Reviews: The Necro Files; Necro Files 3000

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

The Necro Files
Directed by Matt Jaissle
Visual Vengeance; Threat Theatre International Inc.; Wild Eye Releasing; MVD Entertainment
72 minutes, 1997 / 2022
www.facebook.com/thenecrofiles/
www.wildeyereleasing.com
www.MVDEntertainment.com/
This film is a classic in the home movie subgenre. Essentially, what that means it that it was shot on video. Visual Vengeance is one of the few companies that are rereleasing the lowest quality looking films imaginable, which is, well, fantastic. The reason? Because of the imagination behind it. The execution? Well… Note that this film has been cleaned up significantly, and the quality of the visuals are quite good, unlike most of the VV fare which is seen in their trailers.

Named after “The X Files,” you gotta love a film that starts with the obligatory shower scene with full frontal nudity (Theresa Bestul). Serial killer and rapist Logan (Isaac Cooper) is not far behind, chased by a couple of police detectives:  the ultra-violent after a bomp on the noggin Martin Manners (Steve Sheppard) and his partner, the mustachioed Orville Sloane (Gary Browning), that latter of whom has a personal stake in the whole affair as his sister was a previous victim.

Steve Sheppard and Gary Browning

Long story short, dead killer, who is raised from his “slumber” by a group of Satan worshipers by killing the baby of the rapist’s victim (yes, an obvious doll). Be careful what you wish for because what arises is a flesh eating and extremely violent zombie.

Two of the surviving Satanists (who were in the group to hopefully get laid), the not-too-smart Barney (Jason McGee), who wears a Smashing Pumpkins Mission to Mars tee which is apparently quite rare these days and selling in the hundreds of dollars, and Jack (Christian Curmudgeon; like others in the cast, such as Ann R. Key and Drew Burymore, I am going to go out on a limb and say that’s not his real name), who wears plaid flannel (remember, this is filmed in Olympia, WA, in the ‘90s), try to resurrect a demon that will take care of the zombie, but instead raise the baby (again, it’s a doll) that flies around, also killing people while it searches for its zombie daddy. You read that right. I am only expressing this here because that is part of what makes this film so infamous among the subgenre. Well, that and the extreme level of gore.

I will be honest, and posit that I do not like scenes of rape, even if it is with a zombie and a 12” prosthetic dong/dildo). Never did. If you will pardon this soapbox paragraph, I once got into conversation with Frank Farel, the producer of Street Trash (1987) at a private pre-release showing of the film about how I objected to the rape scene in that film, and that it was gratuitous. I enjoyed the rest of the film, but that part just seemed so unnecessary and sexist. Then again, it was the 1980s, and envelopes were purposely pushed. But I stand by my conviction.

Isaac Cooper

The gore level in this film is over the top, and of course, that’s a good thing in this case. Piles of offal more than blood fill the screen often. For a gorehound, it is a pleasure, especially since it looks like they got it from a slaughterhouse; and yet, it is so extreme, it is almost cartoonish at the same time. Good times.

The acting is horrendously wooden, but I will chime the same tune I have been stating since the beginning of this review, and that is, it is what is expected in this subgenre. If you are looking for, say, Halloween (1978, 2007) quality, you are looking in the wrong place and will not be satisfied. If, however, you are like me, and marvel at how something this low budget and independent managed to do as much as they did with the means they have, this film is actually better than most.

Part of the relative success of the release, in my opinion, is the camerawork and editing by the director, Matt Jaissle, who works with the material (cameras, etc.) at his disposal, and has made this to look, well (and I mean this as a compliment), better than it should. Sure, the story itself (by first-time screenwriter Todd Tjersland, who also plays the head of the Satanic cult) is kinda ridiculous; the flying baby is priceless.

Speaking of fake names, it comes to the crew as well, such as “The X Files” related Dana Duchovny and David Fox, but the one that caught my eye was Gilles de Rias (if you are into serial killers, he’s worth looking up on Wikipedia; I have known about him for decades).

The music is often a varying hum, which actually works well for the film. There is some humor woven into the story (especially around the flying baby and the sounds it makes), though I would not necessarily call this a comedy.

Having heard of this film for years, I was not sure exactly what to expect from this, but I was not disappointed. In fact, it was much better than I was expecting, and again, I give that credit to the director who took a really silly story and, on some level, made it all work.

There is a whopping number of extras on the region-free Blu-ray that took me quite the time to get through. They include (but not all) a new, full-length audio commentary with the director, Matt Jaissle, where he has lots of good stories about the filming, and what’s going on in a particular scene you may not have noticed. A second full-length audio commentary is with Matt Desiderio of the VHS distribution label and podcast, “Horror Boobs,” and Billy Burgess of the Druid Underground Film Festival. They are knowledgeable about the film, and yet are not clinical, as I find some of the commentaries for, say, Fulci films. They seem to be there to have a good time and share that. It’s also amusing how they attach things that aren’t related to “show off” a bit (I would do the same), such as calling the opening shower scene a nod to Psycho (1960), and the Cassio soundtrack reminiscent of Blood Feast (1963). They are there to do a job, but because they are having so much fun doing it, that is transferred to the listener.

Next up is a brand-new video, “A Chat with Director Matt Jaissle” (7 min), as he roams around a cemetery with a handheld camera (with no stedi-cam) as he discusses other films he’s made, his influences, and getting The Necro Files started. It’s short and sweet. This is followed by a couple of Matt Jaissle’s Super 8 Short Films from when he was a teenager: “The Paroxysm Plague”, a zombie flick, and “The Adventures of the Walla Monster” (which includes a homage to Leatherface, Michael, and Jason). They are as amateurish as you can get, but that’s part of what makes it so much fun. A third 8mm short, “The Corpse” (1987; 9 min.) is a bit better realized along storyline and execution.

