Review: WJHC AM

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

WJHC AM
Directed by Vinnie Vineyard and Luke Walker
Big N Funky Productions; Burning Bulb Publishing
107 minutes, 2022
www.funkmasterv.com/
www.BigNFunkyProductions.com

With that title, there can be little doubt this black and white micro-budget film is a comedy (wisely, they didn’t use WJFC). Taking place in Tennessee (but also shot in the appropriate states of Georgia, North Carolina, and Arkansas, as well as Tennessee), the cast took their lives in their hands (I’m guessing) to make a horror film in that region mixing religion, Y2K, the Rapture, and a bloody time.

After all, why shouldn’t the Rapture be a bloodfest, since the book it is based on (you know, that best seller known as The Bible) is one of the most gruesome tomes ever to be published, promoting genocide, incest, slavery, cannibalism, misogyny, homophobia, etc.? And ironically, the people who follow this want to ban “A Separate Peace” (if you’re going to censor it, do it because it’s boring, not for the implied homosexuality that the author denied). But enough with the soap box, for now.

Vinnie Vineyard

This is the second film in the Smoky Mountain Chronicles, with the first being The Hike (2021), which I have not seen as yet. For this tale, the story focuses on Cousin Vinnie Bradipo (director Vineyard), a talk radio disc jockey looking for work (any relation to Cousin Brucie?).

After a “holy” experience in the early 1990s in the prologue, Vinnie gets reluctantly hired at the titular radio station, immediately getting hit on by both sexes. What is amusing is that the people who work there have no idea how funny their station is, such as not getting that one of their shows is called “God Jammit.” Yeah, this does mock the MAGA uber religious types, and I’m totally fine with that. I’m sure some viewers scream “persecution” while they are talking about taking away women’s rights and murdering LGBQ+ folk; and I’ll bet it will be without even seeing the film, which is a social commentary on a prosperity-gospel-type Christian lifestyle. Oops, there’s that soap box again. Gonna be hard to stay off of it, I think.

As insane as some of the online preachers seem, and we get to watch a number of them, its far enough off to know it is parody, but close enough to recognize it. That is where the humor mostly lies. We also meet a seemingly stoner engineer, who seems to be modeled on The Dude (1988’s The Big Lebowski), Brother Arlo (co-director, co-writer, and scene stealer Luke Walker), the sarcastic, very pregnant chain smoking studio director, Sister Nancy (Tracy Yaste), a horny DJ Sister Christian (Amy Perkinson Hale), the equally horny and lurking station owner’s son, Jack (Travis Graves), sexpot with miles of cleavage and miniscule brain cells, Sister Stacks (busty model and professional wrestler Katie Gannon) and Vinnie’s cute girlfriend, Angela (Sheena Layne).

Tracy Yates

One fun part is when a visiting church (given air time for donations) uses the later, added parts of Mark with snake handling. What could possibly go wrong, right? Another bit, which really had me laughing, was a talking in tongues challenge that mirrored a rap battle. Cultural appropriation? I am sure these white, “All Lives Matter”-type folks will not see it that way.

Meanwhile, as we get to know the characters, the story starts five days before Y2K, and counts down the days as we get acquainted. There’s lots of music references, nearly all from the Cousin Vinnie side, such as wearing Public Enemy and Wu-Tang tees to work, and talking about the likes of gawdawful Stryper, and HUGS (a band I believe is supposed to represent KISS from the imagery). That’s for those of you who have no interest in modern gospel.

Throughout the film, strange things are happening off in the peripheral, but it isn’t until the third act when it’s near Y2K proper that the zombies hit the fan…I mean radio, though it’s well over an hour into the film. Some people turn into horned, demonic flesh-eaters (rather than classic zombies), some just disappear (the Rapture), and others need to fend for themselves in a battle to survive the Tribulation. Jeez, I am an atheist who has never been a Christian, so why do I know all this crap?

Herb Himes

The fight scenes are somewhat bloody, but there is no gore. However, there is more nudity than blood. I don’t see that as something bad. The only questionable thing is the length of the film. While there is quite the wait for the demonic zombie attack(s), it is worth noting that the film is a sharp commentary on religious abuses, as the title card at the end explains, and is entertaining throughout. That being said, it could have easily been trimmed by about 20 minutes and that footage put into the “Deletes Reel” on the eventual DVD/Blu-ray.

