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: The Ghosts of Monday

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

The Ghosts of Monday
Directed by Francesco Cinquemani
Altadium Group; Jingi; Cleopatra Entertainment; MVD Visual
78 minutes, 2022 / 2023
https://altadium.com/
www.cleopathra-entertainment.com
www.mvdvisual.com

The proliferation of cable “documentary” shows focused on Ghost Hunters has led to a subgenre in that field. Often they are found footage style like Alone in the Ghost House (2015), Ouija Death Trap (2014), and Beyond the Shadows (2020), just to name a trio. Of course, there have been some mainstream “Ghost Hunter” films for decades, such as The Haunting (1962), The Legend of Hell House (1973), and Poltergeist (1982).

So here we are, with a new Ghost Hunter tale that never goes well for the participants, with some relatively strong star power in the form of Julian Sands, who starred in some A-listed films in the 1980s and ‘90s, and has been in cinematic decline in the 2000s as he refocused his career to the stage. But he is enough of a name to grab some attention, especially for genre fans who loved him in Warlock (1989).

Ghost Hunter films tend to follow a basic premise: the group goes to investigate a legendary haunted locale, and find more than they bargained for. In this case, it is the Grand Hotel Gula, located in Cyprus (the country in which this is filmed; in fact, this is the first home-grown horror released out of that island country). Planning on shooting the pilot episode of the documentary series “Ghosts of the Old World,”, the group, led by the show’s host and narrator, Bruce (Sands), are on their way to find the spirits, and not the kind that come out a liquor bottle, which Bruce imbibes.

I am looking forward to seeing this. Ironically, I am not a fan of Ghost Hunter reality television shows, but often enjoy Ghost Hunter films, generally. Go figure! For this one, the title refers to a Monday night in 1990 when 100 people in the dining room were killed by rat poison, though no one knows how, and people have been dying in that location for hundreds of years. The locals avoid the area and the hotel has been abandoned for more than 20 years, but has been recently bought and is being renovated by weird couple Frank (Anthony Skordi) and his wife, Rosemary (Maria Ioannou).

Mark Huberman, Julian Sands

If I have this right, Bruce has been hosting shows for a while, and is a skirt-chasing lothario who it seems most of the women are onto and give him the brushoff. The hot-headed director of the show-to-be, who does not seem happy to be there, is Eric (Mark Huberman). He is with his ex-, the mysterious Sofia (Marianna Rosset), who is from Cyprus and has a history with the hotel; she is also the adopted daughter of Bruce. The crew include cameraperson Jennifer (Flavia Watson) and sound tech Christine (Elva Trill). The liaison between crew and the Hotel is Anna (Kristina Godunova). And where are they all staying? At the Gula, of course. Keep the body count close.

The early tone of the film reminds me a bit of The Sentinel (1977) and Rosemary’s Baby (1968), as people keep feeding Sofia tea with “local herbs,” including the financiers of the Ghost Hunter show, Dom (Loris Curci) and Pat (Joanna Fyllidou). Something wicked this way comes, me thinks. Meanwhile, recurrent shaky POV shots show that everyone from the prospective program is being watched.

Marianna Rosset

Early on, there is the mention of the Cult of Teshub, who was the Hurrian god of sky, thunder, and storms in part, with the Iron Age Luwian and Hittite cultures during the early 13th century BCE (thank you, Wikipedia). Here, it dealt with human sacrifice. There is no subtly that this will be an important plot point going forward into the Second and Third Act, as it is stated more than once. Same with Sofia’s dreams, telegraphing that, in the words of Prof. Pretorious in From Beyond (1986), “Something is coming, Crawford!”

Eva Trill

When the killin’ finally starts, what it nice is that there is a multi-pronged and genre jumping storylines, such as slasher, monster, and cult. Of course, they all tie in together, but it made me happy that it was not just one or the others. When someone gets to meet their maker (colloquially, of course), there is a nice variety. Besides, if you cannot figure out who the bad guys are early on, and probably what is their motivation, well, you just have not seen enough genre films (is it possible to see too many? I say no). There is also a nice reference to the 1953 short story, “The Nine Billion Names of God,” by Arthur C. Clarke.

