Review: Motion Detected

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

Motion Detected
Directed by Justin Gallaher; Sam Roseme
Asterlight; Freestyle Digital Media
www.freestyledigitalmedia.tv/film/motion-detected/
80 minutes, 2022 / 2023

As much as this is a thriller (rather than horror) about a fear of one’s environment, it is also an acknowledgement of a dread of AI technology in what is supposed to be the sanctity of the safety of home. A recent subgenre has focused on home invasions, such as with Becky (2022), but those deal with the human element. This is more in the line of Demon Seed (1977), as self-aware digital manipulation rather than, say, robots are the issue. But it seems there may be even another side to this.

After a quick prologue that gives a whole new meaning to the idea of the monster in the closet, we meet Eva (Natasha Esca) and Miguel (Carlo Mendez), who are house hunting in Los Angeles after moving from Mexico City thanks to some violence by a gang called El Diablo that occurred there. The shady real estate agent, Julie (Katelyn MacMullen in a cameo, who has been Willow Tate on “General Hospital” since 2018 for over 450 episodes), is a bit of a cliché for these kinds of films, although usually appearing in renting haunted houses in the trope.

The casa in question is a “smart house” that has controls, cameras, security systems, and so much more, run by – get this – Diablo Controls. The voice (Jasmin Walker) of the system talks in a steady monotone, reminiscent of a female version of HAL in 2001: A Space Odyssey (1968), or even Siri and the “Read Aloud” feature on Microsoft Word. Wonder where this is going… Hmmmm. Meanwhile, PTSD-ridden Eva is stuck alone in the house on the first night by her husband who returns to New Mexico for a business trip. ‘Natch. So now we know who is the main character.

Eva is struggling to figure out her own paranoia and fear, and the new system in the house. Plus, bad dreams are not helping. Meanwhile, something glitchy this way comes as a digital, staticky looking CGI figure is seen roaming about.

A nice touch is a mixture of possibly malevolent technology and perhaps something else, mixed with an older Latinx religious aspects as Eva visits the dark, mystical version of Christian voodoo (if you will) Templo Santa Muerte, a real place on Melrose. Love it when both religion and technology mix in a story, with it being in conflict rather than on the same side. Another thing I noticed is that although they had all the modern tech, such as phones, computers, etc., there was no television in the house. Again, hmmmm. 

There is a bit of overlaps from previous films, seen in moments that could have been influenced by the likes of the Paranormal Activity franchise (starting in 2007), spooky kitchen action via Poltergeist (1982), and Prince of Darkness (1987).

There is no doubt that this is Esca’s film, as she is in nearly all scenes. She carries the role well, being both sympathetic and still giving a vibe of strength within the PTSD from the past (other than giving into a vice or two under stress). Everyone else in this limited cast is there fleetingly, including Mendez, such as Diablo technician Ray (Roland Buck III), Eva’s on-line therapist Dr. Olivares (KIimberli Flores), nosy neighbor Nancy (Julie Brister), and rattled co-Diablo client Reed (Bob Clendenin, a semi-regular on “Scrubs” and “Cougar Town”). A cast this minimal gives me the impression it was possibly filmed during the COVID period.

My one issue with it, though, is that it is too long for the actual story, with a lot of roaming around the house and grounds with dissonant music playing on the soundtrack. It was the only time I was truly distracted and taken out of the story. And this has nothing to do with anything really, but why do so many genre films have gratuitous scenes of someone brushing their teeth? It seems to have replaced the nude shower moments that used to be so prevalent. Pet peeve, sorry.

On the other hand, the soundtrack is sparkling, filled with Latin music that is both contemporary, and yet feels somewhat traditional at the same time (think of the equivalent of a new band who plays classic rock).

My feeling is that they are thinking of doing this as a franchise, for three reasons: first, there are a lot of users indicated that use Diablo Controls, so that leaves room for many more stories. Second and third, is the what and why of Diablo. What is the reason for this all happening, and what is the motive behind it. Perhaps they will continue with the stories, or perhaps, at some time do an origin piece, all of which I would be interested in seeing.

