Review: Blood Daughter

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

Blood Daughter
Directed by Bryan Enk
Third Lows Productions
112 minutes, 2022
www.facebook.com/bryan.enk

The director, Bryan Enk, seemingly is obsessed with the Dracula legend by Bram Stoker. A few of his previous films have this lineage, including two college productions: Dracula (1992) and Dracula Returns (1993), which may appear in some form as an extra on the disc, or should be, anyway. Note that some clips of those films also appear in a flashback form as a few of the actors appear in the same roles here. In more than one way this is a sequel to the sequel, but you do not have to have seen the earlier ones to watch this, as it can also be a stand-alone release.

Alexandria Johnson

Taking place in the here and now, rather than the gothic period of the novel, we are instantly informed that this is a beautifully arty work, with varying degrees of color (e.g., some muted colors, some black and white, some sharp clarity). The dialogue has nearly a modern Shakespearean tone of information and opaqueness, mirroring Stoker’s 1987 novel (e.g., “Let me be accurate in everything. For, though, you and I have seen some strange things together. You may think that I then, Helsing, am mad; that the many horrors and the so long strain on nerves has at the last turned my brain.”). They even use the infamous “children of the night” line. I was amused that someone states, “Something wicked this way comes,” as Enk also directed a film version of MacBeth (2003). There are generous uses of Shakespearean quotes thrown in for good measure, from Hamlet and Romeo and Juliet, for example. There is also a nice nod to the Stoker-inspired German 1922 film, Nosferatu: A Symphony of Horror (aka Nosferatu: Eine Symphonie des Grauens), as well as Francis Ford Coppola’s Bram Stoker’s Dracula (1992).

Johnson, Jeff Miller

The Blood Sisters is a group of both women and men who, it is pretty easy to figure out right off, an almost cult of vampires, under the tutelage of Rasputin-looking Sandor (Steve Bishop; not to be confused with the singer, though they both share facial hair), who works for the mysterious “Master” (Jeff Miller). Intent on joining the group, located in what is known as The Tower, is Lili (Arielle Hope), both “auditioned” and warned by June the Veil (Anna Stefanic). A focus of the opening is also introducing Inspector Claudius (Andy Hunsaker), who is searching for his daughter, Emilia (Emi Curia), who he fears has joined those in the Tower. .

Anna Stefanic, Bob Laine

Eventually, we meet the central character, Abby (Alexandria Johnson, real-life daughter of Van Helsing’s Chuck Johnson, who was playing the same part 30 years earlier in 1992 when she was born) and her almost split personality disorder consciousness discussing her inner conflicts (“the false company she keeps”), all played by Alexandria. By the blood around her mouth, it is evident what kind of creature is the real Abby.

The film, shot before Covid and just now released, is broken up into a series of set pieces, pieced together like a jigsaw puzzle, sometimes introducing characters that are never, or rarely seen again. This makes, again, some opaqueness to the story, keeping the viewer off-guard for both what has happened, and what is to come. Even the editing by Chris Martinez is as sharp as the dialogue, and often cuts dramatically. It is a wonder to see. My one quibble, however, is that at nearly two hours, it is a bit long to be hit with so much texture and deep diving dialogue (the film was also written by Enk).

Emi Curia, Andy Hunsacker

My description, at times, may seem heavy handed, but this was truly enjoyable to watch. It is also a brave posit, to assume the audience has an intelligence, rather than a mindlessly rabid fan of blood and gore. This is not a get drunk (well, perhaps high…I do not imbibe in either) with a point-and-mock attitude. It is erudite and intelligent, and yet quite playful at times, with moments of humor, and a strong breaking the fourth wall, to the point of Alexandria playing herself for a moment. Also, the camera becomes a character as a persona may turn and either acknowledge or talk directly to the lens.

Johnson

The film is precious more than pretentious: the reading of the lines is stilted by the language and over-emoting, much as with hearing most versions of Shakespeare, or live theater in general. Actually, this aids the dialogue, which may resound false if it were presented straight. It is loyal to the ideal more than the idea brought forth. Oh my god, now they have me doing it!

