Favorites and Not Favorites for 2018

Text © Richard Gary / Indie Horror Films, 2018
Images from the Internet

As always, I will republish the rules I have about such lists as these first:

I have an issue with “Best of” and “Worst of” year-end lists for the following reasons: most are chosen from either those that play in theaters. For me, I like to watch the DIY ones, for these tend to have more heart. My list consists of films that I saw and reviewed in 2018, not necessarily ones that were released in that year.

As for Best and Worst, I never liked those terms; art is just way too subjective, which is why I called them Favorites and Not Favorites. That being said, even the “Not” ones have redeeming qualities, and the fact that they don’t touch me means nothing. I have hated films that have won tons of awards, and liked some that other find abhorrent, so don’t take anything I say, good or bad, as the definitive. It’s just opinion, and I welcome you to agree or disagree. It’s all good.

These two lists are alphabetical, rather than ranked (another thing in which I don't believe). Also, these are abbreviated versions of the original reviews. Links to the original and full blogs are at the bottom of each.

FAVORITES:

American Antichrist

Written, cinematography, directed and edited by Dakota Ray
It’s always interesting to get a view into the creepy, nihilistic underworld vision of Dakota Ray. None of his characters are likeable; they are all human monsters in their own way, and it presents a Denver perspective of street trash that most people will (hopefully) never truly encounter in this intimate detail. But again, that’s also what makes Ray’s work also so compelling. In this, his most moody piece to date, we meet a delusional serial killer named “Smoke” (Ray) who thinks he’s god; however, through an accidental drug overdose, dies and is buried. But as the narration by him states, “Evil never dies, it just grows stronger.” Needless to say he returns from the dead (after three days, I’m assuming) as The Antichrist, of the film’s title. There is a lot of mixing of good/evil – God/Devil, which I find interesting. It’s always easy to tell a Ray film because he has developed his own style, which is rare these days. He uses monochrome filters in primary colors, title cards to separate segments that overlap in the stories anyway, non-populist religious symbolisms, highway underpass walkways, and blasts of death metal. But with each passing film, he has honed his camera’s eye to be a bit more artistic without losing the grip of presenting human suffering, either by their own hands or to others. His editing is worth noting as well; for what I am assuming is a single-camera shoot, he manages to use the footage to show motion and even more important, agitation, aggression, and transgression. As for the cast, it is filled with non-professional actors who are friends of the director, and rather than being stilted and wooden, in most cases Ray manages to get them to be more natural, sort of playing to themselves. If you’re tired of seeing the same old kinds of films, and want to stick your toes into something that’s avant-garde enough to be artistic and open ended, but not so opaque that you get lost in the miasma of arty masturbation, it may be time to try one of Ray’s films.
Original full review HERE 

Code Name: Dynastud
Directed and edited by Richard Griffin
Honestly, even before watching this sci-fi tinged “gay romp” (as Mel Brooks may have put it), I have been looking forward to giving it a viewing. In a post-Trump presidency world of 2024 when this film takes place, that religious power madness has reached its pinnacle, outlawing homosexuality. While our titular alien-induced super-powered character of Dynastud is introduced through a near perfect James Bond-ish opening and credits that had me in stitches, the story proper seems to revolve more around the pure of heart and noble Bart, who finds himself in a pickle when forced to marry Patty (the only female main character who ironically steals some scenes away from the dudes) by her father, the murderous and gay-hating Senator Hightower. That being said, there are three arcs to this story: in no particular order there is the Bart and Patty conundrum, a buddy travel, and an overlapping grand quest. Of course, there is full frontal male shots (though less than I expected) and a lot of sex, focused natch on M-M. One scene recognizes the female side of the equation, though more in a stereotypical but hopefully non-offensive way (plaid shirts, ultra-Liberal, etc.). The same stereotyping could be said about Canada and especially Canadians in later scenes, that is non-offensive and, honestly, really funny, eh?s This is a film that is silly, but far from stoopid [sic]. The cannon fire over the bow is both subtle and not as much so (such as a fight with the Mecha-Trump robot). Griffin switches back and forth from “a nod’s as good as a wink to a blind bat” subtle to a sledgehammer to bring his points around, and they all work into the story, mostly without being preachy (pun intended).

Original full review HERE 

The Girl in the Crawlspace

Written and directed by John Oak Dalton
When we approach the story for TGitC, the horrific events of Jill are in the past, and she has escaped from the Crawlspace Killer after 7 years of captivity. Now, to paraphrase the Dusty Springfield song, “She just don’t know what to do with herself” thanks to a heavy and understandable dose of PTSD This is the spine of the story, but actually, Jill isn’t even the central character. More than a “horror film,” this is an intense, tight psychological drama focusing more on Kristin/Kitty, a psychologist who had moved from this same small town to Hollywood, and has now come back after inheriting the family home. She has set up a therapy practice based on the families of the serial killer’s victims, who were mostly young boys and Jill. Kristin has brought along the other main focus of the film, her husband Johnny; he’s a douche nozzle that either can’t or won’t grasp what is socially acceptable living in a small town. This is a sharply written and directed first feature, and it bodes well for possibilities of the shapes of things to come. Dalton plays with the experience for the viewer, keeping the viewer off balance with red herrings and working the psycho-trauma tropes that we fans are so used to, and adding something new all the time. At least four times I thought I figured out the ending, and three times I was wrong, but my errors were also addressed within the storyline. How cool. There is also a bit of social commentary that doesn’t hit you over the head with self-righteousness, but rather keeps it in the public eye. For example, there is a slight focus on the fragility of Mexican migrant workers and how they can easily be exploited, as they have been; it’s ironic talking about taking kids from families and then the government starts to do it to reinforce the notion. The weak point to me in the film’s story is the fluidity of lack of patient/doctor (psychologist) confidentiality. However, in cinematic poetic license, I understand talking to someone onscreen is the equivalent to telling the audience what a character is thinking. I love it when a film surprises me in its subtly among the mind games. There is no gore and very little blood, an implied body count, a generally attractive cast, and an ending that is quite satisfying.
Original full review HERE 