This is an enjoyable entry into the ghost in the machine category, stretching the envelope a bit here and there, mixing and matching genres and tropes effectively. A great start for the directorial debut of both Gallaher and Roseme, who are known more for screenplays and producing.

This film is available on Digital HD and VoD, including iTunes, Amazon, Vudu, Comcast and Verizon.

IMDB listing HERE

Review: Jethica

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

Jethica
Directed by Peter Ohs
Visit Films; Spartan Media Acquisitions; Pretty Ideas; Lightbulb Film Distribution; Strike Media
72 minutes, 2022 / 2023
www.strike-media.com

Love-obsessed stalkers fall into two categories: the first is the ex- that cannot accept that it is over, the second is the one who is delusional and believes there is a connection between the two parties, when there is none.

After a 20-questions type prologue that introduces Elena (Callie Hernandez, who has some major credits such as the recent Shotgun Wedding, 2016’s Blair Witch, and Alien: Covenant in 2017), one of the three four characters of the story, we are told the events as a flashback.

Callie Hernandez, Ashley Denise Robinson

From LA, she moves to New Mexico to live in a trailer in the middle of nowhere (near Mountainair). Not even a forest, so this is a cabin in the…desert? The introduction to her domicile there is obviously a homage to the opening of Evil Dead (1981), perhaps signaling to the viewer that something unearthly is afoot. Also noteworthy is a later scene reminiscent of “The Hitchhiker” episode of “The Twilight Zone” (1960, with “The Farmer’s Daughter” herself, Inger Stevens).

New Mexico is a beautiful place. Much of what we see is open fields that go on for miles. It is winter there (hence the coats) in the film, and desolate as you can get. Actually, it reminds me of the Canadian prairies in the spring. There is an old joke that says if you stand on a cigarette box, you can see a dog run away for three days. This is the type of landscape that we see a lot in the film. It makes sense as the backdrop is a symbol of the desolation of emotions felt by the main characters, including Elena’s odd acquaintance, Benny (Andy Faulkner), who looks as windswept as the environment.

Going to get some gas in town, Elena runs into an old California high school mate, Jessica (Ashley Denise Robinson), on the run from a stalker, Kevin (Will Madden), an classmate in college, who keeps tracking her down; it is obvious to see where this is going, but as it is the main focus of the plot and its selling point, I do not believe I am giving anything away here.

At some point, the film takes an unexpected supernatural element that I will not discuss, but it is both disturbing, and yet, amusing (this is a very bleak and dark comedy…when it wants to be that).

The cast and directors are given co-writing credits, indicating that this was mostly ad-libbed around a pre-conceived storyline. Sometimes that does not really work, but in this case, it enhances the experience of tying the story and the language used in a lovers’ knot.

Though there is humor and the supernatural involved, the main word I would use for this is minimalism. The film is shot very serenely, considering the action, and there is a lot of decent dialogue (kudos, especially if I am correct about the ad-libbing). The landscape, which is a character unto itself, is reflective of the pace of the story, wide and vacant, yet poignant.

Will Madden

The same could be said for the excellent cinematography and editing by the director, lovingly showing the beauty of the plains. I moved from the city to the prairies, and its starkness and the quiet nature of the scenery is almost startling.

Equally haunting and understated is the soundtrack by John Bowers, which is subtle throughout the story, lulling and wrapping itself around the action, rather than startling with loud dissonant notes, as in most supernatural films.

What I especially liked was the way the story twists and turns, in ways that are completely unexpected. There were bits I figured out, but it definitely went in a direction that was happily unanticipated. This is also helped by the excellent acting all the way around, especially by the ironically named (to the story) Madden.

There is no blood and gore, little violence, a jump scare or two, and plenty of dialogue, as I said. However, this film is story-based, and it is incredibly enjoyable. The only thing that confuses me is the title; although it makes it easier to look up on search engines.

