Review: Hollywood Werewolf

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

Hollywood Werewolf
Directed by James Balsamo
Acid Bath Productions
91 minutes, 2023
www.facebook.com/profile.php?id=100063503922846

As I have said before, when you get a James Balsamo film, you get consistency: bizarre silliness, puns, cameos, and it rarely rises above ridiculous. And yet, every time I hear a new one is out, I get excited. If you are looking for some deep, serious narratives, meaningful acting, and arty motifs, well, you just have not been paying attention.

Andy Dick, James Balsamo

For his latest, he has managed to rope in Andy Dick (most known for “NewsRadio” and bad behaviour) as the titular Elliot Wolf. He was a child star who hit the lowest points possible, not including being a werewolf (which we see right off the bat). But it was this that led him to the lead part of (a different, as is pointed out multiple times) visionary director Elliot Wolf’s new film, Hollywood Werewolf.

The premise of this film is a mock documentary by director Wolf about actor/werewolf Wolf. Confusing? I think not. This style sets up well for the inclusion of many and many a cameo by cult musicians, actors and filmmakers, a motif that is omnipresent in Balsamo’s films.

Documentary films tend to be short segments strung together in a common theme or topic. This gives a chance for multiple people to ad lib and have some obvious fun as they promote their own characters, such as “Saved by the Bell’s” Troy Fromin’s audition tape for (director) Wolf’s next art film, “The Life and Death of an Avocado.” Mixed in are insults to (actor) Wolf by the likes of a fired cue-card guy, his limo driver (who turned Wolf in when he killed three strippers, but still drove him to the trial), and his poor bedraggled manager, Marvin Orange (Balsamo regular and voice actor for multiple Manga films, G. Larry Butler).

Then, of course, there are interviews with (actor) Wolf’s ex-girlfriends, whose talking heads are mixed with “sex tape” scenes of them in a shower, covering themselves with various food substances, such as chocolate sauce and baked beans/hotdogs (surely to show up in Balsamo’s nudity Sexy Time collections).

I will say that some of the jokes that are bandied about throughout generally work pretty well here, many dealing with the names of films, or insults to actors (such as Lindsay Lohan; see the trailer below). Some people interviewed are given names like Chet Taint and David Davidson, and have descriptor titles like “Wind Enthusiast” or “Urethral Sound Enthusiast.”

Balsamo has come a long way from cameos where some band member(s) or actors were obviously filmed in an alleyway or on the street during a convention where they just insult Balsamo’s character, whichever it is in a particular film. Here his drop-ins play parts and seem more connected to the storyline (and from what I can tell, this ain’t nuthin’ compared to one of his next films, Robot Dracula), such as Eric Roberts, who has also appeared and starred in a number of Balsamo releases.

As for Andy Dick being the star of this, well, I will say he was physically present. He did not seem very engaged with what he was doing, but he actually is not in the film very much (which is probably a good thing), but the name recognition works. I liked the sparse werewolf make-up, though, which reminded me – in part – of Michael J. Fox’s in Teen Wolf (1985)

Despite the bouncing boobies and petulant puns, there is an interesting sociological aspect to this film. No, I’m serious! On one hand, it is a commentary on the temporary fame of child stars and how it can screw up one’s life. There are so many examples of this, like Anissa Jones (d. 1976, age 18), Aaron Carter (d. 2022, age 34), Todd Bridges, Erin Moran (2017, age 56), and Dana Plato (d. 1999, age 36), as well as so many others. Child actor Paul Peterson even “founded a child-actor support group, A Minor Consideration, to improve working conditions for child actors and to assist in the transition between working as a child actor and adult life” (Wikipedia).

Another aspect worth noting is the effects of fame on those unprepared for it, and how the need to sustain that level of notoriety even when undeserved for any real talent (think Kardashians). That is where our titular Wolf stands, at the crossroads of both of these junctures.

IMDB listing HERE

Review: Summoning Sylvia

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

Summoning Sylvia
Directed by Wesley Taylor; Alex Wyse
Cody Lassen and Associates; Diamond Dog Entertainment; Book of Spell; Entertainment Squad
74 minutes, 2023
www.summoningsylvia.com/

Perhaps it is the timing of hateful homophobia coming out of the Right side of North American politics that there seems to be a welcome sticking-out-of-tongues (metaphorically) by the rise of lavish LGBTQetc.-focused cinema. Some recently are DisorientingDick (2022), and RuPaul’s AJ and the Queen (2020). So, why should a horror comedy be left out?