Habit

Directed by Simeon Halligan
Based on the novel by Stephen McGeagh, in Manchester, England, we are introduced to slacker Michael who meets Lee on the way to an employment agency. Less than 10 minutes into the film, she’s talked her way into moving in with him. To thank him for the arrangement, Lee gets him a job at her Uncle Ian’s– err – massage parlour working the door security. It isn’t long before he discovers the big secret of the place, though it isn’t that hard to figure out, even if you just watch the trailer. The film builds nicely, one foot in front of the other, as we delve ever deeper into Michael’s old (through dreams and flashback) and new life. Lee hints early on that she knows that he’s ”different,” and being a genre film, you know something wicked this way comes in wrappings of a woman with a child-like face. Nearly everything the audience learns about events is parallel to when Michael becomes aware. This is a nice touch. The film looks stunning. Camera work, lighting, and cinematographic framing are offset by a somewhat languid editing that draws the viewer in, rather than lingering too long to the point of distraction. On some level this can be considered an organized crime genre, but there is way too much of body parts and moistness for this to be just your average crime caper. Also, it’s too controlled to be considered a slasher film, either. But know there is a nice body count, and a lot of body jus.
Original full review HERE 

Housesitters

Directed by Jason Coffman
This horror comedy that is partially shot on iPhone is short at just over an hour, but I happily watched it twice in a row. In the story, some friends put a video out on the ‘Net that they are looking for a job as a housesitter. Of course the house that comes their way is nice, has a platinum card for ordering food… and, oh yeah a Little Bastard of a demon’s familiar. At the core of the story are two friends, who riff off each other so well that the actors playing them get a writing credit, and rightfully so. While the situation is supernatural and their reactions are hardly what would happen in the real world, the pace and tone of their comments feels like these guys actually are friends. This is a first feature film for Jason Coffman, and I certainly hope it’s not the last. There’s a lot to unpack, including demon possession, a small body count, the undead, a house with boundaries, time travel, and a whole bunch of smart-assitude that had me laughing. The film is presented in two parts of “Invocation of the Demon God,” as “Episode 7” and “Episode 8.” I have no idea what that means, but I know I want to see more. It’s separated by an animated short that…well, you have to see it. Don’t get me wrong, this is silly-ass shit, and perhaps the reason there is so much cannabis inhalation is because they’re feigning to a stoner audience, but it didn’t have to be, in my opinion; it stands up on its own weirdness and attitude. The acting is a layer of goofy with a natural relationship between the women, and a bit of skewed feminism thrown in at a subtle level. What makes me sad about this film, and I’m being serious about this, is that I wanted more. The ending is a bit up in the air and left me with some questions, but what I wanted was the story not to end because I was enjoying it so much.
Original full review HERE 

Lost Child (aka Tatterdemalion)

Directed by Ramaa Mosley
Have to say, I really like many of the local legend subgenre releases. This one is about a life-draining spirit that comes in the form of a child called the Tatterdemalion (translated as a person in tattered clothing, or being dilapidated). This film actually began titled with the name of the creature, but they were wise enough to change it to its present, more accessible one. Here, we meet redheaded Fern, who has come home to said Ozarks after nearly a decade to look for her brother, bringing with her a strain of PTSD from multiple tours of combat. While ramblin’ about looking for her kin, she stumbles into a kid named Cecil roaming around the woods by his own self, and takes him in. One of the things I like about the film, that you really don’t know what’s going on between suspicion, fear and reality. Meanwhile, Fern has been fading and weakening, having trouble sleeping and eating. Anyway, like most psychological or supernatural dramas, whatever this turns out of be, it has a pretty slow build, so the viewer gets some perspective about the people and the area, though a bit of patience is needed as an uneasy bond builds between Cecil and Fern. Luckily, it’s beautifully shot with hues that are of earth tones, nice angles, and the camera isn’t afraid to linger on a shot for more than five seconds, as with most modern releases; usually the bigger the budget, the less space between edits. As slow a start as the film kicks off on, it gradually builds, and the entire third act is an incredible thriller that comes as a surprise due to its step-by-step building of events and personae. If you’ve started the story, give it the time. There’s no jump scares, no viscera, but there is violence and hardship coming to a very satisfying conclusion. This is definitely from a female perspective, of a female character in a male society, but even with all the political and social standings it presents, it never takes away from the story nor does it hit the viewer over the head. It’s all subtle and emphasizes the points of the story rather than distracts from them.
Original full review HERE 

