Review: Extramundane

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

Extramundane
Directed by Joshua Sowden
Self Esteem Productions; Deep Sail Media; Indie Rights Movies
94 minutes, 2022
https://sowden-jd.wixsite.com/film

A group of my friends got together last night for some beers (I had an iced tea) and yam fries for the first time in quite a while, due to obvious reasons. Among the group, there is a writer, a photographer, a videographer, a painter, and one is getting proficient on Spanish guitar. They were complaining that since Covid hit, entertainment had pretty much dried up and become bland, and no one was really going out to see movies/concerts anymore. I disagreed and stated that the pandemic has been a boon to independent filmmaking since they were stuck indoors writing scripts, or being forced to find creative ways to make a film with minimal cast, or used it as a theme for their film.

This film hits all three checkboxes. As the director told me, “I shot it as a 1-man crew during the pandemic. It is a true labor of love.” Set in Long Beach, CA, and shot with highly muted colors, it is not quite black and white, but it does have a Noir feel to it. The story centers around Trevor (Brant Rotnem), with his perpetual “Don Johnson-ish” five O’clock shadow, who is hired as a Property Manager, naturally during a time of a pandemic. Timely, as the film takes place in 2020. During the prologue, which could have been a short film on its own, we learn why he was needed to be hired following his predecessor, Steve (Tony Bartele). But there may be more to Trevor than just a manager.

Brant Rotnem

The maintenance manager (aka the super) is a creepy dude named Jerry (Craig Gellis, who looks a bit like Boris Karloff in the late 1930s), who makes himself known to Trevor as he is moving in. I find that when a creepy character is introduced this early on, either he will be the villain of the piece, or a warrior for the good. I am curious to find out (I am less than 15 minutes in…), but of course I will not say in this review. I may give basic plot points, but try to avoid spoilers.

Trevor’s boss is Mr. Gibson (stand-up comic and actor Vinny Coppola, in a nice cameo via Zoom), who is an all-business type (and I’m guessing “connected” to the Families, if ya know what I mean…).

Craig Gellis

What’s fun (though this is not a comedy per se), is meeting the tenants, who have expectations of Trevor, whether it is business hours or not, including Jasmine (Cherie Corinne Rice) and Bobby (Brock Jones), who come across as off-kilter or cultural “Karens.” I lived in a rent-controlled apartment most of my life, and rarely gave the landlord grief unless it was something important; when we moved out about 15 years ago, he told us the rent on the apartment (in Brooklyn, 5 rooms) was going to double for the next people, but he still wished we would stay. But I digress…).

There is definitely someone or something roaming around the atmospherically spooky underground garage, where a lot of this film occurs, a place to avoid if you have Tingchechekuphobia. Especially with the tall, dark, and shadowy figure floating about.

Brock Jones

This film has an interesting way of presenting technology, such as Zoom, texting, and the Internet. In fact, the whole cinematography, done by one-man-crew Sowden, is quite remarkable in that it feels Noir, but avoids being “arty,” although still being a beauty to watch. An impressive example of this is a shot of Trever in a dark corridor, while in the distance is an opening into bright sunlight, and it is all discernable, rather than the camera trying to adjust to either the light or darkness, making the rest either too dark or too light.

People are disappearing from the apartment building, and Trevor is determined to find out why that is happening. Mr. Gibson is unconcerned, telling him to just get the apartment ready for the next tenants. Sweetheart of a guy, eh?

Cherie Corrine Rice

With a single exception, the entire film takes place on the property of the apartment building. Gotta love a mixture of low budget and Covid necessity. It works well, because the building is spacious, but there is still a feeling of claustrophobia that settles in thanks to the lighting, and repetition and size of spaces.

There was another film called The Super (1998) where the titular character tries to figure out why people are disappearing in the building. Similar overarching theme, but different stories.

This is as much a who-done-it mystery as much as a supernatural thriller. While it is not a blood and guts extravaganza (meaning anyone can watch it), it is definitely worth checking out.