Considering the small cast, it has a “filmed during Covid” feel, but that could just be my projection. I have stated this before, that my theory is that Covid has made filmmakers more creative by forcing them to use limited interactions and spaces.

Amazing for a release that only cost $10,000. And stick around after the credits.

Available on AppleTV, Amazon, Sky Store, Virgin Media, Google Play and RakutenTV.

IMDB listing HERE

Horror Shorts Reviews: December 2022

Horror Shorts Reviews for December 2022

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

These films are not in a numbered and ranked order, but rather alphabetically listed by first letter.

 

The Changing Room
Directed by Sam Evenson
Grimoire Horror
4:25 minutes, 2022
The lesson of the film is: obey signs in stores. A woman (Jamie Taylor Ballesta) finds a dress she likes in a shop and goes to the changing room to try it on. The out-of-the-way changing room has mirrors on facing walls, so you can see infinite versions of yourself. But, someone or something (Alan Maxson), who moves like the ghosts in Japanese horror films, appears in an unlikely place, and that’s where the terror begins. I had a smile at the end of this. Ballesta does a great job of showing fear. Also, the SFX was impressive. If you are interested, there is a really cool “Making of” video (which is around 6 min.) linked at the end of the film that I really enjoyed, as well.
Full film HERE

 

Deep Shock
Directed by Davide Melini
LV Hair LTD.
29:19 minutes, 2019
www.facebook.com/DeepShockDavideMelini
It should come as no surprise that this film just screams Italiano giallo. The director worked as AD on a few of Dario Argento’s releases. In typical giallo form, some of the actors are British, and some are dubbed over from Italian. It is full of the kind of imagery you would expect, apart from sharp, primary colors; here the are muted like the mental fog of the main character, troubled Sarah (Muireann Bird). She is in an unstable state over the death of her grandfather and sister, and is being taken care of by her other sister, Caroline (Lorna Larkin), a family friend, Marius (Francesc Pagé), and the brogue-speaking priest (George Bracebridge) at her family’s huge estate on the sea (filmed at Alhaurin el Grande, Malaga, Andalucía, Spain). In her dreams she is seeing the dead, but perhaps it is something more sinister? As with some of the Argento/Bava type giallo, there is extreme violence and some nice-looking gooey gore, as well as the mandatory nude bathing scene. There are lots of surprises in a direction I did not see (though should have considering the influences), and the imagery is quite breathtaking.
Full film HERE
Free Trailer HERE

 

He Knows When You Are Sleeping
Directed by Henrique Couto
Weekly Spooky
5:52 minutes, 2021
A festive genre film, as we see a woman (Iabou Windimere) snug as a bug in a rug. Well, on the couch, anyway. It’s Christmas Eve and something is stirring. She is in for more than one shock that night, and we get to see it play out…well, most of it. Other than some laughing and screaming, the film is silent (ever notice how many shorts have no dialogue?), but effectively creepy. The switch to porn-type music in one scene had me laughing. Short and to the point, the viewer is bound to get their jolly’s worth.
Full film HERE

 

The Manor
Directed by Blake Ridder
Ridder Films
13:44 minutes, 2021
 https://igg.me/at/manor
An American film crew goes over to England to find a shooting location, arriving at a stately, castle-like Victorian Manor that is, frankly, stunning. It is empty as the four go walking around, getting separated along the way. Before long, it is obvious that there is something in the house that can copy them, and also be deadly. There are several good jump scares in here, and frankly, I was a bit jealous, because as they are walking around taking pictures and videos of the place, I wanted to be there doing the same (I love taking pix of decrepit places). With a haunting score, the foursome gets lost as time becomes immaterial, and the rooms just seem to go on forever, reminiscent of Grave Encounters (2011). Both creepy and spooky.
Full film HERE

 

