Review: The Resurrection of Charles Manson

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The Resurrection of Charles Manson (aka Man’s Son)
Directed by Remy Grillo;
Bolt Films; Dare Angel; Hooligan Dreamers; Margate House Films; Voltage Pictures; The Movie Partnership; XYZ Films
78 minutes; 2023
www.xyzfilms.com

Not being a Christian, thank god, I had not yet thought about Jesus being the “Son of Man,” and Charlie, who many believe was the anti-Christ (and others, a savior), as “Man son” (aka “Man’s son”), the latter of which is the Canadian title for this release. That is as cool as Lincoln’s secretary being named Kennedy, and Kennedy’s secretary was named Lincoln. But I digress (and so quickly!)…

Manson, like Jesus, has become more than just a man (well, there is proof that at least one of them existed), but has become a cultural icon beyond the actions that made them so. Manson has become the folk boogeyman that people love to hate, or just love as a symbol, much as Jason and Michael; someone you can admire, but not necessarily one you would want to share a space in the real world.

Katherine Hughes

Actress Tianna (Katherine Hughes) and photographer boyfriend Mitch (Josh Plasse), who have a bit of a fraught relationship, decide to go on a vacation to a secluded area in the desert Yucca Valley (California) area. There is an indication right off the bat that there is something fishy going on with a cultish symbol of an ouroboro showing up in tattoos and scratches into the dirt.

Tianna is prepping to audition for a film in which she would play one of Manson’s “family.” The idea is to stay in a place similar to the Spahn Ranch to get into the role. But Manson’s ideology has not left the neighborhood. The cult is run by Robert (in an extended cameo, the director’s father, Frank Grillo, from 2011’s The Grey, part of The Purge franchise, and as Brock Rumlow in a bunch of Marvel Universe films revolving around Captain America), and his wife (a cameo by actor/model Jaime King, doing her best Morticia). They were of the original Manson family members, who are planning to do a sacrifice ceremony to bring Charlie, their “Lord” (as Robert puts it), back from the dead, with help from their oddball son, Lucas (Will Peltz). This is to take place on the anniversary of Charlie’s death (November 19). And, of course, Tianna and Mitch fit right into their plans in various roles.

Josh Plasse

First of all, this is Remy Grillo’s first directorial effort, and for a newbie, he does an amazing job. The cinematography alone, by Peter Tolifson, is fantastic, employing shots of the desert and bare hills filling up the screen in its sterile beauty. Sometimes it is from a higher view, thanks to some drone work.

Also, the soundtrack is really fine singer-songwriter and soft rock tunes, that unfortunately did not get listed in the credits. It had just the right spirit for the tone of the film.

Frank Grillo

This is a pretty seasoned cast, so it should be no surprise that everyone came out looking good. I was amused at just how “New York” Grillo came across onscreen, looking like he just stepped out of a wiseguy film, with his facial brush, accent sneaking through, and even his body language; it was an enjoyable display for this Bensonhurst (Brooklyn) writer. While there are not many scenes of violence and gore, what does show up scattershot is quite effective and is stronger by being applied so sparingly.

While enjoying the storyline, and the visuals and aural elements of the film, I do actually have a quibble, and this is hopefully just a beginner’s learning experience: I found that chucks of the film, mostly in the first half, tended to, well, meander. It could have used some tightening up a bit, as some moments lulled (e.g., when they first arrive at where they are staying in the desert).

All that being said, there were some strong twists and turns that I did not see coming – and I am talking about a few of them. Also, these unexpected moments occurred throughout the last half of the film, so it was not just concentrated at the very end.

Speaking of the conclusion, during the end credits, there is a whole section for the people who did the COVID testing. First time I have seen that. Cool.

There is no new products listed for Remy in the directorial section of IMDB, but I am truly hoping to see him keep this up. I believe he has a vision, and works well bringing that to the screen.

IMDB listing HERE

Review: Something in the Dirt

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

Something in the Dirt
Directed by Aaron Moorhead and Justin Benson
XYZ Films; Rustic Films; Lightbulb Film Distribution; Strike Media
116 minutes, 2022
www.xyzfilms.com/something-in-the-dirt

I belong to a few horror groups on Facebook, and this film has cropped up in comments on occasion. It sounded interesting so I was determined to review it here.

The film centers around two life-stagnant neighbors in Los Angeles, John (co-director Aaron Moorhead) and Levi (co-director and writer, Justin Benson). Scruffy and multiple-tattooed Levi, who drinks a lot, has moved into a new apartment with practically nothing. He meets downstairs neighbor, prim and proper John, who is a math teacher, photographer, and has recently separated from his husband.

Aaron Moorhead, Justin Benson

What binds them together is swapping cigarettes (they smoke a lot), and a strange crystal object that Levi has found on his doorstep. At certain times, the rock begins to glow, throw off odd lights, and levitate. They decide to work together to make a documentary about the strange phenomenon, setting up cameras and sound equipment focused on the crystal that Levi initially used as an ashtray.

The purpose of their attempted documentary is to gain some possible influence in the world, and perhaps even make some seed money for future projects (and better their lives). What stands in their way is both the dynamics of the two, lack of skills, and also personality differences with each other as time passes. But there is also the influence of the crystal, as it gains more power to influence objects in Levi’s apartment and then beyond.

It's subtle, but the crystal seems to also affect the personalities of Levi and John, making them verbally strike out at one another, even knowing they need each other. Or perhaps their different personalities are just starting to grate on each others nerves from constant close contact, like a band on the road in a van (e.g., Daltrey and Townshend often engaged in fisticuffs on the road early on).

The assemblage of the film is quite interesting, such as when many topics are discussed in conversation, from the intellectual to the mundane, and we are shown examples of it in a number of b-rolls with very quick editing. This definitely breaks up looking at mostly John and Levi, who dominate the cast, with just minutes given to the few other characters present. Most of these are “Interviews” with the pair individually, and with some “experts” in the field. On some level, their desire for fame has been met.

If I was to describe the film in a single phrase, it would be “wordy.” There is a lot of talk and most of it philosophical, math-driven, and then add in electromagnetism and conspiracy theories. The film does not talk down to its audience, but it also was above my head at times (and I have a Master’s), as they try to figure out why this phenomenon is happening. John is more educated than Levi, and shows it off as much as possible. Personally, I found John a bit unlikeable and insufferable. They both have their faults and we learn more oof Levi’s history than John’s, but John is always showing off with his theories. I found him annoyingly self-righteous.

That being said, the acting by the two leads is sensitive and nuanced at the same time, and kudos to them for that. Nearly every other character is seen in snippets, or brief talking heads interview, and are intentionally stiff, as are most in talking heads interviews.

Benson, crystal, Moorhead

The sets are pretty simple, mostly in Levi’s sparse apartment, and the SFX are well done, though mostly lights flashing and levitation of multiple objects (and people). The story itself is both simple and complex, alternatively. The basic premise of a recurring supernatural event(s) mixed with nearly academic-level language (to me), make this an odd stew of the sublime and quirky.

It is no surprise to me this has been getting a lot of attention. It is quite arty, with the b-rolls and general editing and cinematography, and yet it is visually accessible without being too “showy.” Moorhead and Benson have a lot of experience in writing, directing, acting, and cinematography, and I see a lot of those skills represented in here.

Something In The Dirt was an entry in the Sundance Film Festival and is currently in UK Cinemas. It will be on Digital Download and Blu-ray in early December.

IMDB listing HERE