Review: Disturbing Behavior

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

Disturbing Behavior
Directed by David Nutter
Metro-Goldwyn-Mayer; Hoyts Partnership; Beacon Communications; Behavioral Problems Productions; Village Roadshow Pictures; MVD Rewind Collection
84 minutes, 1998 / 2022
www.MGM.com
www.MVDvisual.com

Yeah, I know, with a $15 million budget, this is hardly indie filmmaking, especially with the relatively top-tier talent behind it. But it is a cool film that is now being released in High Definition (1080p), so here we go.

Controlling and adapting human behavior in cinema is usually done with aliens or demons possessing a body, such as in The Faculty (1998) and Fallen (1998). But there is also a genre of scientific experimentation to achieve the “perfect” person, be it Captain America (pick a film, any film), The Stepford Wives (1975) or even as recently as Get Out (2017).

Nick Stahl, Katie Holmes, James Marsden

In the Island town of Cradle Bay, WA (filmed on beautiful Bowen Island in British Columbia, a place I have vacationed). Things are going weird. Long-haired, pot-smoking, wild child Gavin (Nick Stahl) has witnessed a homicide by a member of the High School’s Blue Ribbon Club of another free-spirited woman; you can tell by the Devo tattoo on her ankle).

Into this mess, comes newcomer (there’s always a newcomer in high school dramas) and the film’s main protagonist, Steve (James Marsden, who was 25 when this film about high school was made, and looks every year of it) and his sister, Lindsay (a young Katherine Isabelle, who would go on to star the now horror touchstones, Ginger Snaps in 2000, and American Mary in 2012).

The Blue Ribbons

As with most schools, there are factions, like the nerds, the metal heads, and the stoners. When I went to high school, I was at the table of wimpy kids that nobody really bothered with because the factions in my Brooklyn school were more racially divided. But I digress… One of the groups is the aforementioned Blue Ribbon club, named because these were the “good” kids who all wear similar blue jackets. They look and act like jocks, but there is something creepy about them.

Into this pool comes Steve, a typical overage cinematic teenager with some parental issues, but not really a shit-stirrer, but not easily cow-towed, either. He’s not like, say, Richard (Tygh Runyan), who is a trouble maker and fights against authority (you know, sideburns, leather jacket, smokes and calls teachers “peckerhead” one day, and is a Blue Ribbon the next.

But there is definitely something off about the Blue Ribbons. Whenever they feel lust (remember high school?), their eye glows red and they become ultra-violent, because they are being “bad.” They are a tightly insulated group who react negatively and often violently to anyone who is not in their “club” (hence, Devo girl). Their clique is run by the obviously villainous school Edgar Caldicott (Bruce Greenwood).

Bruce Greenwood, Marsden

Thrown into all this mishigas, with the help of resident philosopher and loose cannon Gavin, Steve meets “town trash” Rachel (Katie Holmes looking her best, even with that weird crooked smile), who is Gavin’s friend. The three bond while Gavin understandably lusts after one of the Blue Ribbons, Lorna (Crystal Cass, in her only film role).

Perhaps it was the sign of the times, but I find it interesting that when the male Blue Ribbons get horny, they instantly act violent outwardly and damage anyone around them (as is seen in a supermarket melee, but when the females get turned on, the first reaction is to self-harm. I would really like to question the writer of this film about that.

Chad Donella, Marsden

Meanwhile, it’s up to Steve, Rachel, albino stoner/drug dealer and comic relief U.V. (Chad Donella, who has some of the best lines in the film) who is sort of a more mellow Spicoli, from 1982’s Fast Times at Ridgemont High), and coming out of left field with a cinematic device that can be predicted a long time on, custodian, Andy Newberry (Nick Stahl), to save the world… well, at least Cradle Bay High School from the likes of Dr. Caldicott and police officer Cox (Steve Railsback in an underused role). You know the showdown is coming in the third act as some of our top cast is up for being the new Blue Ribbons. While I am sure it will be exciting ( am nearing the end of Act 2, as I write this), the means that will change the battlefront power is already obvious.

Extra! Extra! That’s what this Blu-ray has!! The biggie is the full commentary by the director, David Nutter. Typical of most, Nutter (who also directed the “X-Files”) describes the process, what scenes mean, hiring and working with the actors, etc. He’s a bit monotone, but never flat as he keeps the focus to keep this worth watching.