Noah J. Ricketts, Troy Iwata, Travis Coles, Frankie Grande

After an incredibly brief prologue, through flashback we meet four friends, Larry (Travis Coles), Nico (Frankie Grande), Reggie (Troy Iwata) and Kevin (Noah J. Ricketts), as they surprise Larry, newly engaged to Jamie (Michael Urie), with a Bachelor Weekend vay-cay to a supposedly haunted house in New Jersey, a couple of hours from New York City. It was originally owned a century before by the murderous titular Sylvia (Veanne Cox). After they get comfortable (e.g., dancing around), what they intend to do is, well, the title.

Sylvia was killed by an angry mob after she was known for murdering her own son, Phillip (Camden Garcia), burying him on the estate, who is also resurrected during said séance. She was trying to keep Phillip a secret, and I am guessing why, and also how this feeds into future actions by her spirit. [Note: happily, I was only partially correct.]

Nicholas Logan

After the séance and late (and unwanted by the group) to the party is Harrison (Nicholas Logan), Jamie’s very cis bro who is in the military who Larry has never met. “Culture” shock abounds in many humorous ways as both Harrison and the four live very different lifestyles, of which each group do not understand the other. Larry is trying his best to be a bit macho (and failing), and hoping everyone gets along.

One aspect worth noting is that in many films, including ones dealing in the horror genre, there tends to be a collection of cis roles, and one or two “third wheel” gay characters, such as in All Your Friends Are Dead (2023), but here it is in reverse.

Veanne Cox

The direction and cinematography is generally quite straightforward, but there are outstanding moments where the editing of two different scenes, or mixing of flashbacks with the present, that have really nice comedic overtures.

It is debatable where there is more tension: between the spirits and the humans, or the cis and the gays. Is Harrison related to DeSantis? But my real question is, Harrison’s brother, Jamie, is overtly out and gay, and Jamie picked Harrison to be the best man. Wouldn’t Harrison have some level of understanding or compassion about gender differences if he was chosen for this role? Instead, he is presented as a homophobe hardass (I can see where this is going). Like some “chick flicks” (a term of which I am not fond) where all the males (except maybe one or two) are assholes, here it is clear which side of the coin the filmmakers are on. Thing is, they are not wrong depicting many on the Right side of politics.

The ending has a number of twists and turns to a very satisfying conclusion. The film is smartly written, well acted, and funny as hell, without being overly broad (no pun intended).

 

This is definitely Cole’s picture with his Larry being the glue that holds everything together, but many scenes are outright stolen by Grande, who says so much with the purse of the lips, or especially one with his blinks.

There is very little blood, little violence (with more implied), and some romping, but no lower nudity. This is surprisingly satisfying despite the various directions the story takes, and does not follow a path one expects from these (haunting) kinds of films.

I am sure, as a cis Ally, I am missing a few references here and there, and yet found it just so enjoyable. Nothing turns out like it is expected, and every time something ends up being something else, it makes perfect sense (considering ghosts and all) for both the story and the characters.

Just the right length, this film is closer in tone to To Wong Foo, Thanks for Everything! Julie Newmar (1995) than, say, The Boys in the Band (1970), considering that in Wong Foo, cis actors play gay characters. It is a hoot, and totally enjoyable from beginning to end for boys and girls of all sizes.

IMDB listing HERE

Review: Shingles the Movie

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

Shingles the Movie
Directed by Steve Rudzinski
Silver Spotlight Films
117 minutes, 2023
ShinglesTheMovie.com

Let’s get the business stuff out of the way: this is an anthology film based on the Shingles books by Authors and Dragons, with A&D’s permission and financing. As the director, Steve Rudzinski has stated elsewhere, “It’s silly, has five stories, has plenty of practical effects, and I feel has a feeling of ‘90s horror book nostalgia, while still feeling new.” While I am totally ignorant of the books, which seem to be adult versions of the model of the Young Adult Goosebumps franchise, I am looking forward to seeing this, having been a fan of Rudzinski for years, and having reviewed nearly all his films (just search the blog). Let us dive in, shall we?

It is important to know that this is not only a comedic collection, but it is also totally tongue-in-cheek, being snarky, and purposefully and winkingly self-acknowledgedly overdone (I much prefer it occurring for a reason, than just being that way unintentionally). Starting off the fray is “The Legend of Jimmy Headshot.” Jimmy (Ian Sunny) is a teen -and a bit of a dick – who is excited for the zombie apocalypse to put his video game skills to work.

He poo-poos on his parents who went to college, though they are the ones both housing and feeding him. Jimbo heads out with skateboarding gear on, and a razor sharp hockey stick with a buzz saw frame on the other end. His aim is to rekill the killed. He is also armed with an enormous ego, as videogame prowess comes in contact with the real world of flesheaters. But can his imagined life keep up with the real deal?

