Review: The Burned Over District

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

The Burned Over District
Directed by James Coleman and Vincent Coleman
ColemanFilms; White Lion Studios
103 minutes, 2022
www.ColemanFilms.com
www.facebook.com/colemanbrosfilms

Wikipedia states that “The term ‘burned-over district’ refers to the western and central regions of New York State in the early 19th century, where religious revivals and the formation of new religious movements of the Second Great Awakening took place, to such a great extent that spiritual fervor seemed to set the area on fire.” This movement, like the Temperance Societies, were mostly women, and these gatherings led to Suffragettes and the Women’s Rights movement. But this film, which takes place in the modern time, has a darker meaning, which I will not give too many spoilers.

John Harvey Sheedy

Right at the beginning, on a winter’s day, in a deep and dark Rochester, NY (well, around those parts, anyway), there has been a tragedy that sets up the story for the ironically named protagonist, Will Pleasance (John Harvey Sheedy). His mourning, early on in the film, brings harbingers of misplaced anger and guilt. He is supported by his sister, Katie (Amy Zubieta) and somewhat by his mom, Michelle (Connie Neer). Mom’s a piece of work: not only does she willfully steal Will’s wife, Natalie’s (Sarah Santizo) jewelry, but she comes in from a snowy walkway onto his white carpet without removing her shoes. Sacrilege!

While out shooting for game, Will runs into a place with hanging symbols from the trees (think of 1999’s The Blair Witch Project) and other signs of cultism, as described by a neighbor, Fred (Robert Lindquist). The question to me at this point, is whether Fred turns out to be a good guy or a bad one. Which brings an interesting concept and the film’s title. While the original meaning was a frightening level of Christian fervor (as they are wont to do), this flips it on the side and turns that zeal into something darker and mysterious.

I do not believe it is coincidence that at a specific moment, with his hair akimbo, Will resembles the classic paintings of the Jeebus figure, as he faces down the Demonic cult (why is it always mostly women as adoring followers and those abused, and a male as the sole head?), led by greasy-haired Daniel (Michael Cieslla).

Amy Zubieta

Gender politics-wise, this film is the exact opposite of what the original meaning of the Burned Over District was in history: then it was Jeebus leading to the fight for Women’s Rights, to this film which features Dark Gods and men leading women. This also reminds me a bit of Jug Face (2013), about an evil demanding sacrifices in a pit in the woods, though it supposedly lives in the sky. Part of its power is to make you see things that are not there, such as in Oculus (2013), especially in a particular scene.

Some parts of the film tend to be dark (in lighting as well as story), the cinematography by James Coleman is shadowy and promotes the feeling of forbiddances as secrets unfold, especially in the woods.

Michael Cieslla leads the cult

Despite the gender politics that I may self-admittedly be reading too much into, the cast is quite solid, although Zubieta is a particular stand-out. The SFX look really good, especially in the third act when everything ramps up to a fervor, though it never loses sight of where it is in the story. Most of the gore effects seem practical, but there are some decent CGI Dark God effects. Speaking of that, the Coleman Brothers did a pretty bang-up job on the story, with a three-step build-up that is compelling. I am a sucker for gods and cult stories, and there are both some familiar parts, and some imaginative ones, as well to keep the warm fuzzy motifs (the whole robed cult thing, the alters, the rituals, etc.), and the surprises to feed the mysterious (not gonna tell).

The film is broken into three very distinct (districts?) acts: the first is kind of a slow build as it introduces the main characters, despite (or because) of the tragedy involved. When the second act begins, it certainly picks up quite a bit, and by the revenge tour of the third act, it is wildly filled with action and gore. But the whole thing needs to be watched to get the flow of it, and I recommend that.

IMDB listing HERE

 

Review: Don’t Let Her In

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

Don’t Let Her In
Directed by Ted Nicolaou
Full Moon Features; MVD Entertainment
61 minutes, 2021 / 2022
www.facebook.com/fullmoonfeatures
www.fullmoonfeatures.com/
www.MVDentertainment.com

For those of us who either grew up in the ‘80s VHS video boom, or are a fan of that prolific period, this release has a definite draw. It was directed by Ted Nicolaou, who set off the infamous Subspecies franchise and gave us TerrorVision (1986).

