Review: The Breach

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

The Breach
Directed by Rodrigo Gudiño
Hanger 18 Media; Lightbulb Distribution;
Raven Banner Entertainment; Strike Media
93 minutes, 2022 / 2023
www.strike-media
https://lightbulbfilmdistribution.com/

This film is so Canadian, it should come with maple cookies (they are so good, eh). It takes place in the small town of Lone Crow, in Northern Ontario (filmed in lovely Parry Sound, Ontario).

Based on the novel by Nick Cutter and screenplay written by Cutter and Ian Weir, the main protagonist is the Chief of Police, John “Hawk” Hawkins (Allan Hawco, main character in the series “Republic of Doyle,” 2010-2014), who is one week from retirement (of course). Was his last name derived from the original version of the Canadian group, The Band, known as The Hawks?

Allan Hawco, Mary Antonini

Speaking of bands, the executive producer this film was Slash from Guns 'N Roses who also supervised the score. And there is more relative to the music world, but I will get to that later.

In a well-done pre-credit epilogue, much like a television show, it takes place on the same day as the post-credit film starts, rather than years before. This is actually refreshing for a film. In this way we are introduced to officer Connie Parks (underutilized Mary Antonini) and appropriately named coroner Jacob Redgrave (Wesley French). The coroner is there to check out the body of physics professor Cole Parsons (Adam Kenneth Wilson) that is found, but I will not give out the gruesome details, though we get to see it pretty up-close.

Emily Alatalo

This leads Hawk, Jacob, and guide/tracker/ex-girlfriend of Hawk and previously Jake (no tension there, right?) Meg Fullbright (Emily Alatalo) to head north into the bush to Links Creek on the Porcupine River to find out what happened to Parsons. This leads, naturally in these days of technology, to the overhead drone shot of the lone car on roads surrounded by forest or a boat on a narrow river, with a somber music soundtrack.

While the trio are off on their adventures, Parks (as in parks her butt in the station) holds down the fort, garnishing information on Zoom from a conspiracy-minded friend, Alex (Alex Lifeson; yes, the guitarist from Canadian musical juggernauts, Rush).

Wesley French

The house is abandoned and looks great for those of us who like deserted buildings that are on their last legs; they are fun to photograph. But there is something going on in this house: doors seem to close or unlock by themselves. The soundtrack does well to emphasize the eeriness and creepiness of the joint.

It gets even stranger with the appearance of Cole’s PTSD-affected wife, Linda Parsons (Natalie Brown), and another unexpected guest, as relationships unrealistically develop. And there is a spooky shadow on the wall… Parts of the upcoming plot points are easy to guess, though the steps to that are thankfully murky until they are revealed.

There is a bunch of films reflected in The Breach, such as From Beyond (1986), Bite (2016), Night of the Living Dead (1968), and especially The Fly (1986), one scene in particular. And yet, there is so much more. I have often theorized that when enough pre-used ideas are combined right, it creates something new-ish. In this case it also includes numerous genres, such as police procedural, body horror, sci-fi, cabin in the woods, and one that was unexpected. This has its foot in many different ones, keeping it coherent – not an easy task as previous attempts have shown – satisfying tick boxes in all of them successfully.

The relationships between certain characters are common to give it a “human” touch and possibly to make the characters more likeable, of course, but are completely superfluous to the actual story and burn up time and distract. Sort of like Hooper’s affair with Ellen Brody in Peter Benchley’s book, Jaws, which wisely never made it to the screen; it just did not matter to what was going on, narratively. This is my one gripe, so not bad at all.

Natalie Brown

I must say the film visually looks great, from the cinematography by award-winning Eric Oh, to the set designs. The blood and gore are fabulous, and the prosthetics and make-up effects by Daniel Baker and Chris Cooper are not the same old same old.

With the power of talent here, much from the world of television, it is no surprise that the acting is spot on. In the out-of-context department, it seems a lot of the cast has appeared, at some point on Canadian police procedural “Hudson and Rex” (a guilty pleasure of my own).

Alex Lifeson (on Zoom)

The director, Rodrigo Gudiño, is the founding editor and publisher of the Canadian horror fiction magazine Rue Morgue, and this may not be his first time behind the lens, but it is his first feature length release. An excellent start.

The Breach is available on Sky Store, Virgin Media, AppleTV, Google Play, and Amazon.

IMDB listing HERE

Review: Something in the Dirt

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

Something in the Dirt
Directed by Aaron Moorhead and Justin Benson
XYZ Films; Rustic Films; Lightbulb Film Distribution; Strike Media
116 minutes, 2022
www.xyzfilms.com/something-in-the-dirt

I belong to a few horror groups on Facebook, and this film has cropped up in comments on occasion. It sounded interesting so I was determined to review it here.

The film centers around two life-stagnant neighbors in Los Angeles, John (co-director Aaron Moorhead) and Levi (co-director and writer, Justin Benson). Scruffy and multiple-tattooed Levi, who drinks a lot, has moved into a new apartment with practically nothing. He meets downstairs neighbor, prim and proper John, who is a math teacher, photographer, and has recently separated from his husband.