Red Krokodil: Director’s Cut

Directed and cinematography by Domiziano Cristopharo
I saw the first two films that Domiziano Cristopharo directed, House of Flesh Mannequins (2009) and The Museum of Wonders (2010). Desomorphine is a real opioid drug that originated in the US in the early 1930s and is now made and used recreationally in Russia, Produced in this way, it’s made of corrosive materials mixed with Codeine from over the counter products, and is nicknamed “krokodil” due to the blistering skin around injection sites. At a snail’s pace, we meet Him. He’s a mess on so many levels, spiritually and physically. His clothes (when he’s wearing them) are filthy, including dark stains on the bottom of his untidy whiteys, there is what looks like mold everywhere, he is unwashed and unkempt, and is missing his two front teef. We watch much of what happens to him, as he repeatedly gives himself shots from the same needle, goes through withdrawals until the next injection, and segments of overseeing him fitfully sleeping. The viewer gets the feeling of claustrophobia as he moves around his small room. Because of his drug addled mental state, we get to share what he sees, be it a giant Bunny Man or a bandage swathed Monster, who are the only other characters in the film, albeit in brief snatches. The only dialog we hear other than grunts and groans is Him’s inner thoughts, which are usually a mixture of stories of his, a description of his dream visions, or philosophizing about his hallucinations. Him is convinced he lives in a post-apocalyptic world, and perhaps he is, which would explain the lack of people in part, but he never ventures from his hovel. How much of it is in his mind and what reality is mostly up to the viewer. Despite all the grossness of picking at the wearing down of the flesh, this is definitely in the category of art film. Sure, you may not see it on IFC due to its visual content, but philosophically and stylistically, it would actually be quite comfortable there. Most of the time the color is drained out of the image we see, as it is missing from Him’s life; it’s only when we see him roaming around in nature (again, nude), do we see a natural hue of any time. The sharp contrast is alarming, and shows the levels to which Him has sunken – again, both spiritually and physically. This is not exactly what one might call the feel good movie of the year, but it is a poetic and disarming – and sometimes visually stunning – vision of what I would imagine being desperately addicted to something that harsh to the body (I’m pretty straight-edge). I’m still trying to figure out, visually speaking, if the film went too far, or if it didn’t go far enough. That’s part of what makes this such as interesting piece, though patience is definitely needed as you follow Him on his path, painful minute by painful hour.
Original full review HERE 

True Love Ways
Directed by Mathieu Seiler
Germany is familiar with cinema of the strange in the past few decades. Just look at the likes of the extremely other-there Nekromantic (1987), or even Run Lola Run (1998) as examples. This film opens on the strained relationship between our heroine, Séverine and her boyfriend Tom, with the former telling the latter that she doesn’t love him, but rather has given her heart to someone of whom that she dreamed. The first couple of acts of the film are set at a very languid pace, like being on a rowboat meandering down a river, with little dialog, as Séverine sits in a park watching people, spending the night by herself, or driving down the road chewing both her hair and gum with the camera mainly focused on her face. After Séverine chucks Tom outta da co-joint for a few days, he goes to a bar where he meets Chef, who suggests that he will kidnap Séverine and then Tom would come to the rescue and be her “Tarzan.” About half way through the film, the pieces of some of the events that happened before and why the Chef is so interested in Séverine start to become clearer. And yes, it’s even creepier than you’d expect. We get to figure it out the same time as her, and that’s when the film shifts gears into overdrive. Yet, and this is where I find the film is playing with us, there are still moments of long silence and little movement, that in the heightened state of tension and adrenaline, are nail-biting thriller moments. While definitely a sharp (and occasionally darkly humorous) thriller, some have referred to this as a kunstfilm (art film), and not just because it’s in black-and-white. It’s the pacing, the way the music works with the film beyond jump scares, but it’s not obnoxiously so. As always, the bad guys underestimate Séverine; she is extremely resourceful and works her way through situations. Sometimes arty films can be especially bloody, and while it’s not overly done or in super-graphic detail like many Euro-body horror releases, there is definitely a spurting of the stuff. Overall this is quite the stunning picture. Sure, not necessarily a date flick (depending on your companion, of course), but it really is a beautiful piece of cinema.
Original full review HERE 

NOT FAVORITES:

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

Directed by Milko Davis; with Thomas Martwick
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. First off, the cover makes it look like a T-Rex, but it’s actually more T-Rex shape in velociraptor size. Nearly all the film is 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. 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 and Cameron, and Sadie’s bleach blonde cheerleader sister Roxanne and her football player b/f and macho moron Gunnar; 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. The other SUV contains 5 right wing militia. There’s the lone female Cuchilla, the redneck and racist Spivey, the cop wannabe Swat, the sole person of color, Stick, 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. While all this is going on, a mad professor is planning to explode his chemicals all over the world, creating an earth of zombies, again I am assuming, under his command. 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.
Original full review HERE 

The Toybox

Directed by Tom Nagel
Wow, I haven’t seen Denise Richards or Micha Barton in quite a while. That’s not to say they haven’t been working, it’s more that they haven’t crossed my indie-focused radar. The titular toybox in question is an old (it has a cassette player!) Recreational Vehicle (RV), or motorhome, that’s been purchased by a family patriarch He bought it o take his family out on a trip apparently to the middle of the desert to see some cave paintings, but more specifically to bring them together after the passing of the matriarch. Twenty minutes in, and there are some cool hints of mysterious things to come, such as the radio tuning itself to a version of the classic lamenting folk song, “In the Pines,” and a window with a mind of its own. Clearly there are elements here beyond the human and into supernatural otherness. I’m glad. One of the things about genre films, especially ghost stories, that tend to be noteworthy is the disconnect with how fast things are either dismissed or ignored right after a really creepy event. There are a few moments like that in this film, such as a sink full of blood and hair one moment and clean the next instant, in one case. Something like that would not get a response of “I have a bad feeling about this;” I would be freaking the hell out. The sensibilities of the film are more mainstream than most indies, and the high-power cast belies that. But there are also some questionable moments that made me cringe that had nothing to do with the story proper, such as Jennifer saying to Steve, “It’s your job to keep the family safe.” This is a bit heteronormative, and confusing to me. There are definitely some serious issues with the behavior of some of the characters. Food and water goes bad overnight, but no one really seems to fret, even though they are in the middle of the desert. No water, but no one seems to be sweating and everyone’s hair stays shiny and luxurious. Overall, the film’s issue is more in the writing than presentation, such as no truly likeable character with whom to identify (everyone’s personality is a bit too flinty), plot questions, and choices made by the characters, such as the timing of a deep, emotional family discussion that seems oddly placed in the story and throwing off the pacing. On the other hand, as I said, it looks lovely and is certainly okay for a Saturday afternoon distraction, has some nicely disturbing otherworldly characters, more than expected blood and mayhem, and has a post-1980s feel to it that is after the VHS explosion of cheese, but before the overwhelming detail of the Hostel/Saw physical torture.
Original full review HERE

Favorites and Not Favorites for 2017

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

This has been a good year for the lower budget genre films. Surprisingly, more serious films caught my attention, when I’m usually attracted to more humorous horror. As always, I will republish the rules I have about such lists as these first:

I have an issue with “Best of” and “Worst of” year-end lists for the following reasons: most are chosen from either those that play in theaters. For me, I like to watch the DIY ones, for these tend to have more heart.  My list consists of films that I saw and reviewed in 2017, not necessarily ones that were released in that year.

