Review: Wolf Hollow

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

Wolf Hollow
Directed by Mark Cantu
Mezek Films, Big Bell Productions; Hinds Productions; Cineworx
80 minutes; 2023
#wolfhollow #FollowTheHollow #mezekfilms
#pittsburghfilm #cineworx2023

Of his thirteen films to-date, be it features or shorts, so far, I have seen/reviewed three of them (this will be the fourth), each of a different genre. There was action thriller Elite (2017), post-apocalyptic anger infection Night Zero (2017), and slasher Massacre Academy (2021). This time at bat, it is the lycanthropy field.

While saying it fits into the werewolf canon is true, there are so many horror genres mixed together here in a Horror ghoul-ash. Y’gotcha cabin in the woods, backwoods hunters and murderers, and even the meta-filmmaking (a group shooting a film within the film). The latter with werewolves has been done before as well, such as Wolf Manor (2021). But every film is different, and I am looking forward to this, as a werewolf fan.

Lynn Lowry

Filmed outside Pittsburgh, PA, some of the scenery is quite awe inspiring, showing off the forests and mountains of, I am assuming, Oak Hollow Park. You get to see less of it as time goes on due to it being night, but meanwhile, enjoy.

With a prologue that reflects on themes from both The Howling (1981) and Blade (1998), we are off to a bloody start that had me smiling. A year later, there are two storylines that are bound to converge. First, there is the film crew heading to said Wolf Hollow to make their movie, starring washed up diva Marla Taylor (The Lynn Lowry, of 1971’s I Drink Your Blood, GA Romero’s The Crazies in 1973, Cronenberg’s 1975 Shivers, and more recently, Debbie Rochon’s 2016 Model Hunger, among so many other classics). The second is that a larger township is commandeering a local area – yep, said Wolf Hollow – and plans to kick out the Neuri (the name means the nervous system) family, run by matriarch Evie (The Felissa Rose, most famous as Angela in 1983’s Sleepaway Camp, but has become a major actor/producer in the indie film field). The town leaders are quite obnoxious and condescending about the land grab (i.e., their “tough nuggies” attitude).

Brian Ceponis, Feissa Rose (foreground)

There is tension all around: for the Neuri family: a member of the clan who has run away to New York, Ray (Noah J. Welter) has returned with the young and green film crew (e.g., one just graduated from NYU Film School), bringing additional tension between him and his brother, Bart (Brian Ceponis), who is struggling financially, along with his wife Evie. As for the potential filmmakers, well, it is one argument after another, as they try to placate their spoiled faded star, Marla. I love that many of the strongest characters are women, though it seems to me that even though there tends to be more women victims in horror flicks, they also tend to be the fiercest (check out Carol J. Clover’s amazing book, Men, Women andChain Saws: Gender in the Modern Horror Film). 

With all the arguing going on with both sides and each other, it makes it hard to find a connection with some the characters, who tend to be a bit flat at times, though mostly undefined personalities. But with mishaps and anger comes the night, and the filmmakers are trapped in their trailer while the beasties beat on the door, metaphorically and eventually literally. But that should come as no surprise.

Christina Krakowski

It should be quite apparent to anyone who has a history of watching creature features to figure out who are the werewolves. It starts with a slow burn first half (after the prologue), but then it just spins the dial up. A major saving quality to the film is that once the action really starts, about a third of the way in, it does not let up. It is wolf-brutal with, to paraphrase Arlo, “blood ‘n gore ‘n veins in the teeth.” While there are few surprises throughout the film, and parts are predictable, that does not take away from the fun factor: there are a lot of wolves, though you see one at a time. My guess is that there was only one suit that was used over and over. This would make total sense given most indie’s budget constraints.

That being said the wolfies, designed by Midnight Studios FX, looks great, seeming to be modeled on those in The Howling (no complaints there), with the exception of the head of the lycanthropes, who’s initial change looks more like the human/cat face in Sleepwalkers (1992). The overall gore effects are also quite well done, if sometimes a bit dark (remember, it is night when the action comes).

Noah J. Welter

Most of the main characters are likeable, though some of the cast is almost interchangeable given such little exposition background (more time for action, I guess). Some of the personality standouts include the meta film’s director, Alex Romero (Christina Krakowski) – filmed near Pittsburgh, of course she is named Romero, duh – and her beau, Ray (Noah J. Welter), brother of the head of the Nuri clan. Another role of note is scene stealing Lucky Steve (Brandon Krum), who is the comedy relief of the film crew, and definitely has the best lines. There are a lot of local police who tend to blend into each other, even those at the higher level, but a standout is Officer Mills (Valena Zitello).

The question that nagged me for a while is why Ray brought the crew to Wolf Hollow, whether it was to see family, to get comeuppance to the clan, or was he a Judas Goat. It becomes clear by the end, and I ain’t spillin’ the beans.