I am assuming we have all heard the expression “roommate from hell,” and some may have even experienced this phenomenon. Well, what if that were more than just an expression? Imagine if the person sharing your flat was, say, the nanny who hung herself in The Omen (1976), or one of the building tenants in Rosemary’s Baby (1968). That is the starting point of this release.

Kelly Curran

A young couple live in a loft (at the iconic Nate Starkman & Son building in Los Angeles) that is freakin’ huge, and that they can’t really afford. There is Amber (Kelly Curran), who designs posters for indie horror films and looks like she popped out of an Archie Comic, with a blonde bob and teeth for miles. Her boyfriend is Ben (Cole Pender), a guitarist for an up-and-coming band. They need a roommate, and that person shows up in the form of Serena (Lorin Doctor), a dark and mysterious New Age-y artist who works with herbs and minerals, and also can be found chanting a lot. The direction this is going is pretty obvious from the start.

Of course, there is an ulterior motive for Serena being there while there is a stranger, Elias (Austin James Parker), who looks a bit like The Witcher, that is hanging around outside the building.

Lorin Doctor

We soon get to see Serena’s true nature (and often her boobs at the drop of a lingerie). She easily seduces the couple one by one, setting up the evil plan to spring forth from her involvement.

And now that Amber is pregnant, obviously with something beyond human, how will our young couple, who are about as committed to their relationship as they are to their breakfast cereal, deal with this situation?

Well, honestly, it’s pretty predictable, but please, keep reading. Even though the ending can be seen a mile away, this is a fun romp and so typical of the fare of Full Moon, short at an hour’s length, and to the point. You get what you wish for, and that is a Full Moon production. They aren’t known for rocket science, and that’s just the way it should be. This film definitely keeps on brand: nudity, gore, and demons. There is little to no fat that needs to be trimmed; it’s going in a direction and successfully gets there.

Cole Pender

Doctor has a kind of weird, almost Mortician Aadams kind of stroll when she’s in evil focus mode, with arms tight down at her sides and hands at nearly 90 degrees to her body. But everyone does their role well.

This is a very small, COVID-period cast of just four characters, but it’s Curran and Doctor who hold up the film. It’s sensual and bloody, with some really top notch practical demonic SFX.

There are essentially two extras added on the Blu-ray. The first is a bunch of Full Moon Production trailers of their newer stuff, such as The Resonator: Miskatonic U and Blade: The Iron Cross. This film is also represented. The other is a 9-minute Behind the Scenes featurette, that starts off focusing on the career of the director (including his work on the original The Texas Chain Saw Massacre), and then delves into the make-up and production of this film, with an interview with Curran.

Full Moon has a reputation for films just like this, that are quickly done and are effective, with extremely low budgets (but look really good) and tend to be a tad goofy. This is not a comedy, but there is an auteur feel to all their releases, and this one works. Also, there are a few times when characters are watching movies on the television, and you will never guess what production company they are from…

IMBD Listing HERE 

Review: Dante’s Shadow of Sin

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

Dante’s Shadow of Sin
Directed by Dakota Ray
R.A. Productions
75 minutes, 2021
https://dakotarayfilmmaker.wordpress.com/
www.facebook.com/Dantes-Shadow-of-Sin-A-Film-By-Dakota-Ray-113284927789069

And if you go chasing rabbits
And you know you’re going to fall…
When logic and proportion
Have fallen sloppy dead
“White Rabbit,” Jefferson Airplane

I ask you: in the time of Covid, what’s a man supposed to do? Easy, just down a glass of absinthe, get a new and sharper lens for your camera, and direct your eighth film of nihilistic behavior, as has done Denver-based director/writer/cinematographer/editor Dakota Ray.

Usually I would hold off on this kind of comment until near the end of a review, but let me point out right from the start that even with Ray’s characteristic use of monochrome-colored filters, in this case one that is a rich, dark blue hue, the new lens really is incredible at showing details, which can only help spotlight the sheer insanity; the film highlights this clarity as you can practically count every hair on a close-up of a severed head.

