Review: The Kindred

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

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

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

David Allen Brooks

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

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

Talia Balsam

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

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

Amanda Pays

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

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

Rod Steiger

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

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

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

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

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

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

IMDB listing HERE

Review: The Quantum Terror

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

The Quantum Terror
Directed by Christopher Cooksey
Mesmer Films; Christopher Moonlight Productions
79 minutes, 2022
www.facebook.com/quantumterror 
https://christophermoonlight.gumroad.com/l/The_Quantum_Terror

Want to get my attention about a genre release? Well, there are lots of ways, of course, but one is to mention HP “Lovecraft-inspired.” Yes! Bring me some of those tentacled Old Gods.

The focus of this story is on Silvia Carroll, who is missing (but not with Meagan). She and her creepy stoic boyfriend, Jacob (Matt Blackwell) were star graduate student researchers at the local university (Miskatonic was not mentioned; there is also no indication of it being in New England, as this is filmed in Kyle, Texas), under the direction of the wonderfully named Dr. Rathbone (Dimitrius Pulido). Seems they were studying the tunnels of their town that branch off a road overpass above a stream, and she disappeared. Silvia’s twin sister, the thick-make-up-wearing Sam(antha) (cute Kristin Cochell), is on a quest to find her missing sibling.

Jordan Michael Brinkman, Kristin Cochell, Paula Marcenaro Solinger

Also in the equation is the police in the form of hard-bitten – and a bit cliché – Detective Richie (Marvel Comics artist/writer Val Mayerik, who co-created Howard the Duck and Man-Thing). He suspects Jacob of some shenanigans about Silvia – as does Sam – and is peripherally doin’ some ‘vestigatin’. Joining in the search proper is Sam’s friend – and ex-girlfriend – Lucy (Paula Marcenaro Solinger) and her present boyfriend, Noah (Jordan Michael Brinkman), all of whom, of course, distrust Jacob. Though I will not reveal the answer, early on I wonder if Jacob becomes the villain or saves the day.

The four head out into the tunnels after the early expository first act that introduces everyone and their personalities (e.g., who is on who’s side). Silvia talked about other dimensions before her disappearance, and once they are in the tunnels, things…change. It reminds me of Grave Encounters (2011), where corridors and rooms transform as you pass through them. Here, tunnels become houses and back into tunnels, day is suddenly night, and people start seeing things. One confusing thing to me is how Jacob knew where the bathroom was in this mysterious abode; either it’s a continuity error, or he knows more than he is letting on. Hopefully, it’s the latter.

That’s when the tentacles come in. The introduction is almost like Japanese tentacle Hentai, or something the W.A.V.E. Video company used to produce. The tentacles are slimy and have a hook at the tip; but more importantly, they are practical SFX rather than digital, so they look pretty cool. Soon, the group becomes tentacle fodder and the other-dimensional creature becomes stronger. For a long time, you see the tentacles, but not the creature itself (perhaps Cthulhu?). Which brings me to the point of the further influence of Lovecraft. These inspirations are both direct and indirect, but sometimes both, such as the mention of The Hound of Tindalos, which was created by Frank Belknap Long, and used in a story by Lovecraft (I’m not a Lovecraft scholar though I am a fan; I just used Wikipedia).

Matt Blackwell

When we see the full creature back in the tunnels at some point near the third act, it reminded me of the space alien from an episode of “The Outer Limits” called “Cold Hands, Warm Heart.” In other words, it was an enjoyable SFX design.

I have to say, the film is quite imaginative, in a kind of mind-fuck way, and I mean that as a compliment. There is no consistent narrative as the space and events change dramatically and often, and yet the story can be followed. That being said, it does not talk down to the viewer. There are parts you may be scratching your head over (as I did a couple of times), but stick with it, it’s worth the watch.

Helping with that is the interesting and creative cinematography by Anthony Gutierrez, considering the limited space and lighting in the tunnels. Usually when a picture is dark, I whine about it, but here it actually works to made the passageways even more ethereal and claustrophobic. They walk around with flashlights, so we see only what the director wants us to see. Most of the photography is single-camera (often focusing on a particular person, rather than a group) that is often hand-held, but not in a found footage kind of nausea-inducing shaking.