River City (E1, S1: Welcome Back)
Created by Jal Michael
Blind Cat Creations; MB
16:26 minutes, 2021
www.rivercityshow.com
In this animated horror comedy series geared to adults, Edwin (Cricket Cornelius) has the misfortune of his truck breaking down just outside of said City. Strangely, everybody there seems to know him (see the episode title), though he supposedly has never been there before (I have my theories about that). He is squared away at an apartment and befriends his blind and crusty neighbor. The duo head out to the bar and meet some of the sketchy (pun intended) patrons. There are zombies, werewolves, and other horror creatures large and small that populate the area. It was quite amusing, and vulgar, I am happy to say, with a lot a-cussin’. The second episode is due out around Xmas-time. Not to be confused with the Scottish BBC soap opera with the same name.
Full film HERE

 

Sighs from the Depths
Directed by Richard Griffin
A Reasonable Moving Picture Production
12:57 minutes, 2022
Imagine if a psychic had the power to tell you about how long you have to live, and what terminal disease will cause it? What would you do? This short examines this idea with three strangers close to their time. She has a solution, or does she not? And does this power come from somewhere light, or is there a darkness involved? All of these are explored in Griffin’s new compelling short. Mrs. Lathem (Susan Staniunas), with her assistant (Bruce Church), lead the trio on a “journey” that is full of fear of mortality and a hope for, perhaps, a cure. Beautifully shot, the length of the film flies by incredibly fast. It is nice to see Griffin work his “short” magic on this dramatic telling of facing mortality, and its common, desperate threads.
Trailer HERE

 

Take a Look
Directed by Liam Banks
Superfreak Media
12:59 minutes, 2021
Having recently moved into a new house, Katie (Tonia Toseland) finds a strange box in the attic that contains, among other things, an incredibly creepy baby doll that, when the string is pulled, says, “I see you.” From there on in she is haunted and taunted by a spirit (Charlie Brentnall) similar in idea to Ju-On/The Grudge (2002). No matter how she tries to get rid of the box, of course it returns. The film takes some older tropes and makes them work for this story to be effectively creepy. The spirit’s make-up by Alex Bourne is a bit “cakey,” but works. Katie definitely does things I would not, but even she says to herself, “Why am I doing this?” Toseland does well in the role, making her a sympathetic everywoman. Fun stuff.
Full film HERE

 

The Telling
Directed by Julia Alexander
5:37 minutes, 2016
A young couple, Andy (Shawn McLaughlin) and Alice (Molly Church), meet up with a psychic, Cassandra (Renee Erickson), in a park. Andy knows Cassandra, and brings Alice there for a reading about her future, and other matters. It is an interesting story for its time allotment, and has a really wicked – well, actually a couple of them – turns at the end. Very subtle and surprising at the same time. It was fun, and not just because I used to go see Church in a lot of off-off-off-Broadway plays in the mid-2000s. 
Full film HERE

 

The Tunnel
Directed by Andrew Clabaugh and Alex Spear
5:56 minutes, 2022
Jacob (Jordan Frechtman) is a joggin’ man, running for the exercise of it. He comes to an underpass tunnel that is well lit, and looks like any other underpass tunnel, but once he enters it, it changes his life, because no matter how hard he tries, he can never reach the end or the beginning. The film follows the psychological effect it has on him, as we watch him struggle with his sanity. Simple and to the point, with minimal subtext and a short amount of time, we feel his terror. While the story is a not complex, its direction and acting make it an effective thriller. Run to see it.
Full film HERE

Review: Bloody Muscle Body Builder in Hell

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

Bloody Muscle Body Builder in Hell
Directed by Shinichi Fukazawa
Dragodon Pictures; Visual Vengeance; Wild Eye Releasing; MVD Entertainment
62 minutes, 1995 / 2012 / 2022
www.wildeyereleasing.com
www.MVDEntertainment.com/
Originally filmed in Japan (with English subtitles) in 1995, this was not released until 2012. Presently, it has finally been put out in a clearer print (from the master material) on Blu-ray. And it retains its original amazing name. The first time I heard it, I knew I had to see it from that alone. This is the director’s only film (other than one unconnected acting gig), including lead actor, writer, editor, etc. It smacks of a vanity project which means it can be cheesy fun or an ego trip. I am looking forward to finding out.