As is his wont and right, the title character is played by the director and his insanely deep voice, who in the first line, explains the nihilism that clouds his very soul: “My name is Dante, and I serve no man but myself.” He is remorseless, unhinged from reality, and a complete narcissist (perhaps he can become president like the last joker!). We meet him staring at himself in a mirror. Yeah, this guy is not someone you are going to want to mess with in any circumstances.

Filmed in Ray’s house, in part, it was fun seeing the VHS stack with the likes of The Thing, An American Werewolf in London, and I believe Dark Shadows. There is a lot of fine editing by Ray, which improves with every film, between characters, objects (many look like they were bought at a Halloween store, and rightfully so), Satanic symbols, and insects in various states of health. These, their use as subliminal commentary on the action, all become characters in their own right in a way, rather than just be filler (more on that later). The soundtrack during the credits is emblazoned with “blackened doom” (the band’s wording) metal by the Italian trio Naga.

Two years after committing a horrific murder, Dante is contacted by an acquaintance, Mahoganny (gravel-voiced Fred Epstein, a heavy-emoting Ray regular) who has inherited the Boleskin House (referencing the Boleskine House in Scotland, owned by renowned Satanist Aleister Crowley and Jimmy Page, the once great guitarist of the Yardbirds and Led Zeppelin). Mahoganny suggests they get together and go to the house. My question to Mahoganny is, “do you know where you’re going to, do you like the things that life is showin’ you?” (sorry…). In this case, the name Mahoganny is more symbolic for the hardness and darkness of his heart rather than skin color.

After picking up Mahoganny, whose beard and hair is long in classic (and ironic) Jeebus mode, they both head to the house to debauch. How debauched? Let’s just say I had to turn my head when Mahoganny dipped a slice of pizza into salad dressing (I am assuming Ranch). What’s next? Pineapple!?! Also, I wonder about a focused bit without explanation of Dante taking an antacid pill of Calcium Carbonate (designated by the serial number G171); perhaps it is in reference to Mohaganny’s fixation on laxatives? But I digress…

Throughout the film, we hear the thoughts of the two central characters more than words are spoken, which makes sense since so much of the planning of these two are secretive, so we become cognizant of just what the hell is going on. We also hear the drug-induced disembodied voices of objects such as dolls, a white rabbit and a goat head who represent the Satanic elements. Two other mute players are Mahoganny’s senile and silent 92-year-old grandmother (Maddison M.), and his bound and gagged, drug induced “slave” (Sholeh Behesht) in the bathtub. This also makes me wonder about using the name “Mahoganny” as a slaver…

Dante, though not redeemable, kills for a purpose, even if it is self-gratification. With Mahoganny, however, slow and painful control and sadism is more his speed. These two both know that the time in the vacation house will not end well, and each has a motive to be the only one out, but the build-up to the confrontation is a large part of what is going on through the story, listening to their thoughts about destruction in different forms, but with the same end result.

Although there are four characters in this, truth be told it is a two-person story, loco mano e mas loco mano. With hexes, drugs, alcohol and just sheer deviance of a multitude of natures, these guys have a deep hatred that Ray manages to convey quite strongly. Where did they go wrong as friends or acquaintances? Immaterial, because at this time, it a steadily intensifying to-the-death duel, both mentally and physically. The lightening in the sky is a foretelling of the bad actions to come.

It is also interesting to me that both of these dudes are into Satanism and curses, but they are individuals, not part of a Satanic cult, which is where it seems most films dealing with this topic tend to lay down. Again, while the leads are both similar in their desires for death and destruction, they are very distinct in their personalities and the means to achieve their comparable end-goals. Though, honestly, I am not sure how they manage to get their goals accomplished with the sheer amount of imbibing – including mushrooms – that gets consumed. Mind you, I’m a straight-edged punk rock nerd, so it is a different world than where I come from.

The film is broken into a number of chapters via long title cards, such as “Dante’s Switchblade Romance: Caressing her ghost and other demons from the past.” This is also common among Ray’s films. However, story-wise, this is the most cohesive of the eight, being rather threadbare in its plot. Rather than mixing a number of different stories into one, here he focuses on the two main characters, and yes, you could say that it still two tales into one, but its focus is more exact, with less opaque moments.

As much as I have enjoyed all of Ray’s releases, I think this one could be a turning point as far as a pathway. As much as I like the past ones, I look forward to the swing in this direction.

