Oldie-But-Goody-Review, Part 2: Mortuary (Special Edition)

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Mortuary
Directed by Howard Avedis (d. 2017)
Hickmar Productions; Scorpion Releasing; Multicom Entertainment; MVD Rewind Collection
93 minutes, 1983 / 2021
www.MVDVisual.com

This reissue has an interesting aspect for me: from the mid-1960s to the early 1980s, Lynda Day George and Christopher George were the television golden couple. It seemed like they were in everything either apart or together in the likes of “Mission Impossible” (Lynda) and “The Rat Patrol” (Christopher), but not after this film, as it was Christopher’s last role before his sudden death in 1983. Ironically, over the years, their importance faded enough that even though they are among the leads of this film, their names don’t even appear on the cover of the Blu-ray (and DVD). Sure, they were secondary to the three main characters, but their names should be there under the others, as most likely they were a large draw for the original release. Instead, they list Mary McDonough (she played Erin on “The Waltons”), Bill Paxton (1986’s Aliens, 1987’s Near Dark; d. 2017) in an early starring role, and David Wallace (aka David Wysocki, who appeared in numerous soaps).

Now, after that pondering, let’s examine the film. I saw it in the theater when it first came out, but I have no memory of it, so it’s like watching it new, which makes me happy.

David Wallace, Mary McDonough

We are introduced to tall and lanky Greg (Wallace) first, as he and his friend Josh (Denis Mandel, who played the recurring character Eugene in the post-shark jumping, no Richie “Happy Days”) visit the mortuary warehouse, where Josh worked, to steal some tires. There they see a “séance” (looking more like a cult with long, hooded black gowns) led by mortuary owner Hank (Christopher George). Of course, being that time in our culture and the genre, the leader is a man, and the rest of the following coven is all women. Let the social commentary by the readers commence.

This brings Greg to hang out with his sleepwalking girlfriend and star of the film, Christie (McDonough). Just to date the film, part of the first act takes place at a roller rink (the subtitles say “roller ring,” that’s how long ago it is that whoever did the captions did not know better). Classic imagery, with women in short-shorts and tank tops skating around in circles, just for the film’s teenage boy demographics. Even McDonough gets to wear some flimsy clothing when she’s not decked out in top ‘80’s fashion, like pink loose pants and a matching sweater tied around her neck. She lives in a huge house right on the ocean with her widowed and gaslighting mom, Eve (Lynda Day George). To add to it all, nerd and perky Paul (Paxton), son of Hank, has a thing for Christie. They are college students, I am assuming, as part of this was filmed at California State University Northridge.

Bill Paxton

Of note, there are two interesting cameos here, both as Greg’s parents. First, there’s his mom, played by Marlene Schmidt, who has appeared in most of director Avedis’ films. His dad is portrayed by the legendary Hank Kimball…I mean Alvy Moore (d. 1997). He’s almost unrecognizable, but at the same time, easy to spot by his physical mannerisms, and especially that amazing voice and syntax.

Meanwhile someone mysterious has been following both Greg and especially Christie, dressed in white make-up that looks a lot like Pazuzu from The Exorcist (1973). It isn’t hard to figure out who he/the killer is; I figured it out in the first 10 minutes. But will the Sheriff (Bill Conklin) listen to the teens about smug Hank and crew? I am sure you have seen enough of genre films to be able to answer that yourself; it seems pretty damn obvious.

Lynda Day George, Christopher George

There is also a fine level of humor (though I would not refer to this as a comedy), such as one person looking to buy a casket, saying to her husband, “Honey, I don’t think you’re going to be comfortable in this one.”

The blood and gore SFX are nicely done and plentiful, relatively, though a small body count considering the slashers of the day, but they manage to add some effects in other ways. There is also a lot of typical tight or wet clothing and cleavage (including the two female leads), along with a fair bit of nudity (though McDonough uses a body double with different colored hair; did I mention she was in “The Waltons”?)

McDonough, George

I do have some questions, such as if a group is holding a séance in a mortuary after hours, why isn’t the front door locked? Of course, this could be said about any business, and not just ones doing occult stuff. And if you just saw someone close to you in a cult setting, would you go home and have carnal relations in a laughing, calm manner, for a while?

Anyway, the film is shot really well, with some fine editing to enhance the action. The cast is, needless to say, lovely to look at for all genders, and the acting is, well, considering most of the cast comes from the television world, that type, especially from the time period.

 

Pazuzu wannabe?

Even with an obvious villain, there are still surprises here and there, and numerous jump scares that I enjoyed. This is considered a minor classic, and it’s easy to understand why. Lots of hallmarks are here, like walking down dark hallways. One thing missing is a shower scene. That being said, one unusual take is that the friends of the leads are inconsequential and merely there as comic relief, appearing exceedingly sparingly, with the film mainly focusing on the five leads. That was a nifty and unexpected turn of events.