IMBD listing HERE

Trailer is HERE

Review: Ghostwatch

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

Ghostwatch
Directed by Lesley Manning
BBC; Screen One; Sonopress; MVD Entertainment
91 minutes, 1992 / 2022
www.sonopress.de
www.mvdvisual.com

Right now, there is a proliferation of Ghost Hunters type shows on cable television. I have watched a couple of them, and they suck, so obviously made up or at the very least stretching credulity. But this BBC1 film dates back to 1992, ahead of the crowded market, and is presented as a real documentary. There is little indication beyond the credits that it is fiction and exclaims itself as “live,” and comes across as a news program like ”20/20” or “60 Minutes.” This is helped by it being hosted by respected newsman Michael Parkinson and well-known celebrity Mike Smith (d. 2014).

As with Orson Wells’ radio broadcast of “War of the World” (1938), some people did not realize it was a scripted piece as this was way before the popularity of the Found Footage genre, so much of the audience was caught unawares. And like Wells’ radiocast, this was presented on October 31.

Mike Smith, Michael Parkinson, Sarah Greene

In a regular looking home on Foxhill Drive (in England; I am assuming London), the Ghostwatch team is arriving to investigate the ghostly happenings in that house (the example they show is actually laughable for a number of reasons, but incredibly reminiscent of Paranormal Activity in 2007, nearly a decade later). Hosting the team is annoying comedian Craig Charles (of “Red Dwarf” fame). Note that most of the main characters are playing themselves. The “reporter” from the BBC and lead is Sarah Greene, who was married to Mike Smith at the time, which is acknowledged in the program, thereby giving it more credibility.

Like Geraldo Rivera and Al Capone’s vault (do you remember that?), for a while everything is pretty mundane as they switch back and forth between the house and the studio, where Parkinson and Smith interview a parapsychologist, Dr. Lin Pascone (Gillian Bevan), the owner of the house, Pam Early (Brid Brennan), and take calls from people who have possible ghostly experiences. Taking the counterpoint poo-pooing the events, is American Dr. Emilio Sylvestri (Colin Stinton).

Brid Brennan and the Wesson sisters

One of the questions in this show is whether or not the events are a poltergeist, due to the two puberty-period (no pun intended) Early daughters and real-life sisters, Kimmy (Cherise Wesson) and Suzanne (Michelle Wesson). Or, perhaps, could it be something more sinister?

Before we get to the meat of the matter, when the banging hits the walls, the film almost mocks itself with a series of red herrings that I thought was really well written (by Stephen Volk, who started his career with Gothic, the 1986 story of the creation of the Frankenstein novel).

Craig Charles, Brennan

This is the first time this has been released on Blu-ray, which looks incredibly crisp. There are some nice extras. First up is a brand-new Audio Commentary with British film historians Dr. Shellie McMurdo (University of Hertfordshire/University of Roehampton, whose interests include the horror genre, trauma theory, Found Footage horror, and torture horror) and Dr. Stella Gaynor (University of Salford; author of Made for TV Monsters: How has the rise of horror on US television impacted on the spectacle and acceptability of the genre?, as well as being a horror make-up artist). They discuss how original this TV film was at the time. The two Docs, who are personable, for quite a while discuss their reactions to the film when they saw it as young’ns. Eventually, they mention how certain scenes are culturally effective. It is a bit self-centered, but so refreshing than most of the flat and clinical, “Here is how it got started, cast stories, effect on culture” cliché commentaries.

Also new for the Blu-ray is the documentary, “Do You Believe in Ghosts?: 30 Years of Ghostwatch” (48 min). This is essentially a Making Of documentary, filled with interviews with the cast (Greene and Bevan), crew (including director Manning and writer Volk), among others. It is engaging and a bit of an historical document about the filming. It is mixed with scenes of the film that you have probably just watched, but using it as reference points to the conversations, works. It is well put together, and worth the view.