Whining aside, please understand that I enjoyed this film for what it was, the messages it was conveying, and the humor at the sake of televangelism. While the station had money problems, I’ll bet they were tax-exempt; yes, I know this channel is fictional, but in some ways so are the likes of Ken Copeland and Jim Bakker, who rely on bullying, trickery, deception, and fear.

The soundtrack is pretty good, actually, and I am so glad they added, during the credits, the song that is mentioned throughout the film, “Go Up Yonder on Yon Hill Over There” (sung by Walker). That was a revelation.

IMDB Listing HERE 

 

Review: Exhumed

Text © Richard Gary / Indie Horror Films, 2013
Images from the Internet
                            

Exhumed

Directed by Richard Griffin
Scorpio Rising            
Wild Eye Releasing                        
90 minutes,2011 / 2013
www.WildEyeReleasing.com
www.MVDvisual.com

Wow. Just…wow.

This is going to be a tough review to write because there is so much I could discuss, but to do so would be to give away too much of this thriller. But here we go.

The last Richard Griffin film I saw was a horror sex comedy called The Disco Exorcist [HERE]. Though made the same year, it is the polar opposite of this one, a dark, black and white noir set piece. Think of when Woody Allen goes all Bergman, except this remains interesting, from shadowy beginning to blacker end.

The press release posits this as a Hammer-like film, but I humbly disagree. To me, it is more reminiscent of a twisted gothic noir Tennessee Williams, or more something that is a closer equivalent to WhateverHappened to Baby Jane? (1962) or Hush… Hush Sweet Charlotte (1964). Like these latter two, we are focused into the mysterious goings-on in a house where you just know it’s going to get bad. Also similar is the use of high-contrasting black and white, employed here more effectively than I have seen in a long time.

During one of the two commentary tracks, director Richard Griffin talks about how nearly everything clicked during the 11 days shoot, and it shows in the final product. He also states how he tends to muck around with scripts, but only made one (fine) addition to the original, by Guy Benoit. It is a story that beginning fuzzy as to what is going on and the possibilities of why and who everyone is in relation to each other, but as time goes on it focuses, while still leaving little mysteries scattered about like its characters.

The film starts out as a hunh? mystery, as you wonder about the relationship of the five house members who are stirred up by the introduction of a sixth. Each is distinct in their personality, each one bringing their own baggage, and all brought together for reasons that become clearer as the film plays out.

There is what could be considered leading roles, but honestly, this is a true ensemble cast, some of whom are part of the Griffin troupe of Rhode Island theatrical players, and others bring new blood (pun intended) to the stalwarts.

Evalena Marie

Let’s start with the somewhat peripheral yet pivotal characters. Lance, played by Rich Tretheway, who had a hysterical turn in The Disco Exorcist as a badly accented (Italian?) janitor, (un)wise in the ways of the spiritual. Here, however, he is a lonely and pathetic unkempt man living in the house, rarely seen out of his gray sweats and messy room. Where he is the “low” personality, Rocki, personified by the exotic and beautiful Evalena Marie, is the most hyper and spunky resident. She is the Loki character, the trickster and mischief maker¸ relative to the rest. Evalena keeps her quirky without being cloying or annoying, for which I am grateful. Well done.

Michael Reed and Sarah Nicklin

Michael Reed and Sarah Nicklin, the stars of the aforementioned The Disco Exorcist, appear as core players this as well. The married-in-real-life couple appear in many of Griffin’s films, though just after this was filmed, they moved from Rhode Island to California to strike out on a more – er –professional (?) career to increasing success. Again opposite of their previous “skins,” Michael has a bit of a subtle role as Chris, the newcomer to the house, but will he stay or go? Or both? Sarah’s Laura has been emotionally scarred terribly; she is now child-like and somewhat innocent, but definitely warped. Sarah has some great scenes where she spits out some wonderful dialog with just the right pitch and tones.

Michael Thurber

Giving an incredibly strong and nuanced performance, possibly the best in the film but only by a hair, is Michael Thurber. While apparently second in command within this strange group, he is also somewhat set apart from the rest, and probably has the most realistic view of the situation. His moves are subtle and relatively insurgent, such as the whole bizarre mannequin fixation, but Michael is interesting to watch. Bob Fosse-like, every movement of the actor’s body says something at all times.

Debbie Rochon

Then there is the unofficial matriarch, played strongly, scarily and at the same time with an undercurrent of sheer insanity (through desire of power? Self-righteousness? Zealousness? Fear?), as rendered by scream queen icon indie goddess, Debbie Rochon. Much of the more than 200 films she has made have been horror comedies, but she certainly proves her dramatic chops here. Her performance is nothing less than stellar.

