Review: The Kindred

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

The Kindred
Directed by Stephen Carpenter and Jeffrey Obrow
Kindred Limited Partnership; F/M Entertainment; Synapse Films; MVD Entertainment
93 minutes, 1987 / 2021
www.synapsefilms.com
www.MVDVisual.com/
I know I saw this when it first came out, but honestly, I do not remember it at all. Happily, I will now get a chance to revisit it with fresh new eyes (among other sensory organs).

The film certainly begins with a BANG! Bodies fly, and EMTs are abused. And that leads to introducing our hero, researcher Dr. John Hollins (David Allen Brooks, giving off a Ryan O’Neal or William Katt vibes, or maybe it is just the hair). Seems his mom, another researcher of questionable studies of a gene called hemocyanin (according to Wikipedia, hemocyanin “are proteins that transport oxygen throughout the bodies of some invertebrate animals”; it is usually found in marine life), Dr. Amanda Hollins (a cameo by Kim Hunter, more famous for 1968’s The Planet of the Apes and especially non-horror but brutal A Streetcar Named Desire in 1951; d. 2002), is out of a coma and tells her son to destroy her research, and that he has an unknown brother named Anthony in a shade from Basket Case (1982), who also must be destroyed, which the viewer quickly learns why, but exposition must follow first.

David Allen Brooks

Amanda has a rival in bad toupee-wearing also researcher of human and non-human hybridization, ala Island of Lost Souls (1932)/The Island of Dr. Moreau (1995), Dr. Phillip Lloyd (Rod Steiger, better know to horror fans as the priest in 1979’s The Amityville Horror, but especially in the, again, brutal non-horror On the Waterfront in 1954; d. 2002). He is trying to steal Dr. Amanda’s research before John can do anything with/to it.

John goes to his mom’s house with his girlfriend, Sharon (Talia Balsam), in which Amanda turned his childhood bedroom into a laboratory. Just for the heck of it, he asks a bunch of his friends to join along (the fodder to be killed off?), and is also join by a mysterious British researcher of the bizarre that he meets at a funeral, Melissa (Amanda Pays), who seems to have her own agenda. In this way it becomes sort of a cabin in the woods type scenario. Meanwhile, there is something tentacled under the floorboards (trigger warning: pet endangerment)

Talia Balsam

The various Anthonys look a bit like a cross between It’s Alive (1974) and the alien in the poster from Xtro (1982), but with tentacles, as well as arms. Could this be a reference to Cthulhu?. But it’s the adult Anthony that is lurking around the property. Despite all the scientific lingo here and there, the base of this is obviously that it is a creature feature.

Without surprise, things pick up exponentially in the third act, and adult Anthony makes its presence not only known, but takes command, fighting the puny human folk. Who will win this life-and-death battle? I will say, there was way less of a body count than I was expecting.

Amanda Pays

That being said, this was quite the joy ride, with some excellent all practical and in-camera SFX (i.e., no CGI), with creature effects built by Michael McCracken; yes, the infamous watermelon scene is a great example of that (I won’t give it away). Throughout there is solid acting all the way around. Major cast choices for a B-film. Even Steiger, who has chewed his amount of scenery in his career (I once interviewed him a while back before even Amityville, and bombastic is the word I would use to describe him even off the set), mostly comes off as, well, “acting” rather than shouting, even though there is some of that, as well. It is also worth noting that one of the five writers of this film was Joseph Stefano (d. 2006), who wrote the screenplay of the classic Hitchcock game changer, Psycho (1960).

The extras start off with a commentary track with directors Jeffrey Obrow and Stephen Carpenter, moderated by horror journalist Steve Barton. While it is occasionally hard to tell who is talking (other than gravelly voiced Carpenter), honestly, it does not matter. It is the contents, and this is a really good commentary with lots of information and stories, with emotion, rather than just a flat read. Worth listening to for fun information.

