TLMEA (2016) - Film Review

During a drug raid a group of policemen find themselves trapped in a nightmare, the third zone of Dante's ninth circle of Hell.

I had the pleasure of viewing another German/English language screener personally from filmmaker Kevin Kopacka. Here the Austrian director offers another dark moody psychological visual 32 minute short. The preceding opening with a horrific story of the fate of a young boy which is followed by a flick though the sounds, voices and static of a radio station of 99.9, Kopacka's prequel to Hades - TLMEA is more street than its predecessor, following a sullen group of swat and undercover police (poliza). Blurred images, shadows on red, troubled sleep with unnatural lighting, flashy editing that cuts to the hyper real moments as the director takes us through on screen title cards beginning with segments subtitled Limbo and Lust.

TLMEA unfolds with the harsh reverberating, at times melodic music by Aiko Aiko as we go further into the subtitled levels and themes, Animosity, (Greed reflected on the TV), Malice, Heresy, Violence, level 1,2, 3 and so on; we seep into the Twin Peaks dreamlike mind of our chain smoking protagonist with a cancelled TV show, Johnny Arson, showing on the TV sets in scenes possibly reflecting society imitating art and sensationalising horror and vice-versa.

Amongst the array of unconventional yet wonderfully abstract coloured lighting (reminiscent of Revolver) there some great effects by Tim Scheidig as a character turns to ice (reflecting Dante's penalty for the damned) and we are introduced to more hallucinatory themes subtitled Fraud and later Treachery.

Time and effort has clearly been pumped into this production. The acting is first rate, the excellent Anna Heidegger appears briefly (reprising her Hades role). Author/producer H.K. DeWitt also appears. As with Kopacka's other work the narrative is up for interpretation, no doubt a mainstream interesting feature script awaits (wow, I'd love this team to option one of my novels). As a standalone mystery thriller short it may not have the nightmarish impact of Hades but as a companion piece they compliment and complete each other perfectly.

As mentioned running through the underbelly of the short is the nine circles of Hell (Dante's Inferno). These dreamlike nightlife images, have a contradicting visual clarity as our lead Cris Kotzen as Schweitzer unloads a gun bringing the state of mind to a close, Tolomea after 'Ptolomea', conjuring Minos (interestingly played by rapper/artist Ufo361).

If visually surreal rides are your thing, this is compulsory late night viewing.

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Blackfoot Trail (2014) - Film Review

*** This review may contain spoilers ***

A landscaper takes his girlfriend on a nostalgic camping trip but the couple find themselves lost in the territory of a predatory black bear.

Very loosely based on the 2005 true events of Jacqueline Perry and Mark Jordan, Blackfoot Trail A.K.A Back Country has a simmering build up as the two leads trek into the wilderness. The first 45 minute trek is broken up with a tension filled scene where Eric Balfour's Brad make's a subtle move of sorts on (Jeff Roop) Alex's girlfriend.

Refreshingly, its' not a found footage film and traditionally shot. Director/writer Adam MacDonald is wise to take a less is more approach keeping the 'monster' hidden for the most part. After the couple become lost the first major attack comes in around the hour mark and it's worth the wait, the bear and gore effects are particularly brutal. MacDonald uses an unconventional interesting pull on focus. This unorthodox technique adds to the on screen proceedings especially as Jenn, played realistically by Missy Peregrym, is put through the mill.

The small cast ensemble are effective right down to the bit parts, notable is Nicholas Campbell as a Ranger. Although Balfour's Irish accent is unnecessary, it's a shame that his part is only an extended cameo. It's fitting MacDonald plays against expectations as Balfour's Brad doesn't simply save the day, but it would have been effective if MacDonald had weaved Balfour's character into the story a little more. But it's a little quibble. Frères Lumières music complements Christian Bielz's raw cinematography and MacDonald's on location shoot adds to the realism.

The real black bear moments sell Blackfoot Trail, expect a slow burner with great scenery and grounded performances. With the recent spate of killer bear features MacDonald's sober offering is probably the best of the bunch since The Edge.