After a prologue that features a bloody murder regarding the protagonist’s father, who died young, we are introduced to Naoto (the director). He’s the titular bodybuilder. Meeting up with his ex-girl friend, Mika, they decide to check out his dad’s home, where there is a secret buried under the floor. Joining them is psychic Mizuguchi, as Mika is fascinated by ghosts and wants to photograph them. Naturally, Naoto does not believe in the ethereal entities.

Once the trio get into the house, all hell starts a poppin’ as they are locked in against an evil and vengeful ghost. I have seen this compared to The Evil Dead (1981), and I can kind of see why: they are isolated in a relatively small space of many rooms, but each at Manhattan single room apartment sizes. The malevolent spirit wants to inhabit fresh bodies, and even though there are only three of them, manages to do some damage. There is a great amount of gore and also a large amount of humor, whether that is intentional or not, I am not sure.

Is the body builder (the “Ash Williams” of the story) strong enough to endure the “wonton” onslaught? (Note: a year from now, that joke will probably be confusing.) He’s got the wise-cracks near the end, the scared look at the beginning (though not to Ash level…he’s a body builder), which builds some confidence in one’s own strength.

The film is just an hour long, but the last 40 minutes is pretty non-stop, filled with guts, gore, and some stop motion photography here and there. It is totally and beautifully gruesome. Sure, the visuals are grainy as hell, being shot on VHS and all.

One thing that confuses me, and this is true of many stuck-in-the-house films, if the windows are locked, why not throw a chair through it? And if the front door is locked, damn, they have both an ax and shotgun, so why not blast the lock? Nope, just grunge against the window frame and try to kick in (out?) the door. This is the equivalent nonsense of running upstairs rather than out the door that is quite prevalent, and is a pet peeve of many a horror fan.

There are lots of bonus material is included with the Blu-ray of course, being from Visual Vengeance, both digital and physical. For example, there are two commentary tracks, one being with directors and fans Adam Green (Hatchet, Frozen) and Joe Lynch (Shudder’s Creepshow), the other with Japanese film historian James Harper. There is also a new interview with the director, Fukazawa. Then there is a Special Effects featurette, Outtakes, Behind the Scenes and Archival image galleries, the original Japanese Archival Trailers, and some Visual Vengeance trailers, as well.

On the physical side, there is a first pressing limited edition slipcase, a folded poster, a four-page liner notes booklet by Matt Desiderio of the Internet’s “Horror Boobs,” a vintage-style laminated Video Store Rental Card, a reversible sleeve with the original Japanese home video art, and a sheet of stickers from olde tyme video stores. That’s a lot.

The SFX, all of which is practical, works really well, even when it looks ridiculous at times. It is quite lovingly over the top, such as a knife in the back of the head popping out an eye, and then pulled back in when the knife is pulled out. True there is a limited amount of cast of 5, but there manages to be nearly non-stop action once it truly begins. It does not rely on a whole bunch of exposition, like most films today, but you get to know the relationships – at least what the viewer needs to know in reference to this film – and how they interact and move the plot forward.

For an only-time director using earlier and less easily manageable technology, Fukazawa manages miracles here. With some exceptions, the film is shot well, especially considering the miniscule space in which they were filming, and the editing is incredibly effective.

Whether or not it is “The Japanese Evil Dead” or not, it is a whole lot of fun.

IMDB listing HERE

Review: Post Mortem

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

Post Mortem
Directed by Péter Bergendy
Szupermodern Studios; Smartdog Productions
115 minutes, 2020 / 2022
www.facebook.com/postmortemmozi
www.condor-films.fr/film/post-mortem/

In the early years of photography, there was a weird subgenre of post mortem modeling. It was common to hire a photographer to take pictures of the recently deceased, propped up sitting in chairs, either by themselves, or most likely the corpse is surrounded by the entire family. From infants to grannies, it was the final memento to remember those who had passed on. You can actually see a lot of them with the search engine of your choice.