Crystal Cass (center)

The Deleted Scenes part is actually quite extensive and worth the watch. They are not just clips, but some of the 11 are enlightening, especially the one with Steve’s mother, which explains an important motivating action later on. And most enjoyable was the last, which was the original ending of the film (both work). The viewer can choose to watch these as they are, or with a commentary by Director David Nutter. Along with audio options of English and French 2.0 Stereo and optional English and French subtitles, the rest of the digital end is the original theatrical trailer among other coming attractions. On the physical end is reversible cover artwork, collectible mini-poster, and limited-edition slipcover for the first pressing only.

Now do not get me wrong. This is a hell of a fun joy ride of a film, right through. It has aged a bit though, but still fits into the whole teenage paranoia scenario to a tee; however, it is an early example of a formula that has been used and reused many times since. As I said, the 3 Act is action packed albeit predictable, and I had a lot of fun with it. Hell, it has been 20 years since I first saw it, and I will probably see it again without that much of a time span.

There’s a really nice coda at the end that’s, again, obvious, but still made me smile. If this was to come out now, they would probably have put it after the credits.

IMDB listing HERE

Review: Massacre at Central High

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

Massacre at Central High
Directed by Rene Daalder (d. 2019)
Brian Distributing Corp; Synapse Films; MVD Entertainment
87 minutes, 1976 / 2022
www.synapsefilms.com
www.MVDVisual.com/
High school bully films are a nice subgenre of thrillers and possible violent (did I mention bullies) murder tales. This theme is more common in Japan where there are strict social rules in instructional institutions, such as was in England in the 19th Century (e.g., Tom Brown’s School Days), but that is another story. This film was obviously a launching pad for the likes of cult release, Heathers (1988), which has a very similar revenge theme. There are differences between, for example, this film and Heathers in that the latter is a vicious comedy and the former a vicious drama.

I don’t know why this subgenre tend to group the bully social construct as a three- or foursome, but that is true here. Perhaps this release set the pathway? The leader of the baddies is Mark (Andrew Stevens; at one time I could honestly say, in the words of the SoCal punk band VOM, “I’m In Love With Your Mom”). His cohorts are Bruce (Ray Underwood; d. 1993), blond and really tall Paul (Damon Douglas; d. 2006) and Craig (Steve Bond). From the opening shot of them walking side-by-side down the narrow school corridor, like it was theirs, gives all the indication you need for who and what they are. And we see their behavior right off when the run into the film’s hippie rebel, Spoony (Robert Carradine), who is wise and sharp-tongued, but seems to get away with much.

Darrel Maury

We quickly meet the hero/anti-hero of the piece, in the form of transfer student David (Derrel Maury). The baddies are out to groom him to be one of “theirs,” as David was friends with Mark at a previous school. However, David has flirted with Theresa (Kimberly Beck), who unknowingly is actually Mark’s girl. Okay, enough with the exposition, since we now have all the main characters (though I’d like to give a nod to Rambeaux Smith, aka Cheryl Smith, who plays secondary character, Mary; d. 2002).

While it is obvious that these guys are no good, but the film take the wise choice to escalate their actions in steps. At first, they “just” harass and intimidate, but as the story progresses, they get more aggro, justifying the actions/reactions to come. One nearly amusing deed they take is to knock books off several library shelves onto nerdy Arthur (Dennis Kort). Thing is, there is something these goons, who obviously do not read library books, do not realize; the Dewey Decimal System. To put the books in order, just follow the numbers. Anyway, tensions mount between the turdettes and David, when the latter starts helping those who have been injured by his – er – pals.

Andrew Stevens, Kimberly Beck

Another interesting choice is that these bozos – well, conflicted Mark anyway, really wants David to join rather than rebel. Mark’s friends are not so keen, and they actually have a say. In many bully films, the main bad guy is king and the rest are his followers, but here, while Mark is the alpha male, he is surprisingly thoughtful at times and not just a bully cliché. Yet, he is still pressured by the rest of the crew.

The shift in the story, where it escalates, is a series of three events (which I will not describe; no spoilers). By the third, as my grandmother would say, “Enough is enough” (speaking of which, one of the characters, Jane, is played by Lani O’Grady, who would go on to “Eight is Enough” fame, and even has the same haircut here as in the TV show; d. 2001), and the revenge aspect of the story starts, and it becomes more, if a tad predictable (i.e., you know when something is going to happen, just before it does).

