Review: Halloween Spookies

Text © Richard Gary / Indie Horror Films, 2016

Images from the Internet

Halloween Spookies

Directed and edited by Dave Parker and Dustin Wayde Mills

65 minutes, 2016

Free at: https://www.youtube.com/watch?v=T_3Fdb6uVhA

Dave Parker, aka MrParker, has earned a reputation as a film collector / vlogging reviewer, and now he’s moving well into writing and directing for his second release, under the tutelage of a master of the micro-budget genre, filmmaker and puppet creator Dustin Wayde Mills. They’ve been friends for years, along with stalwart actor / writer Brandon Salkil, working and playing together into a cohesive unit.

After a nicely done first-person intro that goes from day to day-for-night to a cool model house, we meet two witches (Joni Durian and Haley Madison, who was great recently in CarousHELL [2016]). In order to keep our protagonist to stay until a potion is ready, we get the three stories in this anthology.

First up is “The Babysitter,” a play on the bad guy in the house theme, but also takes from the news of weird people dressing like clowns to scare others. It’s kinda goofy, in a good way, and we certainly get a result of what could probably happen in real life. The two kids in the story are excellent, as is B.J. Colangelo in the titular role. She ain’t no Mary Poppins, that’s as sure as the kids aren’t the Banks children, either. For a story geared for the young’ns, there is an effective level of suspense for everyone.

The second tale, like the first, is directed by Mills, who happily goes back to what he built his early films on, which is a peculiar level of ironic humor. Here, he takes on the black-and-white tale of some schulb (Mills’ regular go-to actor, Salkil, the writer of this piece) who is visited by “The Messenger,” a ‘50s leather jacket-wearing Juvenile Delinquent spirit played with fervor by Parker. The gross-out level is high here in a kid-friendly-yet-icky way. What stood out for me is that both actors played against their own type. Salkil tends to play – well, yes, schlubs (not counting Skinless) or raving maniacs, but here he is more subtle, showing some more depth than usual (knew he had it inim). Parker, who tends to play more constrained characters, plays his role appropriately over the top in a way that is broader than I’ve seen him before, showing he’s got some chops that go beyond his online film reviews as MrParka. The story has a good youth message about not giving up and persevering, no matter what comes knocking in the middle of the night.

The main piece, though, is the third tale, “The Familiars,” is written and directed by Parker, who also plays a pizza delivery guy. So, one of these two not-to-bright comic nerd guys (kind that still live at home way past their due) decides he wants to join the local gang, The Cruising Bruisers. But as one of the two notes, “They don’t even ride!” Now, this gang is, well, beyond dunces. There’s the leader (Salkil in full jagged-up mode), a metal-head who only says “Metal” and makes the two-fingered sign named Devil Horns (Mills), and one who amusedly only speaks in very poor Spanish, named Macho (Aaron Anthony). Calling these guys idiots would be an insult to idiots.

The two doofus dweebs perform an incantation from a book similar to the one in Evil Dead, except that this one looks like it has the image of the demon from Mills’ Easter Casket (2013) on it. Mills got his start making horror films dealing with puppets, and he contributes his skill to Parker’s vision by creating three demons right out of Ghoulies (1984), one of which looks really cool (the cat), and two others that are more leaning towards the Paper-Mache, but hey, still good-if-not-better than the Ghoulies’ rubber models.

With a nod to the Three Stooges – or as Macho might say, “La Tres Estupidos” – the tiny creatures go on a rampage of killing, with a decent amount of a body count considering the age-level for the film. At half an hour, this is the longest bit, and a good companion piece to the other two (and witchy wraparound, of course). This particular story is a bit more violent and raucous than the others, but nothing that can’t be shown on television uncut (or hasn’t been of late), with possibly one exception, which involves the mentioning of a succubus. Now, even Bugs Bunny used to have a touch of adult humor it in (sexy cross-dressing Bugs or Elmer, as an example), but those days are questionable now. I mean, violence has always been more accepted by mainstream media than, well, (read as sotto voce) S-E-X, or in this case, being implied.