It is pretty apparent that the director, Mark Cantu, is a big Wes Craven fan. There are many references to Craven’s cult films, such as the RV trailer-under-attack-by-bloodthirsty-locals as in The Hills Have Eyes (1977), and one of the wounded characters comments, “I’m feeling a little woozy here,” arguably the most requoted line from Scream (1996). I believe Craven would have been proud to have his work referenced here.

IMDB listing HERE

Anthology Reviews: Two by Patrick Rea – Charlotte; Monster X

Text © Richard Gary / Indie Horror Films, 2017

Images from the Internet

I put these reviews together for two reasons. First, they are both anthologies of short films with a wraparound story, “directed” by Steven Rea. Just for the record, the quote marks are not meant as any kind of jibe, but rather because Rea put the collection together, which is a mixture of his own films and others.

Each of the stories is an independently released horror short that has been compiled into the collection. Actually, I approve of this method of getting (a) a showcase for one’s own films (i.e., Rea’s), and (b) a way to present other creators’ work as well. I’ve always enjoyed short films, so this is a nice little production to catch some I may have missed. Okay, definitely have missed, as so many shorts are thrown up on video channels like YouTube and Vimeo these days. Again, not a complaint, it’s just hard to see the forest for the trees.

All the directors are listed in the credits at top of each review, and I will indicate which next to the title with the initials. As these collections both came out in 2017, and honestly it doesn’t matter to me which was released first, I’m reviewing them in alphabetical order.

Another commonality across both is that the only extra is chapter breaks.

Charlotte

Directed by Patrick Rea, Colin Campbell, Corey Norman, Calvin Main, John Edward Lee, April Wright

Ruthless Studios / Synergetic Films / MVD Visual

84 minutes, 2017

www.ruthlessstudios.com

www.synergetic.film

www.mvdvisual.com

I have no doubt in my mind that this collection, and possibly the wraparound, was inspired by the recent popularity of evil doll films, especially the Annabelle franchise. Of course it goes back further to the likes of the infamous Talking Tina “Living Doll” episode on The Twilight Zone, and a number of projects on the big and small screen about evil, self-contained ventriloquist dummies (whether real or imagined).

“Raggedy Damned” (PR) is the title of the bookends and wraparound thread/threat, which presents an obnoxious Millennial babysitter who is bound (off-screen) by a mad and cracked-faced silent dolly (looking nothing like the cool DVD cover art, FYI), who forces her to watch the shorts we also get to view. Between each one, we flash back to her to see… well, I’m not tellin’.

 “Counter Parts” (PR: 2014) is the first tale about identical sisters who are not exactly compatible, though similar in more ways than just looks. They are fierce, determined, and especially egocentric. Nasty pieces of work. Somyia Finley does a nice turn as the sibs with whom you definitely would not want to be associated, never mind romantically involved. After a tragic turn, they use wile and some black mojo to cure and curse. It’s an effective tale with an O. Henry-ish twist at the end. Also a tale with a sinister surprise is “Dollface” (CC: 2011), regarding the titular, strange woman. She and her companion have a woman locked up in their storage area. Then our heroine, whose boyfriend has been slashed, tries to rescue her before the aforementioned duo come back. With an obvious-yet-enjoyable throwback to a “The Twilight Zone” episode called “The Howling Man,” it is effective and fun, if a bit obvious and silly (in a good way).

If you’re into toe-choppin’ closet trolls (I’m just back from Norway, so trolls are currently an interest), then “Tickle” (CN: 2014) may be of interest. A babysitter tells a brat a tale about the toe-takin’ Tic Tac (“not the breath mint,” she explains), something she made up on the spot. But of course it’s a mind-over-manifestation thing. A bit long, but still enjoyable. The gore effects are really nicely done, and worth a mention.

In a creepy and minimalist story with effective SFX to back it up, “Good Evening” (CM: 2016) is about a man who invites demons to come join him for supper. With a twist reminiscent of Stephen King’s story, “Survivor Type,” it’s short and neat sweetmeat. It’s dark (as in lighting and tone), but that only add to the atmosphere in this two-character moody release. The bizarre yet humorously subtle battle royale of “Get Off My Porch” (PR: 2010) is about a guy and his interactions with some overly perky tween Adventure Girls, who are selling cookies. It’s a really fun story with pretty poison people forcing their way into the greater culture through some mysterious chocolate treats. The kids in this are great, as is the rest of the cast. Again, it’s a bit goofy, but honestly the better for it. If it had been done seriously, it probably would not have been as effective.