3/5

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Galaxy of Terror (1981) Film Review - New World Pictures

*** This review may contain spoilers ***

On a desolate, storm-lashed planet called Morganthus, survivors of a crashed spaceship are attacked by their fears.

Director Bruce D. Clark offers a choppy edited and scripted affair. Nevertheless, there are some interesting kill scenes including a man fighting his doppelgänger, a woman being consumed by a giant maggot (Taaffe O'Connell's notorious death scene), another man being killed with a throwing star by his own severed arm. As with most Roger Corman productions there's plenty of imagination but low budget production values.

The cast are an assortment of familiar TV and film actors from Happy Days to V and a Nightmare on Elm St. who do their best with the script and ill-fitting costumes. There's Sid Haig, Robert Englund to name a few. There's some nice effects on display, along with matte paintings and sound effects. Interestingly as a precursor to bigger things, James Cameron serves as production designer and second unit director, there are reminiscent smidgens of The Terminator and Aliens visuals on display, even though not as well lit or executed.

Galaxy of Terror is unashamedly a series of kills strung together with gore moments and effects. But so were the majority of films in its genre at the time. Worth viewing if only out of interest for the practical effects work.

2/5

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The Boy (2016) - Universal Pictures - Film Review

*** This review may contain spoilers ***

A Montana woman, Greta, gets a temporary job as a nanny and to her surprise is paid to look after a porcelain doll, which is treated like a living child by his parents.

Director William Brent Bell offers a creepy tale with plenty of shock scares. The typical British James Herbert-like setting of a large British aristocratic home with mature gardens adds to the sinister atmosphere. Lauren Cohan's performance is excellent as Greta. As things go bump in the night with objects seemingly moving around reminiscent of Child Play, Dolly Dearest and Annabel to name a few, Cohan sells the fear factor. Bell 's production is polished, aided by its sound design, Bear McCreary's score (who appears to be knocking them out in his sleep) and Brian Berdan's editing add to the pace and atmosphere throughout.

Written by Stacey Menear, Greta's back story and motivations are believable but it leads to a somewhat inevitable Cape Fear-esque appearance by Cole, Greta's ex, played by Ben Robson. Rupert Evans gives a great understated performance as as Malcolm thanks to Delay's dialogue. Still grieving for their son, both Jim Norton as Mr. Heelshire and Diana Hardcastle s Mrs. Heelshire are delightfully creepy and emulate the odd couple in Dolls (1987) as their intentions are tragically revealed. Notable are the scenes where Greta demonstrates Brahms' ability to move by himself to Malcolm and when Greta is locked in the attic by an unseen force.

Although the lath reveals the house is state-side and not British, the excellent interiors and grounds really sell it. As with my incessant mention of other films it covers a lot of horror tropes. Those familiar with Housebound (2014) and an array of others will see the twist coming a mile off. If anything the rushed and jarring reveal takes away the suspense and tension finely built by Bell in the first three quarters with a Halloween masked phantom closing. That said, to Bell's credit the ghoul remains masked retaining The Boy's mystery. But the star of the show is the Brahms doll, which is just plain unnerving.

Those with pediophobia may want to avoid this at all costs but for the rest of us it's a solid horror thriller that works best when its honing the psychological aspect and delivering jump scares.

3/5

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10 Cloverfield Lane (2016) - Film Review

*** This review contains spoilers! ***

After getting in a car accident, a woman is held in a shelter with two men.

Director Dan Trachtenberg offers a well directed solid suspense thriller, that borrows from Stephen King's Misery, War of the Worlds and of course Cloverfield in the closing. 10 Cloverfield Lane's minimal main cast are on fantastic form, notable are Mary Elizabeth Winstead and John Gallagher Jr. but it's John Goodman who steals the show and is given more depth than the other characters.