Rod Steiger

Next is “Inhuman Experiments – The Making of The Kindred” (52 mins.), an all-new featurette produced by Synapse Films for the Blu-ray. While it is typically generally chronological as many “Making Of” docs, from the genesis (let there be film) of the idea (e.g., changing the character of “Matt” to “Melissa”), but some of this is quite interesting, such as interviews with two of the leads (seeing what they look like now, as well as their stories, for example). My favorite parts were the stories about working with the actors, especially Steiger and Hunter. There is also a broad overview such as the SFX , the sets (which are quite phenomenal, done on the same soundstage as 1939’s Gone With the Wind), the music by David Newman (including being interviewed), and of course its place in culture. Originally, my idea was to skip around, but ended up watching the whole thing, despite the length. That says a lot.

And speaking of SFX, there is a special compilation of creature effects artist McCracken Jr.’s never-before-seen archival, on-set footage (18 min). The first half of this, I watched at 2x speed, but the second, when it became black and white grainy footage, when there was actual informative information, I turned it back to normal speed. It’s not brilliant thanks to the visual quality, but can be interesting for at least one viewing

There is also a still gallery and original storyboards, TV spots, the original theatrical trailer, the original video promotional trailer, and optional English subtitles for the deaf and hard of hearing.

While this has absolutely nothing to do with this film, in a-degree of separation, Marlon Brando has starred in the break-through releases with both Kim Hunter (Streetcar) and Rod Steiger (Waterfront), and he also was one of the leads in the similar thematic Island of Dr. Moreau.

Despite some visually dark scenes, the film quality itself is superb, which is not surprising considering it is a new 4K remaster of the unrated version, and the sound is quite sharp, with different versions of the tracks available in both 5.1 stereo surround sound and the original 2.0 mono theatrical mix.

With a mix of imagery and ideas amalgamated from other films, this one manages to have lots of pop power, and for those who like the ‘80s monster films, this is right up that alley.

IMDB listing HERE

Review: Soft Matter

Text © Richard Gary / Indie Horror Films, 2018

Images from the Internet

Soft Matter

Directed by Jim Hickcox

Wild Eye Releasing / Demon Janx / MVD Visual

72 minutes, 2018

www.wildeyereleasing.com

www.mvdvisual.com

First of all, the definition of "soft matter," according to the School of Physics and Astronomy website, “is a convenient term for materials that are easily deformed by thermal fluctuations and external forces. In short, it refers to 'all things squishy'! Everyday examples include paint, blood, milk, spreads and ice cream.”

This is an odd little film by a first feature director (he’s done some shorts), and I don’t know what I was expecting. From the trailer, from what I could cull, it seemed like a psychedelic hip-hop version of The Shape of Water. And some of that is true. Especially the squishy hip-hop.

Mary Anzalone, Hal Schneider

The film starts off with a prologue showing a duo of questionable scientists, Grist (Hal Schneider) and Kriegspiel (Mary Anzalone), in an abandoned hospice (a real, supposedly haunted location), who seem to be doing experiments with fish and crustaceans, among other creatures, trying to humanize them for dubious means. It’s all very Island of Dr. Moreau. Nobody seems to really like each other much, and there’s lots of Nickelodeon-ish slime. But the word that seems most appropriate about the whole feeling of the piece is moist. Yeah, it is squishy and gross, and deadpan humorous.

Next we meet up-and-coming graffiti artist Haircut (Devyn Placide) and his friend Kish (Ruby Lee Dove II), the latter of whom, for some reason, has a handlebar-style mustache (drawn?) (tattooed?) on her face. She wants to set up an art show to promote ‘Cut, so guess where she picks as a locale?

Of Fish and Men (and Womyn) worlds collide of course, and we get to partake in viewing the action. But this film is probably different than most you’ve ever seen before, which in my opinion is a plus. Now, it’s not what I would call arty as it’s a bit too non-cryptic and somewhat straightforward for that; however it is both quirky and certainly imaginative to the point of little WTF details. A lot of films that rely on “WTF details” annoy be because the quirkiness is there for the sake of ego and that quirkiness. But this has a different feel to it, hence the term “imaginative.”