The Chilean Talk Show Segment (4 min.) is okay, except I do not speak Spanish. However, I am impressed they showed some of the graphic details (including dildos) both sexual and violent, while the group of hosts laugh it off. I wish this was captioned. More importantly is the documentary, “Dong of the Dead: The Making of The Necro Files” (20 min.). This is essentially a one-shot of Jaissle (with some brief clips) where he once again talks about the beginning of the film, the shooting, and especially the reaction afterwards (including a Chris Farley story!). It is engaging. Then there are also some Visual Vengeance trailers, including two original ones for the main film.

Included is a bonus Movie, the sequel Necro Files 3000 (2017) and its trailer, the film of which is reviewed below.

Some of the physical extras include a Limited Edition Slipcover for the first pressing, a retro VHS sticker set, the Necro Files Official Condom (yes, you read that correctly), a Reversible Sleeve featuring the original VHS art, a Collectible Mini Poster, and a 2-Sided Insert.

IMDB listing HERE  The trailer is at the bottom of the reviews.

 

Necro Files 3000
Directed by Matt Jaissle
Superpuppetanimation; VidEvil Video Company; Carilliam Pictures; Gravehill Production
62 minutes, 2017 / 2022
www.facebook.com/necrofiles3000/
This is actually the second sequel for the film, the first of which was The Necro Files 2 (2003), which Jaissle only had a limited contribution. It took 20 years for this second and official sequel to be released.

In the beginning… is the prologue. It shows a clip of the Satanists in the first film, raising up Logan, but in black and white. Instead of Isaac Cooper, we get a rapacious and cannibalistic… skeleton marionette. Yes, you read that right. In fact, from this point on, which is in color, all the characters are either puppets or dolls; the women victims are Barbie-esque, reminding me of Superstar: The Karen Carpenter Story (1987), which also used dolls. The obvious question is, of course, how does a skeleton (never mind a puppet) rape with no foot-long schlong as did the original Logan, never mind a plastic one?

Professor Blackthorne and Phineas Hogweather

We are then introduced to the protagonists of the film, Professor Blackthorne, an expert in the occults whose beard and eyebrows are drawn on with a marker, and Logan is brought to his attention by an investigative journalist, Phineas Hogweather (the latter is played by an elfin-eared “yokel” puppet; is that a commentary on modern journalism? Neil Postman would be proud).

Odd thing is, the gore level is high, and actually looks decent next to the plastic “victims” which are torn asunder. Not only that, but his plan is to resurrect “a death god to roam the planet,” exclaims the professor. They chase skeleton Logan to different parts of the globe, such as the Amazon Forest. Apparently, Logan travels to these destinations via supernatural portals. Then again, I’m watching a film about puppets. There are humans in the film, usually in the background or B-roll, shot in Ann Arbor, MI, such as trick or treaters, or crowd shots. Being shot around Halloween makes some nice costumes.

Victim and skeletal Logan

While the film tries to be funny, it kinda doesn’t achieve it much, but is still fascinating to me to watch how far they’ll go. For example, in a somewhat racist scene in the Amazon, there is an almost direct reference to a particular Bugs Bunny cartoon where Bugs meets an Aboriginal tribesman from Australia (“WhadIsay?” was Bugs’ response, rather than the professors, “Oh, shit”).

And what happens when the prof and Phineas hack into the Pentagon’s deadly Godzilla-sized Killbot 9000 (referencing Alex Jones conspiracies, of all people). This leads to the irony of the story, that P&P are responsible for killing a multitude of more people than Logan. While all that is happening, can you find Waldo? (I did.)

Stick around for the blooper reel in the credits. Okay, so much of the film is just ridiculous, but I certainly enjoyed particular aspects of it, like the bravery of the crew creating this in the first place, and for $1000. Also, there are a lot of cool references that pop up here and there (like the Waldo thing). Do I recommend it? For the right frame of mind, certainly. If you have a low threshold of insanity, well…

IMDB listing HERE  

Review: Aliens, Clowns & Geeks

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

Aliens, Clowns & Geeks
Directed by Richard Elfman
Elf-Maniac Media; Fusion Features; Unfound Content; UnLTD Productions; New Island Associates; Salem Street Entertainment; MVD Visual
90 minutes, 2019 / 2022
www.hipsterfilm.com/
www.mvdentertainment.com
There are certain films that can only be described as bat-shit crazy. That’s not meant as a pejorative in any kind of way, it’s a style. For example, there is Killer Klowns from Outer Space (1988), for which this film has been compared, Café Flesh (1982), Dr. Caligari (1989; a fave of mine), or The Forbidden Zone (1980). The last one is especially important in this list, because it was directed by Richard Elfman, who also helmed this ditty.

The whole Elfman family is pretty interesting, actually. Richard and his brother, Danny, formed the Techno New Wave band Oingo Boingo, and of course, Danny went on to greater things being the main soundtrack writer for Tim Burton. Then there is Richard’s son, Bodhi Elfman, who has proven himself as a solid actor, and he also stars in this film.