 

Review: Red Letters

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

 

Red Letters
Directed by Jim Klock
Code 3 Films; Terror Films
86 minutes, 2020
www.terrorfilms.com

Lately, I have been on a few Theists vs. Atheists boards, which are always interesting. This actually fits in well for this release, in which the two lead characters are on either side of this issue.

Retired homicide detective turned PI Jim Knowles (the film’s director, Jim Klock), who helps the police with “dark” murders, and also retired Professor of Theology and Knowles’ friend and reluctant occasional partner Mike Gaston (Mike Capozzi) – no need to explain which is the believer and which is not – are hired by the police to investigate the strange disappearance of a deputy investigating a burglary (at exactly 3 AM on November 1, the day after Halloween, which is, of course, the Catholic-based All Saints Day; personally, I think it would have been cooler to be at 3:33, but that’s just my own musing that has nothing to do with nothing). But this is fiction placed in a particular subgenre of horror, so it "obvious" who, in this story, is "right." That’s just a given. But let’s go on and start the film…

Jim Klock and Mike Capozzi

This story follows a perspective I really like, in that after the Deputy’s disappearance, we mainly follow the two lead characters for a day, so we learn about events as they do. For me, this is a smart way to keep us knowing just what they know, and to work on the case with them, as it were.

Unlike many films, indie or mainstream, this is well written in that the characters are quite human rather than mere stereotypes. For example, the partner of the deputy that disappears discusses his guilt about being afraid of going after the officer. This is a very realistic touch, which softens the character and makes him sympathetic rather than being just a coward. Or is there more? That’s a question that is consistent throughout the film, as it rightfully should be in any police procedural, as well as one in the Satanic subgenre especially (since he is the Prince of Lies, as it were).

So, what is the philosophy of the film: is it pro- or anti-God/Satan? Well, that’s pretty easy to figure out, if you’ve seen The Exorcist and The Omen (I am going to assume that’s a yes). And is it preachy about it? And is there a Right-Wing slant to the film, as Knowles jacket has a “Blues Lives Matter” American flag patch on his jacket? Well, more about all that later.

Meanwhile, did I mention that Gaston has visions when he touches objects? It’s no wonder he’s a believer, and he’s certain Satan is a-foot. Or is it a-hoof? But no one sees and hears as much as a homeless man named Robin (Robin F. Baker), who is a prophet in touch with the Lord that we are introduced to at the start of Act 2, which drowns a bit in dialogue about matters Holy.

The visions help show that, of course, things aren’t always as they appear, and good Christians can be called into question as they show a dark side. But is that out of some long-term sinister belief system or fear? These are all questions to lead the viewer on the journey to the truth within the film’s boundaries. Sometimes beliefs are shown in subtle ways, such as Knowles being a non-believer and the only smoker in the story, showing he doesn’t care about the world by repeatedly littering with the butts, even when there is a garbage can right there (sorry, personal pet smoking peeve).

The first couple of Acts are a bit slow and paced, and could use some editing, though there are a couple of decent jump scares. But as is natural in genre cinema, it isn’t until the third Act that things really start hopping.

The film is pretty well acted, and considering the vast amount of dialog, such as the extended soliloquy of Robin at a diner, it is held up by Baker’s acting chops. The body count is relatively low as is the blood flow, but the tension in the last Act (as opposed to the Bible’s “Acts”) works well to keep up a bit of tension.

And is it preachy? Well, yeah, a bit, but not to the level where I felt like I was being beaten over the head like those ridiculous Left Behind releases. There are lots of Bible quotes and a letter from Paul discussed, and I assume Klock, who also wrote the film, is a believer, because his character (who does not have faith) states at one point, “I don’t believe in the Man upstairs.” Most atheists or agnostics would respond, “I don’t see any proof of a Man upstairs” instead, leaving the burden of proof on the believer. The end title card actually answers the question of preaching, though.

The photography is pretty straightforward most of the time, with one and two person shots, with lots of headshots. But somewhat often, a lovely time lapse or overhead of a beautiful forest can take the viewer by surprise by its beauty, considering it was shot near Atlantic City, NJ (I promise you, this Brooklyn boy will not mock NJ here).