What starts out as a seemingly typical torture kidnap thriller turns into something quite different. With the claustrophobic location of an underground bunker complete with air shafts, which Winstead has to worm her way through, it does have it tense moments. Loyality and trust themes builds the tension throughout thanks to Goodman's questionable character Howard. He gives a stellar performance with Bear McCreary's score adding to the edgy proceedings. With fine effects and some tight writing from Josh Campbell, Matt Stuecken and Damien Chazelle it works as a stand alone film as well as a 'side-quel' to J.J Abrams earlier 2008 outing. Clearly the small cast and few locations transparently function to warrant and somewhat set up a big budget third instalment. But don't expect any alien action until the latter half.

It's fast pace, unconventional story telling holds interest and makes it worth while viewing alone. Cloverfield fans will be pleased but those who aren't aware of the Cloverfield link may get more satisfaction from the alien twist ending and Howard's real intentions.

4/5

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R.O.T.O.R. (1987) - Film Review

*** This review may contain spoilers ***

A Dallas man is witness to the death of a cop and there's more to his story.

 With a video cover in the vain of the Vindicator, echoing The Wraith, The Terminator, Mad Max and Robocop, this low budget tail end of the 80s is like none of the above. Cullen Blaine's offering Robotic Officer Tactical Operation Research (R.O.T.O.R) has an informative title voice over, packed with exposition and flashback that adds very little to the proceedings. What it does have is a nostalgic soundtrack from synthesiser beats to some country music. It's also nicely framed.

 There's a robot which looks its just rolled out of Buck Rogers, and R.O.TO.R, correctly dubbed "a tin marionette," is like a stop motion endoskeleton with daft Punk shades. The dialogue is a pretentious and cheesy as it comes. Even when the motor bike patrol cops goes all Westworld/Hitcher stalker-ish it sadly remains one of the most uneventful films of 1987. Not even some toy robots or The Terminator P.O.V shots can help.

With Dallas' 80s fashion R.O.TO.R never lives up to or delivers on its premise of a directorate driven, judge and executioner super cop. It picks up briefly in the last half hour as leather clad, moustache sporting, ChiPs sunglasses cop takes on some locals and later blows up when his arms and legs are tied up. There's a little shock killing that amounts to nothing, with a twist ending that won't make you spill you coffee.

Despite its faults it's better filmed than 90 percent of the DTV films produced these days. Worth watching for nostalgic value only.

1/5

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A Haunting in Cawdor (2015) - Film Review - Uncork'd Entertainment

Run by a failed Broadway director a Midwest work release program which rehabilitates young offenders as an alternative to jail puts a group of  teens through the mill when a pesky curse is played out.

To cut a long story short director/writer Phil Wurtzel’s Haunting in Cawdor is a rework of Shakespeare’s Macbeth with a ‘Venus in Fur’ touch about it. Now some horror fans reading this maybe be thing ‘eh, what?’ That’s because Friel Films’ Haunting in Cawdor is not a horror film per say, it’s more of a thriller with the associated Scottish curse, speaking the name Macbeth inside a theatre which will cause disaster.

The budget is clearly small, the camera work is crisp and the goings on are centred on one interesting and fitting location. Any work based on Shakespearian play is, as you might expect dialogue driven leaving the special effects waiting in the wing. Wurtzel clearly loves the source material. Pouting, innocent eyed beauty Shelby Young plays the deeply disturbed Vivian faultlessly. The acting is theatrical and fits its offbeat tone which suits Cary Elwes’ (secretive Lawrence O’Neil) acting prowess perfectly.

Haunting in Cawdor panders to the Twilight generation of teen angst but also covers suffering and graver abuse issues. Incidentally, Twilight star Michael Welch appears as rouge Roddy. As the curse increasingly starts to look like a reality there’s some jump scares, smidgens of blood and dream-like visions but generally it’s jammed with teen summer camp-tropes and Elwes pensively looking over his glasses. 

It’s a wordy, low budget character piece with at best creepy theatre shenanigans, dressing rooms and running through the rain. Don’t expect 100 minutes shock and terror and you may ‘break a leg’ finding some teen cinema charm in Cawdor.

Rating: 2 / 5

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Anger of the Dead - Film Review - Uncork'd Entertainment

In a world ravaged by a virus that turns people into cannibals, survivors endeavor to reach an island, however, it's not just the zombies that are a threat.