Gillian Bevan

Also on the disc is an archival commentary with writer Stephen Volk, producer Ruth Baumgarten, and director Lesley Manning. They give a bit more details about both the technical ends of the film and anecdotes. It amazes me that after all these hours of commentary, there is very little overlap of information. My guess is that this commentary was recorded for the DVD release in 2014. Last is the “Shooting Reality” featurette by director Lesley Manning (8 min). This shows parts of the script, the house floor plan, and Manning’s notes about it as she describes it, among other things. There is also the only clear and close-up picture of the ghost, Pipes (Keith Ferrari).

What kind of reaction did the audience have during the show and after? Well, the BBC announced that they received over a million phone calls that were both favorable and complaints by people who thought it was real (despite the credits at the beginning and end).

Greene

Just for the originality in its format, this is as an important television moment as Captain Kirk mixing it up with Uhura. There was no reality television frame of reference, and this makes it all the more powerful, and worth remembering when you watch this, and you really should. So much fun.

Oh, and there are reportedly 11 appearances of the ghost, Pipes. I saw four. Drinking game? Or maybe every time you see the two-liter bottle of Coke.

IMBD listing HERE

Review: Wolf Manor

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

Wolf Manor (aka Scream of the Wolf)
Directed by Dominic Brunt
The Club of Wyrdd Tales; Mitchell Brunt Films; Wild Edric Media;
Francis-Castle Pictures; Lightbulb Screen Distribution; Strike Media
85 minutes, 2021 / 2022
www.Strike-Media.com
@wolfmanorfilm #WolfManor Film

Whether it is zombies, vampires or especially slashers, there are a lot of films about low-budget filmmaking under duress. It’s a meta look at how films are made, and how someone in the cast, crew, or at the location, is out to getcha. For this release, if you have not figured it out from the title, deals with a film crew is being jeopardized by a werewolf.

Who can complain about a good lycanthropic film, eh wot? There have been a number of noteworthy ones in the past few years, and happily this one joins the canon. There is something about the transformation of a man (or woman) to a monster that can be like, say The Thing (1982), where a person can look normal, but inside lay a deadly secret. For this British opus, filmed in Leeds, mostly, the monster is declared at the beginning as it starts in the night of the full moon.

At the titular Wolf Manor, the now-abandoned home of a magician, The Great Mascalini, in the countryside of small-town UK, the film crew, led by director Derek (Rupert Proctor), is making a low-budget vampire film starring washed up once-star, Shakespeare-spouting Oliver (James Fleet). He is just part of the whole uninspired crew near the end of a long shoot, who just seem weary of dealing with him and the whole production in general.

There is a very dry comedic tone to this, such as two reporters from a Fangoria type magazine who are on their way to interview Oliver, but first heading to the local pub for directions, The Blue Moon, and commenting that it should be called “The Slaughtered Lamb,” before mentioning to the owner that perhaps they should “stay off the moors.”  I am assuming I do not have to mention the reference. Another is people assuming a severed arm is a prop; the prop master, Owen (Martin Portlock) steals the scenes he is in regarding this.

We do not see the beastie (Morgan Rees-Davies) in all its glory for a while, but we visit his actions pretty early on, and they are nicely blood-soaked albeit a bit visually dark as it is the night (full moon be damned). When we see the creature’s point of view shots, it is in black and white, and through a handheld camera (a bit cliché, but it still works).

When we finally do get to see the werewolf, the make-up is really good, and I was impressed with the way it both walked upright, and ran kind of wolf like on all fours (front being claws rather than paws).

Obviously, the cast and crew are fodder, and luckily there is enough to make a decent body count, with some really glorious gore effects, without being too “technical” in its look. The detached heads, hands, intestines and other body parts have a realistic look that made me smile, rather than cringe in details.

One has to wonder if and who each of the characters are based upon. That is the thing with meta making-of films, the writer is bound to add characteristics of people he/she/they know. Most of them are not people you would necessarily want to meet, but the two most solid characters are just about the only females in the film: the boom mic operator who they just call Boom, Ellie (Sade Malone), and especially Fiona (Taila Zucchi), who seems to be the only one with brains in the entire cast, and for that is one of the central figures in the story, and the most sympathetic to the audience.