Overall, it’s a decent film that’s nice to look at and a respectable cast that is only hindered by the amount of talking in ratio-to-action. I haven’t seen Klock’s other four films, so I don’t know if the religiosity is a trend or a one-off, but I’d certainly be willing to see more, even as an agnostic non-Christian myself who doesn’t mind a bit of Gods and Devils in his viewing stories. But remember, there are over 3000 gods out there, and this is taking only one of the Christian perspectives, which means all the others are “wrong.” That’s hubris, but with good cinema, I’ll let it stand.

You can find the film exclusively, for now, at the Kings of Horror site on You Tube.

Review: Doll Factory

Text © Richard Gary / Indie Horror Films, 2019

Images from the Internet

Doll Factory

Directed by Stephen Wolfe

Fan Fiction Cinema / Wild Eye Releasing / MVD Entertainment

90 minutes, 2014 / 2019

www.wildeyereleasing.com

www.mvdb2b.com

The way I see it, in a gross generalization kind of way, there are three types of dolls movies. The first – and one of the oldest – is where a lap dummy has a life of its own, usually in the mind of the ventriloquist (but not always). The second is where the doll is haunted, as seen in the Annabelle franchise. Then there is the third where the doll either comes to life, such as with the old “Talking Tina” episode of “The Twilight Zone” (“Living Doll”; 1963), the Zanti Warrior episode of Trilogy of Terror (1975), Stuart Gordon’s Dolls (1987), and the Puppetmaster series (starting in 1987). This comedy falls into the latter category.

After a prologue of previous events, as is typical of these kinds of things, we meet a group of friends at a Halloween party in modern times. Nearly everyone – well, especially the men – are real dicks (pun both intended and not intended), just screaming of male toxicity. This is displayed in macho posturing, not listening to advice (or anything else) especially from women, hyper-sexualizing everything, bullying, etc. Some characters, all I could think was “boy, I hope you die by the end.”

Nicole Elliott, Andy Palmer, Justin Herman

The lead couple are Kay (hyper-cute Nicole Elliott) and her boyfriend/scuzbucket Mark (Justin Herman). Along with two other couples, Allison (Tracy Collins) and Miguel (Milo Rubi), and Erika (Jade Warren) and horndog Blake (Will Allday), plus Derek (Eric Schneider), the third wheel (why is it that there is always one odd guy or gal in these groups? Oh, well, more fodder for the splatter, I guess) they decide to ditch the shindig after Ian (Nasir Villanueva), Kay’s equally macho moroon ex-, and his hostile crew shows up and gets into a fight with Mark.

They head out to the old doll factory and perform some ritual from a book, which raises the cracked baby dolls into a murderous and gore-hungry group (to our delight, of course). Soon the rubber reprobates are roaming the town seeking victims/souls for their “master” (a hysterical turn by Patrick Sane); Kay and Mark rustle up Kay’s nerdy gamer bro Melvin (Andy Palmer) to help fight them off. Also joining the good guys is the redneck sheriff (Chris Fender) and an older African-American grump, Darius (Boo Gay, who steals all his scenes), who were introduced in the 1976 prologue.

SFX

Like the first Scary Movie (2000), this film borders on the ridiculous, but that is also a large part of its charm. Let me put it this way: remember when Popeye would mumble and then one day you paid attention and realized what he was saying was hysterical? Similarly, the dolls are straight-up Freddy Kruger wiseacres, and what they are speaking through their high pitched and silly voices is pretty funny, even if you have to listen to it very carefully. The dolls themselves obviously move via strings, and I’m not sure exactly how many there are in the story compared to how many were made (I’m guessing by the sheer number of them, their number were digitally enhanced). There is a fine mix of digital and practical SFX, and it actually all works well; some of the effects look damn good, and others a little goofy.

Of course, you know there’s going to be a showdown between our intrepid group of five who are to stand up to the legion of devil dolls, and the Master (I write this before I know for certain, as I’m about two-thirds through the film at this point).

Other than the men being complete assholes and most of the women not that smart, the writing is actually quite intelligent in its goofiness, if you’re willing to dig a bit and pay attention between the beer and chips you’re probably eating while watching this, because that is the correct fare for this kind of film. It’s definitely one that you’ll be laughing and talking about while it’s on, but I caution you to perhaps back up once in a while and listen to the dialogue. Man, I wish there were subtitles, which would have made it a lot easier to make out what the dolls were chattering about.