Aaron Moorhead, Justin Benson

What binds them together is swapping cigarettes (they smoke a lot), and a strange crystal object that Levi has found on his doorstep. At certain times, the rock begins to glow, throw off odd lights, and levitate. They decide to work together to make a documentary about the strange phenomenon, setting up cameras and sound equipment focused on the crystal that Levi initially used as an ashtray.

The purpose of their attempted documentary is to gain some possible influence in the world, and perhaps even make some seed money for future projects (and better their lives). What stands in their way is both the dynamics of the two, lack of skills, and also personality differences with each other as time passes. But there is also the influence of the crystal, as it gains more power to influence objects in Levi’s apartment and then beyond.

It's subtle, but the crystal seems to also affect the personalities of Levi and John, making them verbally strike out at one another, even knowing they need each other. Or perhaps their different personalities are just starting to grate on each others nerves from constant close contact, like a band on the road in a van (e.g., Daltrey and Townshend often engaged in fisticuffs on the road early on).

The assemblage of the film is quite interesting, such as when many topics are discussed in conversation, from the intellectual to the mundane, and we are shown examples of it in a number of b-rolls with very quick editing. This definitely breaks up looking at mostly John and Levi, who dominate the cast, with just minutes given to the few other characters present. Most of these are “Interviews” with the pair individually, and with some “experts” in the field. On some level, their desire for fame has been met.

If I was to describe the film in a single phrase, it would be “wordy.” There is a lot of talk and most of it philosophical, math-driven, and then add in electromagnetism and conspiracy theories. The film does not talk down to its audience, but it also was above my head at times (and I have a Master’s), as they try to figure out why this phenomenon is happening. John is more educated than Levi, and shows it off as much as possible. Personally, I found John a bit unlikeable and insufferable. They both have their faults and we learn more oof Levi’s history than John’s, but John is always showing off with his theories. I found him annoyingly self-righteous.

That being said, the acting by the two leads is sensitive and nuanced at the same time, and kudos to them for that. Nearly every other character is seen in snippets, or brief talking heads interview, and are intentionally stiff, as are most in talking heads interviews.

Benson, crystal, Moorhead

The sets are pretty simple, mostly in Levi’s sparse apartment, and the SFX are well done, though mostly lights flashing and levitation of multiple objects (and people). The story itself is both simple and complex, alternatively. The basic premise of a recurring supernatural event(s) mixed with nearly academic-level language (to me), make this an odd stew of the sublime and quirky.

It is no surprise to me this has been getting a lot of attention. It is quite arty, with the b-rolls and general editing and cinematography, and yet it is visually accessible without being too “showy.” Moorhead and Benson have a lot of experience in writing, directing, acting, and cinematography, and I see a lot of those skills represented in here.

Something In The Dirt was an entry in the Sundance Film Festival and is currently in UK Cinemas. It will be on Digital Download and Blu-ray in early December.

IMDB listing HERE

Review: Galaxy Games

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

Galaxy Games (aka Sol Invictus)
Directed by Ben Carland
High Octane Pictures; Event Horizon Entertainment
84 minutes, 2022
https://pixelpictures.net/sol

Wisely changing the name of the film from Sol Invictus (meaning The Sole Undefeated), the new title is supposed, I assuming, bring up tingles of the popular and profitable The Hunger Games franchise, as well as hinting at Squid Game (2021). Actually, it was a smart marketing decision.

For this sci-fi drama, groups of rival Academy students (I’m not sure if they are meant to be high schoolers or college level, but the cast is definitely older than the range in the story) are sent off to another planet to participate in the Sol Invictus. The plan is to succeed in science and personal growth, and in Hunger Games fashion, only the winning team gets to go back to Earth.

Of course, pretty soon, things go off the rail, as the rival groups are stranded on that planet. Right off the bat, I am wondering if this situation is accidental, or part of it all, like in Stephen King’s 1979 novel, The Long Walk. Part of their problem is that not everyone shows up due to a malfunction, and worse than that, most of the supplies are somewhere in limbo as well… including a large portion of the food.

One of the team captains assumes totalitarian style methods to still try and accomplish the goals of the game (“I still have a competition to win”), so they can get home. Considering all that is going on, will Earth even miss them? The whole point of the story is to get them stranded because the masters of the Games do not like “mediocrity.”

The landscape of the planet confuses me a bit as it looks a lot like Earth. The heavily testosterone-laden group (no women in the Academies back on Earth? Damn that Supreme Court) arrive on a desert plain, with an ocean just over the hill, yet they can be seen running through a forest.

Of course, they are not alone, as you can tell with the film’s poster art. There are creatures on the planet, known as Hunters, that look like a cross between a beetle and an arachnid (among other insecty things like worm-snakes), signaling a Starship Troopers (1998), though budget constraints limit the number of CGI beasties. I should note that even though the budget is low, they look decent for what it is.

Perhaps a good question for the makers of the film would be, to whom exactly is this being marketed? All the male actors look like they just stepped out of a 1990’s boy band, so perhaps teenage girls? The sci-fi action may bring in some teen boys, but this is definitely not aimed at the adult market, unless perhaps one is into cosplay mentality (not meant derogatorily at all). Mind you, this is a level above, say, The Power Rangers (no full body monster costumes, for example), but it is also hardly sophisticated enough to be a generalized attraction for a wide demographic.

It is, however, relatively high energy, with the angst of Dorothy wanting to go home, but with handheld shaky cameras in the action scenes to emphasize the drive of the events onscreen.