Is this creature from another dimension? From space? Only in the imagination of one of the characters? More to keep the viewer intrigued. While there are some plot cliches, one of which I saw coming early on, there are also quite a few surprises as well, which I genuinely enjoyed. The acting is occasionally stilted here and there, but mostly everyone does a decent job of it. The dialogue is occasionally complex, especially Blackwell’s, but he handles it respectably.

 

There are a lot of little details that are presented to us, such as a recurring Nefertiti statue (she was the wife of King Tut) that has its eye whited out as a reference to later events. Also, the cast is relatively small with six main characters, but they all mostly get used well.

This is the director’s first feature after a few shorts, and it is definitely a push of the envelope for a relative newbie. There are indications of growth on work to come, and I for one welcome it.

IMBD Listing HERE 

 

Review: Creature Lake (Gitaskog)

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

Creature Lake [aka Gitaskog]

Directed by Drazen Baric

BaricFilms Productions / SlevinArts /
Wild Eye Releasing / MVD Visual

80 minutes, 2016 / 2017

www.wildeyereleasing.com

www.mvdvisual.com

I kinda like the sentiments behind this film a lot, which is: respect the land and its guardians. In a time when the government is bullying aboriginal people for their own profits with pipelines and possibly making the area uninhabitable, there is a meta-message here.

Ivan Simanic

We meet five friends who are total greedy tools, not to mention racists (“C’mon, we were just joking…” types) that take a trip into the deep woods “up north” (this Canadian release was filmed near Mississauga, Ontario, which is just outside Toronto). It seems one of them, Jason (Ivan Simanic), has plans to build vacation houses around a lake that is sacred to the local indigenous people. Of course they don’t care about them; it’s the ka-ching that is their focus. They have no problems alienating the locals at a diner, and hell, they even turn on their one black friend Conrad (Brandon Dhue), all in good fun. Yeah, they’re douches.

For example, during a drunken night by the fire, when not insulting their only Black companion, one whines that “Women are never satisfied.” Yeah, if you say that, there is a reason why that is true, and it’s because of you, not them. But it’s important that they be douches for the story, so they can become fodder for both the titular lake creature, and the natives who have no patience (and rightfully so) for those who have no respect for their beliefs to a killer entity, echoing a theme from the overrated Jug Face (2013).

So there are a few elements here that take on other current films, such as the cabin in the woods, and, sadly, the overused found footage motif. If I may be permitted a brief rant here, please, if there is no end to this format, can we at least have a moratorium for a year or two? Found footage is so passé already, though there is a nice spoof here of the snot scene from the granddaddy of this style, The Blair Witch Project (1999; I’ve referenced this so much lately, I even know the year without looking it up).

Anyway, getting back to the meat of the matter, I’m grateful that the guys are their own age, rather than trying to pass them off as teens or college students, as is so often the case with the cabin in the woods trope.

As is typical, not much happens in the first half of the film, other than a cameo by Miss Canada of 2010, Elena Semikina, though to be fair there are two or three good moments that lead up to the fate that awaits.

Some of the effects (mostly digital) are pretty good, and the creature looks great. When it makes its appearance toward the end, it’s kind of worth the wait, even though it’s short. Plus there is a disappearing nude woman and a younger (dressed) one that they do the dark eyes and stretched mouth that has been used often, if I’m correct, starting with Grave Encounters (2011). You can see it in the trailer below.

Speaking of the creature, the original name of the film is Gitaskog, which is actually a real First Nations (the Canadian term for Native Americans) name for a tentacled lake creature (HERE); it seems to be more common to find indigenous names for beasties in films lately, such as with Stomping Ground (2014, which dealt with a Bigfoot). 

One of my big gripes about found footage films that seem to be somewhat consistent is that the cameras never seem to run out of juice, the way guns keep firing in old westerns. These guys are at a cabin/shack with no electricity for three days, run their cameras often during that time, and yet my camera dies after a couple of hours. Suspension of disbelief? I have less trouble with a fantastical tentacled lake creature than I do with dubious camera power. What does that say about me?

I found it amusing that during the introduction of the characters at the beginning, one of them, Todd (Greg Carraro) has a strong Canadian accent (yes, that is a thing), though it’s not really present during the rest of the film. Not a complaint in any kind of way, just a bemused observation.