I would say the age level for this film is arguably over 10, when one considers the gross-out level (albeit mild), the demon killings, the use of the word “crap” throughout (the strongest cuss word here), and that one character has a cigarette (always unlit) usually dangling from his lip; that being said, I remember the media uproar on television in the 1980s when a child character said something like “bite me” to her bothersome brother. It’s a new world, folks, and thanks to streaming services, kids are more accustomed to things we didn’t see as a youth (which makes me think of Neil Postman’s 1982 treatise, The Disappearance of Childhood, but I won’t get all theoretical on ya).

This is an enjoyable release, and I’ve seen lots of good words about it around the Interwebitivity, and rightfully so. It’s funny on many levels, from goofy and slapstick to “oh, yeah” connections that you’ll get even if the kids won’t. It’s fun, it’s free, and it’s worth a view for children of aaaaall ages. C’mon, whatcha gotta lose?

Review: Invalid

Text © Richard Gary / Indie Horror Films, 2016

Images from the Internet

Invalid

Written, directed, edited and scored by Dustin Wayde Mills

Blood Sprayer Productions / Dustin Mills Productions (DMP)

71 minutes, 2015

Truth be told, there are three essential reasons why I was looking forward to seeing this film. First and foremost, it was directed by Dustin Wayde Mills, whose works never fail to please, even when it sometimes gets me squeamish. The second reason is Brandon Salkil (okay, and Dave Parker), who often appear in Mills’ productions; Mills,Salkil and Parker are also besties off-screen). Those are the good reasons. The silly yet still honest one is that I was very curious to know whether the title means (a) someone who is lamed (IN-vah-lid), (b) someone who is cancelled out (in-VAL-lid), or (c) both.

There are two, perhaps three central characters in the film. First off, is the titular, Andrew (Salkil) who, thanks to a previous accident, is in a catatonic state of being a “living vegetable” (a descriptor within the story); Salkil – therefore Andrew – is a tall guy, hunched into his wheelchair. The second and central role is his sister, Agnes (Joni Durian), who takes over as caretaker. While not a beanpole, I wonder how she moves him from the bed to the chair and back by herself, but I digress... The lesser third is the physical therapist, Daryl (Parker), who has a bit of a thing for Agnes. I could also add in Daryl’s friend, Jake, whose sole reason for existence here is essentially to help us understand what Daryl is thinking through verbalization, and also to crack wise as the comic relief. He’s played by the director, Mills.

Through the story we quickly learn that Andrew has a way of communicating with Agnes… or does he? How much of this is really happening and how much is in her head, is one of the mind games the film plays with the audience. Is this a kind of Patrick (1978) vibe, or all PTSD? The publicity for Invalid equates it with Italian giallo horror of Argento and Fulci. Well, I can see it more as the former than the latter, as Argento was as much about the internal as the visual, but Fulci was much more about the graphic. I must say I was impressed by the murders here, especially the first one. Now, I’m certainly not saying it’s anticlimactic because the pace definitely keeps up, but that beginning one is just so well done. It’s not gory, just really effective.

Joni Durian

As Agnes, Durian is an attractive woman playing frumpy. Ever notice how many horror film caretakers are plain and disheveled, even all the way back to Julie Harris’ Eleanor in 1963’s The Haunting? Perhaps to make her look sallow, or to set a mood, Agnes is often dressed in yellow, and shot with lemony lighting. I’m guessing a bit of both (again), because when things get tense, the lighting changes to a red tone. More films are using colored lighting as much as music to set the tone of the scene, which works strongly here.

As far as the frumpy part goes, it’s pretty obvious that beneath the huge red frames, the slicker, and the loose clothes, Agnes is quite a catch, even though in the storyline there is a reason why she dresses down. However, thanks to an early shower scene, we get to know the book under the cover, as it were, In fact, there are a few shower scenes with various characters throughout, and plenty of female flesh (no male nudity, though Mills has proven that’s not something he necessarily shies away from).

