an “Alternate Scene” (4 min) that is the “Gas Bill” part, without the edited-out images of the Iron Cross, the “SS” Schutzstaffel logo, and of course the swastika armband (wonder if they ever play Lech Kowalski’s 1980 documentary D.O.A. over there).

The ”Behind the Scenes Gallery” (3 min) is lots of nice shots of the make-up and the cast, and I quite enjoyed it. As for the “Advert” (30 sec), I have no idea what I was looking at. Last, there are a few company trailers, as well as two from this film, and the first La Petite Mort.

As I stated in my review of the first film, “The problem with stories like this, and this is my opinion, is the plot revolves around the action, rather than the action being a result of the story…sometimes it goes beyond what even I can tolerate. If this is your idea of fun, well, please, have at it.”

I realize that this film is a few years old now, but I have to say, the whole premise of strangers being tortured for the pleasure of the rich and/or on the Net for clicks/cash, is becoming a bit cliché, and is merely an excuse for some graphic body horror. Sure, I like a bit of ultraviolence, but my tastes run more to the cartoonish violence, even when explicit, than just someone being tied up and put through the wringer. Also, I like more of a narrative than a string of events. How can one feel anything about any character if there is nothing to bolster the why, other than greed.

 MDB listing HERE

Review: The Resurrection of Charles Manson

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The Resurrection of Charles Manson (aka Man’s Son)
Directed by Remy Grillo;
Bolt Films; Dare Angel; Hooligan Dreamers; Margate House Films; Voltage Pictures; The Movie Partnership; XYZ Films
78 minutes; 2023
www.xyzfilms.com

Not being a Christian, thank god, I had not yet thought about Jesus being the “Son of Man,” and Charlie, who many believe was the anti-Christ (and others, a savior), as “Man son” (aka “Man’s son”), the latter of which is the Canadian title for this release. That is as cool as Lincoln’s secretary being named Kennedy, and Kennedy’s secretary was named Lincoln. But I digress (and so quickly!)…

Manson, like Jesus, has become more than just a man (well, there is proof that at least one of them existed), but has become a cultural icon beyond the actions that made them so. Manson has become the folk boogeyman that people love to hate, or just love as a symbol, much as Jason and Michael; someone you can admire, but not necessarily one you would want to share a space in the real world.

Katherine Hughes

Actress Tianna (Katherine Hughes) and photographer boyfriend Mitch (Josh Plasse), who have a bit of a fraught relationship, decide to go on a vacation to a secluded area in the desert Yucca Valley (California) area. There is an indication right off the bat that there is something fishy going on with a cultish symbol of an ouroboro showing up in tattoos and scratches into the dirt.

Tianna is prepping to audition for a film in which she would play one of Manson’s “family.” The idea is to stay in a place similar to the Spahn Ranch to get into the role. But Manson’s ideology has not left the neighborhood. The cult is run by Robert (in an extended cameo, the director’s father, Frank Grillo, from 2011’s The Grey, part of The Purge franchise, and as Brock Rumlow in a bunch of Marvel Universe films revolving around Captain America), and his wife (a cameo by actor/model Jaime King, doing her best Morticia). They were of the original Manson family members, who are planning to do a sacrifice ceremony to bring Charlie, their “Lord” (as Robert puts it), back from the dead, with help from their oddball son, Lucas (Will Peltz). This is to take place on the anniversary of Charlie’s death (November 19). And, of course, Tianna and Mitch fit right into their plans in various roles.

Josh Plasse

First of all, this is Remy Grillo’s first directorial effort, and for a newbie, he does an amazing job. The cinematography alone, by Peter Tolifson, is fantastic, employing shots of the desert and bare hills filling up the screen in its sterile beauty. Sometimes it is from a higher view, thanks to some drone work.

Also, the soundtrack is really fine singer-songwriter and soft rock tunes, that unfortunately did not get listed in the credits. It had just the right spirit for the tone of the film.

Frank Grillo

This is a pretty seasoned cast, so it should be no surprise that everyone came out looking good. I was amused at just how “New York” Grillo came across onscreen, looking like he just stepped out of a wiseguy film, with his facial brush, accent sneaking through, and even his body language; it was an enjoyable display for this Bensonhurst (Brooklyn) writer. While there are not many scenes of violence and gore, what does show up scattershot is quite effective and is stronger by being applied so sparingly.

While enjoying the storyline, and the visuals and aural elements of the film, I do actually have a quibble, and this is hopefully just a beginner’s learning experience: I found that chucks of the film, mostly in the first half, tended to, well, meander. It could have used some tightening up a bit, as some moments lulled (e.g., when they first arrive at where they are staying in the desert).

All that being said, there were some strong twists and turns that I did not see coming – and I am talking about a few of them. Also, these unexpected moments occurred throughout the last half of the film, so it was not just concentrated at the very end.