 

Horror short bonus review:
Witch
Directed by Joshua Sowden
Self Esteem Productions; Deep Sail Media
5 minutes, 2022
https://sowden-jd.wixsite.com/film

In some ways, this short is similar to the prologue of Extramundane. A man (again, Brant Rotnem, and his facial hair) goes into the basement of his apartment building looking for a broom. When he finds one, anyone who has been to Salem or even seen a coven film, knows this is not the kind of broom that one uses to sweep up dust and dirt. Before long, there is a shadowy figure, and the man tries to escape. Even if you see the ending coming (there are many similar short films like this), it is nicely atmospheric and well shot. Can be watched for free HERE.

Extramundane IMDB listing HERE

Review: Texas Chainsaw Mascara

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

Texas Chainsaw Mascara
Directed by Bill Zebub
Bill Zebub Productions; MVD Entertainment
73 minutes, 2022 / 2023
BillZebubproductions.com/
www.mvdvisuals.com

Man, it has been quite a while since I saw a film by Bill Zebub, an extremely prolific and profane filmmaker; the last release I reviewed of his was Pumpkin Man (the Ultimate Edition) in 2019. 

This clearly states on the cover, “This is not a parody!!!” Zebub is known for off-beat comedies, with films like Zombie Christ (2010), and Dickshark (2016); this film, however, is done as a horror drama.

Manic Panic multi-colored haired Danielle (Dani Bliss) and Andrew (Andrew L. Thomas) are vacationers a loooong way from home, somewhere in rural Texas (hence the film’s title), where they are out to find the house where Texas Chain Saw Massacre (1974) took place. However, their car gives up the…transmission? They are traveling with Mike (Cheyenne Mobbs) and Bill (Aaron Marquez). Luckily (or not), they run into arm-sleeve local Heather (cute Heather Beck), and Andrew immediately starts insulting her (e.g., her use of the word “cuss” rather than “curse”; yeah, he’s that petty). You may have noticed that many of the characters in this film use the same name as the actors portraying them.

Anthony L. Thomas, Heather Beck

Heather takes them home to her hovel, (except Bill, who stays with the car) where they meet wheelchair bound Zombie (director Bill Zebub) and Piggy (Marc Pearce), who wears the head of a, well, you know. There is also Susan (Maya Waters), married to Zombie, who seems to be in control. However, with Mike telling Andrew some locker room talk and Andrew being a real dick to Susan (e.g., demanding bottled water rather than tap, and having an anti-Christian tee shirt), the Yankees get taken by the Southerners (who have no discernable accent).

An interesting aspect of this family of cannibals is they are not over-the-top nutsy (despite the pig head), such as the Sawyers or even the Fireflys (this film is influenced by Texas Chain Saw Massacre and 2003’s House of 1000 Corpses in its general storyline).

There is also a bit of cultural philosophy thrown around, especially between Susan and the New York crew, with the differences between them in the way they look at their own lives. It is a driver of the film, but not swamped in it. But it does give a nice psychological edge to go along with the violence. It should be noted that Zebub comes from – if I remember correctly – New Jersey, if that means anything to ya. It could be noted that both sides of these groups are making assumptions about the other. Deadly ones. Both sides are assholes, yet they are also empathetic at the same time, which is nicely done.

Maya Waters

Now, let us discuss some sex and violence: Nearly all the extreme violence is done off-camera (low budget necessity), but the post-gore looks really good, especially in the third act, of course. As for body parts, nearly all the women show underwear at some point, but only one gets nekkid (I will not say which); women in underwear is a Zebub trope. Needless to say, not a single piece of clothing is removed from the males. Make of it as you wish.

Yeah, most of the acting is a bit wooden, but again, you know what you are getting, and in this case, it is a decent story and some bloodshed. That works for me.

As with most films, this could have been edited down a bit, such as the “Gethsemane” moment of Bill’s, where he accepts what he must do after cursing out the powers that be; it lasts a bit too long, seemingly long enough for a ballad song to play out on the soundtrack. It is a decent tune, but the point is made half way through it.

