Review: Predator World

Text © Richard Gary / Indie Horror Films, 2018
Images from the Internet

Predator World (aka Aliens vs. Titanic)

Directed by Jeff Leroy
Girls and Corpses / Tom Cat Films / Sterling Entertainment /
Wild Eye Releasing / MVD Entertainment
85 minutes, 2017 / 2018
www.girlsandcorpses.com
www.wildeyereleasing.com
www.mvdb2b.com

By looking at the poster or case for this film, one would hardly know this was a futuristic Love Boat-ish broad comedy filled with sex and drugs, and lots and lots of CGI, including nearly everything except the hills outside Los Angeles and some of the alien rubber suits. Actually, this part of a sci-fi sub-genre that includes such titles as Spaced Out (1979; aka Outer Touch) and Zeta One (1969; aka The Love Factor).



Survivors?: Brenton Jones, Jin N. Tonic,
Kelly Erin Decker, William Gabriel Grier  

The initial flight of the party space boat this time is called Titan-1C (aka Titanic, hence the original title). After a CGI meteor shower of rocks containing CGI scorpion like creatures take over and destroy the ship, a group of six survivors wind up on said planet, unintentionally taking the alien creatures with them.

Between the sex and the drugs (pills that seem to be a cross betwixt ecstasy and Viagra) is a story of survival on a hostile planet, with these scorpionish thingies crawling in and out of people’s various holes and turning them into rubber suited, full size aliens and back to human-looking form.

Now, if the viewer of this film is going in expecting a high-end Predator kind of thing, well, that’s a problem. This is as cheesy as they come, with cheap special effects, over the top acting, and taking the easy way out as often as possible (most likely due to budget constraints). But the sets and the rubberized creatures are no worse that the first season of the original Star Trek or Lost in Space, the latter of which was also cheesy fun when it came to costumes, sets and storylines.
 

Tasha Tacosa

The problem, though, is while the cover doesn’t necessarily looks like a mega-budget blockbuster, it also falls short of its promise with the likes of wannabes, such as Richard Thomas’s Battle Beyond the Stars (1980). Personally, I do not hold it against the viewer who was annoyed by the film as it stands. At least under its original name, there’s some indication of spoof; its present moniker is nothing short of confusing.

Anyway, getting back to the meat of the film, there is a lot of cartoon violence, nudity and sex, especially in the beginning with Victoria De Mare and Bree Olsen giving a cameo nude quickie before being infested by space bugs that makes them and the captain (Leroy’s go-to-guy, Robert Rhine, who was also a producer) look like bug-eyed Snapchat photo apps.

The crash survivors include two couples, some other guy, and possibly the only smart person among them from the crew, Lana (Tasha Tacosa). Of course, no one pays attention to her when she says, “We need to stick together,” and before you can say losing your virginity, there’s drug-fueled sex, metamorphoses, and alien infestation of various shapes and sizes.
 

Decker and Grier

Honestly, of the six, the women fare better than the men. Tacosa mostly does a fine job though she seems to use a bit too much face squinting to show emotion. I have to say I am quickly becoming a fan of nerdy cute Kelly Erin Decker as hesitant lover Terri, who I’ve seen play very different roles in a couple of other films now (Devil’s Domain in 2016, and she was especially effective in Halloween Pussy Trap Kill! Kill! in 2017). Pink wigged Diamond, played by Jin N. Tonic (aka Jin Miller), is an empath who can feel the emotions of others. The guys are Terri’s boyfriend Kenny (William Gabriel Grier), Diamond’s lover Dirk (Brenton Jones), and Zak (Harlan Post). The latter three play to the lowest common denominator; Grier seems to act here more with this eyebrows. But I have to say, they all look like they are having fun, and that is kind of cathartic for the viewer, as well.



Bree Olsen and Robert Rhine

Of course, references abound, such as the Alien franchise (of course), Night of the Living Dead (1968), Snakes on a Plane (2006), The Thing (1982), Invasion of the Body Snatchers (various), and even South Park. Also, the smaller CGI alien creatures (which we see much more than the rubber suited ones) have a lot of humanistic mannerisms, such as high-fives and rubbing their own head when confused, in one case for example.

The only extras are a wack of Wild Eye Releasing trailers, including this one (though it contains way too many spoilers, if you ask me).

While this film will certainly never win any prestigious awards, it serves its true purpose to be mindless (and I mean mind-less) fun. The six survivors are attractive, and don’t really have to put in much work to make the film happen, because it is what it is, once you know what it is – and it’s pretty obvious within the first minute of viewing, if one is paying attention, whether it’s a disappointment of a promise of higher quality or not. And it’s certainly no worse than the likes of Sorority Babes in the Slimeball Bowl-O-Rama (1988) or Sexsquatch: The Legend of Blood Stool Creek (2013). Sometimes one is in the mood for a sloppy joe rather than steak.
 

Review: Parasites

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

Parasites                        

Written, produced and directed by Chad Ferrin

Crappy World Films

81 minutes, 2017

www.crappyworldfilms.com

www.facebook.com/

“Living in a jungle, it ain’t so hard /
Living in a city, it’ll eat out, eat out your heart.”
- The Heartbreakers (Thunders not Petty) [HERE] 

Nothing makes me happier (well, perhaps that’s an overstatement) than a film title that can be seen in multiple ways. As for this film, I’ll be getting to that in a bit.