Bodhi Elfman, Rebecca Forsythe, and the obelisk

But let’s get the ball rolling, and put in the Blu-ray and begin the show. We start off in the world of Los Angeles out of work actors, where we meet anti-hero Eddy Pine (Bodhi). I say “anti-hero” because he’s a bit of a blow-hard jerk. But I’m sure he’ll redeem himself by the end. In this world comes a clown with a robotic voice asking for Eddy to “give birth to an obelisk.” Henh? Again, I’m sure it will come to make sense in the story.

How insane are we talking? Not too far in, Eddy has a three-way with two sisters, one of whom is Bodhi’s actual step-mom (Anastasia Elfman is married to the director). This was kind of creepy to me, but I’ll get by. This of course, leads to him giving birth to said obelisk (I won’t tell which end it comes out from), also know as the Jamtoid Key. I don’t know what that actually means yet, either, but hopefully all will become clear at some point.

Verne Troyer

Everyone seems to not only know about the object, but wants to possess it: there is the scientist who believes it could either be beneficial or destroy everything, Professor Von Scheisenberg (French Stewart; yes, that French Stewart) and his assistants, including Eddy’s love interest, Helga (Rebecca Forsythe) and her sister Inga (Angeline-Rose Troy, who also plays Eddy’s drug- and sex addicted Mom), two “Men in Black,” some Chinese gangsters, etc. But Eddy is also aided by his Trans sister, Jumbo (Steve Agee), who owns a night club. Thankfully, Jumbo is mostly treated equally and accepted by the main characters. I found that a positive. What is a woman? Whatever the hell she wants to be, and should be accepted as such. Period.

While all this madness is going on, there is another storyline that will collide with full force later on, I am sure. There are two spaceships floating around in a war over the object to either control the Earth and turn us into slaves, or just outright blow this planet up. There are some green aliens who are kind of homogeneous, and then there are the clowns, whose leader, Emperor Beezel Chugg (Verne Troyer, aka Mini-Me, in one of his last roles; d. 2018), who is a murderous authoritarian.

To be honest, I would have liked to have had more of the clowns and aliens’ storyline. And where are the geeks? If you don’t know, geeks were sideshow people who did disgusting things like bite the heads off live chickens. Perhaps I am overthinking it, and they mean the scientists, as intellectuals are sometimes called by that name. The Oxford secondary definition (noun) is “an unfashionable or socially inept person.” Well, perhaps they mean Eddy, who is a bit off when it comes to socializing.

There is a lot of sex in the film, but no nudity. The women are incredibly attractive, especially the two sets of sisters, so if you want some eye candy, you can find it here. However, with the exception of Helga, most of the female cast is secondary and there for the, well, eye candy.

I’ll say one thing about the Elfman name, it’s large enough to attract the attention of some well-known actors, such as Stewart, George Wendt (yes that George Wendt), and Troyer. And then there’s nearly the whole Elfman clan who show up at some point. And the incidental music? Well, guess…

The make-up for the aliens and clowns is pretty effective if occasionally cheesy (in a purposeful and good way), and the effects were generally CGI with lots of green screen, but only in particular scenes. This helps give the overall effect of an ‘80s film.

Forsythe, Elman, French Stewart, Angeline-Rose Troy

The version I saw was on a Blu-ray, and you know what that means: Extras. The first is “Aliens, Clowns and Geeks: Behind the Scenes” (34 min), which features Interviews with the cast and crew, including Danny Elfman (who is interview by a marionette), musician Ego Plum, Bodhi, Forsythe (sans the Swedish accent), Troy, Stewart, Wendt, Agee, among many others, including the cinematographer, Howard Wexler. Since there are some actors who play multiple roles, it is interesting to hear the perspectives on that, as well. This is mostly a series of talking heads, but the content keeps it engaging.

Next is an “Interview with Writer/Director Richard Elfman” (4 min). In his hideaway office, Elfman talks at the camera with flair and exuberance, intercut with some behind the scenes footage of him in director’s mode. Other extras include Ego Plum’s music video, the joyous “Mambo Diabolico” (Plum is the grandson of Leon Trotsky and Frida Kahlo!!). I really like the insanity of this instrumental that mixes Middle Eastern tones with Latino rhythms. Last of the biggies is the original theatrical trailer, along with a few others, including Forbidden Zone.

I don’t want to forget to add to stick around for the final credits. There is some amusing stuff going on there.

Overall, the film is quite a bit of fun. Despite the inclusion of a lot of scientific mumbo-jumbo (i.e., none of it is real), the plot is simple: get the obelisk, there is plenty of running around and action scenes (including one martial arts sequence with Helga), and it is as goofy as hell. Not as outrageous as Forbidden Zone, but a bit more coherent, narrative wise, yet remains out there in glorious WTF-ness. I enjoyed this a lot.

IMDB listing HERE 

Review: The Expat

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

The Expat
Directed by Gregory Segal
4Now Films; Badladz Productions; Spring Fairy Entertainment
96 minutes, 2021 / 2022
www.facebook.com/expatmoviephilippines

For some reason the term “Expat” (short for “expatriate”) has come under fire as being racist. I see this as a culture war argument, and will be ignoring it completely in this review. I believe if a person of any country of origin goes to another place, they are an expat of their own country, and an immigrant in the new. Race has nothing to do with it.

Anyway, there was a time in the late 1960s through the 1970s where the Philippines was a place to shoot grade C horror films that were so bad, they have become classics, such as Twilight People (1972) and Mad Doctor of Blood Island (1968), most of which starred surfer boy John Ashley.