The extras on the Blu-ray may not number much, but they are huge. In no particular order there is the Painful Meow video (5 min) of a song called “The Bubble Voyage.” Uh, yeah. Basically it is Zebub rhythmically talking over off-key synth (played by him) with animation that includes a dog floating though the air via a gum bubble, while a man with a pumpkin head and various animals dance around. It is a bit over my head.

There is also a series of shorts called “Gaylord” (26 min). Yeah, I am clueless on this, too. It is a bunch of bits strung together about some feminine gay themes. It is more annoying than anything else, honestly. They focus on said “Gaylord” (Brian Gelitz, a seemingly straight guy cartoonishly “acting” gay) who plays stereotypical. These feel more like either a blooper reel or “extra scenes” thing from around the filming of Dirtbags, but it is not connected to anything. Oy. I kinda gave up at 18 minutes. Personally, I would have liked to have seen some Zebub trailers, instead.

The big extra is a 119 minute 2023 re-cut of a 90-minute feature, Dirtbags (2002). Zebub has a history of rejigging his earlier films, such as one of my favorites, Worst Horror Film Ever Made: The Remake (2008). This is, however, the first time I am getting to see Dirtbags in any variation:

Basically, Dirtbags is a meandering story about three – er – dirtbags. There are drug dealers Bill (Bill Zebub), who is going to college to study Nursing, and George (George “The Slayer” Stiso), and their buyer Scott (Scott Tergeist). Scott is a bit of a ne’er-do-well who lives with his hyper Christian dad (Parker Weller).

The whole point of the film, it seems, is to see how offensive they all can get. The film is highly racist (including a blackfaced “Ebonics” speaker with bulging fake eyes, putting down Black history, and even the use of the word). Meanwhile, Scott frequently zones out and fantasizes about near-naked women dancing around or usually tied up with the camera zooming around their “bits,” sometimes while he takes himself in hand. Scott also keeps asking his father ridiculous questions about his faith (I am an Agnostic and can ask better questions than If God creates, and Jesus was born, how could he be the Son of God?, for example}. Then there is a homophobic depiction of an effeminate gym boss (Tom Cartier) hitting on his employee Andy (Carl Williamson), and coming on to Gaylord (Brian Gelitz).

Sybelle Silverphoenix

Bill has the hots for George’s sister, Anne (Bronx-born Hungarian model and Sean Weathers’ muse Sybelle Silverphoenix). There is also a random cameo by Peter Steele (d. 2010), the bassist of Type O Negative, in obvious inserts into the film, not that I have a problem with that.

It is pretty obvious that a lot of the dialogue is ad libbed around a planned story which, again, I find fine. I did find myself double-speeding the film on the parts with no dialogue. My favorite scene, however, concerned a pizza delivery guy. It is also fun when the film employs the music from “The Little Rascals”/”Our Gang.”

Bill Zebub, Silverphoenix

There is also an attempt at philosophy with the helps of a Dream Goddess (Suzi Lorraine).

For me, the important thing about including Dirtbags is seeing how much Zebub has grown as a film maker from 2002 to 2022. It is like going back and reading something you wrote as a teen after you have been writing for a while. It is also noteworthy on how the style of music included in his films have changed. In the early years, a lot of it was death metal (see Zebub’s documentary, Extreme Metal Retardation), whereas now it has more of an off-kilter melodic tone.

It is the main feature, Texas Chainsaw Mascara, that is the real find here.

IMDB listing HERE

Review: Calamity of Snakes

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

Calamity of Snakes (aka Ren she da zhan; 人蛇大戰)
Directed by Chi Chan;
Chi He Film Company; Kee Woo Film (HK) Co; Unearthed Classics; MVD Visual
86 minutes, 1982 / 2022
www.unearthedvideo.com
www.MVDVisual.com

Definitely not one to watch if you have Ophidiophobia like Indiana Jones: a fear of snakes. The snakes used are real, so there is no – er – squirming out of this.

This Category 3 film from Hong Kong (though shot in Taiwan), has been never released on digital discs in the form of DVD or Blu-ray until now. Available here are the original Mandarin, as well as the English dub of its initial release. There is also a “Cruelty-free Version,” which I will discuss later in this review.