Like Robert Heinlein’s 1959 Starship Troopers novel more than the film version, this is a treatise of how the government has become authoritarian and militaristic mindset has settled into a norm. It actually is interesting to see this film in a time when one political party in the US is using militaristic methods to grab control the populace, though no mention of religion is present here.

I can guarantee I will not be the first to say this, but there is definitely a Lord of the Flies (1963, 1990) vibe to the toxic macho masculinity of who gets to run the shebang, with kindness or cruelty, depending on the one grabbing the ranks at any time. This changes a number of times throughout, as some people disappear for various reasons, or others pop in from the Games.

This is not as savage as Flies, however, in that despite some deaths, from creatures or of human origin, there is cooperation and bonding mixed in with the duplicity of loyalties (i.e., to self vs. the Social Contract). It occasionally feels like The Martian (2015) idea, as the survivors adapt to their environment.

The cast is actually well seasoned with many credits to their names in most cases, so the acting is on line for the story. Tyl (Jake White) is obviously the lead from the start, and does well in the role. My favorite character, though, was Howard (Tyler Thomas), as the quirky guy. Then there is the bully of the batch, Lex (Sky King), who takes an action I do not believe as it is against his very character…but I will forgive it for the “Kumbaya” moment

For what it is, a film geared to the teenage mind, with no cursing, no nudity, very little blood (though one gross scene of infection), it was relatively sci-fi with some social commentary, where is just where sci-fi should be: there is an old axiom that states that films about the future are actually about the present. In this political climate, I can see that.

IMDB listing HERE 

Reviews: 5 Various Giant Insect Films: Insecticidal; Insectula!; Bug Buster; Tsunambee; Dead Ant

Reviews: 5 Various Giant Insect Films

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

Giant insects in films were common during the 1950s and ‘60s Cold War period with the threat of mutation via nuclear radiation, with such fare as Them (1954), Tarantula (1955), The Deadly Mantis (1957), etc. Sure, there were a few after that craze died, such as The Giant Spider Invasion (1975) and The Mist (2007), which seemed to mainly effect spiders, but slowly yet surely it fizzled out as a major theme, becoming more of a sub-genre. But luckily, there are still films being made, sometimes concerning a number of creepy crawlies and others a single beastie; and that’s what this blog is all about. Bugs and insects.

These films below are not ranked, but are listed in the order in which I watched them, all from TubiTV. Note that my snark is truly meant to be fun and rib-poking with a touch of stream of consciousness. I had just the right low-budget expectation for these films, so I was not blindsided by anticipating a theatrical extravaganza experience. After all, when it comes to the cheese level, there are times when ya want melted brie on toast, and at others, Cheez-Whiz on animal crackers. I enjoyed these films for precisely what they are. Links to the coming attractions for all of them are at the bottom of each review.

 

Insecticidal
Directed by Jeffrey Scott Lando
Riptide Entertainment; Incisor Productions; Way Below the Line Productions
81 minutes, 2005

Before even starting out, I am going to assume this Vancouver-filmed flick is a comedy, due to the volume of cleavage and the fact that every female’s name end with an “i”. For example, there is lead character, Cami (girl-next-door cute Meghan Heffern), her bosomy bestie and sizzling sibling Sophi (Samantha McLeod), and her rival/bully, Josi (Rhonda Dent). They all live in the sorority house (of course) of Eta Epsilon Gamma – though it would be better as Beta Epsilon Gamma, or BUG – where all the residents are bikini-ready model types, Cami is studying entomology. Her room is full of live experimental insects in glass enclosures to whom Cami has named, such as “Boris,” including a scorpion, a horned beatle – er – I mean beetle, and a praying mantis, while being hit on by her nerdy hanger-on who is more interested in trying to date Cami than actually be her friend, Martin (Shawn Bachynski). The latter mentioned insect scares Josi as she’s doing the wazoo with her boyfriend, football player Mitch (Travis Watters). Surprisingly, the sex scenes and nudity are visually fuzzed out, which is a bit annoying. If the actors are going to go through the trouble of taking off their clothes and doing extra-curricular activities, including the obligatory gratuitous shower scene – both females and males, in this case –, the viewer should be able to appreciate their hard work. I’m just sayin’. Fortunately they leave in the blood and gore rather than visually edit them out. So, Josi sprays all the critters with insecticide, supposedly destroying Cami’s work, that in the real world would have gotten Josi kicked out of the university, but here she’s just another bully. And this is all before the credits. No one seems to care that Cami’s life work may be destroyed by some sorority bully, which honestly pissed me off. The insects become larger and badly CGI’d, (although not too bad for the budget and the technology at the time this was filmed over 15 years ago) thanks to a mixture of DNA experimentation by Cami and, for some reason, the insecticide, rather than killing the creatures, it makes them grow, and more intelligent. One of the great things about sorority (or fraternity) houses, is an unlimited number of victims – both the residents and their boyfriends – for the titular creatures to sting, munch and run amok over. Meanwhile, over time, the buggies are getting increasingly dangerous, and starting to use at least one person as a host for what looks like tapeworm larvae, like the guy with the spiders in The Mist. There really is a lot of silliness throughout, though it seems much of it unintentional, and the film focuses a lot on Sophi’s push-up bra (no complaints there), but there actually is some nice kills throughout as the story builds. By the halfway point, all is clear as to what is happening to those that are left, and the aim is to survive as they get picked off one by one, as is the rule of the jungle, or at least of the lairs. In all, this is a pretty silly film with an ‘80s style of over-emoting acting and, given the setting, reminiscent of the flavor of Night of the Creeps (1986). Lots of cheesy gore, a ton of (blocked out) nudity and sex, so in the right frame of mind, this could be a fun ride if you don’t take it anywhere near seriously. It seems like the actors were having fun making this, especially Dent, so why not watch it?
Trailer is HERE 

