Serial Review: The Green Hornet (13 Episodes; 2 Discs)

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

The Green Hornet
Directed by Ford I. Beebe (d. 1978); Ray Taylor (d. 1952)
Universal Pictures; VCI Entertainment; MVD Visual
258 minutes (appx. 20 min per episode), 1940 / 2023
www.VCIentertainment.com
www.MVDVisual.com

The last serial I reviewed was 1946’s The Monster and the Ape. And now, here we are with an even earlier one, The Green Hornet. No, do not expect Bruce Lee (d. 1973) as Kato, the role on the television series that arguably made him a household name in North America.

Not counting the extras on this Blu-ray, which I will get to later, there are over four hours of the main attraction. In the day, you would have to wait week-by-week to see the entire piece, which would be over 3 months. Now, it is all in one go, and thanks to the new habit of binge-watching entire seasons of shows, this is quite doable (though it will probably take me a few days to get through all of them, and the extras… I have a life…).

Unlike most modern heroes, such as Batman and Spider-Man, both of which came later, the Green Hornet character started out as a radio series in 1936, created by George W. Trendle (d. 1972), transferring into the serial and adapted by Fran Striker (d. 1962), thanks to its esteem. It was popular enough to snag the original radio series, two different film serials in the 1940s, the infamous television show in the 1960s, and a major film in 2011 with Seth Rogan of all people as the title character. The 13 Chapters of this program are listed below. One of the most recognized theatrical serials released, this is naturally in black and white, but it is a crisp, new 2K scan of the original 35mm master.

In this first of two series, the focus is not exclusively on the enemies of the State (i.e., spies) from the War in Europe, but the good old Racketeers and gangsters. Right off the Bat-man, in an unnamed city, we meet rich newspaper heir Britt Reid (Gordon Jones; d. 1963; note that the voice of the Green Hornet is Al Hodge, d. 1979, who played him on the radio and would go on to portray “Captain Video” on television) and his Korean scientific genius sidekick/”valet” Kato (Keye Luke; d. 1991, known as Master “Snatch the pebble…” Po from the “Kung Fu” television series). In the heavy exposition (as it is the first episode), Reid saved Kato’s life in Asia, and he is now working for him in gratitude; in the opening scene, Kato invents a new and faster car motor, which Reid states, “Wait until I release this on the world.” Wait, it was invented by Kato… Oh, yeah, it is the 1940s. Also helping in the house is brogue-speaking ex-cop/reporter/bodyguard Michael (Wade Boteler; d. 1943) who, unlike Alfred the Butler in Batman, is unaware of the Green Hornet’s identity; he is, however, the comic relief.

The other two main “good guys” are the only returning female in the cast, Reid’s feisty secretary, Lenore Case (Anne Nagel, who would star opposite Lon Chaney Jr. in 1941’s Man-Made Monster; d. 1966) and on occasion, the fast-talking reporter at The Sentinel, Jasper Jenks (Phillip Trent, d. 2001). Notably, there are only three other women who appear, all in a single chapter, and all uncredited. Future star Alan Ladd (d. 1964) has a bit part as a novice pilot (also uncredited).

A line that comes up often is “a new Robin Hood” as the incentive for the vigilante. The Green Hornet’s goal is to wipe out corruption between politicians and a variety of other scams, such as construction company who are using kickbacks to use faulty equipment and materials in their building sites, insurance fraud, a car thief ring, and so on over the course of the 13 chapters, though most of the topics are revolved around transportation. The syndicate is run by a mysterious man on the phone.

Like Batman in the early days especially, Greenie is seen by the police establishment as a bad guy, possibly trying to get rid of the syndicate to start his own. Only a loyal employee sees the good side.

The Green Hornet’s car, Black Beauty, is souped up by Kato (who was originally Japanese on the radio show but switched due to the war in the Asian Theater), makes a buzzing sound like a hornet, that I have learned is made by a Theremin. It is supposed to go 200 miles an hour, but as it speeds past the camera (in sped up footage), the sound is flat, without a doppler effect. Even that is not mentioned in the IMDB list of goofs. Strangely, most people get into their vehicles from the passenger side, rarely from the driver’s. The soundtrack that is worth noting is the nearly constant use of Rimsky-Korsakov’s 1900 “Flight of the Bumblebee,” for obvious reasons.