Flavia Watson

The killing effects look great and had me cheering. I did not really notice any digi-SFX, most of it being practical and very bloody. My one question is, as they all had cell phones, why at some point did anyone not call the police at any point?

With quite the international and attractive cast (including a nice and gratuitous shower scene), the action is first rate, mostly. Sands, generally a good actor, is both wooden and over-emoting at the same time, often acting with his eyes, eyebrows and a forward tilt of his head. He seems to forget he is not on the stage, but in front of the more intimate camera. However, there are some beautiful shots of the hotel lobby atrium, which is almost another character in the story.

Cyprus did good here. There is just enough of an arty tone to give this some oomph, but not enough to make it opaque or distracting. The few scenes we see outside of the hotel of the city are beautiful; visiting Cyprus is on my bucket list.

This film did not disappoint, and I look forward to more output from the island Republic of Cyprus.

IMDB listing HERE

Review: The Burned Over District

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

The Burned Over District
Directed by James Coleman and Vincent Coleman
ColemanFilms; White Lion Studios
103 minutes, 2022
www.ColemanFilms.com
www.facebook.com/colemanbrosfilms

Wikipedia states that “The term ‘burned-over district’ refers to the western and central regions of New York State in the early 19th century, where religious revivals and the formation of new religious movements of the Second Great Awakening took place, to such a great extent that spiritual fervor seemed to set the area on fire.” This movement, like the Temperance Societies, were mostly women, and these gatherings led to Suffragettes and the Women’s Rights movement. But this film, which takes place in the modern time, has a darker meaning, which I will not give too many spoilers.

John Harvey Sheedy

Right at the beginning, on a winter’s day, in a deep and dark Rochester, NY (well, around those parts, anyway), there has been a tragedy that sets up the story for the ironically named protagonist, Will Pleasance (John Harvey Sheedy). His mourning, early on in the film, brings harbingers of misplaced anger and guilt. He is supported by his sister, Katie (Amy Zubieta) and somewhat by his mom, Michelle (Connie Neer). Mom’s a piece of work: not only does she willfully steal Will’s wife, Natalie’s (Sarah Santizo) jewelry, but she comes in from a snowy walkway onto his white carpet without removing her shoes. Sacrilege!

While out shooting for game, Will runs into a place with hanging symbols from the trees (think of 1999’s The Blair Witch Project) and other signs of cultism, as described by a neighbor, Fred (Robert Lindquist). The question to me at this point, is whether Fred turns out to be a good guy or a bad one. Which brings an interesting concept and the film’s title. While the original meaning was a frightening level of Christian fervor (as they are wont to do), this flips it on the side and turns that zeal into something darker and mysterious.

I do not believe it is coincidence that at a specific moment, with his hair akimbo, Will resembles the classic paintings of the Jeebus figure, as he faces down the Demonic cult (why is it always mostly women as adoring followers and those abused, and a male as the sole head?), led by greasy-haired Daniel (Michael Cieslla).

Amy Zubieta

Gender politics-wise, this film is the exact opposite of what the original meaning of the Burned Over District was in history: then it was Jeebus leading to the fight for Women’s Rights, to this film which features Dark Gods and men leading women. This also reminds me a bit of Jug Face (2013), about an evil demanding sacrifices in a pit in the woods, though it supposedly lives in the sky. Part of its power is to make you see things that are not there, such as in Oculus (2013), especially in a particular scene.

Some parts of the film tend to be dark (in lighting as well as story), the cinematography by James Coleman is shadowy and promotes the feeling of forbiddances as secrets unfold, especially in the woods.

