Review: Becky: Special Edition

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

Becky
Directed by Jonathan Milott and Cary Murnion
Yale Productions; Bondit Media Capital; BoulderLight Pictures; Buffalo 8 Productions; Quiver Distribution; Redbox Entertainment; MVD Visual
93 minutes, 2020 / 2023
www.MVDVisual.com

I am actually kind of surprised this film came across my desk, as it were. It was a middle-sized release (as opposed to the low-budget indies I usually get to review) that played in theaters less than 20 years ago, and had some relatively name power in its cast that was not just cameos. The three biggest names are Mall Cop (2009) Kevin James playing against type (if this had been an LGBTQ theme, I would have said something about “King of Nazi Queens”), Joel Hale of “Community” taking a serious turn, and up-and-comer Lulu Wilson in the titular role, known mostly for “The Haunting of Hill House” (2018) mini-series, who was 13 at the time of Becky’s filming. There is also a ton of extras in this Blu-ray, which I will get to later.

Lulu Wilson, Joel McHale

After a full minute of production company credits, we are introduced to Becky being interviewed by the police, with the rest being in flashback. The jarring music that seems to be influenced by The Breeders’ “Last Splash,” is a nice transition to the main, dissonant story.

The direction and editing (by Alan Canant) of the opening sequence, which introduces both convict Dominick (James) and schoolgirl Becky (Wilson) is incredibly well done, as they flip back and forth to show that both are unconventional. For Dominick, it is violence for the White Nationalist Brotherhood cause, and for Becky, it is pretty easy to see that she is a bit disturbed, beyond being a teenager and that her mother (played by her real, uncredited, mom) recently died of cancer.

Wilson, Kevin James

What is also interesting to me is that both of these main characters are accompanied by two tall individuals: for Becky, it is her dad, Jeff (Hale), who is almost 6’4”, and for Dominick, it is fellow escaped inmate Apex (ex-professional wrestler Robert Maillet), who is almost 6’11”; he. should be pegged in the second season of “Wednesday” as Lurch

In this mixture of the cabin in the woods, home invasion, and revenge tale, Becky and Jeff go to their little home away from home in the middle of nowhere (filmed near Burlington, Ontario) to re-bond after their tragic events, with their dogs, Diego (looks like part bulldog and pitbull?) and Dora (corso). Joining them is Jeff’s “friend,” Kayla (Amanda Brugel, another television actor known for a comic role as the minister on “Kim’s Convenience”) and her young son Ty (Isaiah Rockcliffe, who seems almost superfluous to the story). Becky is not too pleased; this soon after her mom passing, honestly, I don’t blame her. And with Kayla and Ty being people of color, I am sure that is not going to go well when, knock, knock, guess who is at the door? Well, it ain’t the fairy godmother.

Amanda Brugel

The other two escapees bringing up the rear are non-Brotherhood members Cole (Ryan McDonald) and Hammond (Lane McDougall). Like much of the cast, these two guys are Canadian. Bad for the cabiners, great for Becky’s body count. Once she gets her knitted teddy bear huntin’ hat on, she means business as something inside her mind snaps. Speaking of which, all things considered that this was a theatrical release with some actors known for comedy, it is pretty damn gruesome.

All 5’ of Becky becomes a killin’ machine as she goes up against the four killers who are in search for something that was left in the cabin before they went to jail nearly a decade before, and they are determined to get it at any means. But Becky has other plans.

Other reviewers have compared Becky to Kevin in Home Alone (1990), but whereas the extreme violence against the two crooks were played for laughs (though it would have killed them in real life), Becky is more determined not to harm them, but to end their lives. And she is on the brink enough to go for that desire.

Robert Maillet

For the aforementioned extras, which there are many, it has introductions to the film from directors Jonathan Milott (19 sec) and Cary Murnion (13 sec). They don’t really say anything in that short amount of time to make it worthwhile, but they make up for it with the featurette ‘Two Heads are Better than One: Directing Becky with Jonathan Milott and Cary Murnion’ (41 min). Filmed separately, they show how they work together, from inception through all the other usual aspects of filmmaking, such as casting, music, SFX and other anecdotes to keep it interesting.

