Review: The Changing of Ben Moore

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

The Changing of Ben Moore

Written and directed by Jason Mills
Sector 5 Films / Chemical Burn Entertainment /
Reality Entertainment / Gravitas Ventures / Mills Pictures
World Wide Multi Media
85 minutes, 2015
www.chemicalburn.org
www.reality-entertainment.com
www.Sector5films.net

Recently, I had the opportunity to review director Jason Mills’ other full lengther called They Came from the Attic (2009; aka Above Us Lives Evil). Similarly, this new one takes place in Delta, an area south of Vancouver. As I write this, I’m just across the bay on the Saanich Peninsula, British Columbia, but I digress…

Using the time-worn found footage sub-subgenre, we are introduced to a group of mid-20-year-olds who don’t really seem to have much employment or income, though one works overnight hours every other day so perhaps he’s employed at a Mac’s or something; for those who don’t know, Mac’s is similar to 7-Eleven in Canada.  There are three-and-a-half main characters, so working my way up: the obnoxious smart ass who helps out on camera duty occasionally named John (Bruce Novakowski); Derick (Corey Beaulieu) is the foul mouthed but caring best friend whose aunt adopted Ben, and has come up with the whole idea of the filming; the girlfriend is Sara (Shannon Ostrom aka Shannen Melissa), and; the focus of the film, the titular Ben (Umberto Celisano), who generally comes across as a caring, congenial guy who is befuddled about what is happening to him. Everyone else in the cast who parties with them is surprisingly not necessarily fodder for once. But more on that later.

The reason for the filming is to create a record of the strange goings on of Ben, who was adopted after the death of his parents, and now at 24 years of age, lives in what was the house of his adopted aunt, Derik’s mom. Perhaps an insurance claim left Ben enough money to be able not to have to have a real job? Part of the problem of (not with) this story is that we know just about nothing about them, other than that they died, not even how it happened). Now, it seems Ben hasn’t been sleeping, has not been hungry in days yet remains fit, and has the occasional blackout in his memory.

Caught on camera at night by Derik, Sara or John, Ben seems dazed, has killed a pet or two, and his pupils are turning pale blue. He also seems a bit dazed, hostile, and inarticulate other than a roar or two. Oh, and as they mention in all the film’s official summaries, people have started to disappear in part or in whole. Personally, I believe the trailer gives too much away, and I’m glad I didn’t watch it first, though it is quite effective.

Borrowing a small bit from The Beast Within (1982), we don’t really know about Ben’s lineage, and what is happening is not explained because it is obviously not understood even by its participants, but my guess is something innate and primal.

I must say, generally, I’m done with found footage (ff); usually same old, same old. However, this film is actually one of the better indies I’ve seen use it. Most ff takes way too long setting up the back-story, or has too much superfluous nonsense supposedly to throw us off the track (e.g., the first 10-20 minutes of Cloverfield or everything except the last 10 minutes of The Blair Witch Project). Here, yes there is an introduction of the characters, but it’s balanced out well with the action and there is some character development even without much build-up of the actual histories of anyone. Part of the reason for this is the top-quality acting that Mills has found to voice his thoughts. Novakowski’s John is a bit over the top, but personally, I have friends who are like that naturally. Beaulieu’s passive-aggressive friendship, again, comes across as natural, and I can name some acquaintances of mine like that, as well. Ostrom comes across as the appropriate level of concern, affection and anger, without playing it off the scale. She’s attractive without being unrealistically model-ish (I promise you, that’s a high compliment), which makes the compassion factor for her that much higher.

Ben Moore mid-way through his changing

Of course, the film hinges on Celisano’s Ben. Having experience in both high drama and low comedy – heck, he played a hell of a young Capone recently – helps him be believable both as his “day person” and whatever it is he becomes at night, even when they jump-cut from one to another.

As for the rest of the cast, which is mostly seen in a party sequence and the after-effects, the body count is pretty low, but quite effective, especially as the story builds to its gruesome conclusion.