Wisely, this story leads to the actual wraparound, of a group sitting in front of a fire telling stories in the parking lot of the Hello Titty Sex Shop Emporium (shades of Giuliani!). In this group, Buick (Jenny Hopps) has the best lines. This leads to the second story, “Put Your Hand in My Ass.” Stand-up wannabe man-child Will (Ben Dietels, a Rudzinski regular, who also directed Slaughter Drive in 2017), who cares about dental hygiene, is trying to figure out a new gimmick to become successful. His father (Michael Atrata) presents him with a ventriloquist dummy (that looks a lot like Jerry Mahoney…look it up) named Sloppy (voiced, of course, by Steve Rimpici, who voiced Duke in the CarousHELL franchise), that once belonged to his vaudevillian great-grandfather. You don’t need to look past “The Twilight Zone” episode “The Dummy” (1962) or the film Magic (1978) to know that Sloppy will have a mind of his own. And what a sexually perverted mind it is! This Faustian Bargain (similar to 1986’s Little Shop of Horrors) is accepted by Will, who does not see the big picture from Sloppy’s hidden agenda. And what is that agenda? Watch the film and find out. What, do you expect me to do your homework for you? Hunh!?

Sloppy

Sorry, my bad. Anyhoo, there is a humorous cameo by the director, cosplay artist (in real life, if that isn’t an oxymoron) Rudzinski, as a failing stand-up; his cat Gizmo, star of the Meowy franchise, also has a cameo in the film. One thing I find interesting is while Sloppy is unaware of non-misogynistic or racist humor, as “blackface” was popular when he was active in Vaudeville, he seems to know stuff about Chuck E. Cheese and cell phones. Suspension of disbelief, yes, I know.

The next fire pit story is by Darnell (Jake Moon), “Aliens Wrecked My Kegger,” regarding his adopted brother Clyde (again, Rudzinski) at college. Seems they are preparing for the fraternity Omicron Phi’s yearly blowout, the Beerlympics. Unfortunately, it is timed just when there is an intergalactic invasion. In the words of Cenk Uygur, “Of course!”

Dusty

What is especially amusing is that aliens Charpo (Blake O’Donnell) and Zip Zip (Jessa Flux) come in disguise to what they perceive Americans are like, via watching right wing media. Their hats might as well say MAGA. And personally, I am not impartial to the idea of these types being from another planet. They are led by the commander alien, Bloog (Amanda Anne Leight) I guessed where this ended up, though I would like to say that Clyde’s buddy Smasher (Paul “Pretty Boy Smooth” Bilbo), again, steals the scenes he is in; impressive job.

The next tale, told by not-so-bright yahoo Buick (yay!), “Just Say Gnome,” again about a sentient non-human. This time, it is Dusty (voiced by prolific screenwriter Michael Varrati, e.g., 2014’s The Sins of Dracula), a garden gnome that shits cocaine (in my mind, I just saw the crowds from clubs in the ‘70s raise their heads in a “saywhat?”), thanks to a witch, Madame Wanda (also Flux, who supplies the film with its only topless scene).

Jessa Flux and Dusty

Being that Buick’s family are racist drug dealers, Buick comes looking to sell some to Mrs. Black (Rebecca Reinhart). Like the story with the sentient dummy, Dusty talks Buick into making a deal where he runs the biz, and she’s there to be “the face of the operation.” Thanks to murderous Dusty, we get to see some quite well done gore. And if you blink, you might miss another cameo by the director.

For the finale, we meet the person everyone around the fire was waiting for, Godot…I mean Scout Leader Gary (Michael Smyth) – remember, this is adult versions of Young Adult novels – along with some new buddies (Aleen Isley and Gina D’Inacau), but things are not what they appear to be, of course, leading into the last tale, “Zombies Ate My Homework.” The action level goes up even more for our firepit group as they fight against (again) zombies which leads to more gore (by Cody Ruch). Where the storytellers are camped comes into play, as well (not to mention a hilarious Rudzinski cameo – make sure you pause it to read it).

There is a lot of self-referential moments that are played for laughs quite effectively, such as one character acknowledging “We are too old to be playing teenagers.” I had to pause the film to laugh at that. Then others say things like, “These jokes are for sick fucks,” and “That sounds totally vague and reasonable!” The hits keep on a-comin’.

Shot in Widescreen and 4K, this is actually a very satisfying release, as goofy as it is; and it is. Usually, I balk at a movie of this length, but here it flies by, with little wasted moments. One of the funniest horror films I have seen in a while. And be sure to stick around for after the credits.