Three college jock-types are roaming around the big bad city and get lost. Not a good thing, especially in the neighborhood in which they’ve landed. Now, get your mind out of the National Lampoon’s Vacation view of Detroit, this area of Los Angeles is not colorblind, but it is certainly greenback poor. The key word there is poor, and then add in homelessness and frustration-fueled anger… that’s a volatile mix in an indie screen world.

The three dudes, including Sean Samuels as Marshall (middle)

As the dudes drive around, getting deeper into the vicinity, they make comments about the homeless they see like, “Give them a broom to clean that shit up,” and sarcastically, “Look! That one has a cell phone!” We’re definitely not dealing with liberal-leaners, but a Trump squad mentality. Then, they run over something and get a flat. And that is where the story really takes off.

In an updated idea right out of Two Thousand Maniacs! (1964), they are confronted by a mob of homeless men (and one woman) who don’t take kindly to strangers in their neighborhood, such as it is. It quickly escalates, and before you know it, one of the trio, Marshall (Sean Samuels) is running down the street nekkid in fear for his life, with a band of bums out to even the social score a little bit.

Okay, that’s about as far as I’ll give in details to the plot (the box and trailer below give similar info, so I’m not divulging too much). The patriarchal leader of the mob is Wilko (Robert Miano) who exudes anger, hate and racism beautifully. The problem with Wilko is a human one rather than merely of poverty: he is a narcissist who blames others for his own actions. One could argue that he is a product of having nothing left but ego, but I could also see that it could be part of what brought him to that level in the first place. In this case, his actions have left a witness, and he has to deal with it. As the de facto leader of our not-so-merry troupe, he brings the other street people with him to clean up, as it were.

Robert Miano as Wilco

While they are (nearly all) men of the streets, they are strong, but can they deal with Marshall, who is a quarterback in top physical shape? Quick to adapt, he does what he needs to survive, as he becomes the focus of a distorted version of The Warriors, without the fancy costumes and catchy dialogue. He has no choice but to come on out and play as he is hunted down by the urban version of the backwoods mob. It becomes a question of how does one win against a group that has nothing to lose.

The added social commentary is as Marshall becomes more and more identified as a homeless person, wearing their clothes, limping from a wound and covered in blood; being African-American in this case especially demonizes him as “Other.” He becomes a target not only of his hunters, but of the very people that he was accused by the gangly group of being in the first place, one who targets the homeless with paintballs and flame by people his own age who are slumming and looking to burn off some political incorrectness.

Joseph Pilato as Wilde

One of the standout roles here is a drunken ex-soldier, Wilde, a homeless man who is at odds with Wilco, played with great dexterity by Joseph Pilato. If you need clarity, he was the asswipe army leader, Rhodes, in Day of the Dead (1985) who famously gets ripped in half by a mob of zombies. He definitely proves here that he’s got acting talent.

For me, one of the rare disingenuous moments is a scene depicting how the mentally ill get released to the streets (the “droppin’ the kid off at the pool” bit). I know that after Geraldo Rivera’s “Willowbrook” expose in 1972, a lot of the psychologically infirmed were booted out of mental facilities which then closed their doors, but this seems more like fiction. That’s not to say it doesn’t happen, because what the hell do I know from my privileged white male position, but it didn’t feel right, somehow. Hopefully.

As the athletic Marshall runs for his life, he meets Wilco’s diminishing band of followers, who seem to meet up with Marshall one at a time, forcing his hand to do things he probably never would have believed himself capable. But does that make him culpable? The effects of these actions are done with practical SFX, which are nicely handled (even with the lack of continuity of the absence of blood on a recently used rake)

This film is definitely testosterone fueled, as there are only two women in the entire cast, being one of the followers (Suzanne Sumner Ferry) and a prostitute (Silvia Spross); as a side note, both Ferry and Spross also appeared with Miano in the television series “Sangre Negra.” Sure, some of the guys are just there to kick ass in a pissing contest against Marshall, but as the numbers dwindle, the remaining ones begin show some sense. Whether that is good for them or not in the story, I won’t say.

Getting back to what I meant at the beginning by the meaning of Parasite, the film actually asks the audience to think about exactly whom the term refers. Is it the street people, who certainly those of a Republican bent (in the present political environment) would see as living off the teat of society without giving anything back, or the Bourgeoisie college students who use the homeless as paintball target practice because they deem the homeless lives as worthless?

The music is quite minimalist and stunningly stirring, especially the folk-laden tunes like “House of the Rising Sun” and “In the Pines,” mostly sung by the cast, such as Miano and Samuels.

The film is actually quite effective and engaging, well shot, and the acting is quite good. Even the over the top moments (such as Wilko shouting, “I’m gonna kill ya dead!”) are not played to the point of making the viewer wince, but keeps one in the moment. The story will probably retain the viewers’ interest throughout (I did for me), as Marshall literally runs around the empty streets of Los Angeles fending for his life. The ending is effective, albeit predictable, considering the zeitgeist of the film’s tone and story direction. It’s a worthy viewing.