Damon Douglas, Ray Underwood, (Maury), Steve Bond

One of the common themes of the bully movie, is it usually turns into a violent revenge scenario, and then goes a step further and there are some times where the bullied become the new bullies. For example, Mark was bullied and then became one himself. With the absence of this hierarchy, the school turns into a Lord of the Flies situation, with past victims demanding their due and wanting influence in whatever form over the others.

This is where the film gets political, as each faction has its own social focus (misinterpreted social justice, rich vs. poor, intellect vs. brawn, brawn vs. intellect, etc.). Well, David’s to the “rescue,” like Christian Slater in Heathers.

Robert Carradine

Along with the original theatrical trailer, a TV and radio spot, and a still gallery, the main extra is “Hell in the Hallways,” a Making Of featurette created for this Blu-ray (42 min; 2020). While it follows the pattern of so many Making Ofs (cast interviews, getting the roles, crew interviews, anecdotes, impact on culture), this one is pretty interesting because – especially the actors – seem really engaged when they talk about their experiences. Also, what is fun, is that they dissect specific effect scenes that are quite amusing. Worth the watch.

There are some aspects of the film worth noting (and I am not the first), there is no official authority figures present through the whole story, except for the last scene. There are no teachers, administration, parents or police. That was a stylistic choice for which I approve, although it makes no sense that classes would continue after so many acts of violence in such a short period of time. And the fact that they go on with Prom? Wow.

But the most egregious thing about the whole film has to be the theme song, “Crossroads,” sung by Tommy Leonetti, is just plain gawd-awful. Lyrically, musically, and vocally, it is just horrendous. It is so bad, and was hated so much by the director, he refused to watch the film for 30 years. For myself, I worked in a movie theater as an usher and had to stay inside the main room my whole shift. If I had to hear this song three times a day, five days a week, I would have torn my ears off.

For  film of this sort, and the date of its release, there is no surprise in the amount of nudity (kudos to Beck). However, there is a nice level of gore that was unexpected, and pre-CGI. I also liked that while it was predictable on who would die, I was surprised by some of the survivors.

Even through some stilted dialogue and ‘70s style acting, this film is a cult classic. It is easy to see why,

IMDB listing HERE 

Review: Shepard

Text © Richard Gary / Indie Horror Films, 2020

Images from the Internet

Shepard

Directed by Jourdan McClure

Dull Boy Films / Red Rover Movie

71 minutes, 2020

https://www.facebook.com/ShepardTheMovie/

President Obama said, ““Bullying can have destructive consequences for our young people. And it’s not something we have to accept. As parents and students; teachers and communities, we can take steps that will help prevent bullying and create a climate in our schools in which all of our children can feel safe.” Or, as Melania Trump phrased her bullying emphasis, “Be best.”

Ultimately, this film is about bullying and being bullied, mixed with a twisted version of My Bodyguard (1980) and perhaps a bit of Heathers (1989). For a genre film, you know it’s not going to end with just a few fists thrown and teasing.

Kurt Krause and Will Beinbrink

I know someone who works with kids in foster care, and knows that those teenagers in this type of care situation can be pretty damaged by the time they near the end term of being in “the system.” It can be brutal, heartless and unkind from the system that put them there, the foster families themselves, to those associated indirectly. That is part of the social end of the lessons of this film that focuses on the old expression, “enough is enough,” or as they say it here, “I just want it to stop.”

Ray (Kurt Krause) is just such a foster kid who is kind of a schlubby every-man, and filled with physical and mental scars. Now entering his ninth home, he’s at high school level and will sooner than later age out of the system. His new foster family is his aunt (Thia Gill) and cousin Kim (very cute Paulina Alvarez) are kind to him, but others are not, including Kim’s dick of a privileged boyfriend, Eric (Michael Reed Campbell), the newest bully in Ray’s life.

Though an intense moment in a store ignited by Eric, Ray accidentally meets the titular Shepard (Will Beinbrink), and older man who has had his own share of violent history and trust issues, and has lost his moral compass and sense of physical boundaries. This leads to a comparing scars scene that reminds me of a particular masculinist bonding one from Jaws (1975).