Ruby Lee Dove II

For example, the space where the creatures are being created for the sake of figuring out immortality (yeah, I know) is downright disgusting and dirty – the stuff that was actually left in the closed hospice – not the sort of laboratory setting one might expect for such a lofty goal. And the sheer animosity of the scientists to both their subjects and each other makes one (well, me, anyway) wonder if there is some kind of leaking gas or contaminant effecting their personalities. Since we don’t meet them before the events, there is no real exposition to understand how this is all affecting them. And then one of the creatures called Mr. Sacks (Bradley Creel) starts to bust a move to a solid groove.

As for the creature on the cover of the box, he/she/it is referred to as a sea god (Sam Stinson, voice by Mykal Monroe), with no explanation on how he/she/it got there, who seems to live in a water bucket (see DVD cover). And no one else, neither scientists nor artists, act as if there is a social contract, but rather all seem to be motivating as if they are the ones who (soft) matter, not the social good – even though they claim that the immortality for humanity is their goal (more likely for themselves, as a piece of dialogue indicates).

Speaking of social, there is a very nice commentary on the art world as two pretentious patrons of the arts, Miss Teath (Catherine Grady) and Rudolph (Mark Blumberg) show up at Haircut’s show, and can’t tell the difference between the reality of creatures on a killing spree and performance art (“Are they actors?” one asks early on). Yes, some art – and I’ve seen my share – is so obtuse and pompous – almost as much as some of its followers (remember Maya Rudolph and Fred Armisen’s Nuni and Nuni characters from “SNL”?). Even as destruction and eminent death are close, one states, “I’ve never been to a better art opening.” I definitely smiled at that one.

I don’t want to pass on the opportunity to mention some of the animation that shows up every once in a while, including the use of blacklight. It just adds to the whole wondrous WTF-ness of it all.

Mr. Sacks pumpin' the jam

As for the extras, well, there are two full-length commentaries by the writer and director. The first one presented is Hickcox by himself (sitting in his backyard in Austin, Texas, at 2 AM). He rambles a bit as he still manages to say a lot of interesting things about the actual shoot and location, techniques, and certain technical aspects. The second commentary is Hickcox and academic / film historian Jason Michelitch. Unfortunately, Michelitch was seeing the film for the first time during the commentary so the talk is less deep about the meaning than it could have been. It’s a bit more interesting than the other commentary, but I would have liked a bit more substance about signifying.

Also included among the extras is 2015 short lasting 12:07 called Slow Creep, which is an interesting take on Ringu (aka The Ring), with a creature that follows a rented videotape and the three teens trying to watch it. It’s a fun piece of fluff that’s worth the view, and the sudden music video at the end is icing on the cake. The last extra is a series of different film trailers, as Wild Eye Releasing is wont to do with their – err – releases.

My fear is that this might be dismissed by people who just like blood and gore, torture porn, boobs, and otherworldly serial killers. Sure, this has a relatively straight narrative, but there is so much going on that is off the beaten path that it’s easy to just give up rather than seeing deeper than the weirdness and unusual elements that are consistent on both a low scale to a grand level of bada-bing. If you want to stretch your palate a bit, this might be a nice step.

Review: The Jurassic Dead

Text © Richard Gary / Indie Horror Films, 2018

Images from the Internet

The Jurassic Dead (aka Z/Rex: The Jurassic Dead; Zombiesaurus)

Directed by Milko Davis; with Thomas Martwick

Wild Eye Releasing / Cyclopsdome / GAM3 / MVD Visual

82 minutes, 2017 / 2018

www.wildeyereleasing.com

www.mvdvisual.com

I kinda get it. I mean, there’s a whole subgenre of inane-yet-fun dinosaur flicks, especially involving the king/queen of them all, the T-Rex (only thing missing is Marc Bolan). As a small sampling, there’s Valley of the Gwangi (1969) and Carnosaur (well, the first one of three was 1993), among many others (does one want to include 1993’s A Nymphoid Barbarian in Dinosaur Hell? Let’s not, okay?).

What gives this some validity and credibility, such as it is, is like Carnosaur, it doesn’t take itself quiiiiiite so seriously. I mean, there are clichés, cartoonish stereotypical characters, a mad scientist in a lair in the middle of the desert threatening the world, and of course the zombie dinosaur. First off, the cover makes it look like a T-Rex, but it’s actually more T-Rex shape in velociraptor size, but I’m not going to quibble over something that trivial when there is a world of wonder to look at here.