There is a level of infamy for this, for many reason, but mostly being bat-shit (snake-shit?) crazy. It is vicious, nasty, and deadly. And then there are the snakes. In a theme similar to the Italian giallos filmed in South America such as 1980’s Cannibal Holocaust, numerous real reptiles were viciously and vividly killed during the making of it, but that is where the “Cruelty-free Version” comes in if you do not want to see that aspect. Also, it is worth noting that a percentage of all profits, whatever the format, will be donated to Save the Snakes in continuation of their mission to protect snake populations around the world.

Needless to say, I watched the original in Chinese and uncut, not because I hate snakes (I am only afraid of ones I know are dangerous, or ones that I meet in the wild and am not sure), but to place it in the context of when the film was released, during the heyday of Hong Kong horror. There is a new, 2023 documentary on that topic included on the disc, From Shaw to Snakes: The Venom and Violence of Early Chinese Language Horror Cinema (116 minutes), directed by Naomi Holwill.

Like films such as Frogs (1972) or The Happening (2008), this is a supernatural revenge of nature to atone for violence against its creatures. Do I need to say what kind? Did not think so. The basic set up is that a conglomerate wants to build a new high rise apartment complex (I have been to China, and they are still doing it in droves to temporarily bolster the economy; again I digress…). However, they discover a multitude of snakes on the spot where the building is to be constructed, so Fu-Ren “time is money” Jiang, the CEO who is overseeing the project with his lacky and comedy relief Peter Ma (Ping-Ou Wei, d. 1989), gives the orders to kill all the snakes to make it habitable for the new tenants-to-be.

Jiang’s wife, Shumei, who witnesses the slaughter (which I found profoundly sad, especially the level of glee as they actually torture the poor creatures), prays to Avalokitasvara, who helps Bodhisattva (people on their way to enlightenment; thank you Wikipedia) for forgiveness in fear of retribution for her husband’s evil deed.

On the side of the snakes, is the architect from Harvard, Dr. Zhengfeng Xu (Yun-Peng Hsiang, aka Wan-Pang Heung, who passed away recently). He is slowly building a relationship with Jiang’s spoiled but cute daughter, Xiumei. Surely a comeuppance is coming after by the third act (I am at the beginning of the second as I write this).

The real fun starts when the building is opened, and the condos start selling to various types, including a “Karen” and the flirtatious young girlfriend of an elderly rich man. You just know who will be future fodder because the story focuses on them, and they act like they deserve a “spanking” from Avalokitasvara.

The snakes include poisonous cobras (I wonder if they “drained” them first), but the lead snakes are huge pythons that are not to the ridiculous size of 1997’s Anaconda, but still impressive. To try to get rid of the snakes, they call in a professional snake handler/entertainer, Master Lin (Yuen Kao, rather than Samuel L. Jackson). Their centerpiece man-vs.-snake kung fu scene is definitely a highlight, though there is more than one martial snake involved (as puppets, with that boing “springing” sound used popularly in kung fu films of the period as things go flying).

The scenes where snakes are killed be it by humans or by a bunch of mongooses (to upbeat and cheerful music!), lasts way longer than necessary, lingering on the snakeicide in almost fetishistic fashion. This is technically a comedy, but it seems like being cruel is a point. There are literally thousands of the creatures that are killed on screen, and only two of the reptiles on the screen are fake (those puppets I mentioned earlier)

I was amused that at one point, in the background soundtrack, you could hear Tchaikovsky’s “Overture 1812.” Also, when was the last time you saw an elevator with a 13th floor, other than the Texas psychedelic band? Then there is the “Benny Hill” sped-up with bouncy carousel music moment that also fat shames.

The other extras on the Blu-ray are “Reptilian Recollections: Lin Kuang-Yung in Conversation with Chui-Yi Chung” where one of the actors talks with the director and co-writer, and a full-length commentary with writer and editor Nathan Hamilton and film director Brad Slaton. Last are an “Alternate Credits” and an image gallery.