Extras on the Blu-ray are that the film is in HD (1080p) from the original internegative, and audio choices. Also, there is an English subtitles option, and interview with the composer, John Cacavas (unwatched by me), and a mini-poster in the clamshell. Added is a bunch of MVD Rewind trailers including the original one for this film and Tobe Hooper’s Mortuary (2005) that deals with zombies rather than a slasher, among others.

For the director, Howard Avedis (d. 2017), this was his first forage into horror. Before, he was known mainly as an exploitation/sexploitation filmmaker, with such classics as The Specialist (1972, with Adam West), Dr. Minx (1975, with Edy Williams), and especially The Teacher (1974, with Jay North and the underrated Angel Tompkins). The previous experience of these low budget action releases prepared him well for Mortuary, to make it a product of which to be proud.

Be forewarned, the trailer gives too much away. If you haven’t seen the film yet, watch it at your own risk.

Review: Baphomet

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Baphomet
Directed by Matthan Harris
Incisive Pictures; Cyfuno Ventures; Cleopatra Entertainment; MVD Visual
72 minutes, 2021
www.facebook.com/baphometmovie
www.cleopatra-entertainment.com
www.MVDVisual.com

To be clear, “Baphomet is a deity that the Knights Templar were accused of worshiping, and that was incorporated into occult and mystical traditions. The name Baphomet appeared in trial transcripts for the Inquisition of the Knights Templar starting in 1307” (thank you Wikipedia).

Now that is out of the way, just from the name it is not hard to guess that this will have something to do with witchcraft, covens, and the like. Well, you would be right. And who doesn’t love a bloodthirsty cult film, eh wot?

Usually, the cult is introduced either at the very beginning or the very end to this genre’s releases, and here it is right off the bat with the first scene, so I am not really giving anything away. The coven is led by Henrik Brandr (the infamous Giovanni Lombardo Radice, who was in giallo classics by the likes of Fulci, Soavi and Deodato, and one of the main stars of Lenzi’s 1981 Cannibal Ferox; recently he’s been in the likes of the 2006 remake of The Omen, and the underrated 2009 House of Flesh Mannequins), and right from the start you know they are not only up to no good, but prone towards the sacrifice/slaughter of others.

Colin Ward and Rebecca Weaver

As the story starts, Henrik’s son, the creepy Aksel (Stephen Brodie), asks to buy the land from well-to-do (from the looks of the house) Jacob (Colin Ward), who seems to overreact in anger to the request. Sure, Aksel is a bit pushy, but Jacob seems hellbent (pun intended) to be pissed off. Naturally, this will not end well by the conclusion; it is easy to tell even from this scene five minutes in. To paraphrase the words of that great philosopher Edward Norton, this brings “a pox on them and all their ancestors.”

This affects Jacob’s family dearly, including Jacob’s wife, Elena (Ivy Opdyke), their pregnant daughter, Rebecca (Rebecca Weaver) and her husband, Mark (director Matthan Harris). If he will not give up the land, expect to be knocked off one by one, often through Henrik’s spells or by a mysterious, brutish figure dressed in black (massive Nick Principe; I have been a fan since 2014’s Collar). 

Charlotte Bjornbek

With all the mayhem of the first act, the real focus of the film comes into effects with the introduction of "white" witch Marybeth (solid acting by Charlotte Bjornbek), as it settles into the final battle of good versus evil, or as I like to call it, playtime.

The violence throughout the story is plentiful, the blood and gore are gruesome and the SFX is incredibly well done. Same with the costuming and make-up. There is a nice, high body count, some of it coming quick, others lingering in close-up.

Dani Filth

There is a fun Skype cameo by Dani Filth, vocalist and lyricist of the metal band Cradle of Filth, among others, as an expert on the Occult (which Filth is in real life, as well). The role is not taxing, and he does well with it. It is odd to see him without beard or make-up, but that does not take away from the role.

There are a couple of holes here and there, but the storyline is fluid and I am happy to say that there were times I was grateful that it dodged some cliches, such as using certain good-person-who-ends-up-being-evil motifs (I could think of at least two they avoided). Most of the acting is decent, and it is well shot with good editing and lighting.

Giovanni Lombardo Radice

Basically, there is no wild steps taken out of the narrative flow, though some surprises, and it truly is a case of you getting exactly what you would expect for this genre. It’s like comfort food in that it is cozy yet enjoyable.

There are lots of extras included, such as a Dani Filth backstage interview (9 min.), which is actually before a concert in Dallas rather than during the filming. It covers a wide range of topics, including the filming, getting tattooed, and his band, Cradle of Filth, which is a fun watch. This is followed by a music video by TANK, featuring 5-octive range Filth, called “Shellshock.” If you are a fan of Filth, you know the style. However, I would recommend seeing it after watching the film, because the only visuals are from Baphomet, and it shows too much of the action and can ruin the story with spoilers.

The Deleted and Extended Scenes (13 min) were rightfully excised, but are entertaining to watch, as is true with the Outtakes (7 min), which could also be called the Blooper Reel. If you like that kind of thing, you will not be disappointed. There is some Behind the Scenes pictures, character art and storyboards by the talented artist Jason Millet, the teaser trailer, and a nice selection of Cleopatra Entertainment film trailers.