Right from the opening where a little girl gets eaten you know it's not going to be a fluffy DTV addition to the genre. Writer/Director Francesco Picone's offering looks bigger than it is with real locations, lots of gore and a steady pace. Zombie completists au fait with Eaters (2011), Apocalypse Z (2013) aka "Zombie Massacre" and Zombie Massacre 2: Reich of the Dead (2015) will be familiar with the makeup style and saturated look that the talented (and friendly) Luca Boni and Marco Ristori have delivered in the past. Here they hang up their directing hats and don producer roles (along with Uwe Boll who incidentally has very little involvement, House of the Dead - this is not).

Picone takes up the reins and delivers similar aesthetics to Boni and Ristori. Jokes aside I tip my hat to Boll and company who appear to be single handily reviving the Italian zombie scene with another sub-genre addition.  However, Picone's film is more refined, it's void of comedy, the make up is more realistic and the script along with the acting are better.

The blood, bite wounds, severed limbs are effective. After the strong opening it then jumps four months after the outbreak with a road trip storyline that includes a pregnant woman Alice played memorably by Roberta Sparta. It has emotion and some tension between her and Peter as they are chased down by the sound attracted fast moving infected. The characters have to make hard choices along the way. Both Désirée Giorgetti as the Prisoner and Aaron Stielstra as Rooker are notable, their story thread is hard hitting at times with a nasty female abuse subplot reminiscent of Joe Chien's Zombie 108's (2012). However, when the story follows Alice and Peter and the zombies are in the forefront it works much better.

The acting, make up effects and camera work is solid enough, and even though all the players appear to be named after characters or actors synonymous with the zombie genre it's not a Syfy channel production. Also refreshing its not set in the USA, the locations are quite interesting and to Picone's credit it benefits from a nihilistic down beat ending.

Anger of the Dead (A.K.A Age of the Dead) is worth viewing especially if you liked the aforementioned films, that said Picone's offering is appreciatively far more serious and debatably superior due to it's darker tone.

3 for effort

 

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Siren (2013) - Film Review - Osiris Entertainment

Every Man's Desire. One Woman's Curse.

Leigh lives secluded and isolated in the mountains woods, normalcy is in sight when a stranger is unaffected by her affliction. 

Not be be confused with cleavage packed Siren (2011). Jesse Peyronel's 2013 Siren is a lost gem, a finely executed indie film from Osiris Entertainment that has managed to stay hidden away like its security surveyed main character. Directed and written by Peyronel it's a slow burning contemporary dark fairytale with widow-like imagery. 

Opening with a voice over that says, "Once upon a time..." a flower and candle filled large house, there's a flashback to a boys encounter with a showered with gifts (well cast) young girl called Leigh. The set up is wonderfully played out by the child actors who set the stage of what's to come. The captivating Ali Larter-like Vinessa Shaw (of the Hills Have Eyes rehash) holds attention throughout, her blood is being bottled due to its attractive pheromone powers. She is cursed, everyone can't help but fall in love with her and their life is subsequently turned upside down. However, charming Robert Kazinsky (of Pacific Rim fame) is immune to her allure having lost his sense of smell. With a dodgy perfume company over arching the proceedings it gives this Posion Ivy setup a sense of scale on what is quite a reclusive tale. At times, its forcible sexual relations are a little uncomfortable and the stalker, rapey moments are provokingly questionable. 

It's more grounded and sophisticated than Milan Todorovic's horror Killer Mermaids. Siren has a fairly paint by numbers outcome but it's beautifully shot and framed, benefitting from a somewhat novel premise as men go crazy over the potent smells. There's a melodic violin and piano driven score which gives it a mysterious lazy Sunday feel.

Overall, don't expect an action horror thriller. Peyronel successful commits to screen a twisted romantic character study in the guise of a deadly modern fairy tale. Recommended for adult fairytale fans.

Rating: 3 / 5

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Crying Wolf 3D (2015) - Film Review - Uncork'd Entertainment

In a little English village called Deddington a pack of werewolves on holiday come face to face with their victim and hunter friend.