The acting is completely wooden as is true of nearly all B-films of the period (not just serials), as if doing stage acting, and the dialogue is laughable. However, this is truly fun to watch, and it really is better done than most other serials I have seen. It also mixed footage shot for the series, as well as adding in some historical b-roll (e.g., mining, dam building, etc.), especially in the first chapter. As for the car chases, well it is pretty obvious they play the same footage throughout all the chapters. I am sure this was a wise budgetary decision: remember, the B in B-films could stand for low Budget. These features were not made to make money on their own, but to draw people in with a stream of cliffhangers (a term originated in serials) to see the feature film and its lesser budget companion (e.g., double bill).

It is also fun to check out the tropes of the time, just before gangster films were phasing out for war propaganda and a hint of realism, though one story deals with illegal arms shipments by someone with a slight German accent (Fredrik Vogeding; d. 1942). For example, everyone wears dark suits and ties, fedora hats, and when guns are fired, they are always handguns, with the shooter standing straight up, one foot slightly behind the other, and shooting at waist level. There are numerous fist fights in every episode, and all are unintentionally humorous and cliché. Love this stuff.

Wade Boteler, Anne Nagel, Gordon Jones, Phillip Trent

There are lots of fine, subtle moments, such as the visual of a phone dial spinning melding into another location of a truck tire going ‘round. In another, Chase saying a line and cutting to one of the bad guys saying the same line. It is reasons like this that this serial was so popular.

The extras are on the second disc. They start with Don Blair and Chris Rowe reading from Clifford Weimer’s “I Am…The Green Hornet:’ Chapter Six: The Hornet in Hollywood’” (8 min). This is part of an “autobiography” taken from the perspective of The Hornet, “himself.” It is done with old-radio style vocals discussing the jump from aural to visual. Continuing with the audio aspect are two earlier radio episodes of “The Green Hornet”: “The Parking Lot Racket” (1939) and “The Highway that Graft Wrote” (1940; appx. 30 min each). The last digital extra is a Trivia (e.g., Reid is the grand-nephew of The Lone Ranger) and Photo Gallery. On the physical side is a lengthy booklet written by prolific cultural historian Martin Grams Jr.

Serial title list (disc 1):
Chapter 1: The Tunnel of Terror
Chapter 2: The Thundering Terror
Chapter 3: Flying Coffins
Chapter 4: Pillar of Flame
Chapter 5: The Time Bomb
Chapter 6: Highways of Peril
Chapter 7: Bridge of Disaster
Chapter 8: Dead or Alive
Serial title list (disc 2):
Chapter 9: The Hornet Trapped
Chapter 10: Bullets and Ballots
Chapter 11: Disaster Rides the Rails
Chapter 12: Panic in the Zoo
Chapter 13: Doom of the Underworld

IMDB listing HERE

Review: Legend of Gatotakaca

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

Legend of Gatotakaca (aka Satria Dewa: Gatotakaca)

Directed by Hanung Bramantyo
Horizon Film Entertainment; Netflix; Lumine Studio;
Satreia Dewa Studio; Well Go USA Entertainment; Hi-YAH!
129 minutes, 2022 / 2023
www.instagram.com/gatotkaca_official/?hl=en
https://wellgousa.com/films/legend-gatotkaca
www.hiyahtv.com
#LegendOfGatotakaca @WellGoUSA

When I see a name of a release or character like this, I tend to run it through Wikipedia. From this, I learned that, in Indonesia, where this film originated (abbreviated quote): “Ghatotkacha (Sanskrit for "Bald Pot") is a prominent character in the story of Mahabharata. He was important fighter in the Kurukshetra war and caused a great deal of destruction and killed many demons.” He has been the subject of many films, mostly out of India.

The "real" Ghatotkacha 

The name may not roll off the English tongue very easily, but he is a warrior hero. In the action-filled prologue, we are introduced to the child Yuda, who is sought by a band of assassins. Their purpose it to find an heirloom with mystical powers, a medallion called Brajamusti.