Salkil doesn’t really need to do much, other than lay as still as possible, though there is a highly dramatic and creepy physical flashback scene. He has proven that he can be a fine, highly emotive actor in both dramatic and comedic roles. Even when he’s completely limp, there is still a feeling of dread or danger, and I chalk that up to both his skill onscreen, and of Mills’ effective use of moodiness.

From his silly (but highly enjoyable; not meant as anything but complimentary) films early on, Mills has come to master the simple less-is-more style of presentation that I thoroughly enjoy. Usually there are no elaborate sets, and the stories tend to be pretty straightforward, but there is always the twist of the knife (sometimes literally) and plot that just keeps you drawn in.

Yet, despite the simplicity, Mills often uses some quirk that you just don’t expect. For example, during a conversation, the film suddenly turns to a moving manga comic style that works to explain emotions that straight dialog has trouble getting through. This is a really nice and surprising touch.

Andrew demands blood, much like the plant from Little Shop of Horrors (1960 or 1986), to make him big and strong, but only from women. I first questioned the gender demand, i.e., what makes women’s blood different from men’s, but the symbolism of loss of virginity – even from a paid escort – shows a deranged mind through subjective experience. I’m hoping this isn’t too much of a spoiler alert.

The only two negative things I could see are pretty petty and, quite frankly, ridiculous on my part. First, there is a scene with Andrew on a respirator, and it is silent. As having been in a room with someone in that condition more than once, I can tell you, it’s quite noticeable. Even if you have sleep apnea, the CPAP machine, which is a junior version of an inhalation device, is noisy. The second thing is I believe that there is too much information given about motive in the trailer. Don’t get me wrong, I am a coming attractions fan from childhood, but I’m glad I waited until after seeing the film before enjoying the teasers (as I tend to do now with those I review).

So, the question of what the title means, as I mentioned in the first paragraph? Well, I would say (c) as yes, Andrew is an invalid, but through events that occur or have occurred (again, or both), Agnes and Andrew’s lives become cancelled, one by the accident, and the second by giving up her life to care for him, another by other’s actions.

A good story, some great visuals, and a finely honed cast a crew make this another peg in Mills’ directorial cap, one that should be worn proudly.

https://vimeo.com/ondemand/invalid

Review: Slimy Little Bastards

Text © Richard Gary / Indie Horror Films, 2015

Images from the Internet

 

Slimy Little Bastards

Written and directed by Dave Parker

66 minutes, 2015

www.facebook.com/SlimyLittleBastards

 

I’ve never met Dave Parker, haven’t even had a real conversation with him online. However, I am still impressed by his progress in the genre. He started out (and continues in this capacity) as a video review vlogger under the name of MrParka (yes, one word, and worth checking out). Then he started acting (e.g., Bath Salt Zombies [2013] and Headless [2015]), and now he’s directed his first – er – filmella… so what do you call a film that is longer than a “short” but shorter than a feature? I just adopted the “novella” to film terms. No big whoop.

 

Anyway, for his first shot at fictional directing (he also directed a documentary short), it only makes sense that (a) it’s in the horror genre, and (b) he has people around him he’s been working with for a while, such as director/actor/SFX maven/puppeteer Mills, and actors Erin R. Ryan and Brandon Salkil. Wise move, m’man.

 

So, if you have watched hundreds of indie horror films every year, seeing some of the best and the worst, and you decided to hop on the wagon yourself, what would you decide to choose as your topic? Cleverly, Parker chose the anthology.

 

Brandon Salkil

The three stories have a wrap-around in the basement of a mysterious man in a red cape (Cary Ewell look-alike Salkil). He receives a shipment of three vials with, well, slimy things (looks like Jell-O). Y’see, he’s a collector of “rare creatures,” such as the (puppet) Nippler, who is somewhat reminiscent of the Scred puppet from early Saturday Night Live. He tells these tales to a gun-toting mysterious man (Keith Voight Jr.) who claiming his car broke down. Salkil chews more scenery than the slimy bastards munch on humans, but actually, that’s the role, and Salkil kills it with a humorous turn. I’ve seen him do some serious stuff (e.g., Skinless [2013]) and the man can act. Here, he ahcts!