The kills are nicely spread throughout the story, rather than just being a bloodbath in Act 3, which makes this more enjoyable with less slow points in-between. Also, there are a number of jump scares, and some of them are effective, as the kills come out of nowhere most of the time. What drives the monster is an overwhelming need to kill, as well as hunger; if a werewolf eats a human, is it cannibalism?

The entire film takes place in one night, the time of the full moon, obviously, though this is the UK, and the overcast weather makes this very dark (lighting), both indoors and out. Oddly, we never actually see any scenes of the film-within-the-film being shot and instead the story is totally behind-the-scenes, so no bright lights for the cameras, inside being as murky and full of shadows as the outside. You may have to squint at certain points to see clearly.

For an indie, lower budget film, the acting is quite good with just a few moments of scenery chewing by the lead, Fleet, which is quite purposefully added to indicate he is a big ham.

The ending was partially what I expected, but then again it also had some surprises mixed in with it. This was an enjoyable watch, with just the right amount of both gore and humor. And speaking of the finale, be sure to see the origin story after the credits.

IMDB listing HERE  

Review: Bermuda Island

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

Bermuda Island
Directed by Adam Werth
Mahal Empire; FilmCore; Hosscat Production; Alien Donut Films;
Wicked Monkey Pictures; Stag Mountain Films
86 minutes, 2023
www.MahalEmpire.com

As subgenres go, I do not remember many that deal with the Bermuda Triangle, which is a shame. This one is sort of a cross between that and “Lost.” Perhaps the addition of a creature or more can be folded into that.

Starting off with a violent FBI drug raid on an upper-level drug dealer, Diego (Noel Gugliemi) in South Florida (I am guessing Miami), The film proper, after the violent prologue, picks up at the Miami International Airport, where we meet select passengers and crew heading for Puerto Rico, with said drug dealer in tow. They include a flight attendant played by Tom Sizemore, whose undone jacket and loose tie would actually never pass muster. But it is good to see him in what is essentially an extended cameo; Mahal Empire films are definitely helping to keeping him employed of late (e.g., 2022’s Night of the Tommyknockers). It is also amusing that two brothers on the flight are sir-named Sizemore. Noteworthy at this point is Carolyn (Mahal regular Sarah French, in such films as 2022’s Death Count), on her way to a vacation with her GFs. 

John Wells, Sarah French, Victor V. Gelsomino

There are other enjoyable stereotypes, such as a “Karen,” Peggy (Sheri Davis, also in Tommyknockers), and the comic relief of Midnight the Goth (Greg Tally, also in Tommyknockers; see a trend?), who was my favorite character.

It will come as no surprise that the plane goes down, though it is through a fun supernatural means (did I mention the Bermuda Triangle?), reminiscent of Airport 75 (1974). The survivors (future body count, and Mahal Empire films tend to have many) are stranded on Gillig… I mean the titular island in the North Atlantic Sea, rather than the island of Bermuda itself. Just an FYI, this was filmed in Vieques, Puerto Rico.

Greg Tally

Needless to say, those that lived through the plane crash are not the only ones on the island, as this is a creature feature, after all. Sure, there is one alpha male human, Bruce (John Wells) from a previous boat crash to take charge of survival tactics, helped by a member of the plane’s group, Damon (Victor V. Gelsomino, also in Tommyknockers); wouldn’t the plane’s Captain usually be technically in charge? Whatever, he is secondary character. However, it is the nighttime humanoid simian/reptile-like night feeders in loin cloths that are the ones to be feared the most. Their attacks are brutal, bloody, and give a good reason to show lots of gore.