To be honest, I am not familiar with the Indonesian god-myth culture, nor their ancient literature, such as the referenced Mahabharata (~400 BCE-400 CE) here, in a similar way they may not be familiar with, say, Beowulf (~1000 CE), Grimm’s Fairy Tales (1812), or the ancient mythological pantheon of gods of Greece, Rome, or Scandinavia (Odin, Thor, etc.). It might be good to either have Wikipedia open to throw in some of the names or terms, or just say screw it and enjoy it as it lays, as one would with the Dynasty days films of the Shaw Brothers.

After the prologue, we focus on now college student Yuda (Rizky Nazar). His mother Animbi (Sigi Wimala) is suffering from memory loss, his father Pandega (Cecep Arif Raham , from John Wick Chapter 3), disappears at the beginning, and whose best pal (Jerome Kurnia) is assassinated by a masked man with superpowers during college graduation. Yudi knowing Silat (Indonesian martial arts) does not help. Yet.

Through a learned source, Arya Laksana (Edward Akbar) and his daughter, obvious love interest Agni (Yasmin Napper), Yudi learns that the gods of the Mahabharata are real, residing in the home of the gods, Kadewatan, where Lord Shiva (aka Batara Guru rules); think Asgard and Odin. In fact, it may be helpful to imagine this is part of the Indonesia version of the Marvel Universe (MCU). The stories of Dr. Donald Blake becoming Thor after finding his source of power, his hammer Mjölnir, in a cave. I realize that the story may sound complex, but even if you don’t know the fictional characters, the storyline is quite easy to follow. For example, if you were to sit down and watch any of the MCU films, you can mostly follow along even if you have never picked up a comic book. Going forward, I will use the MCU and DC Universe (DCU) myths equivalency in brackets.

The two gods in question in this story are Pandava [Thor], and his descendants who use their power for good, and his rival Kaurava [Loki] and his lineage, who use it for, well, you know. So the Pandava group [Justise League], such as archer Dananjaya (Omar Daniel) [Green Arrow] and young Gege (scene stealer Ali Fikry) are under threat of the Kaurava one [The Legion of Doom], to restore to power an evil upper echelon god, Aswatama via his masked and his mysterious cowled underling with superpowers to steal souls [Emperor Palpatine and Darth Vader] and bring the coming of the evil gods, which is scheduled for (wait for it) 2023. Mr. Cowl is helped by Beceng (Yayan Ruhian, who was in John Wick Chapter 3:and Star Wars: Episode VII: The Force Awakens). There is a lot of exposition given to the viewer throughout.

Of course, the sworn enemy to stop this is…good guy Gatotkacha. And who is the reincarnation of said Gatotkacha who will emerge with the help of the medallion? Pretty obvious. And that is when the action really picks up. There are some good fights in the early part of the film (including some wire work), but it is also filled with lots of talking, to explain what is going on to the uninformed watching it (e.g., me).

Agni is being pursed by marriage by bully Nathan (Axel Matthew Thomas). I can see where this is going as the lamb’s blood on a door frame. Same to be said about who is the unknown “Vader” villain. Through most of this, the medallion’s powers are minimal, post-human rather than superhuman, until the final fight.

There are lots of reflections on other films than the three I mentioned. For example, there is a bit of The Power Rangers, Mortal Kombat, and even Shazam!, thanks to the medallion.

The film is enjoyable but has three issues: first, if a bit hard to follow at times; second, they try to put too much into one film (the MCU and DCU 3-hour mega-extravaganzas tend to do this a lot), but the weakest link is its length. It does not need to be this long, nor complex. As I said, it is easy to view it for what it is and leave it at that. I mean, I did not read the Lord of the Rings books (never made it past page 25 in the first one), and it was also overcomplex, yet I enjoyed the films for what they presented. If one just goes to see it as an action film, well, there is plenty of that, along with mucho exposition and talking. I believe that perhaps maybe even the younger Indonesians may not know the legends well, and that is part of why it is so wordy with explanations.