As found footage films go, this is better than most I’ve seen recently, even with the running through the woods shots (at least it’s during the day and not at night by the camera’s light, or worse, the green “night vision” effect). There is no sadness in the loss of these guys, as they don’t endear themselves to the viewer at all, but that did not hurt the story. I would have liked to have seen the First Nations characters be more sympathetic, to explain why they were doing their actions, but that kind of gets lost (possibly because we are seeing it literally through the eyes/lens of the five-some).

Also, I found it interesting that some of these guys are dispatched by the gitaskog, and some by the creature’s guardians, giving it a more human touch. But there are questions I have, of course. One is, what is the purpose of the younger woman spirit that keeps popping up? The naked woman (siren) makes sense at first, but in later appearances, further from the lake, it’s of more questionable purpose. And lastly for now – and this is more an observation than a question – this is the second found footage film I’ve seen this month where the guy with the camera keeps focusing in on his (female) partner’s ass.

The extras are a nice collection of Wild Eye Releasing trailers (including for this film), and a nearly three-minute slideshow of drawings that would eventually become the titular creature.

As found footagers go, as I said, this one is decent and the effects are well done, so you might get a hoot out of it. Since the acting is pretty respectable and naturalistic, considering this is the only listing for most of the cast on IMDB, that’s also a bonus. It’s not rocket science, but it’s a nice way to spend a rainy/snowy weekend afternoon.

Review: Killer Rack

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

Killer Rack

Directed by Gregory Lamberson
Crow-Nan Productions / River Ridge Reels / Slaughtered Lamb Productions
97 minutes, 2015
www.gregorylamberson.com
www.facebook.com/killerrack

Before I start discussing the film on a deeper level, let me explain what we’re lookin’ at here: Betty (Jessica Zwolak) works hard for the Double D Collections company (“Proudly handling your assets”), but she is the only woman in the office with a low-end cleavage, so her chances of advancement by her boss (the irrepressible Michael Thurber!) fall kind of – er – flat. Her boyfriend Dutch (Sam Qualiana) is no longer interested, and even the horndog cat-callers on the corner won’t even give her the time of “woot.” She has such a low self-image, she can’t see that her friend and co-worker, Tim (Paul McGinnis) is in love with her. Even her therapist (Lloyd Kaufmann, King of Troma, plays an actual role, though it is a bit of an extended cameo, rather than his usual quickies) is on the snide side to her.

Debbie Rochon

She visits a shady doctor (who’s has the words “Plastic Surgeon” handwritten on a piece of paper and taped to the door) named Dr. Cate Thulu (Debbie Rochon, one of my fave queens of indie horror). Thulu has her own agenda, as she serves a Dark God by the name of Mammora (you heard me), and plans to help it control the world by… well, I’m guessing you’re already there.

This is a comedy on a few different levels. It is stupid and goofy as hell, but there is a very sharp intelligence that runs through it if you’re paying attention and can look up to it in the face. Similarly to Monty Python’s Flying Circus, you can get out of it what you want, but there is definitely more than it appears. I’ll get to that in a paragraph or three.

Most of the acting is expectedly just a bit over the top as well, but it’s definitely less demonstrative than the awful AC-ting work of, say, John Lithgow in 3rd Rock from the Sun. There definitely are some shining moments from most of the cast, especially from Rochon, who has a particularly good sense of comedic timing, even when her eyes are so emphasized; the brows look like they could be about six inches above her head. She and Thurber actually co-starred in one of my favorite films in the last few years, the very dark drama Exhumed (2011), though they share no scenes together in this one.

Shot around the Buffalo and Cheektowaga area (what, no Tonawanda?), City Hall makes its appearance in the first scene, a place I visited often in the 1980s when I would go and visit a record collector friend who worked there for many years. Most of the filming is actually indoors, but it is good to see some recognizable places. But, as I’m wont to do, I digress…

Jessica Zwolak,  Paul McGinnis

One of the great things about this film is the savviness of references that run throughout. Some are quite obvious, such as Betty showing up the first day after the enhancement saying “Tell me about it…stud,” but it’s the more subtle ones that made me laugh the hardest. For example, after the operation, Dr. Thulu’s assistant, Nurse Herbie (Robert Bozek) takes the exact same stance as Ernest Thesiger in the 1935 classic, The Bride of Frankenstein (see at 1:54 HERE).There is also a moment where some demonic-sprayed breast milk starts melting a businessman’s face, who whines, “Oh, no, not again!” This is particularly funny because he is played by Roy Frumkes, who wrote and produced the 1987 film, Street Trash.   