There is also a somewhat subtle level of “Lord of the Flies” happening, with the plane remainders broken up into two groups, the main “heroes,” and one led by power-hungry – and armed – FBI agent Victor Sweden (Wesley Cannon). There is also a muscular macho masculinist bully who is narcissistic and rapacious (e.g., thinks he is god’s gift to women). He is what Bugs Bunny might refer to as a “bar-bell boy.” There are people you certainly hope to meet the monsters, as they are ones themselves internally, but others you hate to see go, and that is harder. What is nice is the killings seem random and just about anyone is up for supper for the monstoids (yeah, I made up the word, so what?). The attacks are also well spread throughout the film, but there are enough people left for the final confrontation at the end to ramp up the action.

Michael Madsen

The writing (screenplay by Robert Thompson from an idea by Michael and Sonny Mahal) has lots of twists and turns and a few good double-crosses. This is a film also about ego (e.g., the Karen and the Macho Man), and, of course, survival in an untenable position.

The creature effects, which remind me of a less-alien looking “Predator,” right down to the dreadlocks, look consistent and are well done. The blood and gore, which is in abundance, especially intestinal, are beautifully presented, without being too “clinical” (i.e., torture porn realistic), which makes this even more fun. While I am grateful for the nudity, it is also gratuitous and involves a romance that seems too quick and unrealistic. But I do understand why it is there, and have no complaints about it, as it is part of the action rather than just being there (e.g., a romance rather than a bath in a lagoon), even though it is there solely for the demographic who most likely will be viewing this release.

Mahal Empire films will occasionally give us human monsters, such as in Death Count, but more often than not it is some form of humanoid beastie, such as in Tommyknockers or Bridge of the Doomed (2022); There also are always strong and intelligent women as well as men, and really nasty of both, as well. I am quickly becoming a fan of their brand.

My big question is: where is Robert LaSardo?

IMDB listing HERE

Review: Ash and Bone

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

Ash and Bone
Directed by Harley Wallen
Auburn Moon Productions; Cama Productions; Painted Creek Productions; Deskpop Entertainment
97 minutes, 2022
www.facebook.com/profile.php?id=100058326256836

I am right in the mood for a snatch and hide rural serial killer(s) film, reminiscent of The Texas Chain Saw Massacre (1974), The Silence of the Lambs (1991), or The Collector (2009). The prologue, intermixed with the credits, gives us a sample of what is to come. They also delve into the home invasion subgenre.

Into this mess comes vacationing couple from Detroit, older Lucas (director Harley Wallen) – he wears a Rollings Stones Tour shirt from ’76 – and his younger, new wife, Sarah (Kaiti Wallen), and Lucas’s obnoxious and rebellious teen goth daughter, Cassie (Angelina Danielle Cama), for whom it is hard to like, really. We meet them, as is par for the course in these isolated homes subgenre, in the car ride to Lucas’s brother’s vacation house in Hadley Lake, MI (population under 300).

Angelina Danielle Cama, Mason Heidger, Jamie Bernadette

I am a bit confused early on, because in an act of rebellion, Cassie heads to the small town center, in which streets are long and built up, and goes into a crowded bar. This is more like a town of 1,000-2,500. I have relations in towns of about 300-400 people, and it is just a couple of streets long and is deserted at night. Even the hotel/bar run is scarce in denizens. But here, in a bar run by Louie (martial arts legend Mel Novak, aka Mi’lan Mrdjenovich), she meets the local couple Tucker (Mason Heidger) and Anna (Jamie Bernadette). They tell her about the town legend of a murder house, which Cassie insists they show her. Not a good move, of course.

Naturally, at Cassie’s hubris, they enter the Sawyer…I mean McKinley house through a window, and the second act starts with the shit hitting the pain. Getting in was easy. Getting out is another matter. From here on, it is chills and thrills that I will not go into detail. Speaking of which, the big question for me at this point is whether Tucker and Anna are in on it, or will they be fodder. When I do know further on, I will not say. Same with Sheriff Vincent (Shane Hagedorn).

Jimmy Doom

The man of the McKinley family is heavily tattooed, shirtless-and-overalls-wearin’ Clete (Jimmy Doom, vocalist of The Almighty Lumberjacks of Death, a punk band from Detroit). Then there is his equally insane sister, May (Erika Hoveland). Naturally, not only do they look like they should be below the Mason-Dixon line, but they are cannibals: what better way to hide the “evidence.” Yee-haw!