Who the masked, unnamed villain is, came as no surprise to me as I figured it out early on. And, of course, it is setting up for either a sequel or a franchise. Understandable.

The film debuts exclusively on the martial arts streaming service Hi-YAH!, before landing on Digital, and Blu-ray.

IMDB listing HERE

Review: Lazarus

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Lazarus
Directed by R.L. Scott
Wonder Studios; Overdog Entertainment;
Phoenix Rising Films; Samuel Goldwyn Films
105 minutes, 2021
www.facebook.com/WhoIsLazarus/

Comic book movies are not always based on the standard comic characters. It is a tone, a stylistic choice by the production, that make it a modern comic book film. Don’t get me wrong, there actually is a comic by the Lazarus name, but it is totally not connected to this release, but rather is a sci-fi action coming of age story about a woman.

For this film, the aptly named titular Ray Lazarus (Sean Riggs) is an African-American man who is killed, then comes back to life thanks to a mysterious being called Hellfire (Shane Brolly, who was Kraven in the Underworld franchise), whose powers include strength, the ability to absorb the life force and knowledge of those he whomps, and he cannot be killed; he wears a costume to weed the city of criminals. Wait a minute, didn’t I see that in the comic Spawn? I own the original comic run (first editions), but yeah, the film version (1997) was a bit over the top, while this has more of a The Punisher vibe.

Sean Riggs

The events take place in the sarcastically named Paradise City (I’m pretty sure I saw a low-angle shot of the Empire State Building, but why not?).

The main villain is violent drug kingpin Testament (Adamo Palladino) who had Lazarus killed in the first place. He is yet another one of a legion of Biblically referenced names such as Chapel and, as the Ying to Hellborn’s Yang, there is Epiphany. Why Hellborn is so – err – fired up on Lazarus taking Testament off the streets makes no sense to me, as I would think he would be in favor of “sin.” But there is more afoot as Epiphany (Lyndsey Lantz) is busy working on an equally powerful evil version of Lazarus, because opposites attack. Hey, every superhero film needs an equal match-up for its final act, right? This isn’t meant to be critical, just realistic to the genre. Just think Thanos or Hela (Ragnarok).

Somehow, Super-Lazarus manages to get a small army together (why, if he is that increasingly powerful and can’t die?) to take on mid-level distributor Poet (Damien T. Raven) and his superior, Testament. Meanwhile, a police detective, Benjamin Poge (Costas Mandylor, who played Mark Hoffman in a few Saw films), who drives a car no real city police officer, even of a higher rank, could ever afford, is inquiring into the high body count. Then there is an assassin from Testament, the amusingly named Endless (Kevin Lukata).

There are essentially five women in minor roles here: first is attractive Nina (Nicki Micheaux) as a drug distributor who is instantly the obvious possible love interest for Lazarus, depending on her questionable loyalties, Testament’s cancer-ridden sister, Priscilla (Christina Wren, that played Carrie Farris in the DC Universe), who is on her deathbed, a tarot card reader who works for Testament, Flora (a cameo by pop singer Mya) who is a psychic/Tarot card reader, the sister of one of Lazarus’s friends, Pogo (Linc Hand) named Winter (cute Kayla Vosburg), and the aforementioned Epiphany. There is more in the female part of the cast, but these are the ones that appear at the top level. Most of the other women are tertiary characters, such as a police officer or, especially, numerous mob groupies who lay around snorting powder in lingerie, lolling on couches. This was definitely (a) written by a man, and (b) written for a teen male audience.

Adamo Palladino, Damien T. Raven

The dialogue is stunningly cliché and clumsy in a comic book tone that over enunciates and spaces out words, and is often bland in a pseudo-philosophical way, even with a Noah’s Flood of F-bombs. One piece of monolog by a gang assassin states, “We are what we are. My path is set. Fate already chosen. You knew this was going to happen. Now they are going to die, and there is nothing to stop it.” There are also numerous plot holes that made me kind of antsy; for example, one person is done away with by the mob, yet they left all their information there for the police to find. And why so many short “P” names, such as Poet, Pogo, and Poge? Also, why would the mob crews in warehouses where drugs are being manufactured not have guns?