There are certain scenes that I definitely laughed out loud, such as one of the dolls partying with a couple of stoners (reminiscent of the similar pseudo-Ghostface scene in Scary Movie), or the re-introduction of Darius, who is wearing a stuck-on Santa beard and wig.

The first extra is a “Making of Documentary” (29 min.), which is a mix of interviews with the crew and some cast, and describes the beginning of the concept on through. It’s varied with lots of behind the scenes footage that are enjoyable. Next is the “Gag Reel” (7 min.), and like most of these things, there are some funny flubs. Then there is the “Concept Trailer” (2 min.) which is basically an exercise in both practicing for the shoot and a way to get some funding. It’s certainly a bit rough as far as concept goes with different actors, but still amusing to compare with the feature to see how far they came. There are also a few Wild Eye Releasing trailers.

For the full length commentary, it’s the director, Palmer (who is also an executive producer, as well as playing Melvin), and Herman (who portrays the male lead of Mark). Sometimes it is a bit hard to tell who is saying what, but that’s okay. The conversation is a bit stilted, and rarely deep. If you play this you won’t necessarily be wasting your time, but if you skipped it, I don’t believe you’ll miss a whole lot.

The only real regret I have, as I said before, is that there were no captions, so it was easy to miss some of the doll dialogue; when listening to a commentary track, it certainly makes it easier to follow along. But that’s a piffle in the scheme of things.

My fear is that a lot of people are just going to see this as a goofy excuse of a comedy, but, again, I think it’s worth paying attention to what’s happening. It’s not just a silly film about killer baby dolls, but rather a comedy that is quite funny, even if its (mostly male) characters are a bit annoying. I’m hoping there will be a sequel in there somewhere at some time, as is somewhat hinted in a classic trope way.

Review: Navy SEALS v Demons

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

Navy SEALS v Demons

Directed by Jeffrey Reyes

AK Waters Productions / Echosworld Entertainment / MVD Visual

85 minutes, 2017

www.mvdvisual.com

I have to admit that I was completely intrigued by the title, before even becoming aware of Navy SEALS vs. Zombies (2015). They share producers, a member of the writing team and one actor (playing different roles), but they’re pretty independent of each other, it seems (though I could be wrong).

The title indicates that this could be really bad, or so bad it’s good. I’m hoping for at least the latter, quite honestly. A good action horror film was due to come over my threshold. I’ve seen a bit of both genres lately, but let’s see how it works combined. The disc is going in the Blu-ray player now.

Deep in the heart of the Texas Bible Belt, there is a small town in Jack County which is being overrun by five motorcycle-riding demons. They are intent on gaining the virgin blood of a dozen early teen girls (a social commentary on the sexual proclivity of older teens, even in the Religious South perhaps?) so they can enter a church and get…well, I’m not sure. I’ll explain later.

Mikel Vega

These nasty demons with putty on their face are easily killing males left and right via disembowelling, and taking the girls, because even shot guns don’t work against them. What’s a spy-in-the-sky government to do? Why use a cliché and find a down-in-his-booze-due-to-tragedy ex-Navy SEAL to clean up the matter, along with two of his buddies.

Of course he first says piss off because that’s the way these storylines work. The snobby Navy recruiter wants him to go down there because the demons are going after Mexicans, and locally no one cares: “Down there another dead illegal alien isn’t news.” Even the Navy doesn’t really give a damn, he claims, but they don’t want demon-kind to spread. Again, social commentary? Considering the director is Latino, this would make sense, and I applaud it.

The trio of ex-SEALS ride into town incognito as a motorcycle gang. Wait. Whaaa? Sure, that’s not going to attract any attention in a heavily armed, police-based zone. In a cool twist, instead of the old guy who works the gas station warning the teens to stay away, it’s a young guy at the gas bar waring the older guys to vamoose. I enjoyed that.