As for Best and Worst, I never liked those terms; art is just way too subjective, which is why I called them Favorites and Not Favorites. That being said, even the “Not” ones have redeeming qualities, and the fact that they don’t touch me means nothing. I’ve hated films that have won tons of awards, and liked some that other find abhorrent, so don’t take anything I say, good or bad, as the law. It’s just opinion, and I welcome you to agree or disagree. It’s all good.

These two lists are alphabetical, rather than ranked (another thing I don’t believe in).

FAVORITES:

The Acid Sorcerer

Written, produced, directed and edited by Dakota Bailey

With Dakota Bailey’s third feature, he’s found a niche of reality that can scare the viewer, but not because of the supernatural but more because of a vision of life. Americans are capable of doing just about anything, even if it’s against their own self-interest and Bailey’s focus is on that to the extreme, at what most would probably consider the lower rungs of the social contract ladder, with drug dealers, prostitutes, hired killers, serial killers, and essentially the kind of people that fascinate when reading about on the paper or seeing on the big (or small) screen, but not necessarily someone whom you would want to share breathing space. Mostly filmed in black and white, there is no real past tense, there is only whatever is happening in the moment, and the people act accordingly and usually impulsively. Bailey touches that instinctual, repulsed side of the average viewer: you don’t need to learn, just intuitively know. There is also an unexpected, philosophical touch to the film, as it acknowledges its own inner darkness, as well as those as the characters. It’s a chilling and nihilistic view of a nearly claustrophobic group of people whose lives are revolving around the seven deadlies. Despite (or perhaps because of) the despicableness of those who infest the film, the viewer kinda wants to know what happens to them. This does for Denver, what Taxi Driver (1976) did for New York City: it focuses on the seedy, the dirty and the back alleys, where the denizens of the story would likely live.

Original full review HERE

Badass Monster Killer

Written and directed by Darin Wood

This picture is from a director who comes up with a fine mashup that is both head scratching WTF? and laugh-out-loud Say What? The basic premise revolves around a hyper-cool brother who is a police officer for the Department of Supernatural Security named Jimmy Chevelle (Jawara Duncan). Did I mention this takes place in Camarotown? Anyway, along the way he meets women who fall for him and become sort of an army. Most reviews claim this is based on the Blaxploitation style of Shaft [1971]; early on, we even see the Loveshaft Hotel in the background. More likely it’s a reference to H.P. Lovecraft, as this takes place in his mythos with references to Cthulhu and the Great Old Ones. But I would posit that it’s closer to Dolemite [1975] than Shaft. Chevelle’s subject of investigation is a sect that wants to bring back said Great Old Ones via weed that makes you susceptible to them. Heading this group of miscreants is Reverend Dellamorte (Ryan Cicak), a goateed white guy with a thick southern accent. The dialog is hysterical, and occasionally repetitious, in a running gag form, “Diabolical,” for example, may be in every other sentence. Duncan is really good at spitting out strings of script in an amusing way, making it not feel repetitive as much as humorous. There is a lot of good writing. Another incorrect comparison, in my opinion, is to the film Sin City [2005], since nearly all of Badass is shot in green screen (other than two solid sets), with all the buildings and other objects leaning towards the center. Sin City was like a comic book, while this is more cartoonish. Both films take place in a world that couldn’t exist in real life, but SC went for more realism; BMK isn’t interested in any form of reality, it’s nearly surrealistic. Which brings me to the monsters. Each one looks fake as can be, with cheesy digi-art or rubber limbs when they interact with the actors. They also look silly, but in this context, they are fun to watch, like bad stop-motion. In this completely produced and processed world, I thought the monsters were smile-worthy rather than cringe-. Duncan is perfect in the role, able to handle both the smolder and the sass (and afro) to just the right tone for the film. A chunk of the action takes place in a strip joint, and even beyond that there is dancing, lots and lots of go-go style dancing. You see a street? There are women dancing in the shot. I have no idea of H.P. Lovecraft had a sense of humor, but if he did, he would have gotten a hoot outta this, especially the battle of good vs. evil at the conclusion.

Original full review HERE

Bonehill Road

Written, directed and edited by Todd Sheets

For this film, Todd Sheets takes an interesting approach, asking us to question which is worse, the big bad trio of wolves outside the door, or the human monster inside with the knife and sadistic attitude. That is the predicament in which Todd has placed his main characters. Emily (Eli DeGeer) and her teenage daughter Eden (Anna Rojas-Plumberg) are on the run from one human monster, an abusive husband (Aaron Brazier). When their car is toast, in part due to the hairy threesome, they wind up in a house with serial killer Coen (Douglas Epps) and his hostages, Tina (Millie Milan), Lucy (Dilynn Fawn Harvey), and Suzy (an extended cameo by Linnea Quigley). Between our furry friends outside and the less hairy one inside, there is a lot of damage that happens to everyone involved, leading to tons of carnage and gore. Luckily, both of those are Sheets’ specialities. Also at the heart of the whole visual is that all of the effects and wolfie-poos are practical SFX rather than digital. Sheets tends to show the carnage in extreme close-up. Most of the acting is quite powerful. As the two leads, Plumberg and especially DeGeer hold their own as strong women who are put in extraordinary circumstances. The rest of the film looks great, with sharp editing and visuals. There is nothing really fancy here, no “artistic flares,” which suits me just fine. A meat and ‘taters creature feature is just what the witch doctor ordered.