It is hardly surprising to me that a number of awards have come out of this film, such as Rochon winning Best Actress at the Pollygrind Film Festival, Nicklin being nominated for Best Actress, plus many other festival nods. For a film that is dark in both story and image– no, I mean that literally as there is a lack of lighting, and while it’s easy to make out what’s happening, the level of shadow is extreme – this is just an example why this film deserves to be seen as a full theater project, rather than assumed as just another oddball indie film.

Even the extras are worthwhile. The making-of, shot by Reed and Nicklin and edited by Griffin, is 46 minutes long, and follows the taping nearly all 11 days. It is kept interesting throughout, seeing how much work, and also how much fun is had by the cast, getting it done. There are two commentaries, both also noteworthy. Watch the second one first, which is Griffin, Thurber and one of the producers. There is very little wasted time, but is nicely focused on the filming processes and interesting anecdotes. The second one to watch is with Griffin and the writer Benoit, who discuss the process of getting the film from idea to completion. You’d think to watch it the other way around, but this way is better for this particular flick.

I say this as a compliment: Griffin is going to have to work freakin’ hard to top this one, and I look forward to future projects to see him do just that. That being said, when I look at the trailer for, say, Hush…Hush Sweet Charlotte, I believe this film is actually better, in acting, writing and look, as well as effectiveness. One of the best films I’ve seen this year.

 

 

Review: The Color Out of Space

Text © Richard Gary/Indie Horror Films, 2012
Images from the Internet

The Color Out of Space

Directed and screenplay by Huan Yu                  
Brink Vision                                      
86 minutes, 2010 / 2012    
Brinkvision.com
Die-Farbe.com
MVDvisual.com

This is hardly the first adaptation of HP Lovecraft’s well-known 1927 short story of a meteorite hitting the earth, and the evil effects it has on a household (or community, depending on the version). Just off the top of my head, there’s Die Monster Die (1965) with Boris Karloff and Nick Adams, The Curse (1987) with Claude Akins and Wil Wheaton, and arguably the Stephen King episode of Creepshow (1982).

This version is also known as Die Farbe, or “The Color,” because this is a German production, though early parts are filmed in English, and the rest, which takes place in the Germany countryside, is in Deutsche with English subtitles.

The previous versions were generally really bad, cheesy horror films (i.e., fun), but this one has an arty-indie feel to it (i.e., not pretentious), to which the number of world-wide festival winning and nominations bend. It’s filmed in black and white, except for when the “color” appears, drenching specific objects in a purplish-pink hue.

It has been way too many years since I’ve read the original story to speak to its accuracy, so I am going to take this film on its own story merits.

In present time, a scientist who was an American soldier stationed in rural Germany at the end of Dubya-Dubya Duce, goes back there and disappears. His son investigates in the small town in which he had been, and is told by a local (and we see in a series of long and detailed flashback) how a meteorite landed in the village even before the war. The stone, however, starts to disappear / evaporate.

Soon, all the fruit in the area start to grow Monsanto size, with a weird aftertaste. Hit the hardest is the farm on which the space rock landed. Everything starts to die, the mom goes mad, everyone gets sick, and slowly the family starts to melt into lavender droplets.

Over time, this effect would have a lasting influence that… well, I’m going to stop there, because the film is worth seeing, and I don’t want to give it all away. The effects, both physical and graphic are worth seeing. The look of the film is astonishingly crisp, thanks to a home-made camera (apparently called the DRAKE) that evidently makes HD looks like 55mm film stock. While the movie is nearly completely humorless (sans a scene where a German native mocks an American’s grammar), it is also uses the contrast of light and dark to its utmost, and the digital effects are sometimes quite understated, and others a bit shocking.

The extras has a couple of the film’s trailers, the availability of subtitles in many languages, a “lost” scene, a 22-minute day-by-day making-of featurette (in German with subtitles), and a fascinating 6-1/2 minute special effects explanation that shows how they used layers of mattes so effectively. The under 7-minute “Science Horror” short is the one to really watch, as it explains a bit of the subtle ending, and tells about how Lovecraft’s story about an alien parasite has some scientific lineage.

There is little gore (certainly no more than an episode of Bones or CSI), and certainly no sex, just a good story that will keep you at attention.