Michael Cieslla leads the cult

Despite the gender politics that I may self-admittedly be reading too much into, the cast is quite solid, although Zubieta is a particular stand-out. The SFX look really good, especially in the third act when everything ramps up to a fervor, though it never loses sight of where it is in the story. Most of the gore effects seem practical, but there are some decent CGI Dark God effects. Speaking of that, the Coleman Brothers did a pretty bang-up job on the story, with a three-step build-up that is compelling. I am a sucker for gods and cult stories, and there are both some familiar parts, and some imaginative ones, as well to keep the warm fuzzy motifs (the whole robed cult thing, the alters, the rituals, etc.), and the surprises to feed the mysterious (not gonna tell).

The film is broken into three very distinct (districts?) acts: the first is kind of a slow build as it introduces the main characters, despite (or because) of the tragedy involved. When the second act begins, it certainly picks up quite a bit, and by the revenge tour of the third act, it is wildly filled with action and gore. But the whole thing needs to be watched to get the flow of it, and I recommend that.

IMDB listing HERE

 

Review: The Land of Blue Lakes

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

The Land of Blue Lakes (aka Земля Голубых Озер)
Directed by Arturs Latkovskis
[Self-produced]
72 minutes, 2021
www.facebook.com/landofbluelakes
https://vimeo.com/ondemand/357056

Though I tend to find most found footage flicks to be tiresome at best, right from The Blair Witch Project (1999), there have been some exceptions, such as M.O.M. (Mothers of Monsters) (2020) and Grave Encounters (2011). And, that being said, seeing one from the Latvian Soviet Socialist Republic definitely piqued my interest.

So, yes, the film is in Russian with very easy-to-read subtitles (white letters in black boxes), so let’s be mature and get over that right now, ‘kay? With a miniscule budget of under USD$1,200, which basically would cover the food, gas/transportation, and perhaps kayak rentals, I wonder if Latvia has a film tax credit, or a Film Board with subsidies, as does Canada. I know, however, that this film was completely self-funded by the director (I asked).

As with Blair Witch, all five of the central characters are named after themselves, including the director/writer, who plays a version of himself. These five go into the wilderness of Latgale, to kayak along some beautiful waterways. If you look at a map of Latvia, you can see that there is a lot of natural areas. This makes me want to see it in person, even if that never happens. Of course, I’ll pass on the spooky stuff.

I don’t believe I’m giving anything away as this starts with title cards saying that all the participants were never seen again, and the footage was found on “the dark Web” (it’s always the dark Web, ain’t it?). While this intrigues the viewer (i.e., me), at the same time it also projects that the odds are there may be no “final girl” – or guy – and no good will come from the adventure. Of course, that is generally the direction found footage goes anyway, and this is quite the common opening trope. No negative feelings here, it is time to soldier on.

At the opening, we are introduced to the cast as they gather to head off into the wilds. It feels very natural, and I am assuming that most of the dialogue (if not the direction of the conversation) is ad-libbed on the spot. Arturs is also the main cameraperson, trading off on occasions with the others, especially his girlfriend Veronika Rumjanceva, which makes it easier without a crew needed to tag along. I am assuming that all of the five are friends of the director in the non-cinematic world as well, as this is their only IMDB credit for all of them. This means they know each other well enough to riff off the others’ personality, which is a good thing.

From this point, it almost feels like watching someone’s travel video, but I have to say, for some reason, I found the kayaking scenes through tall reeds visually stunning and interesting, more than even the somewhat mundane casual conversations as our three guys and two gals (others are Alina Sedova, Vladislavs Filipovs, and Edgars “Zuz” Jurgelans) float, eat and drink, going further into the lake district (while we don’t see other visitors at this point, there are roads/bridges and what looks like train tracks which they paddle under (more about this later). It feels both isolated and civilized at the same time, but they go further into remote areas.

Latgale is in the far eastern end of Latvia. The country is mostly Lutheran, but Latgale is historically more Roman Catholic and “Old Believers” Russian Orthodox (thank you Wikipedia). This Other view by the mainstream religion plays a part in the story, as our intrepid kayakers meet up with some “pagans” (I am assuming a distortion of non-Lutherans, as religious folk of any stripe are wont to be). They may not be interpreted as ferocious as, say, the Wrong Turn franchise, but these are more mystical and mysterious, showing up at unexpected moments.