IMDB listing TBD.

Review: Super Z

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

Super Z (aka Super Z: Smart-Ass Zombies!)
Directed by Julien de Volte and Arnaud Tabarly
La Ruche Productions; MVD Visual
80 minutes, 2022 / 2023
www.facebook.com/SuperZ 
www.MVDVisual.com

Zombie-love in the States is obvious, but it is also far flung across the world, such as Train to Busan (2016) in Korea, and in Europe, there is the recent Ever After (EndZeit) (2018) from Germany. Those films, however, are dead serious (pun intended).

On the other hand, there is Super Z, hailing out of France, which is a bloody and gory comedy. There are not too many zombie comedies in general, though there are the likes of Aaah! Zombies!! (aka Wasting Away) and Bong of the Dead (2011), not to mention the infamous Shaun of the Dead (2004), which even predates this release. This feature is based on the directors’ 2014 short film, “The Foodies.”

Audrey Giacomin, iJohan Libéreau, Julien Courbey, Florence Bebic-Veruni

In French (with subtitles), of course, this multi-level story of death, flesh and lust starts in a laboratory called The Purgatory, of a corporation led by Le PDG/The CEO (Jacques Boudet, who has had a long and storied career in French cinema). There is even a picture of himself on his desk. He is assisted in this endeavor by the over the top Le savant fou/The Mad Scientist (Jean-François Gallotte), who gleefully tortures the people/zombies on whom he works. As you may notice, some characters are expressed as their titles or roles, rather than their given names.

But the scientist has taken an extra step on his own and has made them more than just killing and eating machines, he has given them sentience, so they are aware of what is going on and can even talk. However, that is mostly trash talk, taunting like the French guards in Monty Python and the Holy Grail (1975), except full of vulgarity and profanity.

Fabian Ara

The main test subjects are a family of four: “father” Gertre (Johan Libéreau), “mother” Stephana (Julien Courbey), and “daughters” Marcelline (Audrey Giacomini) and Georgette (Florence Bebic-Veruni). After they escape the facility, along the way, while having – er – dinner, they manage to turn a young man into one of them, Yvon (Fabien Ara), whom they adopt. The transformation takes only seconds. Yvon confuses me, though; is he supposed to be a teen? He plays his role like a man-child a la Lou Costello or a Jerry Lewis character (remember how popular Lewis was in France?). He is into rap, wears his extended cap sideways, pants hanging below his butt, and has his name on a gold chain. And he’s a bit annoying; no where as interesting as the foursome family. I do have to concede, though, that the “young” daughters are also played by adults.

Sent after them is Le mercinaire/The Mercenary (Lauren Bouhnik) and his cousin, La cousin (Jo Prestia, who also has quite the filmography), out to hunt and kill the escapees. This scenario, in some twisted way, reminds me a bit of Harriet Beecher Stowe’s 1852 novel Uncle Tom’s Cabin, with the hungry foursome as the escaped slaves being Eliza and her family, and Le mercinaire as Simon Legree.

Holed up in a cabin (see?), the extended zombie family fixes it up and feeds of people going by on a nearby walking path in joyous and bloody ways. Some family dinner table scenes are hysterical for both normality and – er – not (more on this later), and yet is extremely and disturbingly full of blood and gore. They plot their revenge against the world of humans, but what happens when one of them becomes infatuated by living, tooth-impaired, Augustine (Marion Mezadorian)? There is a definite Romeo and Juliet aspect to it, including a balcony scene. Smart.

While the excitement lasts throughout, with very little lulls, it also picks up significantly in the third Act when the mercenaries show up at the CEO’s insistence to do away with what he considers a failed experiment(s).

Lauren Bouhnik

You can see the influence of other films throughout, such as an homage to the ending of Mother’s Day (1980), which made me smile. Another interesting aspect of the film is that as absurd as it is, there is also a “normal” aspect of it, such as the zombies drinking wine, smoking, taking drugs, sleeping (and snoring), loving and arguing. I really enjoyed that. To them, even though they despise the living beyond the food aspect, they are not much different in so many ways.

But what is most notable is the gore effects and make-up, which look phenomenal. These were handled by Stéphanie Couste, Harold Levy, Cédric Martin and Vanessa Ricolleau. It does not surprise me it took four people, because there is a lot going on here, from zombie make-up, the gore SFX, and body parts.

Taunting a second time...