 

Insectula!
Directed by Michael Peterson
Digital Mèliés; Adler & Associates Entertainment
101 minutes, 2015
https://www.facebook.com/insectulamovie
http://insectula.blogspot.com/

While the last film I reviewed above was a throwback to the ‘80s, this one delves even further to a ‘50s-type fetish/quirk. You can tell by the exclamation point in the title and the unblinking introduction suggestive of many William Castle releases, right off the bat. On another planet of CGI monsters, one of the creatures spits out something into space that is reminiscent of the creatures firing weapons at Earth in Starship Troopers (1997). Only this time it’s a mutant giant mosquito type beastie who lands in White Bear Lake near St. Paul, Minnesota (where this was filmed) rather than an ocean, as with Cloverfield (2008). It is attracted to Earth by CO2 and global warming. I like how they incorporated the name of a blood-sucking insect with Dracula; that was quite clever. Yes, this is a comedy, and a bit on the broad side as there is zero subtly here. When Insectula kills its first victim moments after landing in the lake (her floating head looks really cool in a cheesy way), it has already made a mistake by doing in the (unrequited) love interest (Hanna Hudson) of our hero, balding and fake mustachioed EPA Agent Del Delbiondo (Pasquale Pilla). Meanwhile some FBI forensic scientists get on the – er – head case, such as pervy Dr. Heinrich Kempler (Harrison Matthews), and his assistant, Brittany Sax (stunning Arielle Cezanne, for whom this is her only IMDB credit to date; her character reminds me of both Lee Meredith’s Ulla, from 1967’s The Producers, and Traci Lords in 1988’s Not of This Earth). Bug – I mean but is Kempler there to help the victims or the insect? Hey, there is a reason he has a German accent. The creature itself actually looks pretty good, as a cross between a mosquito, a spider, and a scorpion; well, after all, it is from outer space, not from local pond scum. And, apparently, it’s fast enough to land on a flying commercial airliner in mid-flight, in a possible indicator of the infamous episode “Nightmare at 20,000 Feet” on “The Twilight Zone” (1963). There is also a brute of a man who is mostly mute, a bald baddie named Lobo (Joel Thingwall), who is certainly modelled after Tor Johnson. For a low budgeter, the level of effects – and there are lots of them – run from looking really cinchy (such as a building which is obviously a model; again, a throwback nod, as is the outside of Kempler’s house, reminiscent of the Aadam’s family abode) to really good gore practical SFX, and some CGI as well (the titular insect is both, depending on how it is shown). The gore is abundant and effectively meant to gross out the viewer, certainly a saving grace for others who have issues with throwback films (I enjoy a good romp into retro). Speaking of which, while there is no sex, there is a lot of sexuality, such as multiple shots of cleavages, beautiful women, and even a slow-motion pillow fight (yeah, you heard me) by two women in lingerie. The film is, however, a tad too long, and there is lots to choose what to excise and put into the Deleted Reel, such as an extended sequence of a grief-stricken and drunk Del near the beginning, that looks really good, but adds nothing to the story. There also some fun inconsistences that I am sure were done purposefully, such as Brittany’s name badge not only switches back and forth between FBI and EPA, but also from left to right side of her jacket, and back, sometimes all within the same scene, kind of like Vincent Price’s switch from jacket to vest and back in The Last Man on Earth (1964). This is the director’s sole feature film helming credit, as his history is of commercials and industrial films. I would like to see him do more.
Trailer is HERE 

 

Bug Buster
Directed by Lorenzo Doumani
DMG Entertainment; Shoreline Entertainment
93 minutes, 1998