Generally, as films go, this was a hoot. The story was silly as shit, as one might expect (and hope for the period and topic), reminding me of the likes of Squirm (1976) and Slugs (1988), but honestly, I will never watch this again, due to its level of cruelty to living creatures who were killed for no reason (even if in the film they have snake soup, eat organs, and drink snake blood). If this was made today, and it was CGI or even practical SFX, I would see the same scenes and smile. But this is inexcusable.

Now I know that what I have just said is actually going to intrigue a certain group of people into seeing it, and I have no problem about it (at least the snakes would not have completely died in vain, nor vein), but I am at an age now where I prefer the SFX and CGI fakery to the actual destruction of animals for profit.

IMDB listing HERE

Review: Giantess Attack vs Mecha-Fembot!

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

This is the third and final giantess film in this series of reviews. It is the second part of a franchise, but can also be viewed as a standalone thanks to many flashbacks.

Once again, I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Giantess Attack vs Mecha-Fembot! (aka Giantess Attack 2)

Directed by Jeff Leroy
Full Moon Entertainment; MVD Visual
67 minutes, 2019 / 2022
www.FullMoonDirect.com
www.MVDVisual.com
www.facebook.com/WarOfTheGargantugirls/

This film is directed by Jeff Leroy, as a sequel to his Giantess Attack (2017), as explained in the prologue by a Katy Sagal imitator. Okay. I did not see the previous one, which is recapped through periodic flashbacks here and there, although I reviewed another film by Leroy, Predator World (2017). https://indiehorrorfilms.blogspot.com/2018/11/review-predator-world.html He also did the special effects for Attack of the 50 Foot Cam-Girl (2022) and Giantess Battle Attack (2022).

 

Tasha Tacosa, Rachel Riley

After tearing a city apart and eating numerous people in the previous release, once giantesses and now normal sized Diedre (Tasha Tacosa) and Frieda (Rachel Riley; both from 2022’s AmberRoad) are the subject of protests and lawsuits. Diedre is hiding out high in the mountains in her Fortress of Immeasurable Guilt (which has the house number 3 on the door) with Frieda trying to get her to join the real world (and, of course, catfighting…that’s the theme of the pic, after all). Meanwhile, alien-in-tight-vinyl Metaluna (Christine Nguyen, is shrinking people, such as a scientist, Dr. Drew (John Karyus).

Also fighting are two normal sized actors, Fran (Chelsea Bellas) and Amber (Kali Cook), after being offered roles by sleazy agent Joe Blowfeld (Ben Stobber, who played various creatures in a bunch of Mahal Empire films).

Finally, about three-quarters into this short feature, we finally meet the titular Mecha Fembot (Vlada Fox), under the evil control of Metaluna. She attacks Hollywood, and who comes to the rescue? Our two battling babes, Frieda and Diedre, who at least for a while are able to team up. Can they defeat Mega Fembot? Can they save the city? Can they show more cleavage?

Riley, Vlada Fox

Yes, this film is definitely geared towards a very specific demographic, essentially horny teen boys and horny older fanboys, but those especially with the catfight and macrophilia bug. Yes, there is certainly lots of cleavage and a surprising number of (clothed) crotch shots, thanks to “looking upward” at both our heroes and villains (no relation to the Beach Boys). Sexist as all hell? Yeah. Fun? Kinda. It is played so over the top, that it is nearly cartoonish, like some films that show violence that is unrealistic. However, the scene with Fran and Amber are kind of gratuitous and add nothing to the story, really; it is, however, another chance to show some more skin, another catfight, and a semi-macrophilia in reverse, as they are normal size, and the male in the scene is shrunk, giving that upward perspective anyway. Perhaps they are being set up to be more forward in another sequel? Amazingly, there is actually no nudity.