 

First up is “Organic Shit,” about a shy, hungry man (Jeremy Ryan) who doesn’t talk and moves very precisely (autistic?). His apartment (I am going to assume its Parkers’ in real life as it is filled with DVDs; it is used in all three stories), after coming back from I’m presuming work, he has some strange green stuff coming out of his drain. He contacts the maintenance man (Mills) with a very funny and fake Russian?/Polish? accent. If you’ve seen the Blob, you may get some idea of the germination of this story. However, even with a few actual jump scares, it ends quite humorously (don’t worry, I won’t give it away), and definitely not how I expected.

 

Erin R. Ryan

The second tale is of the blue Jell-O, called “Brain Busters.” Poor Sandy (the underrated Erin R. Ryan) is going through a period of depression, thanks in part to a previous childhood bully (Salkil) and guilt-inducing mother (Melinda Parker…Dave’s mom?). She is under the care of a psychologist (Mills) who gives her an experimental psychotropic medication to put in her ear. Of course, the effects are not what are expected.

 

While this story also has humor, it is also a lot more dramatic and definitely more artistically shot than the previous one. Usually, the way many anthologies work, is they put a decent one to start, the weakest in the middle, and the best for last. Well, that’s not true here, nearly completely because of Ryan (I am a self-admitted fan from her previous work). She takes what could be a silly tale and turns it into an emotional one on a level you might not expect. My analogy is she’s like someone who takes a temp job and then just works the hell out of it and impresses everyone.

 

Also, as I said, Parker shows some bolder artistic moves, using stylish editing, some accurate casting and more thoughtful storytelling in general, even with something as goofy as this creature is, apparently.

 

Dave Parker (aka MrParka)

“The Crusties” is the third and longest piece. After meeting a crusty (pun intended) construction worker named Walter (MrParka) who accidentally eats some green goop that somehow got on his sandwich at a work site, we are introduced to a bunch of his friends, including most of the cast (sans Erin) playing themselves; they all meet to play a game of D&D (is that still a thing anymore?). There is a lot of scatological humor in this episode, and the one about gas station nachos had me laughing (and, bringing back specific, unpleasant memories). So while the guys are playing the game, in walks Walter who immediate hits the water closet, and squirts out more of the green goo, which turn into said juggalo Crusties creatures bent on killing our out-of-their-league – er – heroes.

 

Okay, I’m going to come out and say it, but please stick around. This story is stupid as shit (pun, again, intended), but honestly, I believe it was supposed to be. What I mean is, generally, you get to see some of the cast and crew having a blast together, and that transmits out to the audience, if you’re open minded to it. I do believe if you’re watching this, there is a good chance you’re in that fortunate frame of mind.

 

The Crusties

Much of the gore in the film is seen pretty often, albeit a bit cartoonish, with occasional bits being beautiful, such as the ear gag in “The Crusties.” The make-up and slime in the wraparound were mostly by Brandon’s (hey big guy, how youse doin’?!) spouse, Sherriah Salkil, also part of the Mills merry collective, and the puppets were created by Jeremy Ryan, which are as fakey looking as possible. In fact, it is to the point where I believe that it was supposed to be that way, for comic effect, leaning towards the Plan 9 from Outer Space (1959) level (e.g., the floating “Crustie”). If that’s so, I consider that a success.

 

Making films can be like poetry or masturbation: it should be done for oneself, but except in the case of the latter, it’s one’s personal passion put out to the public. It’s important to know about the source as much as it is for the source to understand their audience. And this is definitely geared towards the Dustin Mills audience (and beyond-yond-yond [if this was audio, there would be an echo effect there]), especially since Mills has recently delved into the darker side of the Torment subgenre. This is a good way to reach The Puppet Monster Massacre (2010) audience that may have been felt left behind, but still like the Mills group.