A couple of short but decent interviews are “No Laughing Matter with Joel McHale” (14 min) and “The Fight of her Life with Lulu Wilson” (14 min). Well, it is more of them individually sitting in chairs and talking, but both bring something to their stories, be it humor and/or some level of innocence yet strength in Wilson’s case. Then there are the two Fan Art Galleries and Behind-the-Scenes Photo Galleries

The last biggie is the full Audio Commentary with actress Lulu Wilson and co-screenwriters Ruckus and Lane Skye. While it is mostly interesting, the sound level is a bit low and occasionally distorted, so it is hard to make out in parts. Unfortunately, this is a common problem on commentaries with three or more people. On the technical side, this Blu-ray has 5.1 Surround and 2.0 Stereo Lossless DTS-HD Master Audio, and a 1080p High Definition Widescreen Presentation (2.39:1)

While the cinematography by Greta Zozula is beautifully shot, my one negative comment is that the cellar and night scenes, especially near the end, are just a bit too dark for my old, tired eyes….and my television.

There are so many actors that are popular for their comic roles, but I find they excel in high drama, like Robin Williams, Jim Carrey, and even someone who I think is horrible on the funny side but quite good on the dramatic end, Adam Sandler (let’s see how well egocentric and unhumorous Pete Davidson is at portraying Joey Ramone). This is true for both Joel Hale and especially Kevin James, whose previous roles have been more goofy than funny (again, Paul Blart, Mall Cop).

I can see her stringed hat, and yellow and black striped shirt becoming a cosplay subject, or a Halloween costume. Meanwhile, upcoming later this year is The Wrath of Becky. It has big shoes to fill, but I believe it is capable.

IMDB listing HERE

Review: Nightmare Man

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

Nightmare Man
Directed by Rolfe Kanefsky
Valkhn Films; Paradigm Pictures; Delusional Films; Ronin Films; MVD Visual
87 minutes, 2006 / 2022
www.mvdvisual.com

It should come as no surprise that the centerpiece of this film is second generation Scream Queen Tiffany Shepis. But she is so much more than just that, she is a force of nature. I have reviewed a number of her films over the years, including Model Hunger (2016) and The Black Room (2017, by the same director), and even Caesar and Otto’s Paranormal Halloween (2015). Heck, she goes back as far as the “classic” Tromeo and Juliet (1996), among other Troma flicks, which is where I first became aware of her. But before most of those, there was Nightmare Man.

The center of the film, however, is a couple trying to conceive: Ellen (busty Blythe Metz, who gets to have a gratuitous shower scene in the first five minutes) and toxic masculinist know-it-all Bill (Brazilian actor Luciano Szafir, who was once married to singer/television personality XuXa). To help “get it up” in William’s words, they try a fertility mask, which ends up being a horned, ugly thing, that you just know is going to be nuthin’ but trouble.

Tiffany Shepis, Hanna Putnum, Blythe Metz

This leads to the personification of the Nightmare Man (Aaron Sherry), who keeps cropping up in her – er – nightmares. For this, Bill is on the way to take her to a mental hospital as paranoid schizophrenic, but along the way, trouble occurs, forcing her into the woods and a lone cabin near Big Bear Lake, California, with some participants (the body count) that she befriends. But can they stop The Nightmare Man? I am now 15 minutes into the film, and I have a guess about the ending. I will state later if I am right or wrong, but will not disclose what that is.

Jack Sway, Shepis, James Ferris

In the cabin are two college friends, Mia (Shepis) and Trinity (Hanna/Johanna Putnum) and their respective boyfriends, loveable doofus Ed (Jack Sway, who has no IMDB credits since 2008; he wears a shirt for an earlier Kanefsky film from 1991) and macho man Jack (James Ferris). Being a Kanefsky release, there is a strong sexuality (more than sensuality) element to the film, which interplays (and sometimes inter-cuts through editing) of both. He is both known for his softcore as his horror work, so they usually combine in some ways. For example, every female in the story gets to strip to their bra at some point, and most show their ”goods” as well. To be fair, there is also male nudity (from behind).

About halfway through, I now know I was wrong. I have a second guess, but I certainly hope I am mistaken, because it is too obvious (which is why I had the first guess).

I do not usually talk to the screen – you know, “get out of there!!” “Don’t do [whatever stupid action]!!”) – but in this case, after a bit of carnage, someone goes into the woods by themselves and hears a rustle and says, “Somebody out there?” even after being warned about the killer. I sarcastically said to the television, “Well, duh! You deserve to die!”