Speaking of the conclusion, during the end credits, there is a whole section for the people who did the COVID testing. First time I have seen that. Cool.

There is no new products listed for Remy in the directorial section of IMDB, but I am truly hoping to see him keep this up. I believe he has a vision, and works well bringing that to the screen.

IMDB listing HERE

Review: The Lake

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The Lake
Directed by Lee Thongkham; Aging Xu
Epic Pictures Group; Dread; Hollywood Thailand; Airspeed Pictures; Creative Motion; Thongkham Films; Right Beyond; MVD Visual
104 minutes, 2022 / 2023
www.facebook.com/TheLake2019
https://mvdb2b.com/s/TheLake/EP-202303

I like slasher films. I tolerate body horror. But if you want to really pique my interest, give me a good ghost story or especially a creature feature. This release from Thailand falls into the last category.

Bueng Kan is a town on Baan Nakom Lake near the Mekong River, just a stone’s throw from the Laos border. Living in this lake is the beastie, a scaley thing that has no problem chompin’ on human flesh and seems to be attracted by frogs. Perhaps this is something in the local culture? Also, a huge egg has been found on the shore.

The two-foot-tall egg is brought home, and protected by a young girl from the village, May (Wanmai Chatborirak). She lives with her missing father, sister Lin (Sushar Manaying) and drunkard brother-in-law, Keng (Thanachat Tunyachat)…or is it brother and sister-in-law? I am not sure, but it really is not important.

In a very short time – no waiting until the third act – the creature is on the loose and angry, looking for love…I mean, looking for the egg. It goes into the city and causes lots of damage, yet for a long time the authorities are only finding the aftereffects of its actions. Whaaaat?

Along the way of rampaging, Keng gets…bitten? …clawed? by our grumpy beast, creating a bond between them, so Keng feels the physical manifestations of what is happening to the monster. This is an interesting concept. But it is still early.

Further along, we meet a Police Inspector, James (Teerapat Satjakul), and his daughter, Pam (Supansa Wedkama). They are argumentative with each other, but if this follows along the trope line, the monster will get them together again. I will not say if I am right or wrong, but at 47 minutes in, that is my guess.

The creature looks good, and we get to see it in its full glory early on, with a large percentage use of full-sized SFX body, or occasional a full-body motion CGI. When it is the full-scale version, it uses animatronics quite effectively. In the personal encounters with human, we see quick edits, making it a bit hard to see the entire creature in context, but honestly, this is to be expected from a relatively low budget film, and I am not disappointed by it. I found myself smiling during the creatures’ attacks. Yes, plural.

Was this filmed during monsoon season? There is an awful lot of scenes in hard rain, and I am not sure if it is natural, if the director meant it to symbolize the oppression of the people by the monster and/or vice-versa, or making it harder to distinguish the carnage (again, budget).

While I have seen this in comparison with The Host (2006), which is totally understandable, but it is closer to a scaled-down Godzilla, and in tone and storyline to the British release, Gorgo (1961), with a monster mama searching for her youngns’. The creature is designed by Jordu Schell, who has worked on tons of movies the likes of Dawn of the Dead (2004), Avatar (2009), and The Cabin in the Woods (2011).

Certainly, there are going to be comparisons with Jurassic Park (1993), especially the scene with the T-Rex introduction. Also, the heads of two of the prehistoric looking beasts here look a bit like at a couple of the dinos in that film. Hey, if it works.

My one complaint, as I often opine, is that it is too long, and really needs some editing down at least 15 minutes. That being said, the first of the extras on the Blu-ray are two deleted scenes (1:23 min; 37 sec, respectively), which are honestly meaningless out of context. They also fit better into the a behind the scenes category. Speaking of which, there are a half dozen “Behind the Scenes” – er – scenes, most of which are under a minute, but give a good look at the monster. And to add more time, there is the “Extended Ending” (12 min), which was the source of the “Behind the Scenes” footage. And ironically enough, even though it was much longer than the final ending, this was actually better.

“The Scoop Featurette” (4 min) is a promo for the film, as well as for Thai cinema. It is fun to watch and enjoy the excitement of the announcer. The last are two The Lake trailers (worldwide and Thai) and a half-dozen others by the Dread brand.

One of the subtle aspects of this release is a religious element which is only touched on, regarding a monk. However, it is more prevalent in the extended ending, and fits better into the storyline motif.

I am not sure if they intend to make a sequel or perhaps even a franchise, but I am guessing it depends on how well it does on the VoD and digital market.

IMDB listing HERE

Review: Young Ip Man

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Young Ip Man (aka Young Ip Man: Crisis Time; 少年叶问之危机时刻; Shàonián yè wèn zhī wéijī)
Directed by Liming Li
iQIYI; Flying Youth Pictures; Lajin; Hi-YAH!; Well Go USA Entertainment
79 minutes, 2020 / 2023
https://wellgousa.com/films/young-ip-man
www.hiyahtv.com
#youngipman @WellGoUSA

While I could be wrong about this, it seems as much like the last 50 or so Amityville and [fill-in-the-blank]nado films do not really have anything to do with the original productions other than name usage, I wonder if that is true with the term “Ip Man.” Paraphrasing from Wikipedia, “Ip Man, born as (Y)Ip Kai-man (1893-1972) was a Hong Kong-based Cantonese martial artist and a grandmaster of the martial art of Wing Chun when he was 20. He had several students who later became martial arts masters in their own right, the most famous among them being Bruce Lee.”

“Ip Man” started as a series of films starring martial art legend Donnie Yen that was rightfully quite successful. Yen became iconic in the role. For this Chinese release in Mandarin (with English subtitles), Zhao Wenhao picks up the titular position as Ip Man.

Zhao Wenhao

The film opens with a bang, detailing the escape of villain Ma Long, who was set for execution for previous but not described felonies. One scene is reminiscent of Enter the Dragon (1973). Lots of shooting, stabbing, explosions, car chases, and so on. Nice way to begin, before we are even introduced to Ip Man, who is studying martial arts in said Hong Kong. We also meet his friend, Xuehu, who is wanting to impress his girlfriend, Xiaofeng.

Ip Man is also studying in a college. As this is set in 1917 in Hong Kong, which was under British rule, the school is hosting the First Xinsi Cup English Speech Contest. It is here we meet Yayun, a cute, yet spoiled rich girl who has a thing for our titular hero.

Before the contest can begin, all the students are kidnapped within the enormous building (shades of 1988’s Die Hard) by Ma Long and his gang, which includes assassin Ma Wei (Pantheras Freedman), and Xuehu, who is in need of money to buy a present for his sweetie. The purpose of the action by our villains is to hold the son of the British Police Commissioner for ransom, and possibly other nefarious reasons.

As you may have guessed, there is a socio-political component to this film, with high reliance on a dislike of the British rule in Hong Kong (much as the UK was the enemy in films about the American Revolutionary War). I have seen a number of Chinese martial arts releases which took place in the 1930s where Japan was the enemy after their invasion, but it is interesting to see it pointed at British colonialism.

Another interesting aspect is that in many of these films, the henchmen are anonymous and throw-away “machines” in the cog of the event (1997’s Austin Powers: International Man of Mystery had fun of this with Will Farrell’s character), and while most here fit that ilk, having Ip Man’s masked buddy Xuehu one of the crew makes it a bit more human.

Something I do not understand, and again, this is common for many films, is that doors are locked, but nobody thinks about breaking a window to escape. I was wondering if this was a cultural thing about destroying the property of the authorities, but they seem to have no qualms about wrecking furniture, and, in fact, break windows during fights.

Despite the drastic situation (which in the States, attacks on schools seems commonplace lately), and some decent martial arts fighting), the film actually starts a bit on the light side, often using humor, or being careful not to be too Die Hard deadly. For example, machine guns open fire on a crowd, and an explosive goes off, and yet, no one is killed. This could have been a fine John Wick intense moment, but that is not the direction of the film, which is action-based, rather than slaughter. The viewer sees lots of fights, but few killings onscreen, making those that are there more compelling. I say this not as neither a positive nor negative thing, but as an observation.

There is also a bit borrowed in theme from Kill Bill; Vol. 1 (2003), especially the House of Blue Leaves sequence, including Leng Yu, a female assassin using a chain with a deadly point, a la Gogo Yubari.

This is the director’s third feature film, and second “Ip Man” release (the first being 2019’s Ip Man: Kung Fu Master). One of the things that made Donnie Yen so iconic as Ip Man, other than his long black jacket, was his stoicism. That is one thing that is lost here, but perhaps it is because he is so young yet and has to learn the hard lessons that would bring him to that point.

There are quite a few fights, increasing in number as the film progresses, with some wire work, but not over the top (e.g., no one jumps from one storey to another). It is nice to see where Ip Man first developed his “trope” of numerous punches within seconds to the chest. I also like that sometimes things happen for reasons that are not expected, such as previous relationships.

Overall, as martial arts films go, the storyline is a bit thin and mostly follows a formula. Yet, this was a fun watch throughout; tropes are there because they are popular, after all.

As a note, as stated on IMDB: “This is supposed to take place in 1917, but the cars, clothes and many items are from at least two decades later.”