Nearly all of the film is either green screened (it is pretty obvious when it is) or using models of buildings that are easily collapsible. The humor in it is definitely grade school level, with a nod to the MCU and DCU, such as a nice running joke about becoming unrecognizable through a disguise of just eyeglasses. There is also a character in the coda named Nicky Fury (Alexandra Marie), who, of course, wears an eyepatch. The ending is a possible set-up for a new film, Giantess Attack in Space (although there is no listing for it is indicated in IMDB).

The extras are the trailer, and other Full Moon coming attractions. It may also be worthwhile to check out the documentary about the making of this film, Giant Women,Micro-Budget (2018). 

IMDB listing HERE

Review: Giantess Battle Attack

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

The second of three giantess reviews, this is the second of a two-film franchise, coming after Attack of the 50 Foot Centerfold (2022) As I have stated before, I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Giantess Battle Attack (aka Revenge of the 50 Foot Cam Girl)

Directed by Jim Wynorski
Full Moon Entertainment; MVD Visual
58 minutes, 2022
www.FullMoonDirect.com
www.MVDVisual.com

This sequel to Attack of the 50 Foot Cam-Girl begins in outer space, on the double planet of Buxomus, which is the “Planet of Girlgantuas.” Five seconds in, and I am already saying “really?” with a smile on my face. These films know their demographics to the T…or Double D.

These Girlgantuans (Buxomusites?) are warriors who, as we see right off, battle each other in MMA style. You know they will end up on Earth and meet up with giantess Beverly Wood (Ivy Smith) at some point, as it is in the title.

Led by the planet’s battle champion, Spa-zor (Kiersten Hall, who was also combative in 2019’s Kiss Kiss), aka Space Whore, the Girlgantuans head towards the land of the huge and home of the Wood.

Ivy Smith

Speaking of whom, things have changed quite a bit, though she is still 50 feet tall. However, Fuschia has reduced to normal size (seen only in expositional archival footage from the first release) and boyfriend Bradley (Eli Cirino, seen in a flashback cameo) is no longer involved when Beverly lost all her money in lawsuits due to the damage caused by her fight with Fuschia. Now she works demolition breaking rocks (with her feet), and has a new non-expanded boyfriend, Mike (Brian Gross, who also starred in director Wynorski’s 2012 Gila!), who owns the construction company.

Also back are the three scientists, Dr. Lana Rhodes (Lisa London, who gets to show more cleavage this time around), Dennis (Frankie Cullen), and Gary (Jaret Sacrey, shown in footage from the earlier film), the latter of whom is also reduced. A friend of Bradley’s, promoter Dennis (Frankie Cullen) however, has a fighter girlfriend, Anna Conda (multi-tattooed and septum-ringed Masuimi Max), who he wants to battle Beverly to gain fame and get rich.

There are some interesting twists and turns in the story as Spa-zor, Beverly and Anna finally get to meet up at the finale. I had a laugh when an oil rigs goes off and makes this the equivalent of another fetish, women fighting in an oil (or mud) pit. This gives Beverly the chance to say a line that should be repeated often: “Get off my planet, bitch!

Short and brief, the extras on this Blu-ray is the original trailer, and a collection of Full moon coming attractions (half the same as in the earlier film).

At one point in the film, during a particular jiggle-fest, director Wynorski breaks the third wall ala Woody Allen in What’s Up Tiger Lilly? (1966), to discuss the humorously gratuitousness of the “action.” However, it should be noted that most of the female actors here are actually quite accomplished in their own rights, be it as entrepreneurs, singers, influencers, and/or beauty queens – one was Miss Minnesota and Miss Bikini Model 1999/2000 – etc. Respect).

It would not surprise me if a third film in the series was forthcoming at some point.