An alternative poster

Along with the bizarre non-sequitur musical showtune number in a dream sequence (“All you need is a pair of funbags”), there is a lot – and I mean a lot – of out-there humor. For example, there are take-offs of other films such as Tim saying “With great cup size comes great responsibility,” one frustrated co-worker of Betty snidely comments, about Betty’s enhancement, that for herself, “They’re real, and they’re spectacular,” and a great line at the end a comment made by two detectives that I can’t repeat because it could ruin the ending. Speaking of which, the two detectives? They are named Bartles and James.

Pay attention whenever Dr. Thulu and Nurse Herbie get together, because they are hysterical, and play off each other so well. For example there is this dialog:

Nurse: I don’t have any good lines! [he says breaking the fourth wall, reminiscent of a line from Monty Python during the mattress sketch, when Carol Cleveland laments, “But it’s my only line!”]

Dr.: You’re the assistant! All you need to say is, “Yes Mistress!”
Nurse: I refuse to be Igor; I’m way too pretty!

Rochon really does steal the film, and not just because I’m a fan. Just her reading of impatience at Betty’s getting undressed for an examination, saying “For the sake of the Dark One, would you take it off already?! C’mon, chop-chop!” gives some idea of her acting – er – chops.



One of the Killer Racks

I’m sure this will come into scrutiny as some heavy-handed killer female anatomy, but actually it’s quite a decent look at the way society views body image. Feeling inadequate due to small bust size is not male fantasy, but rather the way we are all mediated by prominence of the likes of the Kardashians and Kate Uptons. The film also addresses the male version of that at one point near the end of the film, which would lead perfectly into a sequel that I’m pretty sure is not in the plan (but would be welcomed by me). Speaking of which, stick through the end credits.

 

There actually is a history (subgenre perhaps?) of one aspect of the film, which is body extensions, be it for evil or not. On the not side, of course, there’s Marshall McLuhan’s image of technology being the extension of the body, such as the pen for the hand, glasses for the eyes, and computers for the brain. The evil side is more Cronenburg’s early work, such as Rabid (1977) and Videodrome (1973). More recently killer female anatomy could be seen in Teeth (2007) or appendages from transplants such as in Dustin Mills’ Night of the Tentacles  (2013).

I’ll admit I was looking forward to this as a bit of empty-headed fun. What I got instead was a multi-layered social treatise that was intelligent, psychotic, and yes, goofy. It was one of the more enjoyable films I have seen this year because it was so smartly ridiculous. And if you’re into it, as a drinking game, take a sip every time you recognize a reference. If you’re a film maven, I guarantee you’re gonna get smashed (not that I’m recommending that…).

 

Review: Night of the Tentacles

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

                            

Night of the Tentacles

Written and directed by Dustin Mills
MVD Visual                      
90 minutes, 2011 / 2013
Facebook.com/DustinMillsProductions
MVDvisual.com

 I admit it. Dustin Millis is becoming one of my favorite indie $2 budget horror film directors lately. Yep, he’s the guy who brought us the wonderfully moniker’d The Puppet Monster Massacre (2010; reviewed HERE) and Zombie A-Hole (2012; reviewed HERE). Like early Cronenberg, Raimi and Craven, each film shows enormous growth as a filmmaker. I’m looking forward to seeing his most recent release, Bath Salt Zombies (2013)

But I jump ahead. Let’s discuss the film at hand. True to form, there are a few consistencies that seems to run throughout a Dustin Mills film. First, there’s Brandon Salkil (as Dave), who in body or voice has been present as a lead across the board. This is hardly surprising, because he is (a) handsome in the Bruce Campbell mode (more on that later), and (b) can easily run the gamut of subtle acting to over the top in a split second, and makes it work.