Ever so slowly, we are introduced to the pagans, through runes and painted symbols, a dolls nailed to tree, and their own Point-of-View filming of the sleeping kayakers. The tension starts to build, but there is more boating yet to be done.

Another aspect I find interesting, as with, say, United States National Parks, there is an odd mix of wilderness and civilization, such as an unmanned weir and those road bridges that look forlorn. In the story, Latkovskis is a student of the Pagan religions of the region, so along the way, in bits and pieces, we get some nice exposition, such as about the angry Thunder Sky god, Pērkons, setting up for an enjoyable visit to an island with an ancient stone for sacrificing (surrounded by modern garbage from previous visitors) and rotted, abandoned boats that I would have loved to have photographed, as well (taking pictures of decay is one of my hobbies).

So, is it a supernatural thing that is haunting them, as in Blair Witch, or is it a more human element? Of course, I will not say, but the ending did come as a bit of a surprise, I am happy to report.

I am not sure why I found this so interesting, perhaps because I enjoy travelogues and seeing the cast’s real reactions to physical obstacles on their journey (e.g., fallen trees blocking their waterway). It is definitely a slow burn film, much in the way of Blair Witch or the Paranormal Activities franchise, and if you are a fan of those types, this might be right up your lake.

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: The Midas Touch

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

The Midas Touch
Directed by Tilman Borck
FTB Productions; Indie Rights Movies
110 minutes, 2020
https://www.themidastouch.online/

In the words of Seth Meyers, “what we need right now” is a good sexually religious farcical comedy that is not afraid to push that proverbial envelope to beyond its flap. Director, writer, and actor Tilman Borck dips his – err – toe into the pool with this updating of the Greek legend of King Midas, but with a tug n twist, if not several.

Gino Wilson

We are introduced to milquetoast Felix Blythe (Gino Wilson), who is a low-level advertising drone in an office. Unlike the meaning of his name – “Felix” is happy and peppy, “Blythe” (blithe) indicates carefree – Felix is a humdrum worker who is constantly bullied by his boss Ron (Clayton Nemrow) and co-workers, and looked down upon by others for his shy spirit. While he has literal dreams of sexual exploits with beautiful women, in actuality, like the chartered accountant in the Monty Python’s Flying Circus sketch, his life is “dull, dull, dull…” He is a “very quiet man in a very loud world.”

The other main characters are the polar opposite of Felix, in that they are colorful, but bizarre. There’s self-help guru Sviatoslav Rău (the director, Borck) and his hapless Sidekick (Bernhard Bozian), both of whom dress as if it were the 19 Century, with cane and cape; a Trump-ish self-centered right-wing politician James Walker (Nicolas Buitrago); and his sensuous and statuesque wife, Sarah (Transylvania-born Noémi Domokos), upon whom Felix has a crush. Sarah also runs a small religious cult comprised of women.

Tilman Borck, Bernhard Bozian

While drowning his sorrows, Felix manages to inherit the titular Midas Touch. In a nutshell, it is a hex that can become a curse, even to him. This is not a fairy tale so it does not make princesses fall in love with whomever they touch, but rather makes them hornier than a hoot owl. But can Felix live – err – up to it? Even a young man needs to recoup. I remember a line by comedian David Brenner saying that after once, for him it was something like trying to chop down a tree with an overcooked asparagus. How much of a good thing is too much?

Anyway, what this means for the viewer is that there is plenty of onscreen (softcore) sex and full nudity of both men and women. Sure, this is a male’s fantasy, they make an emphasis about that, and there is even an anti-Feminist nod in the scroll at the bottom of a news report, but I will say that this is pandering to the male audience rather than trying to make a huge political comment about the role of sex. I would have liked to see what would happen if Felix touched a gay man, to see if it would affect that way as well. The film is reminiscent of sex comedies that were popular in mostly art houses and Times Square in the late 1960s and ‘70s, such as The Erotic Adventures of Robin Hood (1969) and Alice in Wonderland: An Adult Musical Fantasy (1976; the latter softcore version played at a neighborhood theater in which I was an usher).