The gore SFX looks good, reminiscent of the early Friday the 13th franchise. While not overly bloody, the kills are nice and gruesome. Definitely retro to the ‘80s, which is appreciated. There are also a few well-done jump scares.

There are quite a few extras included, two of which are new for the Blu-ray release. The first is the featurette, “There’s Something Out There: The Making of Nightmare Man” (26 min). This includes interviews with writer/director Rolfe Kanefsky, Tiffany Shepis and Blythe Metz, producer Esther Goodstein, and makeup effects artist Jeff Farley. It is well done and worth the watch, discussing the likes of origin of the idea, casting, anecdotes, and on-set tensions, all told with a wink of the eye. Another newbie is the Film Score Audio-Only Track (unplayed by me).

Archival from the previously released DVD in 2007 includes another, similar themed featured, “Creating a Nightmare: The Making of Nightmare Man” (22 min), with the difference being that this is mostly behind the scenes of the filming, with some interviews, audition reels, SFX, and includes a gag reel. with interviews from writer/director Rolfe Kanefsky, all with a sense of humor. Also, there is “Tiffany's Behind-the-Scenes,” (18 min) which is mostly shot and narrated live-on-camera by Shepis. It is pretty damn funny.

Of course, there is an Audio Commentary with Kanefsky, Shepis, and Goodstein. You can tell they had fun doing it. They joyfully discuss what is on the screen, personalities, shooting anecdotes, incontinuities, and the usual stuff. Again, worth the watch, though there is the occasional talking over each other. Then there are the Extended Scenes (16 min), which were good but right to be edited, and the “Flubbing a Nightmare Gag Reel” (7 min).

Finally, there is a Promo Reel (5 min), which is like an extended trailer, and Stills Gallery On the tech side, this is a 1080p High-Definition Widescreen Presentation (1.78:1) with 5.1 Surround DTS-HD Master Audio, and English Subtitles for the Deaf and Hard of Hearing.

While this is not a comedy, there is definitely some humorous lines here and there, mostly spouted by Shepis, who has a natural comedic talent that is often overlooked (also, the role was written specifically for her). The acting overall is quite decent, though Shepis is more of a natural talent and excels in this regard, and please note that I am not just saying that because I am a fan. It is why I am a fan. Same is true with some of the better Scream Queens, like Debbie Rochon. There are also a couple of really nice cameos by Robert Donovan (who was also in The Black Room and Night of the Tommyknockers), and especially THE Richard Moll, who is almost unrecognizable, even with the height.

As for my guesses, they were both right and wrong. There was an element to the story that I was not expecting, which not only was a wonderful surprise, but tied everything up nicely.

IMDB listing HERE

Review: All Must Die

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

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

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

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

Vicktoria Winge

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

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

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

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

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

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

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

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

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

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

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

IMBD listing HERE

Review: Tethered

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

Tethered
Directed by Daniel Robinette
4 Leagues Media; Gravitas Ventures
88 minutes, 2022
www.4leaguesmedia.com/films/tethered/
www.gravitasventures.com

It almost seems like there is a subgenre overlapping horror and science fiction of late where two people, usually but not always men, are in the middle of the woods/nowhere, that are quite contentious but end up working together against whatever the antagonist is, be it human or supernatural. On just this blog, for example, I have recently reviewed A Knight’s Tour (2020)l and Woodland Grey (2021) , and then there is are large chunk of Sweet Tooth (2021).

Expanded from a 2017 short with the same title and lead actor, for this bleak tale, we are introduced to blind teenager Solomon (Jared Laufree). He lives on an acreage in North Carolina, surrounded by the woods, many miles from anyone else. Essentially, the forest is his to do what is needed for survival. At the start we see the training by his obviously ill mom (hyper-intelligent Alexandra Paul, of “Baywatch” and 1983’s Christine fame, among others), who gives him the skills on how to survive, including fishing and setting traps for game, like squirrels and rabbits. To enter the woods, he wears the titular rope tied at one end to the dilapidated house, and the other around his waist, to help him find his way back.

The “tether” has a dual role. It both gives Solomon the freedom to roam enough to survive and have a certain level of independence yet “protecting” him from the outside world, theoretically; but then again, it also limits how far he can travel, isolating him at the same time.

