Review: Night of the Tommyknockers

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

Night of the Tommyknockers (aka Tommyknockers)
Directed by Michael Su
Mahal Empire; Mezek Films; FilmCore; Wildlife Command Center; Alien Donut Films; Gravitas Ventures
87 minutes, 2022
www.facebook.com/nightofthetommyknockers/ 
www.facebook.com/groups/514328295444570

Usually, the Western is its own genre. It is rare that it mixes with others, especially horror. That’s not to say it doesn’t happen. For example, there are some gruesome scenes in Bone Tomahawk (2015) and The Scarlet Worm (2011), or even mixing sci-fi in films like Cowboys & Aliens (2011) and if a bit of a stretch, but Valley of the Gwangi (1969).

Well, rare or not, this new release combines horror taking place in the western genre. So naturally, there are shoot-outs, bank robbers, miners, farming folk, and the like. And then there are the Tommyknockers. Urbandictonary.com defines them as “Miners who have been trapped in cave-ins and pound on the rocks for rescue. It is believed that the ghosts of these miners go on knocking in the mine shafts long after the victims have died.”

That makes sense, as the story begins with some miners finding gold in a shaft after using dynamite, and release a host of said ‘Knockers” on the town. The voracious creatures will eat anything that moves, from horses to humans. They kind of look like the creatures in The Descent (2005), only crouched over like the Universal Pictures’ wolfman of the 1940s, and covered in white fur. Once they are on the loose, the local town is invaded by them at nights.

Bill Victor Arucan, Richard Grieco, Wesley Cannon, Angela Clark

Walking into the mess looking for a bank to rob is the Dirk Gang, led by, well, anti-hero Dirk (Richard Grieco) doing his best poncho wearin’ Clint Eastwood impression, and including Lucky (Robert LaSardo), Maoma (Bill Victor Arucan, who has been in a lot of James Balsamo films of late), Clay (Wesley Cannon), and Betty (Angela Cole). They arrive at nightfall, where all the townfolk that remain are gathered together in the saloon (of course), with Marshal Steed (a gravel-voiced Tom Sizemore); yes, this is a strong cast.

This film is a bit different than the other Michael Su films I have seen as of late. Here, half way in, there is a few killings, but very little gore. There is much more exposition than I have seen, thereby additional dialogue. I am waiting for the savagery to begin in earnest.

By the third act, things pick up immensely. The previous Su films I have watched (and totally enjoyed; you can search my keywords by the director’s name) took a different formula, where the carnage was pretty consistent throughout the film, messing with the typical Act 1 through 3, as I have mentioned in a previous review, but here, it is more of a traditional style (though there are some decent attacks without much gore), culminating in an intestine chomping, neck biting, limb munching third act. Was it worth the wait? Sure!

Tom Sizemore (far right)

Grieco does fine as the strong, quiet type, and Sizemore seems stiff (both physically and vocally), though his acting is fine. Maybe him and Michael Madsen can move to the Screen Actors Retirement Home? It is time. LaSardo is almost the comic relief of the film, and does a smash up job (sometimes literally) as his character lives up to his name. The cast is well assembled, again with two strong women at the front. I really love that about Su, he always has don’t-take-no-shit women, here led by Cole and Jessica Morris, as a townie photographer.

There are some other noteworthy cameos from the B-film world that I was happy to see, such as Sheri Davis, podcaster Shawn C. Phillips, and especially Elissa Dowling, among others. And am I crazy, or did Arucan play two roles, including one of the miners?

There are some nice explosions here as in all Su’s films, and there is a slight sepia tone, which seems to be the “in” thing to do with gothic or western releases these days. The SFX seems to be practical and looks good. The one thing I noticed that I thought was weird is that while the last two acts take place during a single night, occasionally it looked like sunlight coming through the windows. Ahh, low budget filmmaking, though its look mostly manages to push past its budgetary envelope.

Be sure to watch the credits for additional fun.