Paulina Alvarez

Of course, those who have come to care about Ray (i.e., the good guys) such as his new family and teacher (Kareem Grimes) don’t really get what it’s like to have a foster history, and want Ray to just tell the authorities; but Ray has trust issues of his own, and Shepard is the only strong person he knows that has some idea of what he’s gone through. This leads the sinister Shepard to influence Ray in unhealthy ways (hence, his name, with Ray being the “lamb”). When the violence of Eric and his crony escalates, even though they started it, Ray starts to become desperate, leading to his own obvious ramping up of testosterone.

While there is a relatively low body count in this film (and rightfully so), the confrontations are keen, and sharp in multiple ways. You can feel Ray’s emotional and physical pain as most of us have probably been there at the knuckle end of a fist at one time or another.

The acting is well done and fleshed out (no pun intended), with large, expressive, and appropriate burst of anger or worry. This gives the story a realistic tone that makes the violence all the more palpable. There is no cartoon level of John Wick-like ultraviolence that is relentless, but rather moments of flashing anger and desperation. This is almost as much a psychological study of Ray – and I would add Shepard – rather than a slam bang-em-up. It reminds me a little bit of the flip side of Jason Koch’s Pig Pen (2017), which also deals with bullying and revenge, but ramps down the emotion.

Though shot in the Malibu/Santa Monica area, the tone of the place is kept in an appropriate level, without the big houses and shoreline, but focusing on the suburban areas and Olympic High School, which feels right (although Eric’s car is of a higher caliber, indicating his privilege, ads I noted earlier). This was a smart move. There are no proverbial valley girl-types, and the two female student peers (and foster mom) are played for their characters, rather than their locale. Again, wise decision.

For a film that deals with this infrequent yet strong level of action, this is a good one to watch when you’re in the mood for some non-cartoon/superhero-like mega destructo where whole buildings or cities are destroyed; sometimes I just find that tiring. Instead it’s relatively small cast and the scale is perfect for the story.

Review: Devil’s Domain

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

Devil’s Domain

Written and directed by Jared Cohn

Cleopatra Productions / MVD Visual

93 minutes, 2016 / 2017

www.cleorecs.com

www.mvdvisual.com

Beyond the bulimia, it feels eerily like the opening shots of the film were geared towards me. On a walls and doors are a number of LPs covers, including the UK Subs, the Vibrators, Iggy Pop, Nico, and pictures of the New York Dolls, Sid Viscous and Johnny Ramone. Also present are some colored vinyl LPs tacked here and there. Despite the vinyl and related material, I would say this takes place in the “present,” which enlivens Marshall McLuhan’s statement that when a technology becomes obsolete, it comes back as art.

Madi Vodane

Our main protagonist, Lisa (Madi Vodane), is a burgeoning but closeted and in denial sister of Lesbos, who mistakenly misread some signals from her bestie, Rhonda (Brenna Tucker) which has led to her becoming a pariah among her ex-peers in high school. And for that rare moment, most of the actors could pass for the older edge of that age group.

She takes her anger and frustration out through binge eating and forced puking, and, well, taking matters into her own hands. Unfortunately, thanks to an ex-friend and scuzbucket Andrew (Zack Koslow), she’s now being harassed online and cyberbullied. Now what’s the best way to deal with this kind of emotional pain? Well if you’re a genre fan, make a deal with the lovely woman (Linda Bella) who is, (super)naturally, the devil. As a side note, why does Satan often introduce itself in films lately as “I am known by many names”? Perhaps this could be called Lisa and the Devil II, and if so, where’s Elke Sommers? Okay, I both digress and kid…

While her well-meaning step-dad (Michael Masden) tries to be there for her (good luck when you’re a big, tattooed dude dealing with a teen step-girl), Lisa’s mom (the excellent Kelly Erin Decker) is less forgiving and wants to dump her in a rehab somewhere, though it’s hard to tell if it’s for the bulimia or for lesbianism – or both.

Linda Bella

The very tall and very lanky Destiny, aka the Debbil, is much more accommodating, since it’s what Beelzebub (not to be confused with the director Bill Zebub) does until either the contract is in effect, or does not get what it wants. Or in this case, of course, it is both.

This film is interesting from a media theorist’s perspective, especially if you’ve ever read any of social critic (don’t call him a social scientist!), Neil Postman. Almost omnipresent in the film is both media technology and what is now being called new media. The world here revolves around cell phones, websites, mini-cameras, digital flatscreen televisions, and there’s a shout-out to Snapchat. Postman infamously said that technology is a bargain with the devil, because while you get good things out of it, there is inevitably a dark side of things that you lose, most of them unpredictable until later. Cyberbullying is a good example of that.