Considering the relative star power in this film, some on their way up and some on their way down, I’m amazed I’ve never heard of it before! It stars the likes of right-wing conspiracy nut Randy Quaid (as the titular exterminator), George Takei, James Doohan, Katherine Heigl, Meredith Salenger, Bernie Kopell, Anne Lockhart, MTV’s annoying Downtown Julie Brown, the underrated Johnny Legend, and more! How did they get so many? My guess is because this is a very broad comedy, and on paper seemed like fun. Filmed in Big Bear Valley in California’s San Bernadino National Forest, it’s kind of a cross between Arachnophobia (1990) and especially Ghostbusters (1984); this film’s tag line, for example, is “There’s something creepy in the neighborhood…” Subtle, right? This film may be approaching being 25 years old, but that is not to say that it is not prescient. What I mean by that is in the story, in order to take care of the medfly problem, a state’s government uses a pesticide, despite the warning of a scientist, Dr. Fujimoto (Takei). Is the governor a possible role model for anti-science anti-learning DeSantis? The introduction to our exterminator, General George (Quaid), is a television commercial that is a cross between said Ghostbusters and George of the Jungle (the film version came out in 1997, the year before this; the cartoon is from 1967-‘70). Meanwhile, the bugs are acting up much like the amphibians did in Frogs (1972), which seems to be a strong influence on this release, in retaliation for the actions of humanity…well, at least that (I am assuming Republican) governor. The first we see acting up are roaches, so if you are squeamish about those little buggers (pun intended), this is your trigger warning. And these are the bigger, South American roaches with the segmented backs that are often used in horror films, rather than the more common American roaches (aka waterbugs) or the smaller German roaches, which are most prevalent (at least in New York). These roaches are seen crawling all over a woman in bed, and they are not CGI. The main focus of the story is on a family, Gil (Kopell), Cammie (Lockhart) and their daughter, Shannon (Heigl) who buy the Black Forest Lodge in Mountview, a burg in rugged Northern Califor-ni-yay, which you just know is going to be in the heart of bugsville. Almost like it is switching topics, suddenly there is something in the lake that is attacking people, such as porn-star named Veronica Hart (Salenger), who is the local sexpot, Sherriff Carlson (a normal voiced Doohan; d. 2005), the pretty town Doc Casey (Brenda Epperson), the crazed ex-preacher and perv Judediah (Dennis Fimple, d. 2002, whose last feature role was Grampa Hugo in 2003’s House of 1000 Corpses), the lodge’s manager, Allen Lulu, who is all over Canadian television as the representative of A&W Burgers for over 20 years), and the possible love interest for Shannon, auto mechanic Steve (David Lipper, who was Viper on “Full House”) who is cool (you know that because he’s usually wearing sleeveless shirts and has just the right amount of hair oil to be slick but not greasy looking). Meanwhile, damn, I’m not even 15 minutes into this thing. One of the aspects I enjoy about films from this period revolve around technology: old computers with laughable graphics and modeling, and what now might be known as a Siri voice, but it was not really available back then as far as I know to have the computer read out what is on the screen (though it helps the audience who may have issues with reading skills). Anyway, people are dying from these mutant and large (relatively) roaches and centipedes. But once that Medfly insecticide gets used, the mutations go out of control. And when it gets even worse because of it, who they gonna call? Not John Goodman, but rather General George, natch. The third act kicks into gear with the arrival of over-emoting George (a decade after Quaid won the Golden Globe for portraying LBJ). What gore there is looks really good, and other practical SFX are quite decent. The large bugs are puppets or man-in-costume, but with the exception of a brief and laughable by today’s standard CGI when it flies, all the rest seems mostly physical. As for sex stuff, there is one awkward and unexpected lovemaking scene that I’m sure will not turn anyone on, and the one shower scene, it’s pretty obvious Heigl had a body double, even through frosted glass that obscures any bits. The theme of the film is kind of reminiscent of releases like Squirm (1975), where the little beasties overwhelm a town. Most insect/bug rampage films tend to be comedies, and this one is more on the quiet side, but it is definitely present. The attempt made by Downtown Julie Brown as a callous news reporter (that she is from station FUFU, or FU2, is funnier than her), however, falls flat on its face. Speaking of which, there is lots of bad ‘70s-style television acting by just about everyone that, with some exceptions, is part of its charm.
Trailer is HERE 

 

Tsunambee (aka Tsunambee: The Wrath Cometh; Waspnado)
Directed by Milko Davis and Thomas Martwick
Churchill Film Group; Artist View Entertainment; Wild Eye Releasing
82 minutes, 2015
www.facebook.com/tsunambee
www.wildeyereleasing.com

This release definitely has the feel of the apocalyptic genre, such as 2012 (2009), The Day After Tomorrow (2004), and Geostorm (2017). Perhaps this was inspired by real-life Murder Hornets and the films Sharknado (2013) meets [Fill in the Blank] of the Living Dead. For this lovely, it is obviously large bees that are the issue, to start. Now, in full disclosure, I have a fear of bees, though not to the level of a phobia. What I do have a phobia about is religious films, and I am worried about this one, which begins with a person making and carrying a cross, and an opening title card that quotes Revelations, from that book of fairy tales and historical fiction that many people take way too seriously out of fear of retribution. I am hoping that will not be a consistent theme throughout. Dialogue is along the lines of “What do you suggest we do out there?” “Pray. Pray hard.” Oy vey. The tone of the religious overbearingness is as washed out as the visuals, which have a yellowish tint, as this looks like it was all filmed with the camera’s aperture open just a bit too much. Some modeling is used, and there is a lot of CGI; the bees do look cartoonish (but then again, to be fair, the real Murder Hornets do, too), and are about the size of cats. Between natural disasters like earthquakes, and swarms of these stingers, our cast is in danger. There are three groups of people who hate each other who have to work together: there’s the main protagonist of the story, Sheriff Feargo (Stacy Pederson), three African-Americans just trying to pass through the small town (filmed near Colorado Springs, CO), led by religious non-believer JB (Ruselis Aumeen Peery) and the rednecks represented by bully/coward Jesse (Shale Le Page). What is fun is that the sting does not kill the victim, but turns them into murderous zombies (zom-bees?). The religion really starts to grab hold when our motley crew end up at the farmhouse of religious fanatic farmer (Jeff Pederson, who I’m assuming is related in real life to the Sheriff) who spouts Bible passages like Psalm 23 and claims “The Lord will protect you.” Yuck. And the farmer’s young pre-teenage daughter, Cassandra (Thea Saccoliti) seems to be a prophetess who talks to god, so of course she is named after the seer character in Homer’s The Odyssey. I’m happy to say the two adult women – the Sheriff and Chica (Maria DeCoste), of JB’s group – bond first, and slowly but surely, they all start to work through their particular issues (racism, past histories, etc.) At the end of the second act, I have to wonder, what good is guns and ammo going to do against a swarm of a million…bees? Wasps? This is total Republican thinking, that guns can solve anything. And that the Lord (there is no mention of Jeebus) will protest those who believe. I understand why they had the original subtitle of “The Wrath Cometh,” and also why they removed it for the general audience. The story, stripped of religiosity, is pretty enjoyable, and the zombie effects look great. Of course, there is no nudity, no sex, and not even cursing. All in all, this would have been a much better film without all the damn preaching throughout. I felt like I was watching a Kirk Cameron/End of Days pieces of nonsense, and found myself often annoyed by the Christian symbols and comments that came way too often. Even the end credits are shown over a rendition of “Amazing Grace.” Speaking of which, if you make it as far as the credits – and again, storywise by itself it may be worth it if you can get through all the preachy dialogue – there is an extended epilogue in the middle of the final scroll of names.
Trailer is HERE 