Original full review HERE

Child Eater

Directed by Erlingur Thoroddsen

The seemingly mandatory prologue at the start, taking place 25 years before the main story, is a bit more unsettling than most, and better for it; but it does set you up to know that you are not about to see the average slasher or murderous spirit. The legend in the small town of Widow’s Peak (filmed in, Catskill, NY) is that there was a crazy man, Robert Bowery (Jason Martin) who had macular degeneration and ate people’s eyes because he believed it would keep him from going blind, but he was especially attracted to those of youngsters because “the fresher the better”. Now it is quarter of a century later since the last attack. The heroine of the story is Helen (Cait Bliss), who is in the mid-20s. She’s forced to babysit by her police chief dad for a widower who has recently bought the old man’s house for himself and pre-teen son. The thing that is most important is simply that this really is a creepy-ass film. The pace is great and the plot not completely predictable. The actual image is pretty dark, though the cinematography by John Wakayama Carey is spot on so you can see everything you’re supposed to view. But the film is also dark in a more esoteric way in that, hey, it’s a story about someone/something that eats children’s eyes and then kills them, and also eats their bodies (as well as adults). Bowery’s make-up is really well done, by Fiona Tyson, who should be commended, as well. The gore shows up in small amounts but frequently, and always looks damn good. This film could have been corny and clichéd, based on tropes that have been around for decades, but Thoroddsen manages to take a relatively fresh approach. That makes this enjoyable to watch, and its mood and motif may help make that chill go up and down your spine. You won’t be able to – err – take your eyes off it.

Original full review HERE

The Ladies of the House

Directed by John Stewart Wildman

In this story, three bros go to a strip club to celebrate a birthday. After the performance one of them pressures the other two to follow her home, where she shares a house with three other dancers. His intention is to pay her for sex as a present. Of course, things go awry, and when the other women come home, that’s when the second act begins and the picture kicks up into a much higher gear. These are certainly not women you want to trifle with, that is for certain, as the guys learn, one by one, becoming prisoners. This tragic start leads to a revenge-fuelled carnage. It comes down to the three bros against three of the women While angry, they are more cunning than reactionary. They have obviously dealt with men in such a fashion before, as they have a calm routine way of… dismantling. One of the things I like about the film is that while it’s technically not a horror film, relying more on terror and suspense, it certainly does not shy away from a bit of violence and gristle here and there (well done by Oddtopsy SFX, led by indie effects maven Marcus Koch); when it does, because it is not the main focus, it comes out as a bit more shocking and welcomed, without wearing out its welcome. The four female leads are spot on, with just the right amount of sexiness and cold-hearted determination. They are to be feared, but without losing their humanity. Yet through the carnage and chopping and caging and slicing and hacking, somehow, on more than one level, this remains… a love story?! This shows some solid directing. The lighting, the angles, and the gore, all look and feel glorious. This is hardly what one would necessarily call a date movie, depending of course on whom you are relating, but for the genre fan, it was an entertaining.

Original full review HERE

Long Night in a Dead City

Directed and edited by Richard Griffin

This is a strange, ethereal and episodic story of Daniel (Aidan Laliberte), who awakens in an alley on New Year’s Eve, beaten and bruised. He begins a quest to find his brother Charlie (Anthony Gaudette), which brings him into contact with various characters in an ugly side of a city full of back streets, litter, snow and steam. The shadow side of Voltaire’s Candide, Daniel wanders into others’ lives, and vice versa, with something quite off about all of it. Mannequins, a possible serial killer, and a sultry bartender (Anna Rizzo) who knows his name in a tavern where everyone is photo-still, is just the start of some of those who will make this dead city night interesting, albeit bizarre. In some scenarios, Daniel is the protagonist, in others he is an observer, as sort of a solo Greek Chorus in a modern day tragedy. In all, though, there is an either explicit or implicit invitation, spoken or not, for him to join, and to stay in that moment, in that place. A mysterious woman, Holly (Sarah Reed), takes the place of both companion and Dante-esque guide. Many of Griffin’s films deal with heaven, hell, and other variations of what happens next, and this continues to take a different view of that aspect of life and death, which makes for a further interesting vision that one may not expect, keeping the viewer’s interest. Even if you have an idea of where the storyline is going, the ride there is still going to be from a perspective you probably would not have thought of, giving new blood to a not-so-new concept. There is definitely a feeling of surrealism, but not to the point where it’s so obliquely opaque in the events that it loses direction. Chalk yet another one on the plus side for Griffin. Also worth checking out are his other two films of the year that were squeezed out by space here, A Midsummer Night's Dream and Strapped for Danger.

Original full review HERE

Murder Made Easy

Directed by David Palamaro

I found the whole film production reads like a play. It’s heavy in dialogue, mostly takes place in a single room, and the pacing of the whole thing could easily be mounted on a stage. This feels very Frank Capra-esk in the way the words are spoken in a quick and light patter. This murder mystery has been compared to the game Clue, but I definitely believe that it’s more the source material of the dining room murder mystery that they have in common rather than the end piece. This is a very dark comedy. Like most murder mysteries there are a lot of characters most foul, and even more important, there is double-crosses upon double-crosses. In the story, Joan Chandler’s (Jessica Graham) husband has been dead for a year. Not happy with the way he was treated by his friends, she and mutual pal Michael (Christopher Soren Kelly) decide to take matters into their own hands, and make things right by… well, the title is more than just a hint. The cast is really tight, like they’ve been doing this particular piece for a while. Solid professionalism. While there are some standout performances, there is not a weak moment in the acting, from opening scene to close. That being said, it feels like the camera loves Graham and either keeps gravitating to, or lingering on her. Luckily, Graham can handle it, as she says so much with a snide smile, a frown, or a subtle shift in mood. Kelly is the yin to her yang, a ball of kinetic energy to her nuances. They spin around each other like a double helix, boosting each other’s characters. Of course, little is as it seems. There is a lot of smoke and mirrors, as there should be in this kind of story, and I recommend giving yourself enough time to watch it twice. In case I haven’t made it clear, this is a strong and solid piece of work. The writing is crisp and sharp as a razor, which never takes the easy way out.