Sexually, it is quite crude, with masturbating and zombie sex, among other aspects I will not discuss because I do not want to give too much away. This film just revels in absurdist humor, which is bound to make some laugh, but will also guarantee some will find repulsive in both visuals, comments made by characters, and the degree of wit (mostly low level). But I found it quite fun and full of great moments. Also, their voices are quite growly and screechy, almost as though their voices have been sped up. This is especially true of Stephana. I am grateful for the English subtitles, because even if it was in English, I may have trouble making out the dialogue; however, the subtitles are not the best, being all white, but still appreciated, as I was with the film in general.

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

Review: Two Short Steve Rudzinski Films: Amityville Christmas Vacation; Red Christmas

Two Short Steve Rudzinski Films: Amityville Christmas Vacation; Red Christmas
Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet, unless indicated
Both these films are available for free at www.tubitv.com

Amityville Christmas Vacation
Directed by Steve Rudzinski
Silver Spotlight Films
47 minutes, 2022
www.silverspotlightfilms.com
www.stevebuster.com

I have enjoyed so many of Steve Rudzinski’s films. I know that the man, who is the King of Cosplay and not a Christian, is a fanatic for Christmas all year around, so the fact that this is a day late, should not matter. He also has a habit of putting his films up for free on Tubi, and for that I am grateful. I have reviewed most of them (just search my blog for his name).

When glancing at the title of this under-and-hour ditty, which combines two different previous film titles, you have to know it is a horror comedy, as that is Rudzinski’s wheelhouse on most occasions.

Bringing back his not-overly-smart role of police officer and man-child Wally Griswold from his successful Meowy franchise (also on Tubi), Rudzinski’s character has seemly “won” a trip to “sunny Amityville”. Anyone with a brain would know it was some kind of scam, but Wally is a joyful optimist, the perfect attribute for a police officer. But he excitedly tells Whiskers (Gizmo Cat, Rudzinski’s real pet) of his plans, thus giving the viewer some exposition.

The exterior of the Amityville house is a cool 3D printer construction, and the inside is most likely Rudzinski’s real home (or a friend’s, perhaps). This also leads to a really funny joke that I will not give away. Actually, there are many “under the breath” jokes that are worth paying attention.

Wally is told by the prize agent, Samantha (Marci Leigh), that he is not the only “guest” in the house and, of course, it is a murderous ghost, amusingly named Jessica D’Angelo (Aleen Isley). But they seem to hit it off, which reminded me of another film with a man in love with a female ghost that is worth checking out, A Ghost Waits (2020). 

This was obviously filmed during COVID, as only four of the characters intertwine: Wall, Jessica, Samantha and a ghost hunter, conveniently named Creighton Spook (Scott Lewis). All the others are either on Zoom, such as ghost caseworker Zelda (Autumn Ivy), and by phone, such as Wally’s friend and fellow cop, Rick (Ben Dietels, who was so fun in a 2017 film he also directed, Slaughter Drive), a regularly appearing character in the Meowy series. Others are obviously shot separate and then edited together (i.e., single shots, going back and forth).

This is definitely a hyper, over-acted (purposefully) film with a heart, as are all the Meowy releases, and it is a nice way to share the holidays with someone you love. No real violence (though threats of it), with a solid PG rating level. My only complaint is that Rudzinski does not release enough films, in my opinion.

IMBD listing HERE https://www.imdb.com/title/tt22168286/?ref_=fn_al_tt_1

 

Red Christmas (aka Dead Christmas)
Directed by Steve Rudzinski
Silver Spotlight Films
55 minutes, 2014
www.silverspotlightfilms.com
www.stevebuster.com

While this has been out for nearly a decade, its Holiday theme makes it a good companion to review with Amityville Christmas Vacation, above.

Tara (Amie Wrenn, who is the voice of Whiskers the Cat in the Meowy franchise), as she states right off, is a premeditative torturer and serial killer of men: she gives the reason, but it is not what you may infer. She selects the guys, and then does her “thing.”

Done found footage style (some hand-held, most mounted), Tara video records her history of mass murder (which actually sounds plausible), her plan to – er – execute the tricking of a man to come to her house, as her next victim, and then the capture. Oh, and the subsequent actions once Bill (Seth Murphy, who was a hoot as MC Pink in 2012’s Everyone Must Die!) is under her control.

Technically, one can see increments of this as being considered a horror comedy, and there are certain parts that truly made me laugh (one is in the trailer, below), but mostly there is a level of torture/body horror that is inescapable, especially for once it begins.

And yeah, it is quite gross, bloody, and painful. The SFX, however, look great. I definitely winched a few times. And what happens when a third party comes by with an axe named Axe (Shawn Shelpman)? Betcha didn’t see that comin’, did ya?

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