 

Dead Ant
Directed by Ron Carlson
August Heart Entertainment; Arctic Zebra; Little Stephie Films
87 minutes; 2017

This comedy takes place in 1989, concerning a hair band called Sonic Grave (sounds more hardcore punk than hair metal, but whatever), who had but one hit in their career. Rather than giving up the ghost, they stick together and go on a road trip with their manager, Danny (Tom Arnold) to what the band believes is Coachella, to revive what’s left of their calling, and relative dignity. Their plan is to stop off at Joshua Tree and write a hit song to premiere on the stage that will wow everyone, and bring them back to fame. Best laid plans, right? Along the way, the drummer Stevie (Leisha Hailey, of the bands The Murmurs and Uh-Huh, and the television show “The L Word”) and bassist Art (Sean Austin, in a really bad wig, who mentions at one point that he’s from “the shire”), purchase some powerful peyote from a vegan Native Person, Bigfoot (Michael Horse) and his partner, Dynamite (Danny Woodburn, who was recurring character Mickey on “Seinfeld”), who warns them not to kill anything while they are on the drug, or they will be cursed. And, as the title of the film will inform you, that doesn’t happen, leading to a near-Them (1954) experience. The other band members are vocalist Merrick (Jake Busey), and dark-haired guitarist Pager (Rhys Coiro), who has a great tattoo on his hand of a 45-spindle adapter. Also along for the ride is Merrick’s groupie, Love (Cameron Richardson). Along for the astral experience are hangers on Sam (Sydney Sweeney) and Lisa (Joi Liaye). Hey, the more the merrier, and the more the carnage by the killer CGI fire ants that are the size of hamsters at first but grow to automobile sized. I have to admit that this film is ridiculous (well, Tom Arnold…), but it is engaging and certainly humorous (again, Tom Arnold, who appears to ad lib a lot). The ending is a bit fantastical, but then again, we are dealing with giant, intelligent ants. The characters are oddly sympathetic in most cases, and are true to their characters. There is some interesting incidental music, such as criminally underrated Slade doing “Cum Feel the Noize” (rather than the mediocre Quiet Riot cover). And make sure you stick around for the song that begins the final credits. There are a lot of films about bands being threatened by the likes of killers (2015’s Green Room), the Debbil (Devil’sMusic, 2017), vampires (Suck, 2009) and so on, but this is a first for giant ants (perhaps inspired by the Blondie song?) 
Trailer is HERE 

Documentary Review: In Search of Tomorrow: A Journey Through ‘80s Sci-Fi Cinema

Text © Robert Barry Francos / Indie Horror Films, 2022
Images from the Internet

In Search of Tomorrow: A Journey Through ‘80s Sci-Fi Cinema
Directed by David A. Weiner
CreatorVC
301 minutes, 2022
https://80sscifidoc.com/
@80sscifidoc
www.creatorvc.com

Science Fiction can run from the sublime, like 2001: A Space Odyssey (1968) or Silent Running (1972), or it can fall into the B-level category of the likes of The Green Slime (1968) and It! The Terror from Beyond Space (1958; this was the basis for 1979’s Alien, as 1951’s The Thing from Another World was remade as John Carpenter’s The Thing in 1982). Despite some well-done classics such as the first two mentioned above, by the mid-1970s, Sci-Fi was a second-rate citizen as a genre, producing mostly cheese with bad effects.

This all changed in 1977, with the release of a little film called Star Wars, which reignited the genre aflame, giving rise to both big budget bonanzas and cheapie imitations, but the spark was set. In a perfect storm, this upswing came right on the advent of the VHS market, further spreading the fever. Please note that I am writing this intro before actually watching the film, so I am not sure it will reflect my sentiments. And so, it’s time to start the show. Cue Bugs and Daffy.

The focus of this all-star documentary is that period in the 1980s when everything exploded like all those ships in the film version of Battlestar Gallactica (1978).