IMDB listing HERE

Review: Attack of the 50 Foot Camgirl

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

Attack of the 50-Foot Woman (1958)

Film one of three giantess reviews in a series: This and Giantess Battle Attack are a franchise. Giant women, for some men, is a fetish (macrophilia), as is watching women physically fight each other (catfight), and are something I will never really understand, though both are combined in all of these below. But whatever. Of course, giant women films have been around for a while, with the grandmother of all being Attack of the 50 Foot Woman (1958), but was revived with the likes of Attack of the 50 Ft. Woman (1993) Attack of the 60 Foot Centerfolds (1995), and Attack of the 50 Foot Cheerleader (2012).I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Attack of the 50 Foot Camgirl

Directed by Jim Wynorski
Full Moon Entertainment; MVD Visual
61 minutes, 2022
www.FullMoonDirect.com
www.MVDVisual.com

The titular protagonist in this film is egocentric and narcissistic (is that redundant?) super successful social media influencer, probably on sites like OnlyFan, Beverly Wood (newcomer Ivy Smith). She is nasty and will not listen to advice, thinking she knows best at all times: “I’m a self-made visionary,” she states early on. Obviously, the name is a mix of Beverly Hills and Hollywood. The other two main characters are her husband, Bradley (naturally tall Eli Cirino) and their jealous assistant, Fuschia [sic] (Christine Nguyen, aka adult star Jennifer Lee), who wants to replace Beverly.

Ivy Smith, Eli Cirino

We basically meet Beverly as she is filmed taking a shower (naked) while being filmed and endorsing some product. The power structure of the three comes into play pretty quickly, as this is not a long film, and obviously they want to get over the exposition quickly so they can jump to the giantess aspect.

Of course, as I have stated earlier, this is a – er – broad comedy, some of it pretty subtle, such as Beverly referring to sex as “getting unfiltered with you,” and hashtags appearing occasionally as subtitles, e.g., “#sad” appearing to express her emotion.

And how does she get to go from influencer to giantess? Thanks to untested experimental grown-in-the-lab “Unholy Meat-ramony,” supplied by a trio of scientists: Dr. Lana Rhodes (Lisa London, a regular in films from CineRidge Entertainment, such as Love Crime in 2022, and The Wrong Sarah in 2021), Dennis (Frankie Cullen), and Gary (scene stealer Jaret Sacrey). The Bevster eats the food – despite being warned – and achieves the film’s title.

Because of the ridiculousness of the story (not meant as a dis), there is a lot that needs to be just accepted, such as everyone not freaking out about Beverly’s new – er – stature; though I am happy to say that they explain her clothing, rather than doing a “Gilligan’s Island” wardrobe mystery.

I laughed out loud (#lol) when Beverly destroys a billboard with a Full Moon theme (blink and you will miss it). And then, what happens when, in a jealous fit, Fuschia eats some of the GMO food stuff and grows to meet Beverly’s height? Of course, girl fight. Why is it when giantesses fight, they do it in slo mo?

Christine Nguyen, Smith

I liked that there is a couple of references to the original Attack of the 50 Foot Woman. That was a nice homage, but you would have to have seen the original to get it (I grew up watching it on “Chiller Theater” on WPIX in New York).

There is some nice use of both CGI (naturally), and some really fine model making (by Jeff Leroy, the director of 2022’s Giantess Attack vs. Mega-Fembot) for the buildings being destroyed, though obviously shells.

The extras are the Full Moon staple “Videozone” (7 min),where Wynorski, Ivy, and Full Moon’s Charles Band sit around the set’s pool and discuss the movie, filmed before the release because they were still unsure if it was going to be 50 feet or 60 feet. The “Behind the Scenes” (6 min) featurette is separate interviews with the three leads, a couple of backstage shots, and mostly clips from the film. Also included is the trailer for Wynorski/Full Moon’s film Bigfoot or Bust (2022), a cleavage extravaganza of big busted alien women in search of said Sasquatch. There are also a number of other Full Moon trailers.

IMDB listing HERE

Review: Planet Zee

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

Planet Zee
Directed by Zetkin Yikilmis
Yikilmis Filmproduktion; Digital Media Rights; Midnight Pulp; Darkside Releasing
96 minutes, 2021
www.facebook.com/planetzee1

Recently I reviewed Zetkin Yikilmis’s twisted fairy tale of the supernatural and violence, Pink Rabbit (2022), which is also based on a kill-or-be-killed supernatural scenario. This inspired me to check out this earlier film of hers; both are available for free on TubiTV.

