Text © Richard Gary / Indie Horror
Films, 2016
Images from the Internet
It’s that time of the year again,
when lists like this pop up, so why should I be different? I will republish the
rules I have about such lists first:
I have an issue with “Best of” and “Worst of” year-end lists for the
following reasons: most are chosen from either those that play in theaters, or
viewed on PPV such as Netflix and film channels by the television provider. For
me, I like to watch the DIY ones, rather than those theatre-distributed. These
tend to have more heart. My list
consists of films that I saw in 2016, not necessarily ones that were released
in that year.
As for Best and Worst, I never liked those terms; art is just way too
subjective, which is why I called them Favorites and Not Favorites. That being
said, even the “Not” ones have redeeming qualities, and the fact that they
don’t touch me means nothing. I’ve hated films that have won tons of awards, so
don’t take anything I say, good or bad, as the law. It’s just opinion, and I
welcome you to agree or disagree. It’s all good.
These two lists are alphabetical,
rather than ranked.
FAVORITES:
Abandoned Dead
Directed by Mark W. Curran
The excellent Sarah Nicklin plays a Californian
rent-a-cop security guard that has been assigned to begrudgingly watch over the
Mayfield Addiction Clinic over the Memorial Day Weekend. This film is not just
about the supernatural (or is it?), but a supernatural thriller (or is it?).
See, that’s when a film becomes a thriller, making the watcher wonder. I
enjoyed how this careened over a number of genres, such as slasher, doctor
experimentation, supernatural, zombie, paranormal, social commentary about
family dynamics, psychodrama, crime drama, and straight out horror; and yet, it
doesn’t stay in any one stream long enough to overstay it’s welcome, nor pass
so fast that it is ignorable. A cameo by NoTLD’s Judith O’Dea also is a bonus.
Original full review HERE
Bubba the Redneck Werewolf
Directed by Brendan Jackson Rogers
Bubba happily works in a go nowhere
job, hangs out at the local saloon to buy the cheapest booze they have, and has
an unrequited love for Bobbie Jo, but she’s involved with the town bully. Bubba
will do anything to get her back, including making a deal with the Devil, who
turns him into the titular wolf-man. The humor here is quite broad and warm-hearted,
and definitely geared towards appealing to a certain audience; it’s completely
Trumpville, such as equating college students with zombies. Even so, this is
quite funny, and it all still comes across as good natured and fun, when not
dealing with bodily fluids (and gasses).
Original full review HERE
CarousHELL
Directed by Steve Rudzinski
When Steve Rudzinski puts out a film,
the viewer is in for a quality show. Here is the thing about absurdist humor:
it can be really, incredibly stupid or it can be way smarter than it appears to
be. Fortunately, Rudzinski’s work falls on the side to the latter.
The basic premise is that a carousel’s wooden unicorn, Duke, has become
sentient after an obnoxious kid abuses it/him. Of course, that means the kid
must die. His insufferable sister drags him to a party at her friend’s house,
where all comers are fodder for the unicorn from (possibly literally) hell.
The gore is kinda (purposefully) cheesy, but man, there is a lot of it, and
most of it look incredible for its budget. This is the kind of film that you
just say “fuck it” to any semblance of logic and watch it for what it is,
without any guilt. Don’t expect anything super deep (or super shallow), and
enjoy the references as they fly by.
Original full review HERE
Decay
Directed by Joseph Wartnerchaney
How far would you go for company if
you were lonely? Rob Zabrecky plays a man who has a case of OCD, and a bit of a
Norman Bates vibe to him. A teenage neighbor ends up dead on his basement
floor, and in his own twisted way, he now has a friend of sorts. The whole cast
is excellent, with just the right amount of pathos and creep factor to keep the
attention sharp. She’s the yin of the physical decay, and he’s the yang of the
mental one, balancing nicely as they both slide into a kind of sludge. Really
nice SFX match the beautiful way it is lovingly shot, including an occasional
artistic edge that enhances rather than overdoes the events. There are a number
of really decent jump-scares as well.