On many levels, the story is quite bread-and-butter, nuts-and-bolts, and any other cliché expression you may want to add. What I mean is that it’s simple and to the point, which is part of what makes it so enjoyable. This is the third Cohn film I’ve seen, and while they varied in my feelings about them, this is by far my fave. Now he makes a lot of films, and three is half of how many he usually makes a year, but I’ll go with what I know, and enjoying it is, well, what I know.

Michael Masden

The cast hits the notes necessary for the story, with New Zealand newcomer Vodane definitely hitting all her marks, as does just about the rest of the cast. Sure Masden looks a bit like he’s stunned here and there, but something that’s been generally true for a while; I really like the guy, but I wonder what happened to him that made his career end up in micro-budget indies. Desanka Julia Ilic also is in fine form as Kate, leader of the mean girls.

There isn’t much in the way of nudity or sex, though much is implied and shown off-camera with one exception, but I’m totally fine with that. Though it does make me wonder about how I didn’t get to go to a school where everyone, female and male, are attractive. I mean, they call Lisa “fat ass,” but in my Brooklyn school, she would definitely have been one of the elite.

The Devil costume looks interesting, and the gore throughout is well handled and has a nice texture to it. What I mean by that is it is not necessarily too realistic: bones and sinew are fine for more intense films like torture stuff or heavy dramas, but when it comes to a fun flick like this one, despite quite effective moments of tension, having a red gooey mess is perfectly good (and more marketable… I’m just sayin’).

The first extra is the commentary track handled singularly by the director, Cohn. To be totally honest, it’s a mess, don’t bother. He sounds like he’s totally drunk, slurring his words and more often than not, just saying what’s on the screen (to paraphrase: “She’s opening the door now [pause] going inside.”). He mentions “white sky,” whatever that is, more than once; I assume he means it’s sunny and cloudless. There are a couple of interesting bits of stories here and there, but I got annoyed enough to turn it off at the 29 minute mark.

“The Devil Made Me Do It” is a 6:15-minute Behind the Scenes featurette. It’s decent, and kept the interest level up. It’s mostly interviews and overviews of the filming. There’s nothing explosive, but it’s certainly not dull. Next up is an 8-minute Red Carpet Premiere bit with interviews containing most of the cast and the director (in his normal voice) that that is more interesting, as well as a 42-picture slide show that includes a mix of film stills and behind the scenes shots. Last is the trailer, which I find interesting that it focuses in on cyberbullying more than the demon at hand, and I think that works for the piece.

What I learned from the extras is that the seed of the story came from Cleopatra Records, who owns all the music in the picture (including Iggy and the Stooges) and asked Cohn to write a film about cyberbullying. While that was achieved, he took it to another level by adding in the reliance on technology and the fascination with fame that so many teens have nowadays thanks to the rise of instant-viral videos. There is also a nod to peer pressure, as Lisa’s ex-friends Andrew and Rhonda prove they will do just about anything to fit in with the cool crowd. I remember thinking at the time that Andrew would be called nerdish in my school, but he is obviously being manipulated without realizing it, and his moment of rue shows that he is becoming conscious of it.

So, to sum up, with lots to chew on in a peripheral and sociological way, the basic story is one you can watch that is pretty straightforward, but the subtle cultural messages are actually enjoyable rather than getting in the way. Nice job.

Review: Pig Pen

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

Pig Pen

Directed by Jason Koch        

Dire Wit Films / Lost Empire Films / MVD Visual

85 minutes, 2016 / 2017

www.direwitfilms.com

https://www.facebook.com/pigpenmovie/

www.mvdvisual.com

One of the better things some torture films have brought into the sphere of genre films is a new neo-realism that harkens back to the time of Rossolini, Passolini, and all the other –olinis (i.e., other filmmakers in the style). The Italian neo-realism of the 1960s and ‘70s brought life situations to the audience, with all its blemishes and horrors in a matter-of-fact way.

Recently, there have been a series of gritty, realistic (relatively, hence the “neo-“) stories that are there to disturb more than distress, such as the ones by Dakota Bailey (e.g., 2017’s American Scumbags). I mean, this isn’t really new, as we’ve seen it before in films like Suburbia (1984), Scorsese‘s Mean Streets (1973), or even The Day of the Locust (1975; where Donald Sutherland played Homer Simpson, but I digress…). The difference is that of late, realism has faded away into the static camera of torture porn which is less about story than effects; realism is just the opposite, even with its level of gruesomeness.