After the initial introduction, which briefly goes as far back as Georges Méliès’ 1902’s A Trip tothe Moon, and various other highlights, with Wil Wheaton explaining how before Star Wars, most sci-fi was nihilistic and was a warning of things to come, such as The Day the Earth Stood Still (remember, sci-fi is not about the future or the past, but about the present of when the film was made).

This is followed by a host of hosts: interviews with actors, directors (such as Joe Dante, Paul Verhoeven, and John Carpenter), writers (both screenplays and critics), production crew, composers, and vloggers, etc. What is really nice is that the documentary does not only talk about the top-tier releases, but also the relatively smaller ones that did not raise as much of a blip as the multimillion-dollar mega-effects bonanzas. Year by year, they focus on film by film, so while there are the obvious ones like Star Wars: The Empire Strikes Back, E.T: The Extra-Terrestrial, and Blade Runner, I was pleased they went into detail about the likes of Saturn 3, Yor, Galaxina (RIP, Dorothy Stratton), and Spaceballs.  

One thing I hadn’t made the connection to before, while watching the segment focusing on Flash Gordon, is that the top effects in that film and many others of that period, are now in-reach and equal to numerous low budget Sci-Fi/horror film genres of the present day. In the less sophisticated CGI of the 1980s, it was a wow factor, but now one sees it compared to what the major studios are putting out, say the superhero releases, this was pretty basic by today’s standards. Sometimes modern films will try to purposefully look like the ‘80s as a “flashback,” but technology for indie and low-budget films have actually caught up to the ‘80s majors in their technology, especially with green screens. This is especially true with animated films discussed here, such as Heavy Metal, Tron, and the amazing anime Akira. I’m rambling a bit, so I hope this makes sense.

Among the looks back at particular films, between each year there are also segments of about 15 minutes each that give some grounding to the genre of the period, such as “Cold War Kids,” which talks about how people of that generation – especially kids – were immersed in the threat of the possibility of a nuclear bomb going off at any moment. As a child, I still remember the drills in elementary school where we would practice getting under our desks to practice in case of a regular bombing attack, and lining up in the hallways and crouching down in case of an atom bomb. Of course, in reality, neither of those would really do anything, but we heard about it all the time, including in the cinemas encased in the messages from the films we watched. Even those like Goldfinger (1964) had a big, scary bomb. Where’s McGruber when you need ‘im, right?

While not inclusive, some of the between-years other segments include how films were marketed in a pre-Internet world, visual effects, creature effects (among two of my favorite topics), and music scores. The last one is about the technological implications of the vision in the movies, very briefly focusing on the whole “the future in the story represents the now.” There should have been more about technological determinism, and perhaps throw in a bit of Neil Postman’s Amusing Ourselves to Death when describing the likes of Cherry 2000.

Another interesting point the documentary more hints at than is explicit, is that Sci-Fi is almost always blended with something else, such as a Western (Outland; Star Wars), horror (Alien), war stories (Aliens, Enemy Mine, Predator), or social commentary (Final Countdown; Alien Nation), for example. I find it especially the latter, and the nuclear aspect or the rise of computers, robots and technological determinism (e.g., The Terminator) as expounded by the likes of Marshall McLuhan or Jacques Ellul. This “layering” is part of what makes Sci-Fi not only effective, but makes the future relatable. As I said, whenever it takes place, it’s about the present.

The only sort of repetition in the film, which is unavoidable and yet still enjoyable, is the number releases of a franchise, each of which are covered individually if they came out in the ‘80s. This includes Superman, Star Trek, and of course, Star Wars. Lot’s of “Return of…”, “Part II,” and “The Wrath…” to deal with, but these films are classic and pleasing to rehash, so it still goes relatively flying by.

Each release covered gets about five to ten minutes, and includes lots of clips of the film itself, backstage footage and bits from the trailer, and interviews, none very long (hey, there are a lot of films here). They switch back and forth between the present-day discussions (no historical interviews, happily) with the likes of Alex Winter, Barry Bostwick, Dee Wallace, Billy Dee Williams, Nancy Allen and multiple dozens of others, that it is easy to keep the viewers’ attention and interest, even over the extended time frame. I know I had to break up watching it over two days, which was no problem as it’s individual segments, rather than a narrative where plot points can easily be forgotten. Many of the anecdotal stories told by the casts and crews are especially compelling and often humorous, such as someone discussing the pomposity of Shatner on the set of Khan.

The film is not afraid to shy away from pointing out the flaws of some of the films, such as Howard the Duck and Dune, and glorifying those that deserve it, like The Fly and Back to the Future. And while the film is joyfully comprehensive, it is not inclusive. There are many films not selected for discussion, and yet clips are shown, such as Heartbeeps and Night of the Comet. But, considering the information presented and the immensity of the time, I find no fault in that regard.

This release is a follow-up to a three-part series of documentaries by the director titled In Search of Darkness (2019), In Search of Darkness Part II (2021), and the obvious In Search of Darkness Part III (2022). I have not seen these yet, but it is interesting that it is broken up into three, rather than one honkin’ five-hour extravaganza.

The whole film is a big, “Oh, yeah,” if you were a fan of the genre back in that timeframe. And seeing the people involved and what they look like now is a lot of fun, as well.  And if you are wondering, yes, I did sit through all five hours of the documentary, and smiled through most of it.