Good thing is that this can definitely be classified as an action film. Despite the occasional gun play, most of the fighting is hand-to-hand, be it boxing style or mixed martial arts. It is well choreographed and fun to watch as numerous necks are snapped.

I actually like alternative universe comic stories (i.e., other than MCU or DCU), and while this obviously has a decent budget, it is not a multi-million-dollar extravaganza, and that is good. Despite its issues, and it definitely has some, it holds up. It is also nice to see such a large Black cast, which even Spawn did not employ. Furthermore, having the whole “balance” theme is a nice touch.

The film definitely sets up for a sequel, as promises that are made are indicated at the end (I will not divulge). Personally, I was thinking of a couple of really good, unexpected Yangs to Lazarus’s Ying, as I said, but despite that they chose the obvious route, and I am okay with that. I am looking forward to the next installment, whenever that will be, and I hope they give the female characters a bit more to chew on, story-wise.

Kevin Lukata

For the visuals, the film is well-shot and edited, with cool “swipes” between scenes in an appropriately comic book sort of look. However, as is an issue in too many films, especially independents, Lazarus expresses “darkness” or night through a dark, blue lens. Okay, this is a nice way to make it moody, but it also makes it harder to see what the hell is going on. This is a pet peeve of mine. Not all of us have HD 30” screens, y’know. Despite that (rather than because of it), it’s a pretty enjoyable story, even with the “comic book” reigns on the acting styles, also to purposely give it a mood to fit the dialogue.

While this film is available on DVD and Blu-ray, it can also be seen for free on TubiTv.com; however, note that because it is an exclusive release, they need to pay for it considering the platform is free, so when I viewed it, there were 5 commercials at about 9 minutes, 3 at 31 minutes, 4 at 51 minutes, 4 at 63 minutes, 3 at 76 minutes, and 3 at 90 minutes (and all had right-wing/NRA-sponsoring Coors). That’s 22 ads at about 20 seconds each, or 7.5 minutes. Phew.

 

Review: Code Name: Dynastud

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

Code Name: Dynastud
Directed and edited by Richard Griffin
Scorpio Film Releasing / Reasonable Moving Picture Company Productions
95 minutes, 2018
www.facebook.com/dynastud/

First, as a disclaimer, I feel compelled to state that I watch this film as a straight man but who is an ally. Working across the street from the Stonewall in my youth opened my eyes to a lot of unintentional internal prejudices I didn’t realize I had, and have worked on since. Anyway, here we go.

If I may be so presumptuous, there seems to be three great arches in director Richard Griffin’s filmmaking career. The first was the early learning curve where he got his feet wet, with releases such as Raving Maniacs and Seepage! (aka Creature From the Hillbilly Lagoon; both 2005). The second arch began around the time of Beyond the Dunwich Horror and Nun of That (both 2008), where Griffin developed into a solid and prolific director that specialized mostly in making films that reflected / honored a bunch of different styles (giallo, ‘80s Eurotrash, Christian films, etc.), most of which were comedies, but mixed in were some amazing serious ones as well (such as Exhumed in 2011 and Normal in 2013). During this period he came to the attention and gained the respect of numerous film critics and bloggers such as myself. It was here that he developed a loose group of regular actors that helped support his output.

Recently, Richard began his third (so far) arch starting with Strapped for Danger (2017), which is catering to gay, raunchy comedies. Again, this is supported by some new regulars, such as Anthony Gaudette and Michael Varrati (also an amazing screenwriter). 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. Pressing start now…

Since Ronald Reagan first let in the Religious Right to the political arena, there has been an increasing amount of “Bible over Constitution” on the GOP side. And in a post-Trump presidency world of 2024 when this film takes place, that religious power madness has reached its pinnacle, outlawing homosexuality. At the present time, this hardly seems like a far-fetched idea when considering our closeted Vice President and at least one Senator Graham Cracker (both allegedly).