While the story above is full of whimsy, the follow-up is “The Judas Cradle” (JEL: 2011) is dead-on serious. A woman finds herself in a basement with a recently beaten man who is tied of a chair. A third catalyst character is played by the director, as a man who is there to facilitate and instigate vigilantism, in order for her to confront a shocking event in her past that ties her to the bruised guy. Lee is a bit over the top, but the other two plays their roles right on the line. It’s a good “what would you do in this situation?” conversation starter.

                                              

In an even more seemingly direct linkage to Talking Tina, “My BFF” (AW: 2015) replaces TT with Samantha, a dolly that shows up on the doorstep, as it were, of a young girl who of course immediately falls in love with it in a heteronormative way (I’m not being critical here, just observant). The mom, in Telly Savalas mode, is a bit of a meanie and doesn’t like the doll. Obviously, the feeling is mutual with obvious-yet-enjoyably-satisfying results.

“Howl of a Good Time” (PR: 2015) is ludicrous, audacious and just plain goofy. Again, despite all that, it’s quite satisfying and well made. A young girl sneaks into a horror film festival where all the audience are werewolves. Hints are given early on, and it’s really not that difficult to figure that part out, but the twist ending will make you say, “what?!” and guarantee to make you snortle a little bit with glee at its audacity.

There are a lot of elements and themes of this film that overlap, such as characters watching television (usually some non-copyright film like 1968’s Night of the Living Dead), some kind of doll (which makes sense), something or someone strange at the door, or babysitters.

As anthologies go in general, it’s a wise selection meandering between humor and straight horror, even with a wraparound that is pretty obvious from near the beginning. I like Rea’s choices, and also his filmmaking style on its own.

Charlotte trailer HERE

                                                 

Monster X

Directed by Patrick Rea, Daniel Iske, Sean van Leijenhorst, Jaysen Buterin

Ruthless Studios / MVD Visual

75 minutes, 2017

www.ruthlessstudios.com

www.mvdvisual.com

As with the previous film, this one is also a compilation with a wraparound. Interestingly, the connecting piece is from a series called The Dead Hour, and it’s from the second season titled “Fright Fest” (DI: 2011). It’s an appropriate one, as a couple goes on a first date to a horror festival featuring a multiplex in which different genres play in each theater, such as werewolves, zombies and Asian ethereal women (think The Ring or The Grudge). In each, what is happening on the screen seeps into their reality, as they jump from theater to theater. This segmentation makes it perfect to slot around the other shorts.

First up is “Banshee” (SvL: 2014), which is based on Irish myth, though this is filmed near Prague, the locus of the director. This 20-minute opus tells of a woman whose alkie husband has died, involving the titular creature, who is either a warning of death or an instrument of it, depending on who you ask (both are referred in the story through exposition). It’s beautifully shot with just the right amount of tension and even a nice jump scare or two. Eva Larvoire particularly stands out as the heroine, showing great ranges of emotional distress. Nicely done.

Speaking of film festivals, “Howl of a Good Time” is duplicated here, so I won’t repeat myself. Still enjoyable the second time around, though, so you should know that. Both this and the next short, “Now That You’re Dead” (PR: 2009) were directed by Rea, which shows that he actually knows his way around a script and direction. I have no idea what he’s like for a feature length release, but he packs quite a punch into a short, such as this one. Mix a cocktail of a tale of marital infidelity, double-, triple- and so on crosses, and then use a vampire spoon to stir it all up. There is just enough humor in it to keep you smiling, but not enough to take the – err – bite out of the storyline. The three key characters are all likeable in an unlikeable, anti-hero way. No matter who wins, if anyone does (I’m not telling), and more importantly who loses (ditto), the story is successful. That’s decent filmmaking.

The last presentation, “Don’t Let the Light In” (JB: 2015), is short tale of a new babysitter who is summoned to watch a very strange kid that sort of reminds me of a Mini-Me version of the man-boy Stuart character from MadTV (played by Michael McDonald). The story itself is somewhat predictable, though thanks to its length not being too drawn out, it keeps the viewer’s interest (well, this one anyway). Personally, I would have liked more of an explanation of the title. Then again, I’m a bit confused about why it’s Monster X when it really should be Monster V. But I digress…

As with the film above, there are some common threads that run through this one, such as the Horror Film Fest being more than it seems, or an occurrence of classic and iconic (is that redundant?) creatures like werewolves, zombies and vampires, to name just a few.

Some of these shorts have won awards, and it’s easy to see why, but honestly I really appreciated Rea’s because they had just the right amount of humor mixed in with the horror. One of the cool things Rea does here is interrupt a short to throw in a bit of the wraparound. I can’t imagine what the other filmmaker felt about it, but I thought it was a cool thing to do, and something you don’t see very often when dealing with other artists; a director might do it to his own short, but to someone else’s? Yeah, that’s ballsy, for one last time, in a good way.