A second recurring theme is lots of nudity, sex, tattoos and piercings. Both men and women tend to be unconventional beauties, but still carry off a certain charm when necessary. A good example is the lead love interest, Nicole Gerity (as Esther), with white peroxide hair, skin ink, and multiple piercings in her face. And yet there is an obvious charm about her that doesn’t make it seem like an odd pairing with Dave. Oh, did I mention that Esther is also in her third trimester?

Then there is gore. Lots and lots of gore. Some of it is digi, but Mills also mixes in appliances and prosthetics that sometimes looks real and other times not, but in the overall feel of the film, again, it all works. Hey, remember those fakey looking stop-motion demons at the end of Evil Dead (1981)?

And then there are the puppets. Yes, even in the live action films, there are plenty of costumes and puppetry that comes into play. But again, I’ll explain more of that later.

So, plot-wise, we are introduced to lonely apartment dweller Dave, who makes a living as a graphic artist for alien porn boxes and posters, and has a hidden crush on Esther, who lives directly below his space. He also has a cute dog named Charley (Dustin’s real dog, named, of course, Charley). Apparently, Dave possesses a bum ticker and is in need of a new one, i.e., he’s just about a goner. But who shows up in his flat but the devil, offering him a heart in exchange for…well, you know the drill. Problem is, it’s not in his chest cavity, as he’s loth to find out, but rather it’s a tentacled, cycloptical monster with four sharp-pointed tentacles that lives in a wooden box. Of course, it also needs to feed on two people per week in order to survive.

A question that comes to mind at this point is as follows: when does a film that is a collection of homages become original in its own right? There are many themes and images that come from other sources, but the film still retains a feel of originality. Here are some examples.

Of course, the whole sell your soul to the devil with regret is right out of the German Faust legend (first published in 1587). Dave’s not reading the “fine print” has been used before, as well, with other Faust-based comedy films, such as Bedazzled (1967, 2000). However, the biggest Faustian story of recent time is also heavily referenced, The Little Shop of Horrors (1960, 1986). In fact, the first line of the heart is “Feed me.” Note that the heart in this film sounds much more fey than did the demanding and menacing Levi Stubbs (d. 2008). There’s also a bit of Evil Dead in here, too, especially with the facial expressions made by Salkil that are right out of the Bruce Campbell / Ash playbook. Salkil is really great at it (it’s that overplay I was mentioning earlier). I cannot forget to mention the nod to Basket Case (1982), with the evil other part of the hero living in a box and slithering out to kill. Heck, Mills even borrows from himself, with the thumping lovers next door named Iggy and Mona, the names of similarly entangled lovers from his own The Puppet Monster Massacre (thought no one would notice, Dustin?)

Dustin definitely seems to becoming more comfortable in the filmmaking craft. He has a good eye for lighting, both natural, added, and atmosphere. The use of garish, almost neon shades of green and red work with the mood of the moment, rather than indicating what the viewer is supposed to feel. His editing is also becoming stronger, as most scenes are cut back and forth between characters, rather than letting the camera linger. Unless, of course it is intended that way, such as a long shot when a drunken Dave has a conversation with an off-screen devil (during the commentary, the reason for the lack of on-camera Satan made me laugh).

It’s pretty obvious that most of the actors on this film are not professionals, but then again, every single one carries their role solidly, even when the call is for over-the-top (such as Salkil’s hilarious “What the fuck” when he sees the heart for the first time). It’s all part of an independent and humorous horror film.

Yes, there are definitely some cheesy moments. For me, the biggest is when you finally get to see the heart in all its gory… I mean glory. Honestly, it looks silly, sort of like a fuzzy toaster cozy. But I am so willing to forgive that because, well, this film is such a hoot.

One aspect of the film that impresses me, and what makes it worth owning (though it’s also available as a VOD), is the commentary. Mills handles it so correctly. The biggest mistake in commentaries (in my opinion) is that there are too many involved. Any more than two people it becomes a mishmash of “who said that?” Mills does it on his own, and keeps a perfect level of filmmaking information (camera used, funding, etc.) and anecdotes (such as how and why he switched a particular character from female to male, without changing the dialog). He keeps it interesting all the way through, which is so rare. Two other extras are trailers for his earlier films.

There are many good acting moments here (Gerity comes to mind), and also in the story and in overall filmmaking style that shows that Mills is definitely a star on the horizon. I just wonder what he could do with a real budget.