Derek Lauendeau, Anthony Gaudette, Mark Garner

While our titular alien-induced super-powered character of Dynastud (Gaudette) 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 (Derek Laurendeau), who finds himself in a pickle when forced to marry Patty (Candace Sampson, the only female main character who ironically steals some scenes away from the dudes) by her father, the murderous and gay-hating Senator Hightower (played with glee by Bruce Church, who looks like he’s having a blast in the role).

That being said, there are, again, three arcs to this story: in no particular order there is the Bart and Patty conundrum, a buddy travel theme (think Trains, Planes and Automobiles), and an overlapping grand quest (such as the Lord of the Rings trilogy). At this point, I am not including the underlying political messaging throughout, which I will get to later.



Candace Sampson

Also worth mentioning are two secondary characters who are sort of the Rosencrantz and Guildenstern of the story, Vargas (Aaron Andrade) and Sam (Dan Mauro), two police officers resurrected from Griffin’s earlier Seven Dorms of Death, who are ordered to find our intrepid heroes Bart and Dynastud. What they find instead are cameos by Griffin regulars and some revelations that of course I will not divulge. I may have said too much already…

There are a lot of subtle nuances throughout the film, such as quotes from the notoriously camp Bride of Frankenstein (1935) and The Blues Brothers (1978) – and I’m supposing there are also some I missed.

Of course, there is full frontal male shots (though less than I expected; I seem to remember more in Griffin’s last film, Strapped For Danger) 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?



Bruce Church

Griffin being Griffin, he also hysterically has the whole film overdubbed like those kung fu flicks in ways that are both obvious – such as Vargas’ British lilt and two that I particularly liked, “drag queen” Lee Van Queef (Jordan Pacheco) and a Canadian hostess (Samantha Acampora); others less noticeable.

At a time like the present where NAFTA is scrapped in favor of a tariff war by the government, it seems appropriate to have a whole Canadian/maple syrup sub-plot – okay, perhaps it doesn’t make sense, but it works in the story – as the last act of the film is bat-shit WTF sci-fi as we are introduced to the kung fu master Bruce Li (Mark Andrew Garner) to kinda tie everything together and perhaps lead to a film sequel.

While not as over-the-top as Seven Dorms of Death (a fave of mine), 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 Li’s fight with the Mecha-Trump robot that looks like it came out of a 1940s serial like The Monster and the Ape).

More than a hypocritical “War on Christmas” (which doesn’t exist except as a distraction, of course), there truly is a War on LGBTQ(etc.) Rights, and this film pushes that button. I’m a firm believer that one can get more notice using humor than fear, and Griffin raises a rally cry that there truly is danger afoot with an ultra-“religious” (most would say Christian, but I find it to be true across all the ultra-orthodox of beliefs) base. Griffin switches 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).

Meanwhile, be sure to watch beyond the credits, and pay attention to the Justin Trudeau life-sized cut-out in the background. Gay or straight, as an audience member, there is a lot to see, a lot to think about, and most importantly, plenty of good laughs.

 

Reviews of 5 Horror Shorts for August 2015

Text © Richard Gary / Indie Horror Films, 2015
Images from the Internet

Cynthia

Written, edited and directed by Christopher Wells
Kaleidoscope Pictures Inc.
10:35 minutes, 2014
www.kpictures.com
Early morning and nothing is going right for our central character (Christopher Wells). Food has spoiled, and the apartment is in as much disarray as it seems is his emotional state. It’s not long before we know why, as he starts talking with his obviously passed wife, the titular Cynthia (Katie Issel Pitre). Meanwhile, a mysterious white faced person is peaking in on the whole she-bang (Matt Perfetuo). It’s a slow build to the finale, but worth the wait, even if you figure out what the end result is going to be for our protagonist. Wells’ acting is naturalistic and Pitre a bit wooden (well, she is a ghost or whatever, after all), but the emotion is there, and the ending is just the right measure. A well-made showcase for which Wells can be proud.