This film is out of Germany, written and directed by a woman from Turkey, and filmed in English. Needless to say, some of the characters are quite accented, so I recommend using the English subtitles, just to make it easier. Personally, I like to do that anyway, as much as possible. Seeing so many live bands in clubs with no ear protection has had its toll, though I would not change my experiences. But I digress…

Zetkin Yikilmis

One would think offhand that the title would indicate this is a film about zombies, but no, Zee is actually the name of the lead character (Yikilmis). Zee is an indie filmmaker who is in the middle of making a slasher flick, while she lives with here elderly-but-nice granny, Sam (Trish Osmond), who is my favorite character in the story. While Zee is anxious about her filmmaking future, Sam gives a solid feminist standpoint to encourage her: “Never give up and know your own strength.” Yay. And you know that advice, much like Peter Parker’s uncle in Spiderman, will come in handy at some time in the film.

Within this film, Zee is writing a script titled Blue Smoke and a Locker. Amusingly, in 2019, Yikilmis directed and wrote Some Smoke and a Red Locker (which I have not seen). That is so cool and a great reflectionary inside joke. Note that this film was written by Bernd Strack, who was the screenwriter for Bunker of the Dead (2015).

Yikilmis and Trish Osmond

Zee is a heavy pot smoker, which amusingly is “dogwhistled” in the IMDB description as her being a “hippie.” Anyway, her producer is Serge (Alexander Tsypilev), an annoying sexually predatory twit who is just dripping in misogyny and toxic masculinity, but hopefully Serge has a comeuppance, because his gold chain indicates he imagines himself more the player than in reality. He is the kind of guy who gives us nice guys a bad rep. His attitude does not help when Zee’s computer is infected by a contest called “The Game of Power,” which claims it will improve “self-esteem” by forcing the user to do “diabolic tasks.” In her own “macho” momentary stance – despite the computer warning it is a matter of kill or be killed – Zee and Serge, who proves to be a coward, naturally, perform a blood ritual and are trapped in a room in Zee’s abode.

At about halfway through, the action finally starts in earnest when a demon shows up (Roland Bialke, a German professional wrestler who was also the titular Pink Rabbit in Yikilmis’s next feature). The make-up is kind of humorous; it is even commented on in the story (see the trailer, below), which I thoroughly enjoyed. The big question is, who will be the last person standing, and gets to leave the room? If anyone…

Alexander Tsypilev and Yikilmis 

So much of the story takes place in a single, small room, that has a strong yellowish ‘60s-‘70s motif (maybe that’s why they said “hippie”?), implying to the budget. Luckily, it is effective. Yikilmis seems to like small, confined spaces in what I have seen of her output. I say, make every dollar count. I respect that.

Another thing I found amusing was the subliminal anarchy hidden beneath the nonsense words scrolling on a computer screen (yes, I am the kind of guy who pauses the screen to read even the absurd words; I also do this when there is a bookcase behind the character, to see if I can make out any of the books; but again, I digress…), such as “Capitalism” and “Revolution.” I do not know if this was intentional, but I am hoping it was.

Paranoia and insanity, as well as anger close in on the couple as they continue to be stuck in this one space. Cabin Fever, or possibly something more sinister than that? Well, there is a demon…

Roland Bialke

The film could use some editing to cut it down to an even 90 minutes, such as a gratuitous dance sequence near the beginning that does nothing to advance the storyline. However, I am happy to say that the ending has a really nice twist that I did not see coming.

The acting here is, well, pretty wooden, but for some reason, that’s part of the charm of the whole thing. Yeah, it is not scary in any way, but the story is fun and there are some really nice moments of humor, as well as some gore (my favorite moment was probably unplanned but is so effective, when some brain matter gets stuck to Zee’s hair). The body SFX are practical, and range from cheesy to good, yet the digital effects (lightening, fire, etc.), look obvious and weird. But in this film, it works, because this was never intended to be Shakespeare, or Spielberg. This is what it is: independent, low-budget filmmaking, which, for all its faults, still manages to tell a fun story around the mishigas.

IMDB listing HERE