As in previous films like The Children of the Corn (1984) and the cult film Jug Face (2013), where there is a cryptid creature lurking in the woods kind of deal, Solomon must “feed” the forest via sharing his food, by tossing half of it into the woods. He doesn’t know why at first, but he is following his mother’s three commandments, of which this is one. But what happens when food is scarce?

After living alone for a number of years, Solomon is lonely, relying on the tape recording to hear another’s voice, i.e., his mother. His attire is in shambles with holes, and he is, well, dirty as all get out. But it is his solitude – the only thing he’s known for such a long time – that weighs the heaviest. Until…

Somewhere deep into the second act, a stranger appears: Hank (Kareen Furgeson). This is when the story really starts to pick up some steam, as these two desperate strangers need to rely on each other, especially with whatever is starting to make its presence known by howling in the forest. Of course, their relationship begins contentiously (as is wont in this trope) until their easy-to-assume bonding occurs. I really don’t think I’m giving anything not obvious away.

There are two types of slow burns employed by cinema, in a gross generalization: there is the kind where nothing happens for a long time and then everything is in the third act, or at minimum after 20 minutes of introducing the characters (i.e., the conversation in the car on the way to the slaughter trope that is overused in other releases), and then there is this kind, where even during the exposition scenes, the tension is still there, and slowly builds to the crescendo.

There are a few moments where some exposition is exposed, such as a birthday sequence, which would fit nicely in the deleted section, and a bit of tightening of the narrative, but overall, it’s a pretty solid piece. The cinematography by Aaron Sorgius is a key character in the story moving forward, even those scenes at night where it is a bit dark viewing; remember, Solomon is blind so he doesn’t need light at night, so most of the lighting is done indirectly by fireplace.

Just a minor, quick quibble: Solomon, as an adult, plays one of those old portable cassette recorders. Errr, where does he get the batteries? It is certainly not plugged in (you can see that there is no attachment), and besides, his cabin doesn’t even have electricity. It’s kind of like in other films – especially found footage, which this release is not – where people have cell phones or cameras that they use often, and yet work for days (I have to recharge mine every night).

 As is common in this subgenre, there is very little humor and feels bleak to the point of giving the impression of being almost post-apocalyptic. The environment we are presented is empty except for a small cast (which helps the budget enormously; no complaint, just observing) and whatever mysterious supernatural cryptid is out there, just in the shadows of the dark, scary woods. That’s why so many horror films take place in forests, because of the shade of the canopy making cool shadows and hard-to-see spots, and who’s to say what is lurking behind that red maple?

 I have to admit, the ending took me by surprise. I was expecting a different direction, but found the conclusion both rewarding and a bit confusing about the “how.” This is the director’s first feature film, and he shows quite the skill set that he gained from a number of shorts he helmed. I hope he gets to spread his wings in full-lengthers in the future and show more of what he is capable of doing.

This film is available on DVD and Blu-ray, and digitally on Comcast/Xfinity, Spectrum, AT&T, Cox, Dish, Verizon, Frontier, SuddenLink, Mediacom, Armsstrong and TelusClick.

IMBD Listing HERE 

 

 

 

Screener:
https://vimeo.com/613954181
Password: TETHEREDV1FINAL

Review: Face of the Devil

 Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Face of the Devil (aka La Cara del Diablo)
Directed by Frank Perez Garland
Star Films; La Soga Producciones; Jinga Films; Danse Macabre; MVD Visual
87 minutes, 2014 / 2021
www.facebook.com/caradeldiablo/ 
www.Jingafilms.com
www.MVDVisual.com

Usually, when a story claims to be “Inspired by true events,” you know it’s going to be either a slasher film or dealing with the supernatural, be it ghost or demon/devil. And since this film is from the Northern Peru city and jungle surroundings of Tarapoto (the characters travel the 600 miles from Lima), it is no surprise that it is leaning towards the latter. Peru is generally a religious country, and religion tends to lead to belief in the evil end of the supernatural spectrum, as well as the holy. As you may guess, the film is in Spanish, with English subtitles.