 

Apartment 41

Directed and produced by Veemsen Lama
Javiya Films
6:38 minutes, 2014
As this British film opens, we watch a woman (Grace Rowe) enter her new apartment and walk around. The camera follows very closely, giving a claustrophobic feel, even though the apartment itself seems quite huge. In a similar theme to the film above, there is obviously a presence there (Harriet Feeny). In a story of guilt and/or revenge, we learn the reason for the spirit being there. Or is it there? A nice, moody piece, it doesn’t feed on the fear of the audience, but gives us enough information to both be unnerved and understanding. Well lit (even the dark bits) and worked through, it’s an effective piece of short cinema. The ending is actually quite satisfactory to the story (no, I won’t give it away).

 

3 Doors of Horror: DELETE

Directed by Sidney Chan
Doghouse 73 Pictures
14:10, 2014
One of my favorite things is when a film can use a well-worn trope, give it a new spin, and make it exciting. Chan does all of this in a short-but-sweet horror tale based somewhat around the tendency for selfies (does anyone else find it interesting that the English word “selfie” is used in nearly all languages?). This Asian release (with subtitles) revolves around a group of four teenage girls who trespass into a mysterious and abandoned factory, and take a group selfie on a camera found in bathroom stall (?!). It’s filled with pictures of the empty bathroom, which is eventually explained. There is also, I am assuming, a cultural in-joke about a security guard, that I didn’t get, but that’s just a blip. Well and clearly filmed in HD with medium shots, and more than one scare. Extremely effective for such a short piece.  

 

The Babysitting

Written and directed by Jan Nanne
Bad Ass Films
9:59, 2009
www.youtube.com/hollanddirector
Oh, those Dutch! Filmed in English, this is a cautionary tale of what happens when you let your kids watch too many horror films before they’re able to process it. Well, in theory anyway; or if they’re a tad psychotic.  Vicky (lovey and wide-eyed Nadine Stephan, who has amazingly long, cascading hair) is hired as a babysitter by a creepy mom (Angela Zandbergen) who’s last comment before heading out the door is, with eyebrows raised, “Have fun.” It’s a family Vicky hasn’t met, and doesn’t know what to expect. Neither will the viewer. Made as an entry for a short film contest (hence the English), it’s effectively creepy on a few different levels. Being (relatively) older, it’s a bit on the grainy side during the dark scenes, but the story holds up.  After the credits is a decent albeit short gag reel.

 

The Flying Man

Directed by Marcus Alqueres
9:20, 2013
www.facebook.com/tfmshort
Much like a zombie apocalypse, some are holding fast that maybe a true super man will someday arrive, much like the Samuel Jackson character from 2000’s Unbreakable, but in a case of being careful what you wish for, in this short, such a person has arrived. The question it brings, however, is whether it’s a positive or negative. This Flying Man is certainly not out of Marvel or DC, as he has no second thoughts about throwing people under trains or dropping them from dizzying heights. This is a vigilante, and the questions this film asks – be it directly or indirectly – are good ones, such as does one have the right to take the law into one’s own hands if it’s for the better good, and who is the judge of that “good”? It’s not a new question, but one that was brought up before in the slogan, “Who will watch the Watchmen?” Supposedly in the works to be made into a full length film.

 

BONUS (because it made me smile):

 

Reviews: Fan Shorts, Vol. 1

Text © Richard Gary / Indie Horror Films, 2013
Images from the Internet

These short films are the equivalent of film fanzines, created by fans on micro-budgets, and deserve to be recognized for their work.

KRUGER: Another Tale from Elm Street

Written and directed by Chris R. Notarile.           
Blinky Productions
6:28 minutes, 2013
www.facebook.com/KruegerElmStreetTales

Sometimes it’s pretty amazing how effective a film can be in even less than 10 minutes. This two person drama is a flashback to when Freddy Kruger (Roberto Lombardi) is still in his living and sadistic prime, and how he meets little Suzy (Breanna Lakatos). A lot of the bookmarks are there, like the sweater, the hat, the car, and even the gloved hand scraping on the pipe. Lombardi does an excellent job as the creepily charming Kruger. Knowing Freddy’s history with children makes their conversation all the more cringeworthy. Notarile does a great job with a solid nod to the original, while still showing some originality. Well worth the view, even if it’s between fingers.