Original full review HERE

Parasites

Written, produced and directed by Chad Ferrin

Three college jock-types are roaming around the big bad city and get lost. Not a good thing, especially in the neighborhood in which they’ve landed. This area of Los Angeles is not color-oriented, but it is certainly greenback poor, with homelessness and frustration-fueled anger; that’s a volatile mix in an indie screen world. As the dudes drive around trying to find their way, they make obnoxious comments about the homeless they see. Then, they run over something and get a flat. And that is where the story really takes off, as they are confronted by a mob of homeless men (and one woman) who don’t take kindly to strangers in their neighborhood. It quickly escalates, and before you know it, one of the trio, Marshall, is running down the street nekkid in fear for his life, with a band of bums out to even the social score a little bit. The patriarchal and dictatorial leader of the mob is Wilko (Robert Miano) who exudes anger, hate and racism beautifully. He is a narcissist who blames others for his own actions. One could argue that he is a product of having nothing left but ego, but I could also see that it could be part of what brought him to that level in the first place. Quick to adapt, Marshall does what he needs to survive, as he becomes the focus of a distorted version of The Warriors, without the fancy costumes and catchy dialogue. He has no choice but to come on out and play as he is hunted down by the urban version of the backwoods mob. It becomes a question of how does one win against a group that has nothing to lose. The added social commentary is as Marshall becomes more and more identified by strangers as a homeless person, wearing their clothes and being African-American, demonizes him as “Other.” The ending is effective, albeit predictable, considering the zeitgeist of the film’s tone and story direction. It’s a worthy viewing.

Original full review HERE

Pig Pen

Directed by Jason Koch          

Recently, there have been a series of gritty, realistic stories that are there to disturb more than distress; we’ve seen it before in films like Suburbia (1984), Scorsese‘s Mean Streets (1973), or even The Day of the Locust (1975). The difference is that of late, realism has faded away into the static camera of torture cinema which is less about story than effects; realism is just the opposite, even with its level of gruesomeness. I didn’t really have any expectation about this film, so its level of initial low-key grittiness took me by surprise. Here, Zack’s (Lucas Koch) world is one of dysfunction. The tall and lanky13-year-old stoic skater, whose school nickname is Pig Pen, lives in a home where nothing gets cleaned and supper consists of cold cereal mixed with water. His mother is zoned out on booze and pills, and her new, abusive “entrepreneur” boyfriend pimps her out and sells drugs. Insisting that Zack bring in some money, suggesting by doing what the guys on the corner do for cash, the boy is thrown to the streets, where we watch as he learns to survive amid desperation, stealing and violence. As a nice move, Koch edits in flashback scenes throughout that lead up to the present, as we see how life has spiraled out of control step by step. Of course, the past catches up in an explosion. This film doesn’t pull any punches. It gives a realistic feel of the dangers of living on the street, including gangs and perverts. But Zack isn’t like other boys his age. His moral compass has already been turned up this side of Sunday, and he isn’t beyond thievery even before the boyfriend. Like Dustin Hoffman’s character in Straw Dogs (1971), Zack will fight for his life no matter what it takes. This is an intense film right from the start, and it just keeps building right until the very end. Its sheer level of everyday kind of violence means the story begets the violence rather than the other way around, as in most films of this type. It really is a horribly beautiful film. The editing, the lighting, the camerawork is all spot on. If you’re in for a good story with some excellent writing and acting to back it up, tension that is palpable in a building crescendo, and some way-above standard physical effects, this will be a good direction to go.

Original full review HERE

NOT FAVORITES:

Before I Die (aka Wake Before I Die)           

Directed by the Jason Freeman and Todd Freeman (aka the Brothers Freeman)

Pastor Dan (Robert McKeehan) and his cheery wife Cindy (Audrey Walker), their sullen young teenage daughter and pre-teen son move to a small town in Oregon to take over a church. Soon after they get there they are put in charge of troublesome teenage Sally (Nouel Riel) to keep her away from her stereotypically cinematic greasy headed and leather jacketed boyfriend, Mark (Joshua St. James). A pattern then starts to emerge here, as sure enough there is some kind of local killing cult. Still, there is some issue with getting some momentum in the story. Cinemagraphically it certainly looks good, but the writing is plodding and could use some serious editing and honing down. For example, one character warns Dan, “Strange people dream strange dreams, Pastor. Even about others…Some people are prone to believe such things here because this is a place where such things can be true.” At the very least the script needs a good Thesaurus. Nearly half way through, it’s hard to tell there’s anything really wrong, except for the minor-key sountrack. There is a murder scene that happens with some beautiful editing overlapping the killing and the events after, which in itself would make a great short, but as a whole it drags the film down, and could have been shown in just a few minutes. The third acts picks up the pace quite a bit, and the ending is a bit of an anticlimax, but the film has a decent 20 minutes in it towards the end. Still, despite the editing and lighting, it goes on too long. Much of the acting is also a bit dicey and wooden here and there, especially the unengaging lead who seems to mostly sleepwalk through his role relying more on a wholesome look, with an occasional brow roll or eye squint to show emotion. Part of the problem is that the cult doesn’t really have a focus, other than being a group of non-Believers (and they – shock! – dress in black, wear frilly party masks, and drink alcohol), bringing us to the realization that this picture is a Christian-pointed release with a literal Amen at the end. That alone might drive off some off (and bring others into the film’s…err…flock), but that is not what got under my skin; rather it was the poor writing and monotonic acting from an unexcited/unexciting lead. All in all, the film is a solid meh.