There is a bit of subtle social commentary on the ease of getting weaponry in rural areas. There is also a nod towards small town communities, so when Clete and May come searching, they know where to look as everybody knows nearly everybody. And if they are new, where it is likely to find them, even lone wolves, like the McKinleys. I understand the small-town mentality, such as if you see your worst enemy stuck in a blizzard, you give them a ride home, even if not a word is spoken of it again. But if I was in the position of Tucker and Anna, I would not have rode to the McKinley’s with Cassie. She would have been on her own. Perhaps it’s my Brooklyn upbringing, but screw that.

Erika Hoveland

Between flashbacks and the “present,” Cassie proves that she is not reliable, and consistently makes bad decisions that one can see as “rebellion,” but they are just inconsiderate and mean. I am really trying to see her as the protagonist, but for the first half of the film, she is an anti-hero, I guess. Not a nice person. But I am sure there will be a comeuppance that will either mellow her out to appreciate her life, or kill her. Again, I won’t say which way it goes.

It may be a small town, but there is a decent body count, as the film moves into body horror. Thing is, there are a couple of opportunities that were passed, where we see the end results without the process leading to it. Gorehounds are bound to feel slighted. But then, there is the third act. It’s usually the third act when all the tension of the first two explode into violence.

Speaking of which, I was actually surprised at how little the violence perpetrated was shown throughout. Most of it is just off camera, or we see the results of what happened in the past, as I have stated before. That’s not to say it is mild, no, but it is not very bloody. Though I have to say what SFX is shown looks good (e.g., the blood is the right color and consistency).

The acting is quite good, though Hoveland as May is the standout. Doom is also good as Clete, though his gravelly voice often sounds forced. As for the focus of this release, Cama, she does well, though she purses her lips way too often. Minor quibbles I know.

This is a welcome addition to the canon, and is okay for those who like the violence, and for those who are a bit squeamish, this film does well in having a foot in both camps. Like TCSM, more is implied than shown, but it is still powerful.

In the nothin’ to do with nothin’ department, since this was filmed near Detroit and Pontiac, MI, I am sorry they did not include Motor City’s own punk rockers, Choking Susan (who I saw play at CBGB), on the soundtrack. 

IMBD listing HERE

Review: Frost (2-disc Blu-ray and CD)

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

Frost
Directed by Brandon Slagle
JCB Pictures; Multiverse Cinema; Sandaled Kid Productions;
Snow Leopard Entertainment; Cleopatra Entertainment; MVD Visual
81 minutes, 2022
www.Cleopatra-Entertainment.com
www.MVDvisual.com

Humans verses environment is hardly a new subgenre of suspense, as you can go back to the likes of the ABC Movie of the Week, Seven In Darkness (1969) and Jeremiah Johnson (1972), but it has picked up since the success of The Revenant (2015), with Frozen (2010) and Fall (2022), among others. Into this canon now comes Frost.

In most of these films, there is always something “extra” going on to add some spice, be it blindness, a grizzly, or a height. Here, it is pregnancy. Abby (Scream Queen Devanny Pinn, who was also in this year’s Death Count), is pretty far along as we meet her in Pine Mountain Club, California.

Devanny Pinn, Vernon Wells

She is on her way to visit her estranged dad, Grant (The Vernon Wells in full Aussie accent), an alcoholic, after half a decade; he lives in a cabin in the mountains, surviving on nature (hunting, fishing) and selling animal skins. You can tell he’s a tough old coot by the toque he wears indoors. The only other human in the film is Abby’s friend Sasha (Venus DeMilo Thomas), who we see on her phone (Skype? Zoom? WeChat?).