Before the guys meet the demons, of course there is the mandatory bar fight with the local Latino motorcycle gang, so they can become allies. After that…

Liana Mendoza

Well, enough with the plot, let me get to the zeitgeist. Overall, I had some issues with this film. For example, the female lead (Liana Mendoza) gets to do an uncomfortable and gratuitous strip scene at a bar. All things considered, it is the only thing close to nudity in the film, and it just doesn’t work. Mendoza is certainly attractive, but her comments before and the strip itself feels… unsexy. Again, this is no reflection of Mendoza; it’s the film’s presentation.

Part of the reason for this is the extremely cumbersome editing throughout. There are many jump cuts, inconsistencies of image (e.g., someone picks up a cigarette, and the next angle her arms are down)¸and too many sharp jumps between locations. Considering how dark the images often are (I significantly brightened up the screenshot pictures included), this makes coherency an issue.

The sound also tends to go in and out a bit, and some parts are hard to make out, hence my not being sure why the demons wanted to get into the church, and how that would “spread” the demons. Or perhaps they said it and I zoned out? That happened on my end a couple of times here and there.

A strong feature is the three main characters. Reyes is a sharpshooter who served in the Middle East, so he does have experience that certainly lends a bit of texture to the characters. The central and tragic boozy Seal is played by Mikal Vega, who was a military badass in real life, having 22 years of service in Special Operations. Oh, and he’s freakin’ huge, man. His is the only character that any back story. Even so, like most of the others in the film, he is still under-written.

And there lies the biggest issue of the film, namely the writing. For a large cast, there really isn’t that big a (on-screen) body count; also there are just a couple of fights and a vacuum of action. This is a problem for an action film. For example, nearly everyone rides motorcycles, but the only ones who wear helmets are…the demons?!

Another annoyance is that while our three heroes and the bikers battle the demons face on, the scene keeps cutting away to a team in some far off location watching what happens in Texas from a satellite. How they see inside the buildings is something I haven’t quite figured out, and honestly, those interjected parts just feels like padding that was added after the fact.

Lead Demon

We never really get a good look at the demons as the views are dark, and also distorted by digi tricks. What one does see is…okay. However, there are a couple of decent gore scenes, mostly gastrointestinal, but far between.

I have an issue with the final battle, which I’m not going to give away, but it all seemed too easy. And the finale was kind of telegraphed more than once during the last act of the story.

Lastly, it’s kind of odd that it’s Blu-ray, and yet an extra other than sound and chapters is nowhere to be seen. How demonic! Though truthfully, I don’t know if I could have sat through a commentary track and many other Behind the Scenes featurettes.

All that being said, I would actually like to see Reyes focus more on some straightforward action films that aren’t filled with clichés that have been done to death already. He seems capable, despite my whining. I think he just needs a better script, and an film splicer/editor with some eye for narrative. Go get ‘em Reyes, I’ll be waiting!

Review: Live-Evil

Text © Richard Gary / Indie Horror Films, 2016
Images from the Internet

Live-Evil

Written and directed by Ari Kirchenbaum
Simian Tales
95 minutes, 2015

As if working as a cop in a small college town wasn’t bad enough. As if working as a cop in a small college town on Halloween wasn’t enough. As if working as a cop in a small college town on Halloween and two on the FBI’s most wanted drug dealers list were cuffed in the precinct wasn’t enough. As if… okay, I’ll shorten it… all this wasn’t bad enough, thanks to an ancient relic bought by a rich collector, something wicked this way has come. One of the officers refuses to name it in a running gag, just giving it the descriptor, “Evil.”

Charlene Amoia

Officer Hancock (Buffalo native Charlene Amoia, who gives off a kind of Gina Gershon vibe, was a semi-regular waitstaff character on How I Met Your Mother, among many other credits) gets called to rich dude’s mansion to find a bunch of bodies and a naked woman forming out of ash, eyes aglow, aka the previously said “evil.” Arresting her, aware that something is obviously afoot, Hancock puts her in a cell next to the snarky drug dealers.

These dealers could be a film unto themselves. Young, cocky and fearless, they remind me of long-haired versions of Pharma Dude (you know, the dick who raised the cost of the AIDS drug 5000% - I will not glorify him by printing his name). Referred to as simply Mr. Eleven (Ed Ricker) and Mr. Twelve (the mono-named Carter), they are amusing in tune with their situation and have a strong don’t-give-a-fuck attitude. Like other (non-police) characters, there is something off about them, which makes them interesting, even if not likeable. I spent the whole film waiting to see whether they get their comeuppance or not (I’m not telling).