Original full review HERE

Conspiracy Theory [aka Lake on Fire]

Directed and edited by Jake Myers

The biggest complaint about the recent Paranormal Activity film series (starting in 2007) is not that it’s in the found footage genre, but rather that it takes way too long for anything of interest to happen. It’s annoying and pointless, and fills out a film to full length when it could have been a very comfortable 20-minute short (or even less). We meet the film crew to a “reality” cable show on the Mystery Channel called “Alien Engineers,” which posits that many of our modern structures, such as Las Vegas, the Hoover Dam and Lake Mead are constructs that use technology given to humans by the “grays.” Leading this five-some is its host, the heavily orange-skinned spray-tanned Bjorn Eriksson (Ben Kobold), along with the rest being his crew, including the loony Britney Big Time (Jennifer Mills). They go to the locations mentioned above, and act like jerks. To begin though, they do nail the whole guerilla filmmaking down pretty well, as Bjorn interviews scientists and “man on the street” types, and manages to put words in everyone’s mouths, claiming that they were the ones that said it. This is both goofy and enjoyable to watch, as the non-actors squirm, or are often bemused by it all. There is a fine mixture of real people mixed with fictional characters, playing with story’s credibility in a fun way. Sadly, the film ultimately fails overall for one basic and nearly constant reason: there is way too much filler with nothing to add to the story; for example, extended scenes of drinking in a hotel bathroom or on the street. It seems like a large part of the film is mostly home movies, almost like they wanted to go to Nevada on a trip, and figured if they made some kind of story about it, they could write off the expenses. While they seem to be having fun, it doesn’t really transfer the audience (okay, to me). I don’t think it takes a rocket scientist (or ET) to figure out the end. There is a kind of conspiracy going on, but whether it’s alien or human is left up to the viewer. The last 20 minutes or so are…okay, with about 10 interesting minutes here and there, but by far the best parts of this film are the interviews. Can we please have a moratorium on found footage now?

Original full review HERE

Lake Eerie

Directed by Chris Majors

The name of this film is brilliant. The location is a huge house just off the lake. In this story, it was recently bought through a repossession auction by Kate (Meredith Majors, the director’s spouse and film writer), who has moved in to forget the recent death of her farmer husband. Having been abandoned since 1969 when its previous dashing anthropologist owner, Harrison (director Chris Majors), mysteriously disappeared, it gives the widow a way to start over through painting (and a large amount of prescription pills). Soon after she moves in post- Labor Day, most people in the area have already left. That is, except for the nice lady who lives a few doors down, Eliza (Betsy Baker, aka the demonically laughing Linda in The Evil Dead). I quickly got the heebie-jeebies about her, just from the constant use of her calling Kate “Dear.” Sadly, this “tell” is endemic of the film writing, which makes questionable moves throughout. Later we meet Eliza’s niece, Autumn (Danish actress Annemijn Nieuwkoop; aka Anne Leigh Cooper), who is obsessed with Harrison (director Chris Majors), the archeologist who used to own the joint. There are some definite issues with the story, which is quite lackadaisical in its approach. I mean, if you need to grab a kitchen knife two nights in a row (your first two nights) – once because of a big dude in the kitchen and another after a nekkid woman (Victoria Johnstone) rises from the lake and goes into your house – and then you go upstairs and fall asleep after taking pills, rather than getting leaving the house – even after a kinder spirit tells you to get out…twice – then it’s hard to feel some any empathy for that character. The story tries the “Is it real or in her head?” motif, which always is a fun twist. Actually, what Kate needs is acting lessons as she is so wooden. Majors cannot carry a film on her own as she looks like she is wincing when trying to emote. But she’s not the only one, to be fair: most of the cast seems to be either in a daze or over the top. There are few surprises in the story, including the conclusion, but for me the biggest problem is in the text editing. There are long stretches where nothing really important to the story happens. And yet, a nagging question is, will there be a sequel called The Eerie Canal?

Original full review HERE

Favorites and Not Favorites of 2013

Text © Richard Gary / IndieHorrorFilms, 2014
Images from the Internet                            

Truthfully, I think Best Of and Worst Of lists are full of shit. It is just so subjective that who cares who the particular gatekeeper is, using terms of absolute just seems too hyperbolic and un-General Semantic.

However, I am totally comfortable with the terms Favorites and Not Favorites, which is more acknowledging of what is actually being stated. Splitting hairs? Don’t care. Sometimes a Favorite can actually be a not great film, but incredibly enjoyable. Similarly, a Not Favorite can technically be well made, but either doesn’t touch me or seems to fail its purpose.

There will be no mainstream films listed here, as they get enough press (e.g., Evil Dead, World War Z). Truly indie, DIY cinema needs and deserves more attention, and that is the point of this blog, innit.

Also, I think when dealing with the indie film scene, it is important not to just get locked into year of release, because many were filmed over years due to budget constraints, are just getting distributed recently, or due to the lack of availability (or even knowledge they exist), they may not come across my vision in the year of release. Instead, my parameter is that these are the ones that are my “… That I’ve Seen This Year.”

With each film, I will link it to the review so you can find information on where to see the film, and their trailers. With one exception, this is in no particular order other than alphabetical. The most important thing to remember is that this is my opinion, not fact, so please, everyone, don’t take anything personally one way or the other.