 

Okay, I understand that Parker is not Mills, but it’s essentially the same body with a different head. I’m sure Mills was there helping along, and rightfully so… I would want someone with experience in my corner; when Young Frankenstein (1974) was created, for example, there were segments actually directed by Gene Wilder under Mel Brooks’ direction, to prepare him for helming The Adventure of Sherlock Holmes’ Smarter Brother (1975). It’s all good.

 

Most of the cast is also most of the crew, as is common in micro-budget filming (the cost is listed as $1000, and I’ll bet most of that went to supplies for creating the puppets and gore, and largely for the cast’s food), and for a first time out, Parker was in good hands. The end result is something that is goofy, ridiculous, funny, and mostly an end product to be proud of, in my opinion. I’m looking forward to your next excursion, MrParka!

 

 

Review: A Black Heart in White Hell

Text © Richard Gary / Indie Horror Films, 2015
Images from the Internet

A Black Heart in White Hell

Written, directed, edited and scored by Dustin Wayde Mills
Cumpleshack Films / Dustin Mills Productions (DMP)
32 minutes, 2015
DVD available HERE
VoD available HERE:

Western culture’s idea of Heaven and Hell is actually a relatively new concept. Oh, sure, there has almost always been a vision of the afterlife, be it hangin’ out with Ra or Osiris. However, while Heaven being a place of beauty and Hell of torment may have been sparked by the likes of the Bible that hinted at it, what we know of it comes from both later literature (such as Dante’s Inferno and Paradisio [both 1472], and John Milton’s Paradise Lost [1667]) and art (numerous paintings in the Renaissance especially were quite graphic; check out the gruesome work of Hieronymus Bosch [d. 1516]).

In our present time, Heaven and Hell have become more of a concept, with the punishment becoming honed specifically for the person to be penalized. A couple of examples of this include an amazing Richard Matheson story from the original Twilight Zone in 1960, Paul Simon selling his soul to the Devil and being stuck on an elevator for eternity as Elevator Music versions of his songs play on a 1980s Saturday Night Live, and even The Devil in Miss Jones (1973), where a virgin who commits suicide learns through multiple and varied experiences to need sex, and then is denied orgasms.

In a similar beginning to Miss Jones, at the start of this film we meet the multi-inked main character, identified only as The Woman (Reagan Root), who gets into a tub and grabs a gun after writing on the mirror, in blood (not saying whose) “Not Sorry.” As this is the slogan for the film, I don’t believe I’m revealing much. Well, the trailer will tell the story up to here, anyway.

She awakes in the room which is completely covered in white that is the locus of the rest of the film. All that’s there is an old computer monitor (with the cathode tube, which I’m guessing Dustin wisely got in a garage sale for real cheap), a couch and a garbage container.

I don’t usually do this, but due to the complexity of the story and the shortness of the film, there will be some spoilers in only the next paragraph. This is something I almost never do, so please forgive me, or just skip to after the picture.

The Black Heart of the title is reference to the woman due to her cold naturedly killing three dudes in graphic mode with various weapons, though it’s never explained why she did them in. I can live with that in a film of this length. That she has to apply those same weapons on herself I’m assuming is part of the punishment.

SPOILER FINISHED

Mills started his career doing weird comedies like Puppet Monster Massacre (2010) and Zombie A-Hole (2012), and then did the extremely serious and excellent Skinless (2013; all three reviewed elsewhere on this and another blog). In the last couple of years, his films have turned ever darker, delving into extreme images on line with the likes of Audition (1999) with titles such as Kill That Bitch (2014), Her Name Was Torment (2014) and The Hornet’s Sting and the Hell It’s Caused (2014). I have not had the opportunity to see those later ones, as of yet. But one thing is definitely clear: Mills’ output has been vastly improving. I mean, his skill as a filmmaker was actually better than most right out of the gate, but his artistic turns here using the sharp and highly contrast black and white, with no dialog other than a clip from the public domain and appropriate Betty Boop cartoon, “Minnie the Moocher” (1932; the entire short is available on the DVD among the numerous extras) are quite effective in setting the mood and the action.