Lucas Koch

I didn’t really have any expectation about this film, so its level of initial low-key grittiness took me by surprise, which doesn’t happen very often these days. Here, Zack’s (Lucas Koch) world is one of dysfunction. The tall and lanky13-year-old stoic skater, whose school nickname is Pig Pen, lives in a home where nothing gets cleaned and supper consists of cold cereal mixed with water. His mother, Sandy (Nicolette Le Faye), is zoned out on booze and pills, and her new, abusive “entrepreneur” boyfriend Wayne (Vito Trigo, who sports a strange facial hair style) pimps her out and sells drugs. Wayne is so narcissist that he has his own name tattooed on his neck. Things aren’t going too well for Zack and the future looks as bleak as his present life. Between the occasional huffing and probably PTSD, who wouldn’t be stoic just to survive?

Insisting that Zack bring in some money, such as by doing what the guys on the corner do for cash, the boy is thrown to the streets, where we watch as he learns to survive amid desperation, stealing and violence.

As a nice move, Koch edits in flashback scenes throughout that lead up to the present, as we see how life has spiraled out of control step by step. Of course, the past catches up in an explosion, after he gets some dough through an act of violence, and is met by an even larger one at home.

This film doesn’t pull any punches. It gives a realistic feel of the dangers of living on the street, including gangs and perverts; a much-muted version of this kind of life was presented in the Mel Brooks’ Life Stinks (1991). But Zack isn’t like other boys his age. His moral compass has already been turned up this side of Sunday, and he isn’t beyond thievery even before the Wayne hits the fan.

Nicolette Le Faye

In some ways, which I won’t go into in too much detail, Zack and Wayne have some traits in common, just the extreme is different, at least at the start. Perhaps it’s brain damage from the glue sniffing or seeing his mother abused, or perhaps he’s just high-functioning nuts, but he is both walking around like he’s in a state of constant shock while he’s also waging and absorbing information, and how to work it to his own advantage. He seems to have no qualms eating out of a dumpster, or sleeping in odd places. His adjustment skills are stunning for someone his age.

Like Dustin Hoffman’s character in Straw Dogs (1971), Zack is kind of a stranger in a strange land, and when finally pushed to shove, he is a survivor and will fight for his life no matter what it takes. When dealing with Wayne and his troupe, to paraphrase Generation X’s “Your Generation,” it’s “gonna take a lot of violence…but he’s gotta take that chance.”

This is an intense film right from the start, and it just keeps building right until the very end. Its sheer level of violence – everyday kind of violence to the extreme level, meaning the story begets the violence rather than the other way around, as in most films of this type. That is where the neo-realism comes in: it’s realistic, but takes a step beyond that into a fictional realism, if that oxymoron makes any sense.

It really is a horribly beautiful film. The editing, the lighting, the camerawork is all spot on. It doesn’t hug the action (that’s not to say there aren’t some close-ups), but rather presents it as Zack sees it. We see everything the same time he does, i.e., he’s in just about every shot. I’m not sure how old Lucas is in real life – I’m guessing somewhat older than his character – but as a performer he plays stoicism pretty well, rarely letting the viewer get lost in the acting. Similarly, Le Faye strikes a delicate balance in being sympathetic as both a dreamer and a lost cause. The viewer is both horrified at her actions, and also her inactions. To me, she is the most realistic in being caught between wanting to do good, pining hope on the hopeless, and feeling trapped. I see women who have gone through this nearly day, and have decided to take the step of separation from an abuser that Sandy does not.

Vito Trigo

As for Trigo, if he can make us uncomfortable while his face is being hugged by that shaved raccoon on his face that seems right out of the Dirk character from She Kills (2016), that says talent. Seriously, he comes across as fierce in an early Harvey Keitel kind of way. He takes a ridiculously looking role and still made us fearful and him fearless, and that’s good acting. At least, I hope it is…

If you’ve ever seen Koch’s first film, 7th Day (2013) – or, if you’re like me and have seen the trailer – you know how effective his SFX company’s work is, and it’s no surprise that the application work is top notch. With the exception of the fact that there would have been a lot more blood in the situation presented (no, not gonna give it away), it looks spectacular. It also isn’t overdone, which is a nice choice for Koch, considering this is only his second feature.