Favorites

 

2 Hours
Directed by Michael Ballif

The only short on the list, coming in at just under half an hour, 2 Hours focuses in on the main character, who has been bitten by a zombie and has that length of time to find a group that may have a cure before becoming a ghoul himself. Using first and third person cameras angles, inner deteriorating narrative, and some wicked SFX and gore, this is worth checking out, especially since you can find it for free on YouTube
[Reviewed HERE]


The Ballad of Skinless Pete
Directed (etc.) by Dustin Wayde Mills

The director of such enjoyable films (seriously) as Puppet Monster Massacre and Night of the Tentacles, Mills reaches a new level with this sorta-kinda retelling of The Fly. Dustin is dedicated to his craft, that is certain, and with an often recycled cast that has become comfortable with each other, such as his stalwart Brandon Salkil, he is comfortable making us at ease (in a good way) in ways the body functions. His female cast is usually realistic looking women who are not afraid to show it all, and of course there is always puppetry in some evil form or another. I always look forward to new releases by Mills.
[Reviewed HERE]


Exhumed
Directed by Richard Griffin

By far my favorite film of the year. Griffin, known for such stunning genre stretchers as The Disco Exorcist, has reached a career high (so far) with this one. Most of his films are comedies, but this one is solid black and white noir that is creepy from beginning to end. He also gets some stunning performances from his cast, including a wonderful dramatic turn by Debbie Rochon, usually known for horror sex comedies. The story of an isolated group in an urban setting as it spirals into implosion is claustrophobic and riveting. Woody Allen has repeatedly tried to switch from comedies to more serious faire, but hasn`t yet succeeded. Griffin, however, has with this one.
[Reviewed HERE]


House of Bad
Directed by Jim Towns

More of a crime / murder / slasher mystery than outright horror, this tale of a trio of sisters from the wrong side of the cabin who are holed up and on the lam never lets up. Their shady past invariably catches up to them as they disintegrate as a unit, until all hell breaks loose. The cast, consisting mostly of the three main characters, is edgy and unyielding, making this an intense feature that is worthy of the big screen. Their outdoorsy setting is just a cover for the concrete in the hearts of those involved. In short, it’s a blast.
[Reviewed HERE]


Mold
Directed by Neil Meschino

Honestly, this film is more fun that great, but it is a lot of fun. A gooey joy ride from beginning to end, it would actually make a fine joint feature with The Ballad of Skinless Pete and/or Street Trash (1987), though the tones are quite different. This is a goofy comedy with some over-the-top acting, a storyline that is somewhat implausible, and just chock full of great effects. It doesn’t get boring for a second, even if it’s for ridiculous reasons. A great party film.
[Reviewed HERE]


Murder University
Directed by Richard Griffin

This is the second feature on this list by this director. It is a slasher comedy, but it has some solid acting, good writing including some original and unexpected moments in the genre, and is sharp as a tack on production. The gore level balanced with the humor is at just the right amount and looks great, without beating you over the head with it (pun intended). The story is about a shy guy who ends up at a college where many, many, many mysterious murders occur. It is a fine mix of humor, smarts, and sharp objects.
[Reviewed HERE]


Profane
Directed by Usama Alshaibi

Artsy fartsy cinema is not something usually expected in indie horror, but this one has bite, in a BDSM mode. We follow a dominatrix of Islamist background through Chicago as she tortures clients, has conversations with taxi drivers in apparently neverending snow, and in a very subtle touch, is being haunted by a djinn. There is no blood or gore, but it is kind of uncomfortable watching real domination scenes with naked men being tortured for cash (that spiked heel in the scrotum, oy, just not my cuppa). But on the other hand, under Alshaibi’s helm, the visuals and spirituality that surround the story is simply beautiful. Again, this is not an outright The Haunting of [fill in the gap] mode, but it is much more understated and delicate, exactly opposite of the lifestyle shown which can overshadow it (i.e., what you’re like bound to remember more).
[Reviewed HERE]


Not Favorites

Bad Meat
Directed by Lulu Jamen

Sadly, this is an absolute mess. A project that was started and not completed was revived when some of the actors became known through their television series work, so they pieced it together into an incoherent mess. The story of camp counselors who become infected by some kind of sexual rabies through, well, bad meat looks like it could have been a very fun ride, from the footage that was shot, and that’s what makes this so pitiful. Nothing is explained, key complete sections are obviously missing, and fates of characters are left hanging in the wind as one minute they’re there and the next, what? I actually thought there was something wrong with my DVD and that it was skipping until I read other reviews (I almost never do this) to find that, yep, that’s the film. Really, really sad and pathetic.
[Reviewed HERE]


Fear the Forest
Directed (etc.) by Matthew Bora

There is definitely a fun level of this Bigfoot on the murderous prowl flick, but it is bogged down by some terrible writing, plot black holes, some mediocre acting, and a really bad costume. If this was a comedy, it would have worked better and be more…accommodating to the questions it raises, but as a serious horror film, it just does not reach its potential.
[Reviewed HERE]



Iron Doors
Directed by Stephen Manuel

There are a lot of festival awards that have been linked to this film, including best film, best actor, etc., but it left me totally cold. Yes, it’s shot well, and the acting is fine, but I felt no connection to either of its characters, there is no explanation for the events or why it is happening, and the questions it raises left me disinterested rather than curious. It has the same isolation vibe as most of 1997’s Cube, but without the gore, or story really. This is a perfect case of what I was talking about in the introduction regarding a film that is technically fine, but does not engage me.
[Reviewed HERE]


Sexsqatch: The Legend of Blood Stool Creek
Directed by Chris Seaver

This may sound like an oxymoron, but despite it being included here as not being a good film, it is still a fun one. The characters are moronic, the writing is WTF, and the dialog ranges from dodgy to hysterical. Actually, I think this one did reach its goal of trying to be a goofy mess, but where they fail is the lack of a real story, and the use of sex is more of a tease than actuality, as you never see any body parts (other than ample cleavage, and boob grabs). The sex appears only in talk (such as, and this is a paraphrase, “Oh, last night we really went at it”). Fun but unfocused and way too meandering for its own good, and despite it being in this column, this could be an indecent way to waste some time.
[Reviewed HERE]