Kind of running the show is Sherriff Pete (Vladimir Kulich, who looks a bit more Norge than Czech, so it makes sense that he played one in 1999’s The 13th Warrior, and The Viking television series). Pete’s a likeable enough guy, but not the sharpest stick in the woods (though heart’s in a good place); it’s actually Hancock who is usually dealing with the pragmatic reality of the moment. She’s been on the force over a decade and she should be running the show, in my opinion.

In an extended cameo role (as all indie films must now produce, it seems) is the Candyman (1992) himself, Tony Todd, as an imbibing pastor. Don’t get me wrong, it’s always good to see him, as he is a class act. Stealing the scenes, however, is a college dean (Tim Ross) who, for those who know academics well, delivers his comic relief lines with just the right amount of red tape and incredulity. He’s hysterical. Also grabbing attention is the tweaking Rosie (Raven Whisnant), in an extremely high-energy, physical performance given with glee.

Then add some risen undead (more on this in a bit), affected by the ash that’s floating around the town that looks like snow, whose intentions are not known for a while, with glowing eyes (which hint towards their… again, I won’t give it away, though I’m sorely tempted to discuss). Everyone keeps calling them zombies, to which Hancock vehemently differs. I understand what she is saying, but I humbly disagree with her for the following reason: in the post-Romero world, risen zombies are flesh eaters out to kill and eat the flesh of the living. If you go back pre-1967, however, zombies meant something different. They were raised from the dead to do a deed or obey a master, not independently and randomly slaughter (I once wrote a blog about it, HERE). So, in current Western culture she is correct, but in the original meaning of the term, she is not. But I’m digressingly nitpicking.

Tony Todd

Breaking the story up into seven chapters are witty title cards, such as “Evil Descending a Staircase,” “Chasing Pete’s Dragon,” and “Kamikaze, Rinse, Repeat.” I’m pointing this out to explain, in part, that this is actually quite a cleverly written work. This is only part of the care given to the thought of this film. Along with the meat and ‘taters shooting (and there is a lot of it) and blood’n’bones (ditto), there is also an ample use of digital effects, from the previously described eye glowing and nearly omnipresent ash floating around, then add in some gunshot wounds, people appearing out of thin air, and other assorted gizmos. But there is also some appliance SFX as well, such as the undead (most of whom look great, by the way), and the “Evil” masks (see the film’s poster, above).

When it comes to being arty, as I’ve said before in other reviews, there is a fine line between being artistic and being opaque, much like poetry or a certain level of fiction. Within that line the viewer gets to see a vision presented by the director that’s above and beyond, and yet the story doesn’t get lost in the adjusting (which is the problem I have with much of the over-produced music since the early ‘80s, but I digress…). Kirchenbaum takes that leap and lands on safe ground, giving this a unique feel, and yet keeps the watcher involved in the story. For example, most of the beginning of the film is in B&W, and then suddenly turns to color 53 minutes in, after the ringing of a ritual bell.

I must say, I enjoyed this immensely. It took me three-quarter through to figure out a key point, and it still kept my interest until after the credits (yes, there’s a bit at the end there). Kirchenbaum doesn’t always take the easy or obvious road here, even though one can see elements of so many other films, such as [REC] (2007), 30 Days of Night (2007; here it’s cops vs. Evil, not vampires), and any one of a million rising dead themes, albeit this time with automatic weapons. The risen dead masks remind me a bit of the aliens in They Live (1988), but again, perhaps I’m assuming too much, because I didn’t care about it as I was having too much fun with the story.  Speaking of which, while I certainly would not necessarily call this a comedy, man it has some funny moments.

From beginning to end, this was an enjoyable film to watch. It never lets up, it’s rarely predictable, and except for a couple of parts that could have used a bit of snipping (e.g., for story pacing, Sherriff Pete takes too long to convince Hancock to get into the police car, even though it’s probably more realistic), and a couple of arguably superfluous characters (the pair of apparently X-Files-inspired FBI agents), it kept me interested all the way through. It’s a good watch.