Lev Gorn

This film is a murder mystery, but a really seedy one that actually made me feel uncomfortable at times. Right away, we are introduced to the titular expat, Nick Spiro (Lev Gorn, from the TV series “The Americans,” a show about, well, immigrants). He’s an ex-Marine who has moved to the Philippines “to do things.” It is not clear what that is, or whether it is a “vacation” (he says “for a while”) or permanent. By the title of the film, I’m going with the latter.

And what does this representative of the US do first-thing? He goes on the hunt for women for sex, through a local website. Ugh, gives masculinity a bad name. And this isn’t even 5 minutes in, he’s walking around hitting on every attractive local female he can find. He is also not kind to the women who agree to his bed. The next morning, he’s “Okay, get up, time to get out, I’m busy.” But he’s not. We don’t see him doing anything other than roaming around. I already don’t like this guy.

As his ridiculously large amount of “conquests” builds, something strange is happening in that his partners are turning up dead in alleyways with slit throats. This guy is prolific in the bedroom so the body count builds up.

Mon Confiado

On the case is Detective Cruz (Mon Confiado), who is a weird mix of likeable, but has no compulsion in whacking a guy about the body to get information, including Nick. Thought he was going to be the good guy, but I don’t think there is a “good guy” in the story. That also seems to include some run-ins Nick has with another Ugly American, just billed as the Well-Dressed Man (Billy Ray Gallion), who I’m guessing ends up having a larger part in the story at some point, perhaps even as a red herring.

One of the things annoying me is the total disregard for the women involved, with the sole exception of Cruz’s wife, Angela (Lara Morena). As the bodies stack up, Nick is more worried about himself and keeps on keeping on, knowing the danger he is putting these women into without a care. Like someone knowing they have AIDS and still sleeps around unprotected. Even Cruz is more concerned about the effect on the “community” than the women themselves. But I would also add Segal, who wrote and directed this, as being complicit in this attitude. With rare exception (such as said Angela, or the one woman who has any substance in the film at all and possible love interest, Delilah [Lovely Abella], for example), most of the females are seen as expendable, occasionally topless, with no character behind them except as sex objects to be killed off after moments on the screen.

Even Delilah, Nick treats her more like a servant that a potential girlfriend. He has her cook for him, won’t help her with chores (“Laundry isn’t my thing”), and at some early point when she asks if he’s coming back, he just leaves without answering. Total toxic masculinity on display, and just not a nice person. The writing also hints that she is interested in him as a possible sugar daddy for her young son. That being said, Abella plays her role with charm.

That being said, my favorite character in the film is the Mindoro Police Chief (Leo Martinez), who does the frustrated comic relief, dealing with incompetent underlings. Other good points is that there is some beautiful scenery as there is a large use of b-roll around Manila and Mindoro. I’m not certain if it was shot for the film, or is stock footage. There is an attempt to show both the touristy areas of bright lights and beachheads, but there is also a wise emphasis on the poverty that is there, as well. To me, this was the strongest message of the film, which was secondary to the actual story and often not explained, just placed there.

Gorn, Lovely Abella

There are minor rumblings around some possible geopolitics and local ones, but the film’s conclusion fizzles out into a nothing burger. Considering the number of people who are killed (yes, all women, who are seen as expendable), there is no blood seen, the bodies are at a distance, and we only see them after the killing. There is hardly any action onscreen other than a couple of moments here and there.

I found this release totally frustrating. It moves at a snail’s pace with way too much dialogue where nothing of substance is being said, there is hardly anyone to really like, especially the main character, and it goes in circles. I think I would rather see some of those old John Asley horror films from way back when.

While most of the film is in English, there are some bits in Filipino, with easy-to-read subtitles. Honestly, it’s not that much if you are subtitle-phobic.

IMBD Listing HERE 

Review: The Exorcists

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

The Exorcists
Directed by Paul Andrich
Terribly Important Films; The Movie Agency; Winnipeg Film Collective; Bayview Entertainment
88 minutes, 2022
www.facebook.com/bayviewentertainment/

Films that are focused on exorcisms rarely lean towards the comedy (well, intentionally), but some do, like Repossessed (1990), and more recently The Good Exorcist (2018). The concept of Exorcists for hire is also out there, but I like the idea of something so dire being up for laughs. Especially after The Song of Solomon (2015). 

One of the nice things about a theme of exorcists for hire is that it means we get to see a few of the processes, and each will be different. In this Winnipeg-based film, we meet Patrick, or Pat (Jordan Guay), as he is getting fired from his day job as a video editor, thanks to Covid. But he ends up, thanks to timing, working as a videographer for the titular exorcist, Tom (director Paul Andrich).

Meanwhile, a trio of dastardly villains, led by, of course, Damien (Susan Loewen), and backed by the likes of clown-masked Brian (Daniel Cormier), have wrangled a sacred object which leads them to the path of opening up the gates to another dimension to let in the Dark Lord. Mundane objects (e.g., a pair of specs that are supposed to be from the 13th Century, though they look like the $2 reading glasses you get from the large pharmacies like CVS, or in this case, Shopper’s Drug Mart) are the key to unlock the evil.

Tom is a bit of an odd character, but he comes up with surprise after surprise in his skills, which actually are humorous to watch. Patrick is at first taken aback by him, but not only do you know they will find a common pathway, but that pathway will also collide with Damien and crew in the third act.