Like most auteur genre directors, Mills has his tropes, which tend to crop up in his films regularly. Here you can find lots of blood, gore, nudity, and the occasional creepy and wondrous sock-and-latex-sourced monster puppets (he discusses the makings of these on his Facebook page, so again, not really giving too much info).

Two of his most common regulars also appear here, but rather than themes, they are people, namely Brandon Salkil (dude, you realize that you die in just about all of your friend’s films, right?), and actor/reviewer/director (I look forward to seeing his directorial review, Slimy Little Bastards) Dave Parka, who vlogs under the name MrParka. I’m a fan of Brandon from Zombie A-Hole Days as he is, in my opinion, the new Bruce Campbell (well, additional Campbell); Parker, a more recent Mills addition, shows that he is really improving in his acting chops, as he give a solid, albeit short performance here. Root also does an solid job holding up this movie as its central character, doing well in putting subtleties of emotion – or lack of them when necessary – still managing to make her somewhat pitiable by the end.

One of the aspects I also like about Mills’ work is the subtle way he uses themes we’re all familiar with, and incorporates them in a way that gives them a new twist so they come out as original. For example, there is the aforementioned Miss Jones opening, and also present is a bit of Groundhog Day (1993) and the Donald Sutherland version of Invasion of the Body Snatchers (1978).

Mills gets a lot of his 30 minutes, that is both extremely simplistic in its presentation (much like Buddy Holly’s music, it is actually more detailed on closer observation), and complex in its messaging. I like the way Mills works, his trove of cast and crew members, and the way he uses latex and wool, in a fine mix of appliances and digital.

The extras on the DVD (not of Video on Demand) are plentiful, as I said, including the aforementioned Betty Boop cartoon, two original short films at 10 minutes per, and an audio commentary.

If you like some of the greasy and gooey, the monsters and the pain, then this will make a good introduction to check out and get you to jump on the Dustin Wayde Mills train, because as usual, he’ll take you on a helluva ride!

Trailer HERE 

Review: Skinless

Text © Richard Gary / Indie Horror Films Blog, 2013
Images from the Internet

 

Skinless (aka The Ballad of Skinless Pete)
Directed, shot, edited and scored by Dustin Wayde Mills
Dustin Mills Productions
80 minutes, 2013 / 2014
www.Facebook.com/DustinMillsProductions
www.DMPStudios.com
http://dmp.storenvy.com

On many different levels, this film is a bit of a turning point for Dustin Mills Productions. Up until now, the releases by director (among other titles) Mills has either been a horror comedy or has strong elements of humor. This film is different in that it is serious, from the first minute on. There is still a few (meant to be) moments of uncomfortable titter, but this film is done straight.

Essentially, this is a four-person piece, at least three of them we get to see full frontal, but I’m getting – er – ahead of myself. Of the foursome, three have appeared in previous Mills productions. The newest is Allison Egan (not to be confused with Brit actor, Alison Egan). The first shot starts right off with her in the altogether as Olivia, the girlfriend of the soon-to-be-skinless titular character. As with many of Mills’ female cast members, she’s tattooed and looks like she could beat the shit outta you and enjoy it, but remains attractive. Her character has little back story, but her screen time is limited, so onward.

Returning for a third time is Dave Parker, also known as the horror vlogger, MrParka (yes, one word). He was in Easter Casket, and also Bath Salts Zombies as an addicted stoner, but in this more serious role, he does fine. His role of Neil, who controls the money to be meted out to scientists in order to insure profit for the shareholders, is pivotal, but again, not much screen time. Parker looks a bit young for the role which he is portraying, but I’m okay with that (like I deserve to have a say, right?).