If you’re in for a good story with some excellent writing and acting to back it up, tension that is palpable in a building crescendo, and some way-above standard physical effects, this will be a good direction to go.

Review: Childen of a Darker Dawn

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

Children of a Darker Dawn

Written, produced, directed and edited by Jason Figgis
October Eleven Pictures / Pop Twist Entertainment / A Man in Green Tub Productions
106 minutes, 2012 / 2013
www.mvdvisuals.com

In our mediated culture, we have bared lots of cinematic diseases that cause the apocalypse of modern civilization, but most of them tend to be followed by zombies. For this film, it’s a different, possibly more realistic, and dreadfully dower future.

Set in Ireland, a new viral plague has hit the world where adults are susceptible. They start by becoming irrational and psychotic, or sometimes it’s like a form of violent Alzheimer’s. Soon, organs shut down, and they die. The children are left over to fend for themselves in this new humanity.

Fran (Emily Forster) and Evie (Catherine Wrigglesworth)

The main focus of the story, taking place nine months later, is two siblings, and their journey. There’s the older sister, Evie (Catherine Wrigglesworth), who is in her mid-late teens, and her younger ‘tween sister, Fran (Emily Forster). After the death of their parents, they take off on foot, keeping themselves company and reading from The Railway Children to try to obtain some semblance of home / normality, such as it is.

Before long, they run into a bunch of other teens, who do not treat them well; the viewer also gets to know them as well. One of the more interesting aspects of the film is the flashbacks of many of the major characters and the moments of their parents’ decay to keep us up on their motivations in the present.

It’s a very smart story, reminding me of a similar themed, bleak book I had finished reading recently(without implying they copy each other, because they don’t) called PostApoc, by Canadian Liz Worth. The reason I bring it up is because I believe that the topic is triggered by two factors: one is the absolute insane rise to power of genetic mutations with companies like Monsanto messing around with genes of plants and arguably animals, and also said zombie apocalypse movies and television shows that may make one think about “what would happen in the real world if…”

This film never shies away from the experience, nor takes the easy road from beginning to end, showing a new world order in a similar way that the British film Threads did in 1984 (ahead of its time, for sure), in the latter case being the struggle in post-nuclear Sheffield. If you’re looking for humor, you’ve come in the wrong direction.

For this film, there are hierarchies and cliques of teens that would make Mean Girls (2004) look like a support group, and even a collective of cannibal kids trying to survive, posing both the philosophical and pragmatic question of what does one do for food after all the packaged and canned foodstuff is gone in a post-farm-knowledgeable society?

Beautifully shot, mostly in what appears to be abandoned homes, the color saturation is drained, giving it a gray tone, and the flashbacks are even barer, with a sepia hue that keeps just a bit of color left.

The acting is all top notch, especially Forster as the volatile Fran. She’s had just enough of the quibbling, struggling and unnecessary pissing contests. She just wants to go back to the way things were, while riddled with nightmares about her parents. But part of her anger is knowing that is not possible.

Is this film right for you? Well, it does have its problems and questions, as well. For example, what I kept wondering through the whole film is: a lot of these characters appear to be in their late teens, or possibly early 20s. Does that mean the plague has passed, or at some point will all these people die when they reach a certain, unspecified age? It’s not explained, but I’m guessing that is in part because none of the characters know.

The problem for me is that there is just too much damn repetitive talking that doesn’t progress the story, which takes the power out of the events. If the dialog was tightened up, this could have been a good 80 minute film, but they just keep on. For example, when the sisters walk into the headquarters of the mean teen group, the conversation that goes around carries on much longer than necessary.

The two extras are the trailer and a short about the making of the music video connected to the film which leads to said video. By the way, here’s a little secret you may not realize: if there is no dialog in a trailer, odds are they’re trying to hide that it’s not in American English; it’s a trick going back to the 1960s, at least. I’m not saying it’s a bad thing, it’s just a thing. Oh, and the company that made this is October Eleven Pictures, which is the date when Oliver Cromwell’s New Model Army killed 3,500 in the Irish town of Wexford in 1649.

This is a powerful film, and it the lack of having a direction in which to live by for the characters actually feels accurate in the situation. It’s definitely a view of a darker dawn, and if you’re up for that, this could be your – er – meat.