Noémi Domokos

As the names of the actors may hint at, this is a European production (Germany, I believe), though filmed in crisp English for those who struggle with accents. 

It is smartly filmed, even initially with characters who have not yet met move in and out around each other as the story progresses and they keep passing or literally bumping into each other. But of course, by the end, all will converge, with the evil attempting to persuade the poor Felix.

The acting is kind of goofy, but again, this is an extremely broad comedy with a really low moral bar, and the over-emoting belies that, but it is also very funny in parts, with Rău being the oddest character with the best lines, and his reading of his “cult” speech is definitely a highlight of the film, reminiscent of the “Spanish Inquisition” bit from, again, Monty Python. Wilson is actually spot on in his character, as a squeaky mouse that finds his teeth. The Ron/boss character reminds me a lot of the similar Gary Cole role in Office Space (1999).

While mostly it is comedy and nekkidity, there is also surprisingly a body count (albeit relatively small), and some unexpected gore. It made me smile.

Cayton Nemrow

One of the interesting aspects of this film is that there is no real love interest for Felix, just an object of lust in Sarah. Usually, there’s a secondary or friend character who, at the end, becomes the heroine of the piece, and I find that truly different and admirable. Also, I enjoyed the O. Henry-ish surprise at the end.

There is an extremely large cast of extras here, which is also commendable. While ridiculous, it doesn’t fall into the sheer stupidity trap of the likes of some of the sex comedies from the States, like the Porky’s series or the those with Seth Rogan (sorry, but I am not a fan); perhaps it’s the European sensibilities.

Sure, parts of this are pure goof, but there is an undercurrent of smartness, a relish of skewering topics, and a joyousness in its total abandon. Add some decent filmmaking, and this is definitely watchable, especially for a first-time feature director. Honestly, though, I would not consider it a date movie as it is the antithesis of the Hallmark Channel fare, but rather along the lines of the old Cinemax Channel.

 

Review: We Still Say Grace

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

We Still Say Grace
Directed by Brad Helmink and John Rauschelbach
Brothers Shamus Pictures; Dauntless Studios; 
Lexicon Entertainment; Room in the Sky Films; Vertical Entertainment
94 minutes, 2020
www.facebook.com/wssgmovie
www.westillsaygrace.com  

As I have posited before, there is no one scarier than a human monster; more than a supernatural creature to “tear your soul apart,” and I don’t mean humanoid slashers with machetes that cannot be killed (or will not stay dead), but “Furthermore, the hearts of men are full of evil and madness while they are alive…” (Ecclesiastes 9:3).

To be more specific, nothing is scarier to me than a human who believes they are backed by God and therefore are among the righteous, and have the duty to obey what they consider what God has “spoken” to them. I give you most of the Republican party and at least a third of the Supreme Court as examples. That is where this film comes in.

Before I even start, I just would like it to be known that I have been a fan of Bruce Davison since I cut out of school and first saw him play with rats in Willard (1971). He has had some major roles in blockbuster hits, but I still feel he is underrated. In this film, he personifies the human monster of which I describe.

Holly Taylor, Rita Volk, Arianne Zucker

Davison plays Harold, the “spirited” super-Christian patriarch of his family. This quartet includes his wife, Betty (Arianne Zucker), devoted older teenager Sarah (Rita Volk), and the protagonist of the story, younger and unsure Maggie (Holly Taylor). They live in an isolated farm house that looks like it is always filled with either smoke (candles?) or dust. There’s a bit of an Amish vibe going on, with Harold wearing suspenders – though unlike the Amish, he has a moustache on his goatee – and the women wearing old-fashioned and modest clothing. This is a close knit family… very knit. Essentially, they are a four-person cult.