This Hungarian film takes place in, well, rural Hungary (but dubbed into English) in 1918, at the end of the Great War and in the midst of the Spanish Flu. People were dropping like flies around the world, and Europe was hit hard. It was also an extremely cold winter, and it was hard to get bodies buried (remember, no embalming back then), so they were piling up.

Viktor Klem

Into this situation comes photographer Tomás (Viktor Klem), whose near-death experience during a battlefield explosion gave him a vision of a face. Now recovered (physically), he travels around and photographs the dead. In this capacity, in some village where dead bodies are ever present due to the frost, he meets ten-year-old orphan, Anna (Fruzsina Hais), with whom he strikes up a platonic (yet still pretty cringeworthy to me) friendship, convinced she was the vision he saw after the explosion. She is being raised (or is actually taking care of) her invalid Auntie (Andrea Ladányi).

But in this village, which could pass for the shtetl in Hungary where my paternal grandparents originated, things just ain’t right. Noises in the attic and shadows on the wall hovering over Tomás’ bed on his first night have him unsurprisingly rattled. Amid the noise and such, he befriends the owner of the local Inn, Marcsa (Judit Schell).

Fruzsina Hais

As Tomás photographs his subjects, again solo or in family groups, in every picture there is a grey shadow behind them that is only seem in the image. Many times, we, the audience, get to follow their inky movements, which vary in speed.

Over the course of the film, the presence of the ghosts increase dramatically, as does their anger and their violence. They throw furniture, reanimate the dead, sometimes frozen in odd positions like a game of “Red Light Green Light,” or almost like the photos Tomás takes, throw people around like rag dolls, and do not seem to hesitate to make others join them through ferocious means.

Judit Schell

It is an interesting touch that these ghosts are previous inhabitants and relatives of the village, and yet their anger and viciousness does not stop with family members. Everyone is a potential victim. And Tomás is determined to get to the bottom of it, with the aid of Anna, of course.

They set up alarms in the form of strings and bells, and manage to record their voices on a cylinder phonograph, though all that comes through is rage. Tomás and Anna also feel the effects of the ghosts as they are dragged by the feet through town, held in place unable to move, or levitated. In fact, a lot of people are dragged by the feet through the streets. I kept thinking of that line from Blazing Saddles (1974), “Well, that’s the end of this suit.”

 

Andrea Ladányi

The SFX, both practical and digital, is so basic and at the same time incredibly stunning throughout. While the ghosts are nearly always seen as shadows, and occasionally crawling on all fours, their effects on the town was fascinating to me, especially the wire work as numerous people are tossed about, both solo and in groups. This includes the prologue battlefield scenarios.

This film has won numerous awards through Europe and in Canada (27 as of this writing), and that is hardly surprising. The image is washed out (remember, this takes place during the days of sepia, previous to black and white), and while it is not monochrome, it has a dark tone. One might say it was arty, but it does not make it harder to see. It has a nearly gothic undertone.

My one issue is that even though it is dubbed into English, I found the accents and low talking moments hard to make out. But still, this is one of the better ghost stories I have seen in a while, and I happily found much of it unpredictable. It also takes some risks in the plot that improve the story.

I can easily see why this has won so many awards, in both tone and plot, and the acting is perfect for the film. There are a lot of nice jump scares, but it is the malevolence of the spirits that make the story. Usually, I balk at films that are nearing two hours, but with the way the story and images twist and turn, my interest was easily kept throughout. It is streaming or available to own starting on Halloween, and if you get the chance to check it out, I say do just that.

IMDB listing HERE

Review: Dead Bride

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

Dead Bride
Directed by Francesco Picone
Metrovideo; Breaking Glass Pictures
83 minutes, 2022
www.facebook.com/deadbridemovie/

Who doesn’t love a ghost story. That is not a question. Yeah, let’s just get that out of the way. Right from the prologue, this film makes itself known for what is the backbone of the story. But, of course, there is so much more, like revenge, jealousy, sleep paralysis, and generational terror.