In an ill-fated momentary decision, Abby and Grant decide to go up to “the lake” to fish and bond. You know that it is not going to end well. The hint is a road sign that reads “Icy.” Thanks to dad’s inattentive driving and said icy roads, they end up off the highway and deep into a hillside, far down the track. And then the weather drops (hence the film’s title) and it snows…

While there are momentary shots of post-accident before the – er – accident, this begins the ordeal of Act 2: survival. What is a nice change is that Act 1, where we get to meet the two main protagonists, is relatively short. Too many films spend more than 20 minutes just to introduce the characters, unnecessarily, especially if there is a car ride involved. Here, the drive pre-accident only lasts a few minutes.

There are shattered glass windows so no protection from the cold or other outside inhabitants, locked in their seat belts, branches jutting into the car (and Abby’s shoulder), and two hours till dark when it really gets, well, frosty. Not only that, but they are on the edge of an embankment that is straight down the mountainside. That is the situation, and where it goes from there is where I basically stop talking about details.

This is a tale of, hopefully, survival. But they have a long way to go with no cell phone (left in the house) and no way to be seen from the curvy road above. In other words, like the film 12 Hours (2010), where a guy has to cut off his arm to get out of a situation, you do not want to be there.

Will Grant’s history of being somewhat of a survivalist help? Hinder? Will Abby’s baby stay in utero (I can guess…)? These are the immediate questions that went through my mind, and I will not reveal, so no spoilers.

Certain questions arise to me. I live in a climate where it gets really, really cold, and have had to wait for an extended period (couple of hours) in a car in -30F. Abby turns on the car (it still works?) for the heater, and then turns on the radio. What? The way to actually do it is turn on the heater until it is reasonably warm, and then turn it off until it gets unbearably cold again, then repeat. You do not waste the battery in cold weather by leaving the motor on, wasting gas, never mind the toll on its life with the radio. And how long would it be before you ate something disgusting because you had to, to survive. Did not take more than a day for Abby. This makes no sense. I once went for four days without eating (while waiting for a medical procedure), and after the first 24 hours, the hunger passes a bit.

Being her father’s daughter, I don’t know if her survival skills are innate or learned, but they are present, given what she has in her small environment. And speaking of situations, the film picks up with the arrival of a big, bad doggie (Shadow; yes, it has a name). The hungry wolf (no singing Duran Duran, please) knows what will satisfy its hunger, and trapped-in-car Abby has to contend with that among other things. It is hard not to think of Cujo (1983), even without the slobber.

There are definitely some extremely squeamish parts to the film, making this more than just a trying to survive story. I would think in one particular centerpiece (aka Act 3), especially for women (I am not meaning that in a sexist way, but situationally), and what brilliant singer-songwriter Christine Lavin might call “sensitive New Age guys.”

The snowy scenery is actually quite beautiful, especially the shots of hoar frost on the trees. There is nice use of drone photography for overview shots of the forest; or perhaps it is stock footage? Either way, it is stunning, even for this city boy.

There is no doubt that this is Pinn’s movie. She is in nearly every scene, and also produced the thing. As vehicles go, this will look great on her demo reel.

This Blu ray Includes Slide Show (mostly screen shots, with some behind the scenes of Shadow), and bonus Trailers from Cleopatra Entertainment but, unfortunately, no subtitles. Especially of note is a CD soundtrack bonus disc, featuring Rick Wakeman (Yes), Geoff Downes (Yes/Asia), Terry Reid, and Front Line Assembly, among others. I did not listen, because I am not a fan of the bands; I’m a folkie punk rocker and am bored to tears by prog rock.

This is more than just a humans vs. nature tale, because there are some gruesome moments. A horror film? Perhaps not, but there are unquestionable surprisingly grisly moments. And that’s what made it for me.

IMDB listing HERE

Review: Project Wolf Hunting

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

Project Wolf Hunting (aka Neugdaesanyang; 늑대사냥)
Directed by Hongsun King
The Contents On (TCO); Cheum Films; Contents G; Finecut International; Well Go USA Entertainment; Hi-YAH!
122 minutes, 2022
https://wellgousa.com/films/project-wolf-hunting 
#ProjectWolfHunting @WellGoUSA

I am no expert on Asian horror cinema, even though I enjoy it, but it seems since Train to Busan (2016), Korean cinema has taken blood, gore, and violence up a notch. It is nearly as though they are in competition with Japan and Hong Kong to be the hardest edge. Well, this film definitely has that in mind.