Vania Accinelli

In this version of a cabin in the woods, it’s a wooden, multi-room hotel in the middle of the jungle with no internet or phone service (natch). Actually, it looks like a cool vacation spot, even though there are no roads leading in or out (just walking trails), so I wonder how it is self-supported. But I digress… The only way to get there is by boat. On that small craft are seven attractive young friends who are undergrad age, including the main couple, virginal Lucero (Vania Accinelli, in her first role) and Gabriel (Sergio Gjurinovic), another couple, Mateo (Nicolás Galindo) and Fabiola (Maria Fernanda Valera), and three others friends, Paola (Carla Arriola), Camila (Alexa Centurion), and diminutive incel Pablo (Guillermo Castaneda), who has a thing for Paola. 

The creep factor starts early on with the odd and unsmiling “host” of the place (Ismael Contreras), as he passes out the keys to the giggling gaggle of youths. Needless to say, he fills the iconic role of the older man who warns the group to be careful, because no matter where you are in the world, if a bunch of young people onscreen get together to go somewhere secluded, there must be this character, be it the guy who runs the gas station, just walking along, or in this case, runs the hotel.

After some exploring and topless bathing by a beautiful waterfall, the group settle into a hot tub to tell the equivalent of scary campfire stories in order to bring up the main topic and threat of the film, the shape-shifting, whistling Tunche, or demonic spirit (thank you, Google).

Before you can say ceviche – okay, about 20 minutes in – a mysterious woman starts popping in and out just beyond the windows to start the second act, and the motor starts revving, slowly at first and building. There is also quite a bit of wind and rustling of foliage. It sounds weird, but it was a bit unsettling, as the director used it well: not over- nor underdoing it.

Despite following a few of the group-in-the-woods paradigms, one of the aspects I really liked about the film is that the kids in question are not slasher cliches. For example, there is no jock who mistreats women or his friends, no over sexualized woman who backstabs, no goths, no know-it-all intellectual who seems to prenatally be aware of everything about the supernatural, no prankster… you get the picture. One thing I will say, though, is that – and I can only go by the English translation captions – the word “moron” is used a lot. These are more genuine-feeling people, despite some natural bickering here and there, which is actually better because there is no one to root for to get killed (you know, that satisfaction when the jock invariably gets it, for example). They all have their own personalities, and come across as decent people, generally. This helps the kills be more emotional, which I believe makes for a better picture overall.

How does the Tunche arrive at this faraway location to pick off our crew one by one? Its origin becomes obvious, in part, pretty early on, thanks to some nice flashbacks, but the film does not lose any of its umph because of that

Despite the nice sized body count, there is actually very little blood for quite a while, and minimal gore. As for the physical end, there are some naked breasts and a male tush, and a theme of almost-sex, but this is watchable for both the horror hound and the novice (who is okay with the nudity).

The acting is better than usual, which is hardly surprising considering the work many of the cast has done, mostly in shorts and especially playing recurring characters on television series.

Although there are fewer living bodies by the third acts, there are still moments of tension, and a nicely done reveal, as it should be in a genre film. And as a movie in this category, it quite lives up to it. It is appropriately eerie, and manages to keep it up pretty consistently, when the group isn’t emersed in water somewhere. Through the love and squabbles, and lots of bikinis, it successfully pokes at you more with mood and tension than with jump scares. I found this enjoyable, even with the subtitles, which were easy to read, and did not pop in-and-out too fast, as is often the case. A worthy view.

Extras are a few really interesting trailers (including for this film), most of them in foreign languages with captions, as well as the standard stereo options and chapters.

 

Review: Backwoods

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Backwoods
Directed by Thomas Smith
Fighting Owl Films
70 minutes, 2020
www.fightingowlfilms.com

 Most of what I have seen of Thomas Smith’s films, such as The Night Shift (2011), Night of the Krampus (2013) and Demon Squad (2019) – all of which have been reviewed on this blog if you search for it – have been enjoyable, relatively horror fare lite with minimal blood, some good spooks, and a touch of 1940’s film-style banter and humor. Many of them seemed right for television series like “Supernatural” or “Buffy, the Vampire Slayer.”