Original full review HERE
Dreaming Purple Neon
Directed by Todd Sheets
Todd Sheets knows how to work the
balance between the simplified and the over the top digitalization. There is a
hell of a lot packed into this film, which looks way more than its budget
suggests. The body count alone is bigger
than most overall productions. The focus is on a couple of drug dealers who are
after someone who nipped their stash. In a separate story, which you just know
is going to link up with the other, poor lovesick Dallas has returned to town,
mooning over his lost love Denise. The catalyst of all the action is a demon-worshiping
cult in a magical and unending basement, which is also a link to hell. As the
film flows on, the level of blood (and other secretions) pours ever more. I was
more than pleasantly surprised by how much fun it is. From the first scene, we
are pulled in, and even most of the expositions move at a decent pace. Stripped
down filmmaking has its place, but when you add a flair to it, it’s the mark of
a decent director.
Original full review HERE
Hank Boyd is Dead
Directed by Sean Melia
In this story with comedic overtones,
the action actually starts post-murders, and the death of the killer, the never-seen
titular Hank. It’s at that point we meet our protagonist, a struggling actor
who is on her first day of work as a caterer. As much as she is the central
character, it’s the Boyd family (and acquaintances) that are the real scene
grabbers, as each is looney in their own way. Most of the filmmaking is pretty
straightforward, which is a compliment these days: There’s a story and they
stick to it. That’s not to say it’s not creative, though. The film never lets
up, but does not weary the viewer with undo tropes. It is a taut dynamic that
doesn’t pander, and doesn’t let go, right to the end.
Original full review HERE
The Inhabitants: Standard Edition
Directed by the Rasmussen Brothers (Michael and Shawn)
Dan (Michael Reed) and Jessica (Elise
Couture Stone) buy a mysterious Salem B&B from a widow who has been sinking
into senility. The house was originally owned by a witch who was hanged during
the infamous trials. Needless to say, she hasn’t exactly vacated the premises, and
pretty soon wifey is under her spell. The premise itself is hardly new; however,
the Brothers Rasmussen have taken an old motif and really worked it to the
point where I didn’t feel, really?!
That is actually saying a lot. Couture is the centerpiece of the film, but Reed
is excellent as ever. The house, the lighting, the editing, the acting and the
story all work together to create a totally enjoyable ghostie.
Original full review HERE
Invalid
Directed by Dustin Wayde Mills
Andrew (Brandon Salkil), thanks to a
previous, pre-storyline accident, is in a catatonic state. His sister, Agnes
(Joni Durian) takes over as caretaker. 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. I was impressed by the murders here, which are so well
done. It’s not gory, just really effective. Mills has come to master the simple
less-is-more style of presentation that I thoroughly enjoy. Yet, despite the
simplicity, Mills often uses some quirk that you just don’t expect. A good
story, some great visuals, and a finely honed cast and crew make this another
peg in Mills’ directorial cap.
Original full review HERE
Live-Evil
Directed by Ari Kirchenbaum
Officer Hancock (Charlene Amoia) gets
called to a rich dude’s mansion to find a bunch of bodies and a naked woman
forming out of ash, eyes aglow, aka the “evil.” Arresting her, aware that
something is obviously afoot, Hancock puts her in a cell next to a couple of humorous
snarky drug dealers. In an extended cameo role is the Candyman (1992) himself, Tony Todd, as
an imbibing pastor. Then add some risen undead, affected by the ash that’s
floating around the town that looks like snow. Along with the meat and ‘taters/blood’n’bones
shooting 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. I enjoyed this immensely. Kirchenbaum
doesn’t always take the easy or obvious road here. While I would not
necessarily call this a comedy, it has some funny moments. It never lets up,
it’s rarely predictable, and it kept me interested all the way through. It’s a
good watch.
Original full review HERE
Model Hunger
Directed by Debbie Rochon
The main character is Ginny (the ethereal
Lynn Lowry), who had aspirations to be a model and actress, but was deemed
unworthy in a business demanding perfection. This turned her into an angry,
psychopathic cannibal. Moving in next door is a couple (Carmine
Capobianco, Troma queen Tiffany Shepis) who have a troubled yet loving
marriage. There are some very sharp social commentaries in the themes, such as playing
with cultural body image, how mass media dictates “beauty,” and what is
commonly known as the male gaze. The kills are masterful, and the
gore is plentiful and well done. It builds beautifully in degrees throughout
the picture as Ginny goes further off the edge. And with those next door having
their own issues, there is a fun time to be had. For a first-time
director, the film is actually quite accomplished. Lowry is a gem. Her work
here is the best I’ve seen to date. The same could be said about Shepis, who
runs the gamut from stressed, to depressed. Rochon did good. Real good.