For a moment I’m going to hold back on yabbering about this latest werewolf film, I should also point out that the 3D version was sadly not available for us from Tirana Films/Great Dayne Entertainment/Boom & Spray Productions. More important than director’s Tony Jopia’s offering is the knowledge that the first scene has Hammer Horror star, Sinbad’s Margiana and James Bond’s Naomi, actress Caroline Munro. Here she cameos as a shopkeeper, arguably still edible to the older gentleman, surely any self respecting werewolf would be honoured to gobble her up. I digress, many of the same cast and crew of Cute Little Buggers, a low rent Gremlins, reteam armed with a Hammer's business model, like a multi-picture deal of Craig Fairbrass films for... Ba-dum ching - Crying Wolf! A Kermit the Frog YAY please.

Taking a compulsory leaf from American Werewolf in London and Dog Soldiers and the recent Howl, Jopia’s Crying Wolf has plenty of sleepy village dolly tracking and crane shots. Jopia armed with ropey CGI (a limited suite of stretch effects, colouring and kinetic werewolves reminiscent American Werewolf in Paris); plenty of claret and fake limbs throws on screen what can only be described as canned wolf fodder. The tin looks good, it contents appear tempting but even if out of curiosity do you really want to open that bad boy up and taste it?

To Jopia's credit I've never seen a werewolf film with a grand Bond style opening credit sequence but voilà Crying Wolf has one and a theme tune too. With pub humour, Brookside pacing, gratuitous blood and breasts, this is not to be confused with Jeffrey D. King’s independent documentary film Crying Wolf (it’s an easy mistake to make). Written by Andy Davie, Michael Dale and Jopia this presentation is ridiculous and equally as silly (including a wrong hole gag) with its out of place flashbacks and unnecessary back stories. Aside from an abundance of pretty looking cast members what’s genuinely enticing is the atmospheric locale (possibly interesting if you live outside of the UK), there are also some nice make up, old school practical effects and there really is a germ of a good idea hidden away in the bottom of a pint glass. It’s energetic cast, include Gabriela Hersham, Chloe Farnworth, Joe Egan (of the well executed short – Predator Dark Ages), Kristofer Dayne, Gabriela Hersham and Ian Donnelly to mention just a few who put in every effort known to man to have fun with their characters. Notable is Angela Holmes who pops up briefly.

I’m going to mention (because I can), if I didn’t know better I’d say their tagline is a rework of my very own novel but this sub-genre stuff is in the air. With werewolves appearing from the shadows lunging at the camera and popping into an already very cropped frame, for the love of Thiess of Kaltenbrun don’t expect Lowell Dean’s Wolf Cop. Be safe in the knowledge that John Landis needn't worry about losing his 1981 and 1984 werewolf crown either. 

This stretched low-budget Carry On up the hammy werewolf is best served with a load of friends, excess barrels of real ale and an aptitude for this type of film. No doubt Crying Wolf will certainly become someone’s guilty pleasure.

RATING: 2 / 5

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Lilin's Brood (2015) - Film Review - Some Sirius Ship Productions

After hitting something in the road a news team find themselves visiting a brothel which may throw some light on their investigation. The W.H.I.S.T.L.E team's recovered footage will reveal their encounter.

Some Sirius Ship Productions were kind enough to share a screener with us of Lilin's Brood. Writer/directors Artii Smith and P.W. Simon (A.K.A Mansa Mojo Brothas) cleverly tap into the popular Jewish legend, a redressed favourite among modern occult followers. Lets face it the found footage genre has been done to death but it still has its place and fans. This includes interview like segments. To Smith and Simon's credit with the investigative news angle it gives their offering a palatable excuse as to why the cameras should still be rolling. There's sacrifice, seduction and although there's many dim and dark scenes it's a crisp piece of work, finely shot and staged that develops slowly with a  R.V, blood trails, torchlight and female flesh on display. 