For his new release, this time Smith has delved into darker territory, both zigging and zagging a new course from anything I have seen from him. That’s not to say there isn’t some wit involved, such as the football team being the Owls (yeah, their slogan is the Fighting Owls, of course) named after Smith’s production company, and the playing field is dedicated after Khristian Fulmer, who starred in most of Smith’s films. But I digress, as this one is much more serious…

Isabella Alberti, Michael Anthony Bagozzi

You know your night is going to be bad when you wake up after a post-high school football party in your cheerleader outfit, bound and gagged, as does our protagonist Molly (Isabella Alberti). That’s the opening situation with which we are presented. Through a series of flashbacks we get to learn how she got there, and we see how she end up in the backwoods of Alabama (where this was shot), home of the urban legendary Hangman (Scott Alan Warner), a serial killer who was known to murder the men and “keep” the women. Supposedly he was killed years before by the coppers but, this is a genre film.

The central characters are Molly, her incredible asswipe of a boyfriend/jock Hunter (Matthew McCoy), her younger sister Olive (Angelina Alberti), and the bullied waterboy, Noah (Michael Anthony Bagozzi), who is Molly’s friend. Along for the ride are some of Hunter’s pals (aka the body count).

Jeremy Sande, Matthew McCoy

There are multiple bad guys: Hunter, an older drug dealer (Jeremy Sande) who lusts after Molly, and of course there’s the Hangman. And then… well, like Sweeney Todd, he wouldn’t want us to give it away. Each has their own unconnected motives and singular desires, and all will converge at some point. That’s how genre films unfold.

As for the Hangman, lots of local areas have their own stories that overlap with these kinds of legends, such as when I was growing up in the New York area there was Cropsy that was told around the Cub Scout campfire, a burned killer in the woods waiting to kill campers (that I grew up in Brooklyn close to a street named Cropsy Avenue used to weird me out as a young’n); The Burning (1981) was based on this story. The Hangman doesn’t need a mask, and his disfiguring is not shied away from in the chronology (i.e., when you see him the first time, he’s shown clearly). He has a mutant look that would fit well in the family from The Hills Have Eyes (1977).

Personality wise, the Hangman is actually more “human” than most either masked or deformed killing machines in these types of releases, in that one can almost empathize with him at times, and Warner does an exceptional job expressing emotions through the big rubber mask and hands. Sometimes the viewer can care more about him than some of the victims, though the dread is still there. He makes listening to Christian music a bit ominous (okay, yeah, it is anyway, right?).

Scott Alan Warner: The Hangman

The film can be a bit talky at times, seeming to delay the action, but then again it does help with the character development, so it’s still a win-situation, unless you’re so hyped up and conditioned by modern fare you need quick editing and random slaughter. There are certainly some fun kills here, don’t get me wrong, and they are surely enjoyable, but it takes time. Then again, this would not be considered a “slow burner” either; it’s kind of in the middle, which is a nice place to be situated.

Speaking of the kills, even though the main antagonist is known as the Hangman, we get to see a number of people die a varied of ways, rarely by hanging, ironically. This is actually fine, because the way it is presented gives us a bit more blood and general mayhem. The only thing of which I’m not certain (perhaps I missed it?) is whether this Hangman is the same as the legend, or perhaps a progeny. Either way, it opens up for a franchise, which would be welcomed.

The visuals are beautifully shot by Kris Skoda, who also fills a bunch of other crew shoes. It is well written by husband and wife team of Smith and Erin Lilly (the latter of whom has a decent cameo role as “The Feral Woman,” aka Karen, though I don’t think she’ll be calling the cops on strangers), with lots of twists and unexpected turns, and as I said, which does well to build some character development that is so rare in these kinds of slaughter films.

As a departure from the tone of filmmaking he usually employs, Smith does a really fine job at giving us a mutant slasher, with a fine balance between art and blood, twixt talk and terror. I can honestly say, in the number of films of his I have seen, I have never been disappointed, and that includes this one.

Backwoods Trailer: TBD

Review: Irrational Fear

Text © Richard Gary / Indie Horror Films, 2020

Images from the Internet

Irrational Fear

Directed by Hunter Johnson

Slasher Studios; LAHorror.com; Terror Films

98 minutes, 2017 / 2020

www.slasherstudios.com/

www.lahorror.com

www.facebook.com/irrationalfear2017

Unless someone has a true phobia (aka an irrational fear), rather than just a normal one, even if it is only perceived rather than real, it’s hard to understand the torment that it can play with the everyday living of a normal life. I’m afraid of bees, but if one is on the other side of the window, I don’t freak out and can get close (unless it’s on me or buzzing near my ear). I have a fear, but not an irrational one. This film examines the more extreme form, where it feels like a matter of life or death.