IMBD Listing HERE 

Review: Alien Danger 2! With Raven Van Slender

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

 Alien Danger 2! With Raven Van Slender
Directed by James Balsamo
Acid Bath Productions; Alien Donut Films
71 minutes; 2021
www.facebook.com/acidbathproductions/

The video starts with the same Toy Dolls silly music video with which the first film ended, but I do have to admit that it’s easy for it to become an earworm, so be warned (said with a smile)

I must say, the opening animated sequence (not sure if it’s cheesy CGI or stop-motion, of both) mixes a bunch of genres together, including a version of Japanese Mecha-Godzilla meets The Three Stooges, the Transformers, and the Power Rangers. It’s goofy (a word I’ve used and will continue to use often for these films), but I had a big smile on my face for the sheer ambition of it. Plus, there’s the cameos during it by Rob Halford (voice of Judas Priest) vs. Casey Orr (aka Beefcake the Conqueror, bassist of Gwar). And that’s before the always fun animated credits by Rob Yulfo, featuring a different song that is very similar by the Toy Dolls.

I need to make this clear: sometimes it may seem like I am insulting the film by saying the sets are cheap, the effects are corny and the acting is so over the top that they are in the stratosphere, but let us be explicit in that it is all purposeful, and it is fun because of all this nonsense, not in spite of it. If you’re looking for Star Wars, Star Trek, or even Battle Beyond the Stars (1980), well, you have either come to the wrong place or not stoned enough (note that I am straight-edge). Balsamo is infamously leaning towards the happy weed, so I am sure he is encouraging it with his films. I can understand if one gets more out of it in that headspace, but I’m enjoying it for what it is: a hot mess.

The cameo villain in this volume is General Legs (voiced by Pinhead himself, Doug Bradley), but meanwhile, genre bending is the key here, as the first segment of an actual story is leader, hero, and incredibly amusing Raven Van Slender (Bill Victor Arucan) and the same crew as the first film (this part was either filmed concurrently, or immediately after the first part), including slug sandwich obsessed Eepa.the Nood (director Balsamo), go to Ravenwood Forest in Robin Hood mode, to help King Mark Catapult (rather than Capulet; that made me laugh) and his princess daughter. Side note: I’m only 14 minutes into this thing, including the music video, Mecha- opening, animated credits, and some b-roll from the first film. To be clear to the audience, who most likely are quite lit by this point, Van Slender even points out that this is like Robin Hood and Sherwood Forest, for those baked or unread enough not to know.

Just a digression, in the first film, Van Slender’s catchphrase was the titular, “Alien Danger!” Here it’s “Adventure awaits!” However, the “Alien Danger” line is also used. No point in me mentioning this, just observing.

As with Part 1, most of the “alien” differentiation is face make-up of different colors (again, as with the previous review, I give you the original “Star Trek” series, which often employed this style to indicate difference of aliens). Here, there are also uses of some different masks, many of which actually look quite good, lots of CGI effects, and especially the use of Green Screen technology (I am convinced that “Star Trek” would have done the same if the means were available in the 1960s).

After we leave the forest, the next genre bending is based on the mythical Western at the Okie-Dokie Corral, with cowboys and cattle. Okay, forget the cattle, but there is a campfire (well, a fire pit anyway, and no beans). After the obligatory showdown, we next slide over to a world of professional wrestling, which explains the cameos by the likes of Sgt. Slaughter, Barry “Krusher Khrushchev” Darslow, and Sione “Tonga” Valihai. And still only 30 minutes in.

At around 45 minutes, the group is fighting monsters on another planet. We also find out some personal information about our titular hero. At 50 minutes, we’re back in ancient Egypt and Cleopatra (Tracee Cocco) and her killer Martian mummy(s) … yeah, you read that right. There are a bunch of short bits after that such as an intergalactic Ouija board, but I’ll leave it for now rather than cataloging.

The point of me stating the times is the indication tat there is a lot going on here. Perhaps its not a consistent narrative or cohesive story, but the set pieces keep the viewer from getting bored. After all, like puns – one of the director’s specialties to the point where he has a book published of them James Balsamo’s Total Pun-ishment; Bad Joke Book – if something that is silly goes on too long, it gets wearing, but by changing it around so much, the interest of “what the hell next?” may keep your attention.

Of course, there are a lot of cameos, such as director John Landis and the always fun Vernon Wells, who I still believe is the best character of Mad Max 2: The Road Warrior (1981), and actually shows some actual acting chop while seeming to really have fun with his role here, sans mohawk. But it is worth noting the following: used to be most of the cameos in early Balsamo releases tended to be filmed in an alley behind whichever horror convention or metal concert he attended, and usually they just insulted or beat up on Balsamo, sometimes both. While Landis is a quick come and go, others like Wells are actually incorporated into the story, in this case as a helmeted villain, The Shadow Knight (who subtly quotes John Cleese’s Black Knight in 1975’s Monty Python and the Holy Grail!). The quality of the cameos is improving.

Yes, there are more in the franchise coming, such as Alien Danger 3: With Raven Van Slender, and Raven Van Slender Saves Christmas, both expected by the end of this year.

IMDB listing HERE