 

 

Bat in the Sun: Super Power Beat Down (various episodes)
Directed by Aaron Schoenke      
Bat in the Sun
Varies (appx. 6-10 minutes per episode, 2013
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www.superpowerbreakdown.com

This series is a hoot to watch. Hosted by hottie nerd Marisha Ray, it pits two super heroes and has them battle in live action shorts. For example, there is Superman vs. Thor, Darth Vader vs. Gandalf, Predator vs. Wolverine, or my favorite, Batman vs. Deadpool. The scenarios open up with some nerds and beautiful women debating over who would win and why, though the outcome is chosen by online voting. Basically it’s Stewart vs. Penny, if she knew comic heroes. Unfortunately they sometimes bet, which mostly ends up with the women in bikinis doing stupid things like having pillow fights. Yeesh. But do not be discouraged because the hero / villain (or hero / hero, or villain / villain) mash-up is so well done that you would never know it had a small budget. Most have a sense of humor and certainly know their characters (yes, Gandalf says “You shall not pass,” for example). The acting of the larger than lifers is no less wooden than, say, George Clooney’s Batman or Ben Affleck’s Daredevil. And this series is not afraid to mix genres and publishing houses. There have been nearly 10 episodes as I write this, and with one or two exceptions (e.g., Lara Croft vs. Nathan Drake), they are truly a joy to watch. Also, it is worth it to keep checking back to see the latest.

 

Friday the 13^th: No Man’s Land
Written and directed by David Hastings. 
Lightbeam Productions / Pat the Bulls Productions      
53 minutes, 2010

Ah, nothing like a gaggle of thirty-year-old teens walking around Crystal Lake, being Jason fodder. What is weird is that they have strange accents, which is somewhat not surprising since it was filmed in the UK, though trying to adapt a Yank one. Oh, one tries and fails with a miserable Southern ayk-sayhent. What’s a nice turn is that they aren’t all buffed and gorgeous, but rather many have non-stereotypical body types.

Though this film is only a few years old, it has analog, VHS-like soft edges to the images. This feels appropriate considering Jason actually became a cult figure from the video revolution rather than the theatrical release, if I remember correctly.

As with all of these kinds of kid-in-the-woods-kids-get-dead films, there is a long period of exposition at the beginning (though there is a nice wrap-around) as we begin to meet and either not care about or dislike the group, usually thanks to either cliché bitch vs. macho characters, or those so bland you wish they would be just killed off to end their wooden acting, since that’s the point anyway, ain’ it? There is even the strange, creepy guy in the woods warning them to no avail.

Perhaps you may think I am being too hard on the film. Nah, not at all, and in fact, I admire that they actually have the same aesthetics of the original film, rather than the later, silly sequels. This is probably more accurate to the core concept than the others that were “official” follow-ups (which are mentioned at some point to the informed’s amusement: “I heard he was even in New York,” a way-post-teen mentions).

Actually, my only real complaint is that all the sound is ambient, so the further away from the camera the actor is, the harder it is to hear them. That and 15 minutes could have been easily clipped off, but that’s true of any of the franchise (or let me expand that to the genre).

Now a question I have (and all this genre has answers needed) is if you know a killer is out there, or even possibly on the loose, why would you go off one by one into the woods? Some of the kills are quite ordinary, such as a having a head smashed against a tree (didn’t Jason have a machete at some point?), and at least two of the women fall while running away, but there are a few good gore effects that are quite well done and worth the attention..

The editing is consistent with the original, and there is even some archival footage of Jason as a boy, his mom (Betsey Palmer, as they did in 2001’s Jason X) and even Alice thrown into the mix during flashbacks.

And what about Jason? Well, he is played by the rightfully imposing and oddly named Mike Bytheway (I’m thinking a made up name; if not, my apologies). He has Jason’s mannerisms down pretty well, even the doggy-style head nodding to the side in piqued interest.

The thing about films like this is that they, well for lack of a better term, tread on sacred ground to many followers of the original. In that way, despite the flaws, they definitely succeed. This is a well-handled homage in its loyalty and detail.