It’s easy to tell this film didn’t cost too much to make, other than a few minor CGI moments here and there. But it definitely kept me wanting more, which is rare for a “Hello!? I’m walking through the dark house with just the camera light on! Is there anyone or thing waiting to jump out at me around the corner?!?” film. It’s effectively done to keep the creepy factor on high. Sure, I would have run to the authorities of some sort (other than the one weak-willed priest they show) as soon as I saw the blue/white eyes the first time to try and seek help for my friend, but hey, that’s (a) not how these genres works, and (b) wouldn’t help advance the story much. Just think of The Exorcist (1973), and how much the parts of Reagan going to see the doctors during the second act slowed down the story flow, even if it was what would really have happened).

Considering how much I groaned at the prospect of seeing another ff flick, I sure am glad I stuck it out, because it really was fun, with very little drag to it, even with all the open questions. Perhaps this will lead to a sequel? Yeah, I’d watch that, as this is the rare film I saw and thought, hmm, I wonder what happened after the film concluded. Nice work.

Review: Awaken the Devil

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

Awaken the Devil (aka An Anti American)

Edited and directed by Daniel E. Falicki
Sector 5 Films / Rotomation Pictures
Chemical Burn Entertainment / WWMM
85 minutes, 2014
www.Sector5films.net
www.chemicalburn.org
www.mvdvisual.com

Brothers Vernon (Jason Roth) and Tom Dopple (Matt Simpson Siegel) are down on their luck. Vernon is mute, stuck in a wheelchair, and apparently of low IQ. Tom talks practically non-stop, has an abuse problem – be it liquid or pills – and is the only guardian for Vernon. Both brothers are homeless and scam artists when need be in order to sustain themselves.

In the world in which they survive rather than live, in a nice directorial touch, they are presented in flesh and blood, and nearly everyone around them is but a shadow, animated in 2D. In fact, their world is animated, with some film backgrounds of New York (though it was filmed in Michigan) that they move over, but are not a part of, creating a two-level environment: one for themselves to exist in, and one for everyone else that they cannot be part of, only be on the outside.

They break into a building for the night, but what awaits them inside is sinister, mysterious, and deceptive. Vernon and Tom have lost their way in life, disconnected from reality on some level, and now supernatural and evil forces are using them for their own nefarious means.

The original title of the film was An Anti American, which is as cryptic as parts of the film, which focuses mostly on the two brothers, their relationship and the events that will change their lives. With the exception of brief scene with a drug dealer (Ryan Lieske in a bad wig, who also wrote the screenplay), nearly all the talking in the story is done by Tom, with Vernon writing on a chalkboard.

Other than the wheelchair, some strewn newspapers, and a sparse number of cast members, nearly everything is green-screened, giving a two-dimension effect to the world, especially when Tom breaks into a supposedly deserted building, rolling Vernon in after him. Of course, they become trapped, and that’s when the evil abounds.

Even before that, as they roam the streets asking for handouts, there are signals that something bad is afoot, as graffiti-like messages designed just for them start to appear. They have been chosen, it seems.

The film moves at a very slow pace, building character dynamics and tension in the story. The audience gets a chance to know T & V better, though not what brought them into the sorry condition they are in currently. Both of the two actors carry their roles extremely well, rather than the usually D-level film overacting (or underacting). That was certainly refreshing. Siegel (who looks a lot like Michael Stipe here) gives him just the right desperate tone without overplaying, making it easy to pity the guy. Roth (resembling Toshiro Mifune somewhat) conveys curiousity and fear through his eyes, while mute.

I would imagine it would be hard to react to some of the events that were added after by these actors, considering they are in front of a screen, but they do admirable work, from Tom’s fear to Vernon’s attempts of understand just what is happening.

This could be seen as an experimental film (hence its original cryptic title), but it works in no small part to its lead actors, who have to convey the story while acting to most likely a blank wall that will be filled in with effect in the post part of the filmmaking;

This is a thoughtful piece of cinema, and while it is admittedly a bit slow moving at times, it also builds beautifully. If you have the patience and enjoy a decent character study as well as a devil of a time, this may surprise you.