I have to say, this film is actually quite smart and takes some leaps and bounds in the writing that are truly fun. There humor is very carefully honed, with subjects such as sexy Mennonites in Manitoba. There is also a veeeery subtle bit about suburban design as Patrick tries to find a house among circular cul-de-sacs. A lot of prairie cities are doing this now (and they always have similar names, such as Smith Crescent, connected to Smith Lane, connected to Smith Drive, and so on, all leading into each other). As you can see, the humor isn’t broad and goofy, and in fact, it is wisely used judiciously and that makes it work. Some of the best humor is when the characters are playing it straight to the events around them, and this is one of those.

Another subtle aspect that I enjoyed is that they equate a group of Jesus fanatics as not being much different than the Satanists, though in this story, both are real. Of course, in my opinion, they are both actually based on mythology rather than reality, praying to something they have never seen (on faith). This is a sharp commentary, though it’s taken with a Lot’s Wife size of salt (ever notice she was not given a name in the Bible, though her fate is remembered more than Lot’s?). Though both sides are represented, this is not a religious film that preaches.

The film also does not preach about Covid. Tom is a bit on the Conservative side, and Patrick is more Liberal (though I cannot imagine he actually votes). The masks are used as props more than anything else as some wear them, some do not (I still wear mine in public). Its presence in the film is mentioned often (unlike the vaccine) so, again, there is no preaching one way or another.

Manitoba is also mentioned a few times in various degrees of an elbow in the side kidding; kind of a “why Manitoba?” as one character openly states about a key object. I’ve only been to Manitoba once (Winnipeg) to attend a going-away party, driving through downtown to the ‘burbs that look very similar to that getting lost sequence. Thank god for GPS on my phone: got me there, got me out.

Secondary characters find their way into the fray as well, such as Frank (Ward Massner) and Tom’s girlfriend, Elaine/Gloria (Athena Metallinos)… the film explains that double name, and I do not want to do it.

Sometimes the acting comes across a bit like community theater, but personally, I like community theater. It is totally appropriate for this film, which I enjoyed from beginning to end. The writing, the bread-and-butter cinematography by Daniel Collins all works together. This is an acting troupe that got together and did their own thing.

As the director/writer/producer, Paul Andrich told me, “I’m an acting coach. During the beginning of the Pandemic, when everything was in lockdown, to boost morale I paid my own acting clients to act in a film that we made together. I used my own savings to fund it.” Respect, Paul. And truly, if you readers get a chance to see this hidden (for now) gem, I highly recommend it.

IMDB listing HERE 

 

Reviews: 5 Various Exorcism Themed Films: Accidental Exorcist; The Good Exorcist; High School Exorcist; Nurse Exorcist; A Zombie Exorcism

Reviews: 5 Various Exorcism Themed Films

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

When looking over films that use the word “Exorcism” or “Exorcist” in the title, it is usually, pun intended, dead serious. When dealing with ghosts, classic humanoid creatures (Frankenstein’s Monster, Dracula, etc.) there is sometimes a level of humor, but less so in possession films. Even with the grandfather of all possession films, The Exorcist (1973), it tends to be Catholic Priests vs. either Demons or the Devil itself. Yet, they can range from pretty mild and weird, like Shark Exorcist (2014) to gory and intense, such as The Song of Solomon (2014).This is not to say it cannot be occasionally silly. Please note, in all honesty, I enter this religious context as an atheist who has never been a Christian, thank god.

These films below are not ranked, but are listed alphabetically, all from TubiTV. Note that my snark is truly meant to be fun and rib-poking with a touch of stream of consciousness. I had just the right low-budget expectation for these films, so I was not blindsided by anticipating a theatrical extravaganza experience. After all, when it comes to the cheese level, there are times when ya want melted brie on toast, and at others, Cheez-Whiz on animal crackers. I enjoyed these films for precisely what they are. All of these releases are recent, since the millennium. Links to the coming attractions for all of them are at the bottom of each review.

 

Accidental Exorcist
Directed by Daniel Falicki
Sector 5 Films; Gravitas Ventures
105 minutes, 2016
Wow, it’s been quite a while since I reviewed a film by either the director Falicki, or his associated company, Sector 5 Films. The owner of S5 is a Trumper, and when he found out I was vehemently not, as I am a proud liberal, the chain of films to review stopped coming (note that my reviews, positive or negative, were unaffected by our differing political views). Anyway, Falicki’s flicks, such as Shadow World: The Haunting of Misti Delaney (2014), 3:33 AM (2014), and Awaken theDevil (2014), were all enjoyable. So, I am looking forward to seeing this one. In this story, Richard Vanuk (the director, Falicki), is the titular exorcist. He is unbathed, profane, seemingly non-religious, and a drunkard, but he has the ability to exorcise by doing a Resurrection (1980) by drawing the demon out of the victim and into himself, which is hard on his body. He also suffers from painful stigmata, a side-effect of the job. A mysterious person or organization keeps sending him to numerous such tasks in Grand Rapids, Michigan, but he’s living a destitute life, eating SPAM out of the can (the amount of salt he ingests would build a Lot’s wife) and being threatened by the landlord’s racist, homophobic and not-too-smart son (David Higbee) for not being able to pay rent. No wonder he drinks, right? He’s in rough shape, and Falicki plays him incredibly well for a low budget release. It’s pretty intense throughout, but there is also a certain level of dark humor, though I would hardly call this a comedy; for example, while in the middle of an existential alcoholic withdrawal, he’s wearing a D.A.R.E. tee. There is also a plethora of film references, as Vanuk is a film buff, which is also fun for the viewer. An interesting aspect to this is that while Vanuk is not affiliated to any form of orthodoxy, some of his clients are, including a reverend and a Catholic fanatic. No one is safe, as we see him handle a number of difficult cases, each one weirder than the next. But that is definitely part of the enjoyment. There are two things to remember about this film, if it’s a trigger to you: one is that there is a lot of drinking, and there is an abundance of puking by just about everybody. So, yeah, the man who fights demons definitely has a few of his own, both the psychological kind but including the ones who hang around his tiny, cluttered and smelly apartment. And what is the effect of having all these demons processing through his body, both the psychological and the physical? The effects look solid and quite bodily greasy, and as an overall film, well, I chalk this up to another Falicki success.
Trailer is HERE 