Jennifer Mischiati

Filmed in Italy but spoken in somewhat accented English, the prologue is short and sweet, and spooky. After, we meet the main cast, which is a family of three: Alyson (Jennifer Mischiati), her hubby Richard (Christoph Hülsen), and their infant son, Seth. They move into the house of her biological father (David White) after his suicide. Her mom (Duné Medros), a seamstress, had become deranged, so her father put her up for adoption in the United States at a pre-teen age.

The dynamics between Alyson and Richard are interesting from the start, but not uncommon for these kinds of film: they move into the house due to financial constraints, and there is definitely tension between the two thanks to his past. Richard does not come across as a decent human, again, which is pretty common as he goes away on a business trip (alone or with a work “friend”?), which gives the house a chance to have its influence on Alyson. I can see where this may be going, but I hope I am wrong, as it is too cliché. But, hell, I am only 15 minutes in and we are still in exposition mode.

One of the things I find relatively consistent in these films is someone will live in the haunted abode for years and nothing much happens except for little things here and there, and then the main story family moves in and bam it is poltergeist city with mysterious and/or dangerous events occurring nearly right from the beginning.

Sean James Sutton

Because this was filmed in Italia, you know the priests and exorcisms are going to be involved, even though the story is about a vengeful ghost, Mary (Francesca Albanese; the name Mary means “bitter”), seeking revenge on the family through a few generations. The main priest, Father Elbert (Sean James Sutton) looks eerily like Rod Steiger in The Amityville Horror (1979), albeit without Steiger’s massive scenery chewing.

But the film picks up quite a few notches with the arrival of a questionable psychic, Dave (Douglas Dean), who sends Alyson searching into a dreamworld. This starts a sequence that is fun and interesting, and gives this a whole different mood as it transgresses time and space.

Mischiati and Douglas Dean

The acting in this film is actually quite good, which helps move it along. Mischiati more than holds her own, as does Dean and especially Sutton, who seems very natural. I can easily see him as a British gangster.

There are a number of “borrows” from other films, such as an infamous moments from The Conjuring (2013), [*REC] (2007), The Exorcist (1973), Poltergeist (1982), etc. The SFX is decent, and there are a couple of nicely done quick gore shots. There are also a number of enjoyable jump scares scattered throughout.

Some of the story is quite predictable considering we have seen bits of it before, but the plot moves along quite well and one may just consider the influences of other films as a drinking game. A shout-out should also be mentioned for the cinematography by Marzio Mirabella who makes every shot look amazing and giving it a nearly gothic texture in the modern age, and also the director for the editing, especially the whole dream sequence.

Oh, and I was not wrong.

IMDB listing HERE

Reviews: Nocturna: Side A – The Great Old Man’s Night; Nocturna: Side B: Where the Elephants Go to Die

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

 Both these films are on iTunes/Apple TV, Amazon Prime Video, Google Play, Xbox, Vudu, Vimeo, DirecTv, local cable and satellite providers, and on a single-disc DVD. The trailers for the films will be at the very bottom of the blog.

Nocturna: Side A – The Great Old Man’s Night (aka Nocturna: Lado A – La noche del hombre grande)
Directed by Gonzalo Calzada
Cine Argentino; Coruva Cine; La Puerta Cinematografica; Breaking Glass Pictures
107 minutes, 2021
https://alief.co.uk/NOCTURNA

This will be the third and fourth film from Argentina that I will have reviewed on this blog, the others being Francesca (2015) and What theWaters Left Behind (2017; aka Los Olivados). Each of these films is quite different, but one thing that runs in common is the intensity. If you were expecting light fare like Mexican Santo releases, you have ladrò up the wrong árbol.

This is an intense study, focusing on a 100-year-old man, Ulises (actor and playwright Pepe Soriano, who has won the Argentine Critics Association Award three times, was also a Valladolid best actor winner, and was nominated for a Spanish Academy Goya Award; he is in his early 90s), facing his mortality, is working his way through remembrances and forgetfulness, as his age tugs at his present and past, and the holes of memory in between. His past is represented by a childhood self (Jenaro Nouet) from the day he met his wife, Dalia (Marilú Marini, who is often known for a number of French films from the 1970s and ‘80s) that is also represented by her younger version (Mora Della Veccia).