A cargo freighter has been reassigned to ship a large number of extremely violent criminals (serial killers, gangsters, murderers, necrophiliacs, and the like) that have tried to flee justice and extradite them from the Philippines (where this was filmed) back to Korea for sentencing.

Right from the beginning, before the credits, this starts with a bang and a leg up on the body count pedestal, setting up the premise of why the boat is in play. The convicts of both sexes are easily identifiable by sight, but forgive me if I get a name or two incorrect listing them.

This crosses many genre boundary lines, which is impressive, from crime drama, escaped prisoners (c’mon, that is a given), body horror, creature feature, and mutilation. But more on this later.

The lead criminal is the multi-tattooed sociopathic serial killer, Park Jong Du (Seo In-Guk, who really seems to be relishing the role). He is part of a gang that has also infiltrated the ship to steal a whole bunch of moolah from the cargo hold. Also captive is Do Il (Dong-Yoon Jang), a laid-back martial arts expert. Meanwhile, deep in the bowels of the ship, a doctor is brought along to deliver a serum to what looks like a rotting and maggoty cadaver, but you know there will be another layer to that. He is accompanied by a very nasty nurse, personality wise, who has no idea of his actions.

Once the prisoners escape their bonds, the bloodshed is practically enough to keep the boat afloat on its own; yeah, I know it is a ship, but “boat afloat” sounds better, doncha think? My question is though, if the convicts escape, where will they take the ship? They certainly cannot go to either Korea or the Philippines, and I cannot imagine China or Japan taking them. Maybe they all can get to Carnage City coz they are heading to a bloodbath.

Besides, how many will survive once Alpha (Gwi-hwa Choi), the revived Frankenstein’s monster-ish (green skin and all) super strong creature gets loose? The body count is literally in the multiple of dozens by various gory means.

Most of the actors, from what I understand, are major players in Korea, and it shows in the performances in this film. Sure, there is a bunch of yelling, as in just about every Asian film ever made, but there is also subtly, such as with the policewoman, Jung So-Min (cute Lee Da Yeon).

Part of what makes this film so powerful is that, even though some plot lines are predictable, at the same time most of it – especially during the explosive middle and third act – certainly caught me by surprise a number of times, both in story plot, and who lives and who dies. There are a multitude of influences here, such as the isolation with a killer monster as in Alien (1979), the uprising of convicts such as No Escape (1994), and the genetically enhanced human through science of Seobok: Project Clone (2021; also from South Korea).

The SFX, both practical and digital, is nothing short of stunning, with more blood than, say, the lawnmower scene of Dead Alive/Braindead (1992). That is saying a lot. According to IMDB (see the link below), more than 1.5 tons of “blood” was used. Now, to be truthful, it looked a bit watery, but shit, it is beautiful and plentiful. The photography is also quite exquisite, in wide screen, as well as the editing. On occasion it is a bit hard to see all the action due to the narrow spaces in which the film was shot, but it may still take your breath away.

Either this was filmed on an actual ship, or the set designer deserves an Oscar. Much like the corridor scene of Oldboy (let us get real, the original 2003 version), the spaces tend to be tight with pipes all around; it could only be more squished if it were a submarine. They make the use of the space they have and use it to its ultimate purpose.

Literally, from the beginning to the end, there is barely a wasted moment, even at the full two hours running length. Great storytelling, amazing bloodletting, spot on acting, and a wonderous mix of genres. The director, Hongsun King, who also wrote the screenplay, does a masterful job.

Available on Blu-ray and DVD, Project Wolf Hunting features an all-new English dub (I saw the Korean language version with subtitles), along with bonus content including “Behind the Scenes” and “Making the Alpha” featurettes.

IMDB listing HERE