To me, though, the takeaway lesson of the whole megillah, genre film or real life, is never, ever go paddle boarding by yourself.

Review: Witch Hunters

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Witch Hunters (aka Witch Hunt)
Directed by Richard Chandler
Boston Film Family; Gravitas Ventures
74 minutes, 2016 / 2020
www.bostonfilmfamily.com/

This film started its brief and succinct life a few years ago under the title Witch Hunt, at 53 minutes in length. A few additional shots over the years and now it is the full length Witch Hunters. And that concludes the history lesson part of this review.

 There are multiple substories going on here that will, of course, merge at some point. First, there’s the brother and sister witch hunters (shades of 2013’s Hansel and Gretel: Witch Hunters) from Bosnia and Herzegovina, who wear Hells Angels-type leather jackets that denote their profession: Dominic Damarus (director Richard “Rick” Chandler, who played Hansel in James Balsamo’s The Litch in 2018) and mute Morrigan Ramsey (Carver Riot). They slaughter – usually via knives – witches.

Richard Chandler and Carver Riot

Second, there is the coven of said witches, led by a literally bloodthirsty piece of work (Lilith Astaroth, from the metal band Sorrowseed, who was in Nun of That and the recent Blood Pi), who is not given a name. This is more the traditional film coven, like you may see in Suspiria (1977), Rosemary’s Baby (1968), or The Satanic Rites of Dracula (1973), rather than the cutsie ones of The Craft (1996), for example. They huddle over their victims and sacrifice them…yes, using knives.

The third follows a priest and failed exorcist, Father James Costello (Graham King). He’s having an existential crisis, questioning his faith and his once suppressed gay sexuality. He is one mixed up dude. Lastly, there is Sheriff Tormada (Tony Ramos Wright), possibly named after Torquemada, who devised the worst of the Spanish Inquisition (as Mel Brooks said in 1981’s History of the World, Part I, “You can’t talk him outta anything!”); after all, the original tag line for the film is “The Inquisition Returns.” He is a murderous hedonist, riding on his power trip and will take down whomever he likes, just for the momentary thrill of it.

Lilith Astraroth and her Cult

Religion as supernatural has really become almost a sub-genre of late. I am not talking about the general possession type which has been a staple topic since The Exorcist (1973), but rather evil in religious forms, such as The Nun (2018), Beyond Hell (2020), or Red Letters (2020). Here we delve into the Satanic, more than, say, Satan proper. All of these tropes have been used multiple times in previous films, but combining them all successfully creates something new-ish. The question is whether or not it is successful, of course.

Every character suffers from affliction of at least a few of the seven deadly sins, especially those of the flesh. There is a lot of cleavage, nudity, and sex of various forms with numerous participants of either or both genders. For some reason, I find that the films out of New England, specifically between Boston (the environs where this was filmed) and Providence, RI, especially, have been recently focusing more on pan-sexual play, which I think is great. There is as much LGBTQ+ lust here as straight, as it should be. While that is refreshing, it’s definitely more sexual than sensual, as it’s more a meeting of bodies than hearts. There is also a lot of blood, with little gristle, which is also nice. Most of the SFX appears to be practical, rather than digital.

Graham King

What we are presented with is a series of set pieces, where storylines and characters sometimes overlaps like a Venn Diagram. While it loses some on story narration fluidity, what is positive about it is that not all the action is displaced into sections, such as nothing happening in the first act (usually about 20-30 minutes), little in the second act (about 40 minutes), and then crammed into the third act (the rest of the remaining time). Here, the sex, drugs and violence are nicely dispersed throughout. I can live with that.

In this story, the women are pure, be they good or evil; they know who they are and are consistent. The men, however, are contradictions, behaving in ways that betray (or believe it to be so) what they represent.

And when all the stories truly converge near the end, as they are wont to do in multi-line plots, the question of who will live to kill again and who will die to – err – not, is pretty well done, as the viewer is not totally sure who will come out on top. After all, in most straight, big budgeters, the flawed always fall, but in genre films, that is a gray area, thankfully.

For me, I can live with the questionably narrative storyline, seeing each set piece on its own as well as part of the zeitgeist, helped by the editing and cinematography. The “quality” of the image degrades a bit in the darker scenes, but that is common with some cameras (to paraphrase, “the fault…lies within the equipment, not in the director”).

That being said, the weakest point here is the acting, which is often wooden, or over-emoted. Some actors fare pretty well, but one in particular – and I won’t name names – was sincerely off the mark into overacting.

This may sound strange, but I feel like I was underserved on Father Costello’s story. The IMDB Storyline makes it sound like he was the central focus, but of the main characters – and there are at least five – his is one that feels like there could be a lot more. Perhaps a prequel, if not a sequel? I would watch that. Meanwhile, make sure you sit through the credits for this one.