IMDB listing HERE

Review: Unwelcome

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Unwelcome
Directed by Jon Wright
Tempo Production Ltd.; Shudder; Automatik; Corner Stone Films; Ingenious Media; Rococo Films; Well Go USA Entertainment
104 minutes, 2023
https://wellgousa.com/films/unwelcome
#unwelcome @WellGoUSA

As a Yank, when I hear the term “redcap,” I think of a valet who will park my car or bring my luggage into a hotel. However, in the UK, as explained by Wikipedia, “The redcap (or powrie) is a type of malevolent, murderous goblin found … to inhabit ruined castles along the Anglo-Scottish border … and is known for soaking his cap in the blood of his victims.” And now, on with the review.

Hannah John-Kamen, Douglas Booth

London couple Jamie (Douglas Booth, who was Nikki Sixx in 2019’s The Dirt, and Romeo in 2013’s Romeo & Juliet) and Maya (Hannah John-Kamen, who was Ornela in “Game of Thrones” and Ava/Ghost in 2018’s Ant-Man and the Wasp) have just found out they are expecting. Problem is they get on the wrong side of an obnoxious and aggressive trio of hoodlums in the neighborhood and need to rethink their living arrangements. From pan to fire on its way.

To escape, they move to a family home in a village in rural Ireland (I do not remember a mention of how Jamie or Maya make a living) to raise the soon-to-be-born bambino. They are warned by a friend of the family, Maeve (Niamh Cusack, of the infamous British acting family) of the “little people” and the daily blood offering to be made to them without fail (e.g., liver is mentioned).

Kristian Nairn

Of course, being young, distracted and very preggo, and the fact that they are city people who do not understand the local ways, the offering is not the highest priority on their minds, as much as getting a hole in the roof fixed. Plus, they are both suffering a bit of PTSD after a violent action back in London. This is not what ever is the Irish word for kosher to the nasty beasties.

The whole place is kinda run down, so the couple employ the local handyman’s family, who are bound to give you the willies. They remind me of the locals from either version of Straw Dogs (1971 / 2011), considering their reactions to the lack of full-blooded Irish of the couple. Heading up the Whelan family is the angrily abusive patriarch Colm (Colm Meany, of 1991’s The Commitments and was Chief Miles O’Brien in “Star Trek: Deep Space Nine”), who insists on being called “Daddy” by everyone, his slow, rarely-speaking, and enormous Lenny-like son Eion (Kristian Nairn, who was Hodor in “Game of Thrones”) who has a thing for Maya, his other, muscular bully son Killian (Chris Walley, who is in the recent Last Voyage of the Demeter), and his daughter Aisling (Jamie-Lee O’Donnell, of “Derry Girls”). A dodgy clan, at best.

The title is a nice double, or perhaps triple entendre, as to who is unwelcome: is it the redcaps who are unwelcome by the couple who have bought the land, or is it the couple who are intruding on the redcaps’ historical property. Then there is a lack of respect by the handypeople who refer to the couple as “Oliver Cromwell,” as the British oppressing the Irish. As Whelan states to Maya and Jamie, after his kids have been obnoxious, “We all need to learn our place.”

On one hand, I feel sorry for Jamie and Maya, because it seems everywhere they go, they get harassed: if it is not the neighborhood toughs, it is the locals, and then the redcaps. Mind you, they are not that innocent, either, as Jamie giving the finger to the first group, and Maya being lax with the daily sacrifices that cause locals to lose their lives. As far as the fixer-uppers, well, they’re just obnoxious malicious twits in their own right.

One thing that drives me crazy about genre films, not just this one, is that when a woman experiences something, the man dismisses it, in this case to “baby brain.” The deeper into the film, the less I liked Jamie. Maya has her own issues, but Jamie proves himself to be toxically masculinist. This is just too common a theme. He is a bit obtuse and has explosive anger, such as his actions with the thugs and the family (mind you, the latter are equally at fault, including the daughter).

There is a strong reference to said Straw Dogs, though rather than boobytraps, Maya enlists the aid of others, which you can see coming, as well as a price to pay for that. The wee beastie redcaps look really good and menacing; from what I understand, they are played by “normal” sized people and then either digitally shrunken or play on sets that are built to make them look smaller. It is a nice touch that while there is a supernatural element to these knife-wielding and literally blood-thirsty creatures, they are not immortal and can be dispatched.

There is also an effective level of blood and gore during the last act, without it being over the top. As for the acting talent? These are seasoned actors with multiple relatively large credits, so there is no slacking in that department.

The cinematography is lush and beautiful, with indoor set pieces that look appropriate for a long-misused, out of the way country cottage, and the way the camera lovingly plays with the woods, sometimes with mist, is almost a character in of itself. And yes, there is some mandatory drone work as a car is driven on narrow highway roads through the forests.

Other than this being a tad too long and could use some tightening up here and there, the ending was not what I was imagining, thankfully, and while they did choose another trope, it was not something I was necessarily expecting, and I like that.

IMDB listing HERE