The film features Martin Sensmeier, Maxine Goynes (who is quite naturalistic) and Melinda Milton. Actors Brent King, Martin Sensmeier and Arti Smith offer some comic relief and weight. Don't expect the recent Devil's Pass or Exists, it's a low budget thriller tale (and more interesting than many found footage films out there) with plenty of effort on display. The editing could arguably be tighter and some of the dialogue debatably delivered better but I'm not complaining - as without Lilin's Brood the world wouldn't have it's clever movie poster (you must check it out). 

Although the cinematic style is slightly worn there's plenty of mysterious atmosphere and a few jump scares thrown in to keep you watching. Overall, for those who like occult themed and found footage flicks Lilin's Brood is quirky enough to hold interest.

Rating 3 / 5

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Hades (2015) - Film Review - FDF Films & Crossbones Independent Films

A woman is trapped in a dream like state which appear to represent various stages of her relationship.

Watching films can sometimes be a dull experience, but occasionally the planets align and you get to view something quite stirring. Austrian director Kevin Kopacka offers a genuine haunting piece of art house film with a kitchen sink of camera tricks, sound design and lighting effects. Following a series of individual arresting sequences actor Anna Heidegger's organic beauty and fine performance really enchants as you journey through her nightmare. It has a universal standing as there's little, if any dialogue, its all about visuals and Kopacka delivers more treats in his experimental short than many features manage to do.

This Berlin made short film (just shy of fifteen minutes) unfolds like a Steven Berkoff play of uneasiness. Broken up by title cards Kopacka injects Giallo's horror and psychological thriller elements into his piece. He also throws in for good measure elements reminiscent of Kubrick's The Shining and a cross section of Lynch's work to name a few, successfully borrowing from the some of the best with lingering long corridors, locked doors, shadowy figures and silhouettes. Shots with glimpses of things that seemingly supernaturally move, notable are the eerie bed clothes. There's also the haunting stillness of faces, sunsets and hazy memories. 

Is it paramount that you analyse writer H.K. DeWitt's take on the five rivers of the realm of Hades and their symbolic meanings? Possibly, but it's not important, as Kopacka's Hades is about how it makes you feel with its unrelenting pressure and a sense of all-pervading paranoia and dread. The short is almost pure cinema and comes highly recommended. 

Rating: 4 / 5

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Die Die Delta PI (2013) - Film Review - Gatorblade Films

It's pledge week and all the girls of Delta Pi are rushing to die.

The mid eighties, a killer is on the lose and a sorority initiation involving silly-string goes wrong burning a girl to death. Cut to present day and the murders start again...

Directors Sean Donohue and Christopher Leto offer a love letter of sorts to the Slumber Party series and endless high-school massacre slasher films. Die Die Delta PI's eye catching cover art harks back to the 70s and early 80s hay days of slasher flicks. If choppy indie low budget slasher films float your boat this is for you. 

Donohue's story is another revenge slasher flick with a shock ending that you really don't need me to tell you about. Let's put some of the acting, continuity, sound and lighting design to one side for a moment, everyone are certainly trying their hardest. Opening in spring 1986 then shifting to present day it tries to equal its peers with the slasher sub-genre perfect ingredients: 1. A high body count and 2: Nudity (Roxy Vandiver fans will be pleased). However, due to its execution and budget restraints it never reaches the highs of the films it emulates. That said, it's packed with gratuitous T & A, paddle spanking, bikinis and plenty of fake claret as a hooded figure picks off (the varying acting talents of) the characters one by one. 

The cast include Christine Bell,  Olivia Blake as Marissa Chambers and the talents of Keisha Burchard and Madison Conradis to name a few. Some of the actors deliver writer Arturo Portillo's lines better than others. The clever casting of the 80s actors to there present day counterparts deserve a mention, actors Donna Parker and Bianca Allaine spring to mind, Shade Burnett's Katherine Jordan and Marcus Koch's inventive effects are notable.

While Donohue and Leto's offering is very rough around the edges, keep telling yourself this is a very low budget horror, there's some good editing, plenty of bras, boobs and blood. Probably best viewed with a lot of alcohol and a group of friends until the cops turn up just like in the film.

My generous rating is based on comparable films.

Rating: 3 out of 5

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