In some way, what this film reminds me of is Isis Rising: Curse of the Lady Mummy (2013) because nearly all the film is actually 3D Modelling, animation and green screen technology. Some of it actually looks really good, and some, well, not as much. Still, I’m impressed with the work that must have gone into it, and am willing to bet a lot of it was done on home computers using modelling software.

As for the story, the prologue sets up the insane anger of a dismissed professor/scientist, Wojick Borge (Cooper Elliot). After a car accident, he becomes evil, looking like a cross between the Phantom of the Paradise and Bane (including face mask). He has a massive and serpentine lair that looks like a flattened pyramid out in the desert, though there is no explanation of how a professor could afford it. This is something Lex Trump-thor would look at and say, “Looks pricey.”

Back: Klosterman and Singer
Front: Goeke and Johnson

After the prologue, we are introduced to two groups of people who encounter each other on the road to… well, we all know where they are going to end up, don’t we. The first is two couples: nerds and stoners* Sadie (Mia Klosterman, who is also a singer) and Cameron (Adam Singer), and Sadie’s bleach blonde cheerleader sister Roxanne (Nicole Goeke) and her football player b/f and macho moron Gunnar (well played by Ben Johnson, who often plays Superman in Justice League shorts); Gunnar likes to say the word “Bro” in as many sentences as he can. Yeah, they’re all stereotypes, but the good thing is that the viewer doesn’t really need much exposition about the characters.

Gonzalez, Pennington, Haman, La Page, Perry

The other SUV contains 5, err… Well, they’re pretending to be military, but they could be mercenaries… but from the looks of it and their conversations, it’s probably just some right wing militia (more about this later). There’s the lone female Cuchilla (Raquel Pennington, from the UFC, whose character seems to be based on Private Vasquez in 1986’s Aliens), the redneck and racist Spivey (Shale Le Page), the cop wannabe Swat (Juan Gonzalez), the sole person of color, Stick (Ruselis Aumeen Perry), and the bullish and muscular leader of the pack, Duque (Andy Haman, the IFBB Pro Champion Bodybuilder in his screen debut and doing a bang-up, comic book Sgt. Rock-ish performance). There is even a shot of the five of them walking side by side, in slo-mo, Tarrantino/Reservoir Dogs (1992) style, which has become a trope used often in many films.

Then of course there is the dino, who is injected with some green glowing liquid that brings him back to life (reminiscent of the goo from 1985’s Re-Animator). He’s cool looking and moves a bit clumsily though not too bad, and has a temper… oh, and glowing green (or, when angry, red) eyes. He is unkillable and a zombie. When he (I’m assuming it’s a “he”) kills someone, they also come back as glowingly green-eyed zombies.

After the two sets of people meet up and get separated into smaller and mixed groups in the lair of the loony, the action picks up as they get taken down one-by-one by reptile or human zombies. Interestingly, they keep some of their humanity and growl a lot, and they walk rather than stumble or run, thereby being neither slow, nor fast zombies. They move stiffly but steadily, more like Jason or Michael.

While all this is going on, our mad professor is planning to explode his chemicals all over the world, creating an earth of zombies, again I am assuming, under his command. There are computers and timers counting down all over da joint throughout the film.

I’m not sure if this qualifies or is meant to be an actual comedy, but definitely a dramedy. There are lots of parts that are snarky, especially the swipes at the gun lobby / alt right mentality of the furious five.

I did have some issues with the film in the fact that there is no logic or sometimes a lack of consistency within the story. For example, an object falls from the sky, causing a pulse that kills all the electricity in the area, including cars, phones, etc., and yet a helicopter works. In another example, the doors are solid steel, and yet bullets shatter it into small pieces.

With all the flaws, this kind of works, though it really is silly and nonsensical in a lot of ways, but so were the films I mentioned in the first paragraph. It’s perfectly summed up during the credits when we see each character turn into a cartoon of themselves. There is even a sequel in the works for 2019 called Z/Rex: Dead War.

* Speaking of Bolan, I kept hearing the song “Bang-a-Gong” whenever the weed was passed around.