 

The Good Exorcist
Directed by Josh Stifter
Rebel Without a Crew; Flush Studios
86 minutes, 2018
www.joshstifter.com/
Austin, Texas, is one of the few sane places in the state that remain, and the Star Hill Ranch, where this was filmed, is there. This is one of the out-and-out comedies that is, rather than merely silly like, say, the later Scary Movie franchise, but it’s both goofy and smart at the same time. For example, the first priest we meet is Father Trejo (Mark Hansen), certainly named after Danny; also, for older folks, there is a caller to an Alex Jones clone conspiracy-based radio talk show named Doodles Weber, whose name sounds a lot like comedian Doodles Weaver (d. 1983). Our main, titular character is Father Gil (Daniel Degnan, who has a co-writing credit, for which I am going to guess is for abundant ad libs; he also appeared in a few of Stifter’s films around this period). We meet Father Gil performing an exorcism while dancing and listening to death metal on a cassette Walkman. He also looks a bit like a Hassidic rabbi, with the beard and wide-brimmed hat. Like the lead of Accidental Exorcist (reviewed above), Father Gil is profane, devil-may-care (pun intended), and a drinker, but a major difference is that Gil is confident and a bit smug. This is expressed in a video (yes, VHS) of himself explaining his services and possible side effects to his clients. The client at hand is at the Willows’ household, filled with ”good Christians” mom (Ali Meier), dad (John Baran), and weird, dumb-as-dirt, adult albeit childish son with a ‘70s-style porn mustache, Stanley (Avery Merrifield, who steals many of his scenes). Also at the ranch is cynical hired helper Maria (Brittaney Ortiz), who wears a huge eyepatch a la Christina Lindberg in Thriller: A Cruel Picture (1973). The demon possessing the ranch (and the occasional person) is the powerful Abaddon, a tentacled creature that has already murdered. While the comedy is somewhat consistent, it does turn serious once the demon hits the fan (actually, that’s one object that it doesn’t possess at any point) and the exorcism begins, but nothing dire. There is some ridiculous puppet monsters (budget, but also works for the story) and some cool animation, as well as a mix of CGI and practical effects, which are easy to differentiate. There are lots of film references both blatant and subtle, such as someone often with a chainsaw (get it? Texas?), and that is part of its charm, perhaps a potential drinking game. This was a really enjoyable, cheesy and breezy release, and it made me smile. Because the story is over the top, so is the acting to keep up the consistency. Because of the dichotomy of the similarities between this exorcist and the one in Accidental Exorcist and the complete opposite of tone, I would recommend seeing them as a double feature.
Trailer is HERE 

 

High School Exorcism (aka High School Possession)
Directed by Peter Sullivan
Hybrid; Production Media Group; Lifetime Television; Tesera Entertainment
88 minutes, 2014
To be honest, I’m going into this not really expecting much, (a) because of the title, and (b) the connection with Lifetime Television. But we live in hyper-religious White Christian desperation times (they are afraid of losing their hold, so they have become more harassing). Even before it starts, I imagine this as “Riverdale” (2017-present as of this writing) meets Saved! (2004), with a possible touch of The Craft (1996). I am wondering if there is actually anything supernatural in it, or if it will end up being a Christian fear film, especially since the director has a history of directing Christmas-themed television films (one of the reasons I stop watching TV for all of December). Let’s dive in. The titular exorcism here involves Chloe (Jennifer Stone), who is usually cheerful, but is now depressed, angry, and acting out due to her parents’ (including Ione Skye, who was once a teen acting golden girl herself in the early 1990s; at this age, it’s amazing how much she resembles her dad, singer Donovan) divorce…and the fact that she’s a teenager, perhaps? But the protagonist is actually Chloe’s friend, Lauren (Janel Parrish, whose mom is played by Kelly Hu), who is a reporter for the school newspaper. She has an assignment to check out a religious group called The Chosen (not too subtle) at her local church, which includes her schoolmate and religious fanatic/bully, Olivia (Shanley Caswell), where she accidentally sees an exorcism in progress, led by Reverend Young (William McNamara). This whole part is steeped in Christian mythology, from The Chosen’s meeting to the rite. When Chloe drunkenly sleeps with Olivia’s douche of a boyfriend at a party, she becomes the target of Olivia’s ire (you know, blame the woman, not the man; yes, this was written by Hanz Wasserburger, a male who writes TV Christmas fare). So, the $30,000 question is: is Chloe, who is hearing voices and staring at the wall possessed, or is she a teenager with issues? The film hints at one, but leaves it open for the viewer to mull for a while. The acting is pure television movie style, with just a hint of over- or under-emoting, like everyone is emotionally doing that “wah” at the end of sentences” (e.g., “I know-wah”), without actually doing it, if that makes any sense at all; Skye, however, comes out the most natural actor in the film. This is television/cinema high school, so everyone is gorgeous with perfect and very white teeth (realistic looking people need not apply). The film sends the message that is you are struggling and having mental issues (possibly schizophrenia?), surely it must be demonic and only the Church can help. When I was a teen, I was into things horrific (still am), had fake skulls in my bedroom and had low self-esteem. Was I possessed, or filled with hormones? Did you know in Ontario, 8th grade teachers are the highest paid instructors because they have to deal with teenage hormones? As the third act gets underway, the overhanded Christian dogma really starts to become cloying and heavy-handed, with an outright attack on atheists (as religious films are wont to do) in a classroom discussion on Hemingway. I fought the urge to skip ahead or turn on a podcast by Austin, TX’s brilliant “Atheist Experience” to cleanse my palate. Other, non-story but filmmaking questions I have include the following: why does Lauren go into the school newspaper office on a Saturday to write an article when she most likely has a computer at home? And why does Skye still wear her wedding ring if she’s divorced (note that in real life, she’s married to musician Ben Lee)? Of course, even with a bathing scene, there is no nudity (other than an upper back) and not even a “damn,” never mind stronger language. There is some violence, but mostly punches thrown sans blood (though some makes an “after” cutting appearance). The film is more about the reindoctrinating of Lauren, finding “Matthew, John, Luke, and Paul” than the exorcism, and that annoys me. One really doesn’t need to be overly religious to tell a good possession story, such as, once again, The Exorcist (1973). Finally at the end times of the film (see what I did there?), we finally get the exorcism (hey, it’s in the trailer), led by Olivia, who is verging on a feeling of jealousy and religious self-righteousness. Will this end well? Not gonna say. But I will add, if I never hear “The Lord’s Prayer” again, I won’t miss it. Overall, this really isn’t a good film as far as a true genre connoisseur fare, but as this is a television film, it would fit on the Hallmark Channel with no problem. While not as ridiculous as another Christian exorcism film I once saw called The Enemy (1974), I still wanted to take a shower after because of the weight of the religiosity. This could easily have been called God’s Not Dead, Part 666.
Trailer is HERE 