Original full review HERE
My Master Satan: 3 Tales of Drug Fueled Violence
Directed by Dakota Bailey
This is an anthology film with three
dire and overlapping stories of dealers, criminals, psychopaths and drug users that
all meld, which is a nice touch. Completely devoid of any kind of humor, these
bleak stories rely more on realities, making it cringeworthy (a good thing) to
watch these low-lifers react and take actions that would be shocking to most. The
group is so vile, and so heinous, that it’s both hard to imagine wanting to
remain in their company, yet you’re grateful for the opportunity to do so in
the safe haven of your electronic viewing equipment. There is no lead character
per se, and it’s seems more like they’re playing themselves than characters,
which is quite the compliment. Shot on VHS, it has a look more of 8mm, with
mostly a dull sepia tone, scratches, visual and sound noises, and tied up in
some sharp and snappingly harsh edits. Bailey directs the film more like a fly
on the wall than as a third person, bringing the viewer in on the action rather
than merely viewing it. That was a nice touch, and not always easy to achieve without
making it into some sort of lost footage. This makes it not necessarily an easy
film to snuggle up to like a typical horror or crime drama release, but I
believe that if you give it a chance, you may find yourself drawn into the
stories.
Original full review HERE
Seven Dorms of Death
Directed by Richard Griffin
In the video nasty days of the 1980s,
during the cheapie VHS phase of indie filmmaking, there was a different mindset
to making a movie. Getting film was much harder, and it was rare for reshoots,
and it was realistic policy to employ as much of the processed film that could
be used, even if there was an accident, or an anachronism. It is with this
premise as a motif that we are introduced to the 1983 Dunwich High School
theater troupe, filled with ‘80s cliché characters. There’s lots of H.P.
Lovecraft references, a particular metal band mentioned often supposedly to try
to connect with teenaged boys (the audience demographic of the time), and some
sex and nudity. It would be nearly impossible to categorize all of the
intentional mistakes that were put in the film, such as the dead body
breathing, or an actor looking for his mark. The whole film is hilarious. The body count is
high and the gore is, well, strange. There is a lot of it, but much of it is
just plain (and, once again, purposefully) silly. Griffin also finds a way to
work in gender/sexuality politics. Taken all together, this is a beautifully
hot mess that any fan of the ‘80s fan genre will watch with glee. One can’t
help but admire Griffin’s acumen in such an output of films, and his merry band
of actors keeps on growing – and coming back – which shows that they know they
are dealing with a quality product. And, perhaps by the end, you’ll find
yourself using one of its wondrous bon mots: “Fuck you, skeleton!”
Original full review HERE
Winners Tape All: The Henderson Brothers Story
Directed by Justin Channell
There is a wave of nostalgia in the
genre market for the quickie and cheap films that arose during the 1980s. Okay,
sometimes C- or D-level. If one were to look back at some of these releases
that we enjoyed so much, would we still find them so fascinating? That is the
premise of this mockumentary. During that time period, the
fictional West Virginia-based Henderson Brothers, Michael (Zane Crosby) and
Richard (Josh Lively) made two straight-to-video films, The Curse of Stabberman and Cannibal
Swim Club. Now, the Hendersons also have a both charming and creepy uber
cheerleader in Henry Jacoby (Chris LaMartina). Mixed in with the
talking-head interviews with the brothers and Henry, we see scenes from their
two films, with Michael and Richard giving play-by-plays commentary. Not only
financial constraints darken the Bros filmmaking, but so do the occasional rise
of sibling rivalry. So this particular film also looks like it was made on a
dime, but to the better of the result than the hindrance, since that is the
look it was going for. I was smirking at the least and laughing at
the high-jinx of these three guys (including Henry).