My question is, with the closest neighbor being almost 30 miles away, and without a telephone or car, how do they get the gas to run the tractor and the generator, and how to acquire essentials like, say, toilet paper (don’t take me there)?

Like Jim Jones, Harold believes that his calling includes at some point poisoning his family, supposedly to prove their trust in their bloodthirsty god (must be Old Testament). While Betty is obedient but hesitant, Sarah is ready, and Maggie is questioning and scared. Things are about to take a turn for the even stranger when along comes a spid… I mean, three dudes of varied ethnicities whose car has blown a couple of tires down the road from our story locus. Knock, knock, they approach the house without realizing the insanity inside, and the unclear and present danger to their bodies and souls. So ya don’t get all worked up, this is only just over 10 minutes into the feature. You know things are going to go south.

Dallas Hart

Our little miss Maggie sees the trio – Fisher (Dallas Hart), Randy (Frankie Wolf), and the Biblically named yet profane Luke (Xavier J. Watson) – as a possible means of escaping an early dirt bed. In a house whose worn furnishings and appliances appear to be from the 1970s, along with the fatherly threat of eternal peace, it is no surprise there’s a desire to leave Maggie’s farm (sorry…). Obviously, the family does not employ cell phones (or any kind of communication devices, including radio and television), but it’s odd the guys don’t (they take pix on a polaroid). While it is not indicated, my guess is that perhaps this takes place before the millennium, which would explain the house décor a bit more.

Now, as for the guys who are on their road-trip-across-the-country summer before college, well, for a couple of them, I need to ask, who raised these kids? When someone invites you into their house, even if you don’t believe what they believe, you show some respect. I’m certainly not Christian, but I have been able to sit through grace before supper without squirming. It’s a matter of respect; of course, it’s Fisher, the white guy, who has the most manners and at least tries to be courteous. That bothered me on a few levels, but let’s move on.

Holly Taylor

Harold comes across as quite a benign, God-lovin’ man, who won’t tolerate drink (other than Sabbath wine) such as beer, and bristles at cursing, which he considers non-Christian. And you don’t wanna be non-Christian around this guy. Davison plays him to the hilt, with, at first, some befuddlement and seemingly kindness and then a deep anger towards these strangers who invade his sacred space (the farm) that has repercussions with what he views as his minion (i.e., his family), coz the Bible and God told him so. I could go into a whole – er – sermon on the evils of this level of religion, but I’ll put the blood on the doorway and move on.

While tensions rise, Fisher is caught between being loyal to his friends and not wanting to disrespect his hosts, thereby being placed in the middle, while Maggie has her eyes on him (of course it’s the white guy). While the tension slowly builds although always present like a steady beat, around the halfway point, the fanaticism ramps up and hits the fan.

Bruce Davison

The entire cast is stellar, as I have already discussed with Davison, but Zucker definitely deserves a notice. She plays her role to nuanced perfection. It is also worth noting that even with the action being sporadic, the tension is, as I said, always present. It is beautifully written with lots of surprises and a few legitimate jump scares (one effectively enhanced by the music). There is little blood other than a couple of scenes, but a few of the deaths are sometimes traumatic and somewhat unpredictable (with a few exceptions). Also noteworthy is the imagery, such as the stilted and musty air and the sepia filter tones used indoors, and sometimes it’s just glorious, including a scene near the end with Davison and a fire behind him (not going to give details) that is just stunning.

While ol’ JC is mentioned a few times, this is definitely Old Testament fire and fury, and blood sacrifices. The film reminds me of a bumper sticker I once saw that said, “Oh, Lord, protect me from your believers.” I am convinced it’s more accurate to say, “Protect me from your interpreters.”

The film is not anti-Christian, but more pointing out a mindset that sometimes religion causes to envelop certain megalomaniacal types. Most religious films I see have do to with Catholics, priests, and possession, or a crazed cult of kids who murder (Children of the Corn). Here, the human trait of the lack of humanity (or humility) is all the more terrifying. This is an incredibly well-done film.