IMDB listing HERE

Review: Bridge of the Doomed

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

Bridge of the Doomed
Directed by Michael Su
Mahal Empire; FilmCore; Spicy Ramen Productions; Blaen-Y-Maes Bootleg Films; Wicked Monkey Pictures; Gravitas Ventures
82 minutes, 2022
www.facebook.com/profile.php?id=100046239651325

With four films out this year, director Michael Su is proving to be quite prolific. And the level of carnage he displayed in his recent Death Count  (2022) shows that he is not afraid to step up to the blood and gore. So. it makes sense that he would jump on the popularity of the zombie genre, especially after Army of the Dead (2021), and put his toe in the evisceration.

A group of soldiers are given orders to hold a bridge (A Bridge Too Close?) to make sure no one or any thing crosses it, especially since they are trying to curtail the zombie apocalypse. The film does not waste any time giving us what we are waiting for, full on splatter. There is a lovely mix of practical SFX and digital (including the erasure of star Robert LaSardo’s infamous neck tattoos).

Kate Watson

Most the soldier at the bridge range from a couple of interesting characters to some expendables. The lead in the film is one of them, Sgt. Hernandez (Kate Watson). Su likes to pick strong women characters and he does well here with Hernandez’s tough as nails yet likeable sergeant.

The zombies are not slow nor fast: they stumble along, but they are quick at the grab, and consistently overwhelm their prey with numbers as they seem to always travel in groups. This middle tone of fast vs. slow is a nice touch and gives the chance to be viewer-friendly to both sides of the debate.

The film is essentially broken into two parts which are intermingled. First, there is the HQ, which is run by General Vazquez (LaSardo), with some cameo work by Michael Paré as Colonel Charon (great choice of name: Charon was the ferryman of mythology who brought your soul across the River Styx). Nice to see Paré work, as always, even in cameo form, though there was a time he walked Streets of Fire. Just because it is the headquarters, however, does not mean it is immune from the occasional zombie horde attack.

Robert LaSardo

The second is at the titular bridge, which looks like at one time it was a railroad crossing. Either way, it is over a very treacherous and fierce river, but not as much as the munchers on the other side. Also on the wrong side of the river are a bunch of survivalists living in a commune without much brains among them. Political commentary about the right wing? Among this group is Susan (Sarah French; she was the lead in Dead Count,). A third of the way in, I am going to assume that at some point, the two groups of antagonists (soldiers and survivors), will work together.

And as if a multitude of teethers were not bad enough, there is some kind of growling troll under the very bridge that the army is to defend. Just keeps getting better when it strikes. The SFX good nice and gooey, and as I said earlier, there is a lot of it.

There is no reason given that I could tell (or missed) about why the zombie romp started, but honestly, does it really matter? Radioactive satellites from space? Chemicals? We pick up the story well into the effects, and that is what matters.

There is a very slight overtone of religiosity here, as talk among the survivors discuss the “End of Times” and “judgment.” However, it is not preachy or annoying, even for this atheist. It is more questioning what is going on in a wider scheme, than pointing a finger.

Michael Paré

The main cast handles the roles extremely well, and some of the tertiary ones not so much, but they are the equivalent of “Star Trek’s” “red shirts” and are really only there to, in the words of the original Willard (1971), “tear ‘em apart!”

One of the aspects I like about director Su is that he does not follow the formula of Act 1 to introduce the characters, Act 2 to present the situation, and Act 3 to contain the main brunt of the violence. No, he picks it up right from the beginning and keeps it cropping up throughout the film, actually making it more suspenseful than less because it could come at any time. There is a bit of exposition here and there, but it certainly does not get in the way of the “yum-yum-eat-‘em-ups.” Filmed in Nevada with a nicely diverse cast. I am quickly becoming a Su fan.

IMDB listing HERE  

Review: Death Count

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

https://www.youtube.com/watch?v=udV3XnNjwdU