 

Nurse Exorcist (aka The Exorcist Nurse)
Directed by Masafumi Yamada
Wild Eye Releasing; Chance In; Kijuu
94 minutes, 2018
www.wildeyereleasing.com
Japanese genre films often deal with ghosts, demons and evil beings, but I cannot recall a previous exorcism release from that country. So, when I saw this, I got a bit excited. The original was obviously in Japanese, but the TubiTV version is dubbed into very precise English, if your caption-aphobic. Oddly, there is a quirk in the translation in that characters often repeat what they say twice; I do not believe this is purposeful. First thing you may notice is that the color filtering of the film is varied. Much of it is quite muted with a nearly sepia tone, some is in black and white, and others in full color. Yukiko Norita is not feeling well. Every time her husband, Kaigo, touches her, she bruises, and during a brain scan, a dark shadow hovers around her. She is admitted to the hospital on the same day as new, mysterious nurse, Misaki Matsumoto (Haruka Monokawa). The other young nurse, Rie Asama (Nanami Yamada) tries to befriend the quiet Matsumoto; note that these are the only two cast members listed in IMDB, and the end credits just list the actors’ names without their roles so I’m not sure who played who (whom?). You just know their paths are going to overlap. There is also a crusty older Head Nurse (whomever does her dubbing sounds really stilted and odd) who is in charge that does not suffer fools. As with most possession films, real or not (within the story), many times the question is first posed whether it is psychological or sinister. The black kind of foreshadows that (it’s in the first few minutes and also in the trailer, below), but the film still plays with that notion. Yukiko is convinced that everyone is telling her to divorce her apparently loyal husband, and she is freakin’ out in the hospital. As usual, Asians have a different take on the mostly American film tradition and make it their own by mixing Japanese mythology into it. So, while it’s not necessarily a demon possessing someone and the exorcist is there to – er – exorcise it, it’s a different, more personal take that will sound familiar to those fans of Asian horror cinema that I will not divulge because it was cool when it came to light. This is definitely the equivalent of a low-budget B-movie, and there are certainly talky parts, but it was different and yet familiar enough to keep me watching.
Trailer is HERE 

 

A Zombie Exorcism (aka Opstandelsen)
Directed by Casper Haugeguaard
Jawbreaker Productions; Wild Eye Releasing
49 minutes, 2010
www.wildeyereleasing.com
This Danish release is brief and hopefully not sweet. In many circles, this would be considered a short film (i.e., under one hour). What I found intriguing is the possibility of the cross of two genres, evident in the title. When it comes time for my “zombie collection” releases, this could have appeared then, as well (it was a choice between this and 2017’s Amityville Exorcism as a crossover title). This is in Danish (the translation of the original title is “The Resurrection”) with large, clear captioning. We enter the story at a funeral of Christian (of course) in a church. I am not sure of the denomination, but it’s orthodox enough that the men sit on one side (the “right side” of course since Christianity is a pro-male religion), and the women on the other. The priest, Father Lucius (Hans Maalǿe) drones on about, of course, the Resurrection (as funerals tend to do in Christian orthodoxy) and the coming of Judgment Day (obey, or else, is the theme). While the church has quite a few people, the focus is on one family, headed by a very strict and controlling mother, Ruth (Roxanne Tirkov). One of the sons, Simon (Peter Althoff) however, isn’t into it and is snorting a white powder off whatever the denomination’s Bible (we see a large 666 on the page, of course). It is implied that the sin of this action brings the church graveyard to zombie post-life (reminiscent of 1985’s The Return of the Living Dead) to attack the congregation. Just in case you are curious, these are fast zombies. There is no explanation for the recently re-risen, but I am going to assume from the title that it has to do with demonic influences. Or maybe it is brought upon by the using of the Bible as a coke spoon, or in the other direction, the uptightness of the priest. When the killing starts, it’s definitely bloody with body parts a-flinging. Simon and three others manage to get into the basement of the church through a trap door; Simon’s brother Johannes (Jonas Bjǿrn-Andersen) takes control (masculinist) of the situation, while sister Esther (cute Marie Fromhé Vanglund) takes care of a sister who is wounded/bitten. Well, we all know where that is going. An interesting aspect of this film is before the zombies arrive, the image is muted, nearly colorless. After they attack, the image is clearer, brighter, and better to show off all the blood. The main crux of the story is how they fight their way out of the basement. For a low budget film, it is extremely graphic with gore and blood, with practical effects, and is stunning to watch. The zombies look amazing, rather than ones that look like they have putty on their face. If you hate captions, just watch it with the sound off and enjoy the scenery. Other than Simon fighting off the zombies with a metal cross, I’m not sure where the exorcism in the title fits in, but still, this was quite enjoyable. The original Danish title makes more sense, this is still a hoot and a half, and perhaps I should have included it in a future zombie collection rather than an exorcism one. Still not sorry, though, and I recommend this film.
Trailer is HERE 