Erin R. Ryan

The female lead is Erin R. Ryan, who also starred in Mills’ last film, Easter Casket. She’s still-full-skin Pete’s roommate Alice, and less-than-secret love interest. She is also a scientist and is, in fact, research partner with him. Ryan is an attractive woman with a firm jaw and is capable of being both strong and vulnerable in the same scene.

Pete Peel (really? Peel?) is the protagonist anti-hero, strongly played by Mills’ hetero-life/work-partner and recurring lead actor, Brandon Salkil. Petey is looking for a cure for cancer because his shoulder has a ridiculously large melanoma (looks like a silver dollar sized hole). Not sure why the girlfriend, Olivia, never noticed it. As Nirvana once said, “Oh well, nevermind.” The important thing is that he’s on a literal deadline to find the cure, and he thinks he may have found it in a worm whose secretions melt, well, you know. And despite threats from Alice and Neil, I don’t think I’m giving anything away (read the title of the film) by saying that he injects the experimental serum into himself.

So far, the story is going along strongly, we’re somewhat emotionally tied to the two lead characters in a star-crossed lovers way, and you just know the big bang is coming. And as always, Mills does not disappoint.



Brandon Salkil

From here, though as enjoyable as the film is, and it truly is, there is some resemblance to Cronenberg’s version of The Fly (1986). First healing strength leading to the body disintegrating yet still strong, twitching, bodily fluids to melt food and people, and of course the love interest trying to reconcile with the whole thing. While Cronenberg had a budget of $15 million, Mills does damn fine with a few thou and opens it up in ways that are new, partly by slowly closing the story into a tight knot.

Let’s talk about that last part. One of the things I truly like about Mills’ work is that he knows how to make a small budget go a long way. For example, nearly all of this film, with the exception of one scene¸ takes place in a single house, and mostly in the attic and the basement. This works well with giving the mild yet palpable feeling of claustrophobia, a device that syncs well with what is happening to Pete, as his world gets smaller.

Everything feels increasingly intimate, with a large percentage of the dialog between the two leads, Pete and Alice, the Invisible Man style clothes and mask Pete wears, and much of the surroundings being quite bare and stark. I’m not sure if it was budget constraints, the house they managed to get to for the shoot, or a director’s choice for mood, but it works.

There obviously isn’t a very high body count with a cast of four (though if you look at it in percentages, that’s another story), but the gruesome effects for all involved is incredibly enjoyable. Sherriah Salkil (Brandon’s spouse who also contributes to the films in various roles) and Mills do a great job with the make-up. It looks way better than the budget implies, and I would say this filmmaker’s best gore effects yet. Still stringy rubber innerds¸ but the blood and masks look way ahead of past films, and that’s saying a lot considering how accomplished they looked before.

Since this is a Mills film, there must be a discussion of the one thing that is recurrent in all his releases: puppets. He keeps it down to a minimum, being a worm, a dog (or what’s left of it), and melted bodies. Sure, the dog looks similar to the one in Bath Salt Zombies, but it kicks butt (or bites leg?).

 If there was any one complaint on my part (as I am wont to do), it is that when Brandon wears his mask, it is sometimes hard to make it out. If a bigger budget was on the table, I would say re-dub the voice.

The visuals are quite compelling. The editing is tight, the cinematography sharp (and HD), and even the lighting is solid. And the gore level is high and sticky. Mills has a talent for making fake blood (too many films are the wrong color or consistency), and he is not afraid to apply it.

The one true piece of comedy that appears in this film is over the credits, in the song “The Ballad of Skinless Pete,” by Mike Fisher, an inappropriately folksy ballad that is the opposite of the metal shards that usually accompany a Mills release.

Microbugets can either put a crimp in a film’s style, or it will present the opportunity to be creative with what one has. This film definitely falls into the latter category. That being said, if you’re a band and you need a music video and can pay for it, or just want to support the genre through an up-and-comer, checks out Mills site above and help finance his next project, called SpiderClown. I am already anticipating it.

 

Red Band Trailer:

http://www.youtube.com/watch?v=7DBt17RMoM0