One of my biggest fears is a film taking a really long time to spin its wheels before the action really starts. Okay, that’s an exaggeration, but in this case, it’s a full half hour of exposition before the story actually gets anywhere (not counting the mandatory prologue where a woman wearing a Freddy K-style striped sweater reacts to her fear of being laughed at). As a side note here, the opening credits look great.

Charles Chudabala and Baker Chase Powell

Diminutive college psychology professor Dr. Sanders (Charles Chudabala) is the big man on the project presented, and he and his graduate student / assistant, Zach (Baker Chase Powell, who was also great in 2019’s Dolemite is My Name) takes a group of – phobia-ites? – to a lake house at Crivitz, Wisconsin, to do research into curing phobias; but not a cabin in the woods, as you can see the neighboring homes in the distance when they pull up. The group of six (not counting the Doc and Zach) are an odd bunch, including the lovely Taylor (Leah Wiseman) who doesn’t like being touched; child-like germaphobe Jake (Kaleb Shorey) and his anger-prone father with a tooth fixation, Nat (Tom McCarthy); high school jock Cameron (Mathias Blake) who is afraid of “choking” during his games; Kelly (Jennifer Nagle aka horror hostess Malvolia, the Queen of Screams) who is self-conscious about her self-appearance; and bad-tempered alcoholic Helen (Cati Glidewell), suffering from a fear of water… you know the lake right outside back is going to come into being a factor. In other words, there is a nice opportunity for a large body count, and that’s important, am I right? Who out there has a fear of seeing a horror film with a low kill rate?

Leah Wiseman

It’s told right off the bat (so I’m not giving anything away) that Taylor and Zach have a history having grown up a few houses apart, and that this is a group that is angry and, naturally, scared to open up. Hence, phobias. The collection of personalities kind of reminds me of Shirley Jackson’s novel The Haunting of Hill House (and it’s subsequent 1963 film, The Haunting) where a scientist gathers some people together who have had strange psychic phenomenon events occur around them into a haunted house to see what happens.

People being tortured by their own fears is hardly a new premise, and has been done a few times before, but because they talk about common fears (times ten), it’s something many in the audience can identify with; thankfully it’s not the cliché tropes like spiders and snakes. Here, wisely, the fears are about more common things like germs, water and being touched. So of course, these dreads are just the lynchpin to the story for when a supernatural element is introduced, somehow reminding me of Thir13en Ghosts (the 2001 version; the posters are even similar, and Wiseman has a Shannon Elizabeth vibe).

There is definitely also an element of Evil Dead (1981) as people start to disappear, one by one. Sure, no one comes back as demons, but the way “spirits” influence what happens around them, indicates there’s malevolence about. Sometimes we see the action, other times it’s off camera (budget constraints is my guess), but as things fall apart, the doctor tries mightily to keep shit together while others are freaking out. Personally, I would be with the latter group, and in fact, would be outta there. Go to one of the houses down the block, call a cab, order it to the local police, and “buh-bye.”

Cati Glidewell

The film wisely plays around with who is good and who is bad, though it’s pretty obvious from the outset if you are familiar with these kinds of things. Still, events and reasons are not what one expects (well, for me, anyway), and for that I’m happy as I love when a story line catches me by surprise; even if I know who did it, the reason why is usually where the big a-ha­ moments come in.

There is no gore in the film, but it gets a bit bloody at times, and all the SFX are practical, rather than digital. And in the out there department of nothing to do with nothing, though I am not sure of its significance, I found it interesting that there is a minor theme of strings of lights that are placed around rooms, both at the house and even in Taylor’s room at home (if the filmmakers want to say in the comments, I’d appreciate it). But that’s neither here nor there.

Despite the slight nod to Friday the 13th (1980), the end is manic and a bit over the top, if not a bit predictable, but it’s hyper fun, and that is the end point for which a film should be going. The story seems to be pulling in a couple of different directions in a form of distraction to what is really happening, but even with it’s slightly amateurish feel, and a couple of lags here and there that could have been cut, it really is a diamond in the rough, and I kinda like that.