Review: Galaxy Games

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

Galaxy Games (aka Sol Invictus)
Directed by Ben Carland
High Octane Pictures; Event Horizon Entertainment
84 minutes, 2022
https://pixelpictures.net/sol

Wisely changing the name of the film from Sol Invictus (meaning The Sole Undefeated), the new title is supposed, I assuming, bring up tingles of the popular and profitable The Hunger Games franchise, as well as hinting at Squid Game (2021). Actually, it was a smart marketing decision.

For this sci-fi drama, groups of rival Academy students (I’m not sure if they are meant to be high schoolers or college level, but the cast is definitely older than the range in the story) are sent off to another planet to participate in the Sol Invictus. The plan is to succeed in science and personal growth, and in Hunger Games fashion, only the winning team gets to go back to Earth.

Of course, pretty soon, things go off the rail, as the rival groups are stranded on that planet. Right off the bat, I am wondering if this situation is accidental, or part of it all, like in Stephen King’s 1979 novel, The Long Walk. Part of their problem is that not everyone shows up due to a malfunction, and worse than that, most of the supplies are somewhere in limbo as well… including a large portion of the food.

One of the team captains assumes totalitarian style methods to still try and accomplish the goals of the game (“I still have a competition to win”), so they can get home. Considering all that is going on, will Earth even miss them? The whole point of the story is to get them stranded because the masters of the Games do not like “mediocrity.”

The landscape of the planet confuses me a bit as it looks a lot like Earth. The heavily testosterone-laden group (no women in the Academies back on Earth? Damn that Supreme Court) arrive on a desert plain, with an ocean just over the hill, yet they can be seen running through a forest.

Of course, they are not alone, as you can tell with the film’s poster art. There are creatures on the planet, known as Hunters, that look like a cross between a beetle and an arachnid (among other insecty things like worm-snakes), signaling a Starship Troopers (1998), though budget constraints limit the number of CGI beasties. I should note that even though the budget is low, they look decent for what it is.

Perhaps a good question for the makers of the film would be, to whom exactly is this being marketed? All the male actors look like they just stepped out of a 1990’s boy band, so perhaps teenage girls? The sci-fi action may bring in some teen boys, but this is definitely not aimed at the adult market, unless perhaps one is into cosplay mentality (not meant derogatorily at all). Mind you, this is a level above, say, The Power Rangers (no full body monster costumes, for example), but it is also hardly sophisticated enough to be a generalized attraction for a wide demographic.

It is, however, relatively high energy, with the angst of Dorothy wanting to go home, but with handheld shaky cameras in the action scenes to emphasize the drive of the events onscreen.

Like Robert Heinlein’s 1959 Starship Troopers novel more than the film version, this is a treatise of how the government has become authoritarian and militaristic mindset has settled into a norm. It actually is interesting to see this film in a time when one political party in the US is using militaristic methods to grab control the populace, though no mention of religion is present here.

I can guarantee I will not be the first to say this, but there is definitely a Lord of the Flies (1963, 1990) vibe to the toxic macho masculinity of who gets to run the shebang, with kindness or cruelty, depending on the one grabbing the ranks at any time. This changes a number of times throughout, as some people disappear for various reasons, or others pop in from the Games.

This is not as savage as Flies, however, in that despite some deaths, from creatures or of human origin, there is cooperation and bonding mixed in with the duplicity of loyalties (i.e., to self vs. the Social Contract). It occasionally feels like The Martian (2015) idea, as the survivors adapt to their environment.

The cast is actually well seasoned with many credits to their names in most cases, so the acting is on line for the story. Tyl (Jake White) is obviously the lead from the start, and does well in the role. My favorite character, though, was Howard (Tyler Thomas), as the quirky guy. Then there is the bully of the batch, Lex (Sky King), who takes an action I do not believe as it is against his very character…but I will forgive it for the “Kumbaya” moment

For what it is, a film geared to the teenage mind, with no cursing, no nudity, very little blood (though one gross scene of infection), it was relatively sci-fi with some social commentary, where is just where sci-fi should be: there is an old axiom that states that films about the future are actually about the present. In this political climate, I can see that.

IMDB listing HERE