Original full review HERE
NOT FAVORITES
Consumption (aka Live-In
Fear)
Directed by Brandon Scullion
Give a group of young people a cabin
in the woods in the mountains with an evil spirit that has a cult of followers,
and you just know fun is going to be abounded. Well, it should be for the
audience, anyway. Instead we get mixes and matches of a bunch of genre
stereotypes that brings us a story that is meandering and somewhat shallow in
plot. Two Californian couples heading up to a cabin in Utah. In this case, the
“Cabin in the Woods” is actually a huge and beautiful complex of townhouse
condos linked together. But as happens too often, the two guys come across as
douchebags. The two women have their own baggage, but don’t act like privileged
macho morons; rather they seem like they’ve been sedated. My biggest problem
with the film is that while each of the four main characters interact with each
other, they all seem to be in a world of their own, with their own problems,
most of which are not addressed. I never understood the motivations of their
actions, or what are the attractions between them. The acting is fine and some
the film looks decent. What few gore effects there are look well done (all
appliance, not digital), though most are shown after the fact. For me, the
weakest spot is the writing / storyline. It’s a bit too chaotic and possibly too
ambitious for its framework and budget, and yet tells so very little of what is
occurring, or why.
Original full review HERE
Death’s Door (aka The
Trap Door)
Directed by Kennedy Goldsby
We meet a bunch of overage teens that
get a mysterious and anonymous invitation to attend a party at a maudlin
mansion. Most of the dozen or so kids are nothing short of stereotypes of
obnoxious characters, such as the pretty mean girl, the virgin guy with bad
salon’d hair, the jocks, the chestbeating morons, and the “good girl.” When
they get into the mansion, the doors lock, and they naturally panic and turn on
each other. Also inhabiting the house are three ghosts. As for most of the rest
of the cast, they’re kind of bland characters. Some of the acting is fine, but
it’s either overwrought or underplayed, mixed with highly questionable
storytelling and editing, that I kept waiting for someone to start shouting
“Game over, maaan! Game over!” in that Dana Carvey voice imitating the guy in Aliens (1986). And yet, even with all
the shenanigans going on, hook-ups continue to happen. Whaaaa? Bummed me out, because I wanted to really like this.
Original full review HERE
The Devil’s Forest
(aka The Devil Complex; The Devil
Within)
Directed by Mark
Evans
The Hoia-Baciu Forest is a real place
that is known as one of the most haunted forests in the world. This a found
footage film about a trio of filmmakers scared in the wood who “were never seen
again.” Sound familiar? Right at the front of the film, we’re told they die.
Woo-hoo. There is a student, Rachel, and two macho putzes: Tom the interpreter and,
Joe. For some reason, they pick the dead of winter, with the forest full of
snow, as the time to go venturing, giving the first big whaaaaaaat? moment. Of course the guide runs off, leaving the
trio with no map, no food, and a lot of anger and especially angst. So they
walk through the snow, and bicker. There’s nothing more exciting that watching
people walk through the snow except possibly watching people running through a
snowy forest in the dark by the light of the camera, as also occurs. They run
the camera the whole time and never mention new batteries. This really is a watered-down
winterized retelling of Blair Witch Project.
Original full review HERE
The Purging Hour (aka Home Video)
Directed by Emmanuel Giorgio Sandoval
In retrospect, despite the name, they
seem to try and go a bit more for the style of Paranormal Activity (2007) in
that it takes until the last 20 minutes for anything to be of interest, but
also keep with the incessant handheld found footage of The Blair Witch Project (1999). We meet an attractive Latina family
who have moved to some mountain resort town in California. This is their first
day there and everything is already unpacked and pretty tidy. There is the
handsome and muscular father and beautiful mother, their typically over-emotional
beautiful teenage daughter and her handsome and model-type boyfriend who is
there to help, and a young teen son. Using a single handheld camera, they tape
each other incessantly through the most mundane stuff. This includes some
personal conversations for which no one in their right mind would have a camera
on, making some of the characters kind of unlikeable. Essentially, the first
hour is like watching someone else’s home movies. My annoyance, however, is
with the little things that make no sense that stands out perhaps because of
the slow nature of the film. For example, there is a blackout in the house yet
in the kitchen you can see the blue, electric digital clock on the fridge. I
totally respect that Sandoval used a largely Latino cast, but considering there
are three writers, there really is no plot, nor narrative, which is what brings
this release to a standstill from the get-go. A couple of good bloody scenes
and a nice touch at the end, however, aren’t enough to save this, unfortunately.
Original full review HERE