Pepe Soriano

It almost appears as time is fluid in many ways, as the film plays with the reality of the moment and the tricky bits of memory and its holes. For example, an event might be mentioned at some point, and then it happens. While this is purposefully unsettling and occasionally confusing at some point, it shows the mind of this older man, and his relationship with his wife.

Also involved is the kind-hearted building manager, Daniel (Lautaro Delgato), who means well and is trying to help the occasionally befuddled Ulises as best he can. Then there is the mysterious and angry woman from upstairs, Elena (Desirée Salgueiro), who bangs on Ulises’ apartment door.

 While the film rolls out in its own time, getting the viewer a chance to get to know the characters a bit, what stands out is the emotions, which flow like rolling hills, as the old man’s chest continues to hurt and things are not always as they seem.

Marilú Marini

For some reason, some have categorized this a “horror” film, and on some level I understand why, but I beg to differ. Yes, there are intense moments filled with dread and possible ghosts, but is it corporeal remains of people or spirits of memories, or some level of senility? This is more emotional thriller that goes at its own slow, precise pace (with moments of chill thanks to the lightening storm sounds going on outside the window and the uncertainty of what is going on). That being said, when the film premiered at Screamfest Film Festival 2021, it won many awards including Best Film, Best Director, and Best Actor.

Desirée Salgueiro

The camerawork is gorgeous, especially a warped glass scene where the past and present unite in a blur of images. The lighting throughout is yellowed and dim, like an old light bulb to match the mood and perhaps to reflect Ulises’ dimmer brain functions. While most of the story takes place either in Ulises’ apartment or in the hallways of the building, it never feels claustrophobic thanks to the cinematography which is, again, fluid.

The orchestrated soundtrack fits the film perfectly, swelling and rising at the same time, to help hit emotional peaks. Yeah, this is more of an poignant film than a fright-fest, but do not be surprised if, by the end (or at the end), you have a couple of tears rolling down (yeah, I did).

IMBD Listing HERE 

 

Nocturna: Side B – Where the Elephants Go to Die (aka Nocturna: Lado B – Donde los elefantes van a morir)
Directed by Gonzalo Calzada
Cine Argentino; Coruva Cine; La Puerta Cinematografica; Breaking Glass Pictures
67 minutes, 2021
https://alief.co.uk/NOCTURNA

While the first film was a bit longer than average, this one is a comparably shorter nearly featurette, at just over an hour. Likewise, this review will be relatively short, as well.

The footage here, broken up into many chapters (as was the main feature). However, there is no narrative. Images are shown that reflect the full story, and are manipulated to look like they are 8mm (or an equivalent), with grain and varying speeds, many in black and white or muted, manipulated colors. In the first chapter, the images were going by so fast, I was getting a bit of motion sickness, and I would skip this part if I were an epileptic, honestly. Or, hide the top part and just read the captions. As with Side A, the captions are incredibly easy to read, being an almost orange color, making it pop out. Also, I find most captions go faster than I can read them, but that rarely happened in either Side.

As for the text meanings, well, honestly again, it was a bit lost on me. It’s philosophical and whimsical, and often I had no idea what they were discussing (yes, I have a Master’s in Communications). This caused me to stop reading and just enjoy the footage as it went by. It feels more like an art instillation than a narrative film.

By modern U.S. standards, Side B would probably be delegated as an extra on a DVD or Blu-ray (especially the latter), which is why it makes sense that both are being released together. It kind of has the feeling of a Making Of featurette, but the footage is unique, albeit shot at the same time as Side A, almost like Outtakes of extra footage. It certainly is a curiosity, but I did find myself getting antsy by the end, but that was most likely due to my confusion than an opinion of the film proper.

IMBD Listing HERE 

Side A trailer:

Side B trailer: