Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Sebastian’s Unholy Flesh
Directed by Dakota Ray
R.A. Productions
72 minutes, 2020
https://m.facebook.com/dakotarayfilmmaker/

In his seventh film, director/writer/editor Dakota Ray takes a leap forward and brings all that makes his signature stylings with him. He has a vision that is full of satanic overtones, indulging in absinthe, the darker side of Denver’s urban landscape, serial killing, and a purple haze… okay, a purple filter.

Without giving away much as this is in the first 30 seconds of the film, a cosmic shift has led to the death of Satan, and Sebastian (Dakota Ray), an evil extradimensional demonic being who has taken human form, means to fill the Dark Lord's place by getting his hands on a certain book that belonged to Beelzebub. With this he will gain Satan's powers and be able to destroy the world. And the quest for our end begins.

As with all quest sagas, there must be two sides, even if it is not good vs. evil, as in this case it is certainly evil (Sebastian as anti-protagonist) and a higher level of evil. Here, the latter is represented by two entities. The first, being human, is the White Spider (Fred Epstein), a serial killer that watches snuff films to get off, and who invokes the second demonic entity named Nezaah (Nick Benning) – the first born son of Satan – who is also after said tome, I am assuming for similar reasons. Nezaah uses the White Spider (WS) as his go-between to be rid of our boy Sebastian by cutting him into nine symbolic pieces. Will Nezaah and WS succeed in their malevolent deed and need for control?

With the exception of Nezaah, nearly all the dialogue is the internal thinking of the characters. This has always been a cornerstone of Ray’s filmmaking and it works for his oeuvre. When Nezaah actually orates, however, his words are simultaneously captioned on the screen in big letters, not as a scrawl on the bottom, for those who hate captioning; if you don’t want to read, you can still hear what he is saying pretty clearly through his growling vocals.

Speaking of pandemics, this was, of course, filmed during the height of the Summer of COVID, and it’s interesting to watch how Ray uses the cast in individual set pieces and splices them together to form a semi-coherent narrative (more on that later). The cast is actually quite small but work around each other in interesting ways to maintain cinematic social distancing.

There is very little subtly in this film when it comes to the acting. Sebastian is kind of cool and self-assured, with Ray’s trademark vocal growl almost snarling with smirking and hubristic glee. As for Epstein and Benning, they gear it up to, well, beyond 11 in their emoting, but we’re dealing with extreme characters, so it’s not so off-putting or even unexpected.

What is different in this film, however, is that imagery has moved up in importance and become parallel with the narrative, both of them in a dark, purple dance with each other. Ray has made it clear that he has become infatuated with the mildly psychedelic and green drink of absinthe, which may (I am assuming) be a strong influence on this heavier reliance on the visual.

Recently, I read someone positing that Ray’s works fit into the “transgressive” subgenre. That struck me as being quite accurate, especially with this release. I can easily see his work alongside of the likes of Richard Kern, Nick Zedd, and Beth and Scott B.; perhaps even a bit of Stan Brakhage in the sheer rawness of it all. Another reason this pairing may match is because transgressive cinema tends to be a bit poetic and esoteric, and arguably a bit poetically opaque at times, as this one tends to be due to it’s story arch and imagery, with each filmmaker having their own forte and style.

As a drinking game, take a sip of absinthe every time Nezaah says the word “Obtain.”

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Mermaid Isle
Directed by Jason Mills
Mills Pictures Studios; World Wide Multi Media (WWMM);
Sector 5; MVD Entertainment
70 minutes, 2020
www.chipbakerfilms.com
www.mvdb2b.com

I know, I know. Even before starting the film, it looks like there is a chance it is going to be stupid as all get-out. But I have a bit of faith, considering how much I enjoyed one of director Jason Mills’ earlier film, The Changing of Ben Moore (2015; reviewed HERE), which is saying a lot considering that one is in the found footage subgenre. 

Evil mermaids seem to be a bit trendy relatively recently, with shows like “Siren,” Killer Mermaid (2014) and The Mermaid’s Curse (2019), but the kind, female tail flopper from Splash (1984) and The Little Mermaid (1989) are long gone as washed-out tropes. These mermaids, as in The Odyssey, are up to no good.

Okay, starting the film now.

The set-up is simple though painful: four friends head off to a deserted island for fun and recreation. Annoyingly needy and insecure Toby (Mark Reinhardt) is in love with cute Amy (Kristina Soroff) and wants to use this getaway to ask her to marry him, but she’s not “there” yet as they started dating recently. Along for the ride is Toby’s bland pal Roy (Samuel Buchanan), and Amy’s goth friend Shelly (Kiana Passmore, who is also part of the film crew). If I may digress here for a second, why are goth characters in these kinds of films sooooo annoyingly bleak, sarcastic and downers? So stereotypical. I can’t even imagine Amy or any of them putting up with Shelly’s shitty ‘tude.

When Shelly is bitten by something (in clear, exceedingly shallow water, I might add), that’s when the trouble begins. The fact that it is Shelly that starts of the contagion train is no great emotional loss for the audience because she is so unlikeable as a character.

This group is not the sharpest stick in the woods. Bad horror film decisions are made left and right. They know to stay out of the water, so what do they do? Walk through the water. When their friend is hurt, do they head for the boat? Of course not. No sign of a cell phone from these 20-somethings? Hmmmm. If this is supposed to take place pre-phone era, then I missed that cue.

Transformation from human to mermaid is rare in story, though here we only get to see the before and after. And to keep the title accurate, it seems only women get bit and change, with males just getting off’d. So, I guess there are no interest in Mermen? And as a side note, are they air breathers that can hold their breath for a long time, or do they grow gills and live mainly under the water, because some of the off-screen, unseen kills are not in the water per se, especially in the epilogue that doesn’t really go anywhere. And how is the old woman’s son able to live on the island safely when everyone else who goes there gets disappeared?

Extras are only trailers. There are chapter breaks, but none indicated on the menu. Also, you cannot go forwards or backwards; you have to click on the previous chapter and wait. I wanted to check something in the end credits early on, and could only zoom to the beginning of the credits, and then hop back to wherever the chapter break was and wait until it caught up. Not very user friendly.

The biggest problem for me, beyond the weak acting is that the story is only about 30 minutes long, with the rest being atmospheric shots of trees and rain, or the beautiful landscape. The film could use some serious rewriting and video editing, such as the long, silent walk through the woods at the beginning could easily have been halved, if not more. Be it the opening music montage or someone’s hand being dragged for minutes on end, for example, all of that could have been excised and this could have been a pretty damn decent short. As it is, it’s not that much longer than an hour as it is, taking off the credits. It takes nearly 9 minutes for any of the characters to actually speak.

Do we really need to spend all that time with Toby standing confused at a literal crossroads? As a 30-minute release, this could have been a real tight story, but it takes too much time dealing with exposition and scenery, and unnecessary and distracting “mood,” that the film self-implodes and self-deflates.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Occurrence at Mills Creek
Directed by Don Swanson
Spruce Films
84 minutes, 2020
www.sprucefilms.com  
www.facebook.com/occurrenceatmillscreek/
www.occurrenceatmillscreek.com/index.html

What is smart, in my opinion? Starting small and then expanding. Case in point: this film began as a short with the same title (reviewed HERE). After working out the kinks, it has now been expanded to a full-length feature. It’s kind of like writing a novel and setting up an outline first. With the same core cast who now comprehend the roles better than probably just sitting around a cast table read, they are starting with an understanding of their character’s motivations. The short could almost be seen as OJT (On-the-Job-Training).

Ava Psoras, Betsy Lynn George, Alexa Mechling

The backbone of the story, to start, is more or less an intense family psychological drama, told in the present and via flashbacks, where half of the family is dead within the first five minutes, with certainly more to follow. The focus is on college-age Clara (Ava Psoras), who is not having a good time. First her mom, Emily (Betsy Lynn George, Ava’s real-life mom, who has credits including 1996’s Petticoat Planet – one of the first DVDs I owned – and in Billy Idol’s infamous “Cradle ofLove” music video)  passes on, and then her 15 year-old sister Cassandra (Alexa Mechling) goes and drowns by the lake’s dock after an argument with Clara; meanwhile, her estranged and physically abusive lothario father, Victor (Joel Fishel), is coming around for the funerals and trying to get back into Clara’s life before... well, you’ll see.

In the prologue we see mom shipping off, and then pick up at Cassandra’s farewell. During the funeral scene, one of many in the film, as Clara and her father stand together while a line of well-wishers go by, I could honestly emphasize with Clara’s muted and disjointed reactions to the overwhelming stream of humanity to the point of almost boredom as I felt that exact same way in that position with the passing of my parents.

From the beginning, we are given slivers of scenes in non-chronological order for the first 20 minutes or so, covering most of the content and about the length of the original short, though it never loses its sense of moodiness. After about 20 minutes, the film settles down into a more narrative form, but in the shadows, there is always something off, with the spirits of mom and sis mostly silently popping in every once in a while to remind Clara that things are not quite right.

There are indications that make the viewer wonder how much is real and what proportion is within Clara’s noggin. Are these spirits she’s seeing really happening, in her mind, or visions/warnings/hints to the audience that only she can actually see?

Clara is not exactly likeable, full of built up anger and attitude, but her equally sullen, flat moods fit in with the tone of the film. She’s a rich, privileged woman in long fake eyelashes whose family helped build up the town of Mills Creek. But, of course, there is a deep and dark family secret that she will investigate and figure out, or possibly give in to it. That’s the viewers’ job, to explore it with her.

There are some hints of blood letting here and there throughout the film, but we don’t get to witness excess until the conclusion catches up with the story, making it stark and shocking, which works the better for the overall plotline. Much of the film has quite the languid pace, so when the action occurs, it’s all the more unexpected.

The entire film looks beautiful in widescreen. There is a bit of artiness that may get lost on some shock-mavens, but as I said, the film is mostly evenly paced, giving the viewer time to mull over the actions on the screen, and try to piece it all together. It definitely has the feel and tempo of many thoughtful Scandinavian films or television shows (though it was filmed in the Pittsburgh area), but I like that.

This is only the second feature for director Swanson, other than quite a number of shorts including documentaries and music videos (two for this film, which will certainly show up on the disc), though the only one I’ve seen is the abbreviated earlier version of this film. This release shows an enormous amount of talent and thoughtfulness. Plus getting Betsy Lynn George and also MaLinda Parker (aka Lynda Maroni), who appeared in the early George A. Romero films Season of the Witch (1972) and The Crazies (1973), both to come out of retirement to appear here, shows his talent to draw others to him. That’s a good sign of things to come, I would imagine.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Blood Pi (aka Blood π)
Directed by Jordan Pacheco
Lock It Down Productions
91 minutes, 2020
https://www.facebook.com/BLOOD-Pi-1475601389429732

College is a time for growth, for learning, and apparently for dying by a horrible method, if you follow the trend of a multitude of slasher films. For this dramedy, we are welcomed to River Falls University (RFU), which I am assuming is in New England, where this was shot… er… filmed.

RFU is also a school that likes its winning football team and especially its wild parties, where the overaged female students are all beautiful and the males are the beef. But I’m getting ahead of myself here. There is no surprise about who is the killer as we see the striking -yet-warped coed Amber (Anna Rizzo) take umbrage with her family in the prologue, which also gives a hint of sharp (pun intended) and gory humor in the first couple of minutes.

Anna Rizzo

Of course, Amber is a completely murderous sociopath who is obsessed with Agnis, so you know the friendship between the two at some point is going to turn on its head.

But I’m getting ahead of myself. Of course, Agnis and Amber have a blow-out, leading to two altering actions: Amber goes further off the rail (man, Rizzo is good at playing “psycho” with both simmer, eyebrows and rage), and Agnis joins in with the same sorority mean girls who rename her Angie. It’s interesting that the psycho tells her to “change your hair, change your make-up, but be yourself,” and the hot shots want her to change to suit them. As nuts as Amber truly is, she’s actually the better friend than the sorority sisters. There’s an academic paper in there somewhere.

As for the Halloween party which starts Act 2, well, what better way to put some bodies on display (and there is a lot of that in this film), and in harms way of a psycho killer, qu’est-ce que c’est? Agnis, now dubbed Angie by the cool contingent, arrives at the party, as does Amber (Rizzo sure can rock a corset, as she showed previously in A Midsummer Night’s Dream, in 2017). Angie hooks up with a Kavanaugh-ishly rapacious frat boy, Keith (Jamie Dufault, who ironically starred in a film called Murder Universityin 2012) which does not go well for both parties.

Sarah Nicklin

Then there’s the – I kid you not – third shindig, starting the final act, where things really begin rockin’ and people start droppin’. And let the games – and the flowing of blood – begin! Damn, I’m giddy as a sbool boy (Monty Python reference, sorry). Amber learns of the Pi gals’ nefarious plans at Angie’s “pledging” to the sorority where the shit hits the fan and the body count significantly rises. There is one particular kill that is bound to make people squirm (did me), again in a Terrifier motif, but the previous party’s kill kind of balances it out, I guess.

The film touches a bit on some previous work, such as the obsession of Single WhiteFemale (1992) among many, and Mean Girls (2004). What’s nice is that this is a pretty meat and potatoes kind of picture, without trying to be too arty, and just give us what we genuinely want to see. There is also a strong influence of a plethora of 1980s releases where a ball becomes an abattoir.

A question I have, as there is no back stories on any of the characters, as is the nature of these kinds of genre blood-lettings, is that I wonder whether Amber was always a bad seed and had killed before, or was there a trigger that set her off on the path of rack and ruin. The other thing about these kinds of genre blood-lettings is that sometimes the backstories are irrelevant to the fun that’s on the screen at the moment, and we have a heap of that here.

Jamie Dufault

 Shot beautifully in widescreen, this is straightforward and to the point – with some very sharp points – which is just what is both expected and desired. There is truly little fat on the story, which makes a good viewing. Plus, there is a cast to die for, full of actors for whom I am a huge fan, like Nicklin, Rizzo, Dufault, and as the wonderful comic relief, the effervescent Johnny Sederquist as a drug dealer. Also noteworthy is Lilith Asteroth (I’m guessing that’s not her birth name) of the death metal band Sorrowseed,  as one of the Pi sorority who is more than what she seems.

The film definitely pushes some envelopes, which can be seen as good or bad, but either way it’s bound to shock some and have others hiding their eyes behind their hands. Of course, true deep genre fans are bound to be drinkin’ and a hootin’.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Bullets of Justice
Directed by Valen Milev
Zenit IT
79 minutes, 2020
https://www.facebook.com/BLOOD-Pi-1475601389429732

Post-apocalyptic dystopian future features are becoming more and more popular, though usually in the sci-fi (the danger of technology) or zombie universes. This film, shot in Bulgaria with local actors (with one cameo exception, noted below) spoken mostly in English and some Bulgarian (I believe) with subtitles, takes a different, action-based approach. It was directed by Valen Milev, who more famously gave us Wrong Turn 6: Last Resort (2014).

The basic premise has been told numerous times before, such as Captain America: the army intends to create a “super-soldier,” but things go awry. In this case, which takes place post-World War III, the soldiers are melded with pigs (say what?), who essentially take over the world until there are a few non-swine humans left, and the pig-soldiers are out to eradicate them through ingestion. Sort of like a pork-ified Terminator.

Doroteya Toleva, Timur Turisbekov

When our story begins 25 years later, our hero is Rob Justice (Timur Turisbekov) and his scarred assistant/lover Nina (Yana Marinova), who we see living in a shell of a city, battling some of the “Muzzles.” Y’see, them Muzzles are now the top of the food chain, with their favorite meals being of the human kind. Humanity has been caged like we do with cows and, well, the other white meat.

During the exposition by Rob to fill in the viewer what has happened, we briefly meet his father in a cameo by the great Danny Trejo (who still looks amazingly fit and gnarly for his mid-‘70s).

Meanwhile, those who are still out in the wild (as well as those captured) are physically filthy and dirt smeared. Well, so are the pigs, but in the real world we’re used to that, as pigs lay around in mud (to keep cool; they have no sweat glands, which makes one wonder about the expression, “sweating like a pig,” but I digress…). Oh, and let us not forget that there is a lot of pig shitting, the smell of which is apparently how they identify each other. Just be glad this isn’t in John Waters-style Smell-O-Rama.

Semir Alkadi

Even among the humans, there are traitors who are willing to sell out their fellow survivors to the muzzles, led in part by one of the more ridiculous characters, assassin Raphael (Semir Alkadi), who always has wind blowing through his long hair no matter where he is (and even if it affects no one else), usually wearing next to nuthin’. Sure, there’s going to be some sort of showdown between Rob and Raphael at some oink… I mean point.

Rob is part of the resistance and is sent to New York to kill “the mother,” who keeps producing all these pig mutants. Ok, let’s step aside for a sec here. This may all sound far-fetched, but hooo boy, this film is incredibly out there. Accents are thick, one muzzle has a face like a sphincter with balls under his chin that basically looks like a butt from the back whose name is, I kid you not, Benedict Asshole (Alexander Ralfietta), some time travel, and a whole lot of narrative inconsistencies. Camera glares abound and blood gets splattered on the lens. Then there is Rob’s sister and lover, a freedom fighter, Rakska (Doroteya Toleva), who has a mustache like her father (Trejo). I’m not sure if this is meant to be a dark comedy or not, but the shear level of insanity definitely had me laughing – in a good way.

Benedict Asshole

There is a lot of sex and nudity (full both male and female), and even some gay overtones here and there, though none of it is really explained. That’s the thing about this film, it is both engrossing, and yet has no problem making you scratch your head and say, “What the hell did I just see?” While we mostly view things through Rob’s experience, he’s kind of a Billy Pilgrim who has become unstuck in time, but nothing seems to be what it appears to be, and don’t look for answers. I guess the viewer has to accept it for what it is. This is also true of the accented dialog, which consists of lines like, “Bullets are always just! They are birds of justice, made of lead. If they don’t belong to you, they’ll never hurt you.”Saywhaaaaat?

CGI is used often and wonky at best, which in this case makes it humorous. Some of the multitude of people we see in a Muggle abattoir of human flesh are real, and some obviously made of rubber: light in weight and springy for tossing, but they look really good. Nearly the whole film is shot with a sepia type of lens, taking out bright colors and giving everything a brownish – again, dirty – look to it.

Did I enjoy the experience? Would I recommend it? Weeeeeeell, it’s not that easy. This film is definitely a mind-fuck, and yet there is something appealing about it in it’s inner insanity. I can accept the basic backbone to the story abut the rise of the pig soldiers, as I have read Orwell’s Animal Farm, which perhaps influenced the plot, but there are so many oddities that come and smack you on the face throughout that I would think one would need to be of a certain mindset to enjoy it. I will admit I laughed quite a bit at the inanity of certain scenes, and more because of it than not, it kept my attention. If I was a stoner – and it almost seems like it was geared in that direction – I don’t know what I’d make of it.

I would recommend it, but cautiously. It’s entertaining as hell, but equally confusing. If you’re in for a joy ride and don’t care about “sense,” yeah, you might get a kick out of it. Honestly, I did.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Nazi Undead (aka Living Space)
Directed by Stephen Spiel
Tru Dot Films; Monster Pictures; Jingai; MVD Entertainment
80 minutes, 2018 / 2020
www.facebook.com/livingspacefilm/
www.mvdb2b.com 

Have Nazi’s ever really gone away from the social or cinematic consciousness? Just looking at genre films alone, dead/ghosts and zombie Nazis have been present for decades, in films like Shock Waves (1997) and Dead Snow (2009), or footage of them marching at the White House in MAGA hats. (November 2020). Wikipedia has a whole bunch of them listed (HERE), and there is even a book about it called Nazispolitation! The Nazi Image in Low-Brow Cinema and Culture (by Daniel H. Magilow, Elizabeth Bridges, and Kristen T. Vander Lugt, [Eds.], 2011).

This Australian film is not in that Wikipedia list, just to show the topic goes beyond that inventory. Originally released in 2018, it is now getting a wider release, including this Blu-ray.

Georgia Chara

After an incident on a dark road while being lost (yeah, he’s driving), they end up at a house. No Frank N. Furter here, but swings move by themselves and doors slam shut with no one there. Ashley is also having flashes of Final Destination (2000-etc.) type dreams and images, so she wants to leave, but mister letterman jacket won’t listen.

Leigh Scully

If you have seen Wolf Creek, or some of the work of Peter Weir, you know just how bleak and oppressive Australian cinema can get. The house is quite small, so there is a strong feeling of claustrophobia, and the tight quarters make the ghosts popping in and out effective for jump scares, even after numerous times.

Needless to say, Nazi insignias are everywhere, on walls, on knives, and with graffiti on a shed wall. The latter, however, seems to me to be a bit anachronistic, as that was not a “thing” back in 1945, and having someone having done it in modern times kinds of takes away from the whole “lost in time” premise. Still, it’s not enough to divert my attention away from the story.

Andy Mcfee

Nazis – especially dead (or undead) ones – are easy villains. There is no need for any kind of soft-soaping or giving an empathetic side, because in this cinematic world, there is no “good people on both sides.” What is the motivation for the killings? Well, for the original murders, it was probably a matter of death and “honor” before giving up to the enemy (the Americans or Russians, perhaps giving this a 2000 Maniacs [1964] revenge vibe). For the modern era, it could be because they are American, or it may just be anyone foreign trespassing on Deutschland soil, which is the reference of the film’s original title, Living Space.

The blurb for the film gives the indication that the house is some kind of time warp (maybe they are Brad and Janet…), stuck somewhere between then and now, which would explain why the house is in relatively good shape, just as it was in 1945, yet time has not had an effect on the edifice at all.

The multiple time and special loops that run through the story are really well done, even with a nod to Satanic (2016) and Groundhog Day (1992), possibly Run Lola Run (1998), or the more recent Inoperable (2017). That being said, it is not just a rehashing of old themes, as director Spiel manages to throw some updating and modernizing into the genre framework in effective ways.

Not counting the ghosts, there is a small body count as there are really only two living humans in the main story, but the time factors mean more than one event per character; again, I’m trying not to give too much away.

So, the story is, as I indicated, a bit dark (usually if there are Nazis abound it’s either dark or an extreme comedy, like Mel Brooks), but it is well put together and told. From the editing (especially the nightmare sequences) to the practical SFX, this release actually was way better than I was expecting it to be. While the title is a bit more marketable, it also gives the impression of a B-film. That being said, it’s still better than its original title, which doesn’t give a clue about anything, even the genre in which it is placed.

There are no stunning extras, just chapters and stereo options, but make sure you watch at least the beginning of the credits to marvel at the SFX work.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Pit Stop (aka Acid Pit Stop)
Directed by Jason Wright
Summer Hill Entertainment; Silent Studios; Tomcat Films; MVD Entertainment
79 minutes, 2020
www.chipbakerfilms.com
www.mvdvisual.com

I am certain I am not the first (not likely not the last) to note that this film has nothing to do with the Jack Hill car racing film of the same title released in 1967 (reviewed HERE). And now, that I have completed this public service announcement, back to our feature presentation.

Callum McGuire, Megan Jenkins, Hal Hillman, Jennifer Johnson

In this British release, we meet two mid-twenties mates, stoner Paul (Hal Hillman), and practical joker / wise guy Lucio (Callum McGuire), who is a bit of an asshole. Paul has just broken up with his girlfriend Anita, and to cheer him up, Lucio is taking him to a party / rave that he organized for just that purpose.

Meanwhile, we meet two other mates, diminutive Anita (Jennifer Johnson), Paul’s ex, and Shailene and her bouncing cleavage (Megan Jenkins). Anita has just broken up with her boyfriend Paul, and to cheer her up, Shailene is taking her to the same party / rave.

The problems start when the car of the latter two literally run into the back of the former two on a less than busy road, so now they have to share a car. But first, Paul and Lucio stop off at a dealer’s house (Bruce Payne in a bad wig and an over-the-top one day’s worth of work cameo that gained him top billing) to pick up some – er – refreshments in the form of an experimental designer drug for which they don’t quite understand the dosage level. Payne does what one may just think of as the Bill Murray role.

Before long, the drug turns the party goers into starker blood-hungry and slow-moving zombies (okay, they’re not all dead, so let’s get beyond that “zombie” term strictness). For example, two topless ladies who are possibly lovers are now chomping on each other like it’s takeout at McD’s.

As the violence gets wilder, our four intrepid… schmucks?... hide out in the bathroom and have a discussion. Not that you can tell much of what they are saying; the sound quality of the film is absolutely atrocious, once the rave in in play. You can barely hear what any one is saying over the room echoes and the ambient sound (including the electronica music). The accents don’t help, either. The clam shell cover states there are English subtitles, but there are none.

Meanwhile, our four blokes are laughing it up, not taking this all too seriously, while trying to figure out a way out. On some level, this is a comedy, I gather, from certain moments, as it gets goofier as the film plays on. Or maybe it thinks it is funnier than it actually is, though there are moments that certainly made me smile.

The level of gore is decent, but far less graphic than one might expect. Bloody parts look a bit stringy and rubbery, but there is lots of blood. One thing I really liked is that the ravers look like normal people, i.e., friends of the lead characters (who are the best looking of the batch). No supermodels or of the pretty boys ilk, but all body types, from skinny to weighty, to wheelchair bound. That’s quite admirable.

Meanwhile, through the whole bloodletting, the rave music continues, and the zombies are dancing between chomping. My question is, as it was DJ-driven, who is spinning the discs? And will the two couples become couples?

The final act begins with the arrival of a gangster (Gbola Adewunm), his body guards, and some Hai Karate after-shave (I kid you not). Who will survive? Who will come back from the dead? Who will care? Considering the loss of life of their friends and acquaintances, the foursome don’t seem overly upset about that part.

The acting is generally over-done by just about everyone, and unfortunately, many of the jokes get lost in the accents and the aforementioned bad sound. Was this a good film? Generally, not really, but to be fair, there is a lot I lost in so much of the dialog being so badly recorded. Most of the third act could have been mime for what I was able to make out. I guess part of that could on me and my aging ears, but not all.

Generally, I like zombie comedies, such as Wasting Away (aka Ah! Zombies!!!; 2007)or Zombieland (2009), even when they are overly broad like Housewife Alien vs. Gay Zombie (2017), but this one either went over my head or out of my ass, I’m not sure.

Chapters are the only extras on the DVD disc.    

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

The Mark of the Bell Witch
Directed by Seth Breedlove
Small Town Monsters
85 minutes, 2020
www.smalltownmonsterss.com

Seth Breedlove has become a cinematic cryptid monster maven over the years, directing a number of documentaries about mysterious creatures that may or may not exist, such as Bigfoot, the Mothman and the Missouri Monster (aka Momo). A few of his releases have been reviewed on this blog; if you search for his name, you will find them.

For his latest, Breedlove dissects the Bell Witch haunting in the Appalachian Mountains of Tennessee, arguably one of the more infamous and deadly hauntings in American history. I remember learning about it as a youth from a Ripley’s Believe It or Notcomic book, and it has been adapted into movies, books, and other comics over the years.

As with most adaptations, these other sources tended to be glorified versions to enhance the “scare” factor, which led to parts of the story being left out due to time. Breedlove aims to be more comprehensive. He not only has interviews with residents of the area of Adams, Tennessee (population 600), but also has the events play out with actors in black and white “flashbacks.”

Of course, there are no first-hand witnesses interviewed because, well, the events depicted are from nearly 200 years ago, in 1817 to 1821, on a farm run by John Bell, Sr. and his family. This is, however, due to its urban legend status, one of the more documented “hauntings” in American history, especially in that neck of the woods, yawl. It was first written about in M.V. Ingram’s book regarding the Bell Witch from 1894, An Authenticated History of the Famous Bell Witch.

The manifestation started slowly with knocks and raps on the walls and doors, then with strange animals like a mysterious hare (not a common rodent in that environment; as King Arthur might say, “Jesus Christ, that rabbit is dynamite!”) or a trash-talking Cerberus-type pooch with two heads (and this is way before Triumph, the insult dog).

If you are into this kind of thing, you probably know that poltergeists are attracted to young people, especially women, and this fits here as one of the victims of malevolence (hair pulling, welts, etc.) was Betsy (played by Sue Matzke), the youngest of the Bell children who was in her late pre-teens, just the right age for the spooky pokings. Perhaps it was a possession of poor Betsy? Tyler Estep, a pastor who in interviewed, says the area was ripe with Protestant revivalism at the time, which may have led to “spiritual warfare.” As a skeptic, I’m – err– skeptical.

As the power of the Witch (apparently named Kate) grew and developed a literal voice, preachers were called left and right to try and figure out what was going on, supposedly talking to the spirit. I like how Breedlove gives multiple explanations of possibilities, whether it was the curse of a neighbor on the clan, or the spirit of a disturbed Native American’s resting place, or perhaps a demon, leaving it open rather than positing an answer that would be a guess at best.

Although no mention of their works are listed, there are multiple interviews with authors, such as Timothy Henson (also the historian for Adams), John Baker Jr., and Pat Fitzhugh (The Bell Witch: The Full Account, 2000; I looked this up myself), so the connection to the legend is unclear. There are also folklorists and historians like Brandon Barker and Beau Adams, a Classics professor named Heather Moser, and the host of “Astonishing Legends,” Forrest Burgess. Again, in many cases, the link to the story is not transparent, which is arguably the weakest point of the documentary, even if their stories are interesting and occasionally far-fetched (especially the Christian and “spirituality” end of it).

The thing about any media dealing with a Cryptid topic is one can say anything, since there is little real info. Was Bigfoot circumcised? Does Mothman dislike light? Sure, why not; try proving it’s either true or not. But on the flip side of that coin, that’s also part of the appeal: it’s the mystery of the whole thing. That’s why I find it so fascinating and enjoy Breedlove’s work, including this one.

Having the story play out in black and white scenarios really boosts the tale, keeping it from getting too bogged down in talking heads by just relating the events. Smart move. Either way, John Bell Sr., died of poisoning, supposedly given to him by the Witch. Of course, I have my own thoughts, such as their slaves concocting a way to get rid of a bad master, or possibly Betsy was abused by her dear old dad and her welts  were by him – even if she was somewhat in denial – with her getting him outta da way.

That does not, however, fit with other parts of the legend, such as the apparition appearing to neighbors in their own abodes, or that one entity would migrate into multiple ones (perhaps a family), so who knows. The point is, the facts were written down by one of the Bell’s sons to start, which we hear parts through the narration of actor Lauren Ashley Carter (star of the 2013 cult classic Jug Face) and then the just grew exponentially after that, much of it written years if not decades after the “fact.” A majority of what was published was when pulp fiction was becoming popular, with the likes of the Western Tall Tales (Davy Crockett’s feats, Paul Bunyan, and Mickey Finn, to name a few) and legends of crime like Billy the Kid being fed to an audience fascinated by a new medium.

Again, it all comes down to what is real and what is not, and with cases like this, there is the speculation of the gray areas in between with possibilities and tales to be told around a campfire. Breedlove does well to collect this information, present it in an easy and palpable form, and lets the audience speculate on what might have been a rare supernatural murder.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Reborn
Directed by Julian Richards
New Normal Productions; Jingai; MVD Entertainment
77 minutes, 2018 / 2020
www.facebook.com/livingspacefilm/
www.mvdvisuals.com

I know I am not the only one to point this out: there is a cinematic history of shy, abused teenage women who develop some extraordinary psychic power and then go out on a killing spree like nobody’s business. Be it in Carrie (1976) or Firestarter (1984), or if you want to go to further extremes Species (1995) and Splice (2009), these women who are held in submission by society (such as bullying), a lone agent, or some governmental agency, get the chance to get even in extraordinary measures.

Barbara Crampton

As we learn from the prologue, a creepy medical examiner, Ken (Chaz Bono, in just the first of a multitude of really cool celebs that show up in either full or cameo roles), who likes to take pictures of dead, naked corpses, is alone in the morgue when a lightning storm sends feedback to the body of a stillborn baby girl, reviving her. So, what’s a lonely ME supposed to do?

Years later, after the credits, we are introduced to the leading characters. Statuesque Tess (Kayleigh Gilbert, throwing a Sarah Hyland vibe) is now 16 years old and basically a house prisoner of Ken, whom she thinks is her brother. Apparently, she is electrokinetic (has power over electricity), and manages to break free of her literal shackle to search for her birth mother.

Kaleigh Gilbert

Lena (the ever lovely Barbara Crampton with baby blues to kill for), an actress whose career is in decline and survives by teaching acting classes out of her abode, and her agent (Rae Dawn Chong, who I haven’t seen in a while), discuss a possible role with director Peter Bogdanovich (playing himself). It doesn’t take a higher degree and is made obvious early on to figure out that Lena is Tess’s mom. While Tess is searching for Lena, Lena is also searching for the infant body of Tess thanks to a suggestion from her psychiatrist (a cameo by 1960s-‘70s television icon, Monty Markham).

Tess integrates herself into Lena’s life without Lena’s awareness of who is sharing her space, though they both bond, for now. Here is where the story gets a bit emotionally complex, but I’m not going to give much of that away.

Michael Paré

Tess is not going to let anything stand in her way of getting what she wants. She was raised in a rough situation, so she has little patience nor a real sense of how to relate to people in general. But my question is, she’s 16 and in Los Angeles, so how does she manage to get around? She shows up in all these different places, but she obviously would not have learned to drive if she were shut up in a house. Also, she seems to intuitively know how to harness her powers all at once, without any real learning curve. If she could do this before, how would Ken not know it? Yeah, that’s how my mind works.

There is a decent body count as Tess either perceives wrongs (again, her sense of judgment is skewed by her past, and possibly teen hormones) or believes wrong is done to others she is trying to protect. This brings a police detective, Marc (Michael Paré, who was wonderfully stoic in Streets of Fire, and equally but deadly stoic here) into the story. How is it all the deaths caused by Tess, which occur all over the city, come to the desk of the same detective? Have they unfunded [sic] the cops in LA?

Chaz Bono

The acting, from scene to scene, is decent though sometimes over emoted (or in Paré’s case, understated), and while there are hardly any surprises in the storyline, there are actually a few decent jump scares to which are worth paying attention. It is always great to see Crampton as she is consistently a decent actor, as is true with the brief scenes with Markham and Chong.

While there isn’t a whole lot of bloodletting, as this is more personality driven, there are still a nice number of kills, as I said before. What I appreciate is that the deaths occur throughout the film, not just in the first 5 minutes and then the last 15 to 20 minutes.

Rae Dawn Chong

One might see this as a throwback to the 1980s, because it is so reminiscent of the video store style of filmmaking. It isn’t deep, but it’s not hyped up on adrenaline like a lot of the films are today with quicker edits, bodies piled on top of each other, and detailed extreme violence. This is a moody piece, and I can see how a younger generation growing up on franchises like Saw and Hostel would expect there to be some ultraviolence, but here the deaths are all character driven, not just because someone showed up at a party.

Gilbert has a good look for a movie villain. She plays mean-psycho pretty well, though also can come across as girlish and soft. Her height helps make her intimidating when need be, but she could be a contender for a future scream queen, if that’s her desire.

Monte Markham

Overall, I like the careful pacing and the characters, but for some reason the ending seemed to be truncated and went by too fast for me. There wasn’t enough time to built up some real tension. It is extremely rare for me to say this, but another five minutes of suspense at the right moment near the conclusion would have served the film well. However, I enjoyed the experience in general.

There are no extras other than chapters and stereo choices. The trailer is below (although not included on the disc), but please be warned if you watch it, it is filled with spoilers:

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Beyond Hell
Directed by Alan Murray
Dark Spirit Films / Indican Pictures
89 minutes, 2019 / 2020
www.beyondhellfilm.com/
www.facebook.com/beyondhellfilm

“Just say no!” was Nancy Reagan’s rallying cry in the 1980s, but films where taking any drugs leads to mayhem, be it insanity, murder or turning the user into a zombie is hardly new. For example, there were a string of anti-marijuana releases in the 1930s and ‘40s (e.g., She Shoulda Said No [1949], The Devil’s Weed [1949], and the infamous Reefer Madness [1936]). That theme still runs occasionally with the likes of Dropping Evil (2008) and Bong of the Dead (2012).

This Canadian film takes that trope and makes some sinister changes: this derivation of the drug, changa (apparently a real thing; being straight-edged, I had to look it up on Wikipedia), takes the user to literal hell. But I am getting way ahead of myself here.

We open up for the prologue in the jungles of South America where apparently indigenous native people speak perfect English and talk like professional wrestling announcers (wait…what?). It is here that this film’s version of changa originates (though in reality it is generally considered to have come from Australia… thank you Wikipedia).

Kearsten Johansson

The main protagonist, Maryssa (cute, doe-eyed Kearsten Johansson) was the good girl all through high school. Now she’s in college and wants to learn about some… tacit knowledge (life experience). Her two friends (from high school, now also in college) are the bad girl, Brooke (Natalie Jane), and Heather (Dominque Smith), who is the go-between since Maryssa and Brooke are frenemies. One could picture Heather with the good angel – Maryssa – on one shoulder and the devil – Brooke – on the other.

On the testosterone side, there are buddies Tyson (Chris Kapeleris), who is Heather’s boyfriend, and Jake (the heavily inked Sebastian Deery). Jake is the object of Brooke’s lust, but he’s into Maryssa (sort of a Ginger and Mary Ann choice). The five head off to a party, stopping off at Seth’s (Sean Rey), a dealer’s abode, to pick up said changa. While there, they try out this new drug and get shitfaced, but Maryssa alone somehow manages to get transported to another dimension (supposedly hell, I am assuming from the film’s title), where she is linked to the multi-toothed demon Belial (Gavin R. Downes) who looks like a creature out of the cultfilm Equinox (1970). Then the slaughter begins, slowly but surely.

Sebastian Deery

Belial starts to kill off her friends, and because she is connected to him, she can witness all the murders though she’s not physically there. The demon’s goal is the trope that if he can gather enough souls, he can enter our world at will and bring his bad demon buddies with him, to enslave and torture humanity.

The film isn’t brilliant, but then again, it is also a lot of fun. The cheese level is high, as is the blood and gore (sometimes looking good, other times cheesy). This is solid independent fare that is both cliché at times, and yet smart in that it takes some old tropes and mixes them around a bit. Again, while it has been done before, part of the fun is watching Maryssa turn from shy, sheltered girl to warrior woman to try and fight the malevolent power.

This comment has nothing to do with nothing, really, but who throws up in the toilet without lifting the seat, no matter how out of it one is, even if one misses the toilet completely? Just sayin’.

Natalie Jane

This is the director’s first feature film, other than a short, and it shows great promise. There are definitely things one can point to, such as Belial’s make-up moving every time he talks, which is hard to make out at times thanks to the effects given to his voice to make it sound “demonic.” While it’s not a comedy, there are a few moments where one cannot help but chortle at the way certain lines are spoken, or on-screen actions. But despite that, overall, it was better than I expected (and I always hope for the best), and it certainly kept my interest (and not just for the numerous topless women).

The scenes in hell are visually a bit on the dark side, but this viewer was able to make out what was happening. The end result of the storyline is a bit convoluted, but it’s still pretty satisfying, and tying it in to what is happening in the world today is a nice, intriguing twist. It also might have been good, however, to explain a bit about the Mexican god Quetzalcoatl (I have been to its temple at Teotihuacan near Mexico City), who is actually a feathered serpent, though featured in human forms here.

There was also a nice mix of both practical SFX and digital effects. And speaking of Belial’s make-up, it actually looks pretty decent for its budget. In fact, most of the creatures/demons look good. The acting varies, as one would expect, but everyone seems to be on board, which is a good thing.

One aspect I really enjoyed in the film was the Interesting transition b-roll shots between scenes, usually sped up in the style of Koyaanisqatsi: Life Out of Balance (1982). It’s bright and colorful, and works well as separation of segues from one set piece to another.

Thanks to its film boards, Canada helps produce a lot of its independent releases, unlike in the United States (anyone from the ridiculous Right want to scream socialism?), so the industry is supported, whether the film is top notch, really bad (remember The Room?), or in this case, an enjoyable exercise in a genre that is always in demand. I’m grateful to the Toronto Film Industry Arts and Entertainment Foundation, and I’m hoping this is just a stepping stone for Alan Murray to send us more fare. This release certainly lends itself to a sequel, and I look forward to it.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Backwoods
Directed by Thomas Smith
Fighting Owl Films
70 minutes, 2020
www.fightingowlfilms.com

 Most of what I have seen of Thomas Smith’s films, such as The Night Shift (2011), Night of the Krampus (2013) and Demon Squad (2019) – all of which have been reviewed on this blog if you search for it – have been enjoyable, relatively horror fare lite with minimal blood, some good spooks, and a touch of 1940’s film-style banter and humor. Many of them seemed right for television series like “Supernatural” or “Buffy, the Vampire Slayer.”

For his new release, this time Smith has delved into darker territory, both zigging and zagging a new course from anything I have seen from him. That’s not to say there isn’t some wit involved, such as the football team being the Owls (yeah, their slogan is the Fighting Owls, of course) named after Smith’s production company, and the playing field is dedicated after Khristian Fulmer, who starred in most of Smith’s films. But I digress, as this one is much more serious…

Isabella Alberti, Michael Anthony Bagozzi

You know your night is going to be bad when you wake up after a post-high school football party in your cheerleader outfit, bound and gagged, as does our protagonist Molly (Isabella Alberti). That’s the opening situation with which we are presented. Through a series of flashbacks we get to learn how she got there, and we see how she end up in the backwoods of Alabama (where this was shot), home of the urban legendary Hangman (Scott Alan Warner), a serial killer who was known to murder the men and “keep” the women. Supposedly he was killed years before by the coppers but, this is a genre film.

The central characters are Molly, her incredible asswipe of a boyfriend/jock Hunter (Matthew McCoy), her younger sister Olive (Angelina Alberti), and the bullied waterboy, Noah (Michael Anthony Bagozzi), who is Molly’s friend. Along for the ride are some of Hunter’s pals (aka the body count).

Jeremy Sande, Matthew McCoy

There are multiple bad guys: Hunter, an older drug dealer (Jeremy Sande) who lusts after Molly, and of course there’s the Hangman. And then… well, like Sweeney Todd, he wouldn’t want us to give it away. Each has their own unconnected motives and singular desires, and all will converge at some point. That’s how genre films unfold.

As for the Hangman, lots of local areas have their own stories that overlap with these kinds of legends, such as when I was growing up in the New York area there was Cropsy that was told around the Cub Scout campfire, a burned killer in the woods waiting to kill campers (that I grew up in Brooklyn close to a street named Cropsy Avenue used to weird me out as a young’n); The Burning (1981) was based on this story. The Hangman doesn’t need a mask, and his disfiguring is not shied away from in the chronology (i.e., when you see him the first time, he’s shown clearly). He has a mutant look that would fit well in the family from The Hills Have Eyes (1977).

Personality wise, the Hangman is actually more “human” than most either masked or deformed killing machines in these types of releases, in that one can almost empathize with him at times, and Warner does an exceptional job expressing emotions through the big rubber mask and hands. Sometimes the viewer can care more about him than some of the victims, though the dread is still there. He makes listening to Christian music a bit ominous (okay, yeah, it is anyway, right?).

Scott Alan Warner: The Hangman

The film can be a bit talky at times, seeming to delay the action, but then again it does help with the character development, so it’s still a win-situation, unless you’re so hyped up and conditioned by modern fare you need quick editing and random slaughter. There are certainly some fun kills here, don’t get me wrong, and they are surely enjoyable, but it takes time. Then again, this would not be considered a “slow burner” either; it’s kind of in the middle, which is a nice place to be situated.

Speaking of the kills, even though the main antagonist is known as the Hangman, we get to see a number of people die a varied of ways, rarely by hanging, ironically. This is actually fine, because the way it is presented gives us a bit more blood and general mayhem. The only thing of which I’m not certain (perhaps I missed it?) is whether this Hangman is the same as the legend, or perhaps a progeny. Either way, it opens up for a franchise, which would be welcomed.

The visuals are beautifully shot by Kris Skoda, who also fills a bunch of other crew shoes. It is well written by husband and wife team of Smith and Erin Lilly (the latter of whom has a decent cameo role as “The Feral Woman,” aka Karen, though I don’t think she’ll be calling the cops on strangers), with lots of twists and unexpected turns, and as I said, which does well to build some character development that is so rare in these kinds of slaughter films.

As a departure from the tone of filmmaking he usually employs, Smith does a really fine job at giving us a mutant slasher, with a fine balance between art and blood, twixt talk and terror. I can honestly say, in the number of films of his I have seen, I have never been disappointed, and that includes this one.

Backwoods Trailer: TBD

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Horror Shorts Reviews for December 2020

Bath Bomb
Directed by Matt McWilliams
Crypt TV
3:00 minutes, 2019
A woman (Sarah Nicklin) prepares for a bath after what I am assuming is a long day. She throws in a bath bomb, for that lovely fragrance and the bubbles (I have used them myself, on occasion). But as the poster indicates, things go awry thanks to an unreliable bath products company. Even though the short plays it by the rules, at 3 minutes, the rulebook is brief and sweet, so don’t go looking for deep philosophical eruptions. Without dialog (ever notice how many shorts don’t have spoken words? But I digress…), we watch poor Sarah go from calm to terrorized in the drop of a balm.
Full film HERE

Don’t Peek
Directed by Julian Terry
6:46 minutes, 2020
A young woman (Katie Cetta) in her bedroom is playing a version of the Japanese game, Animal Crossing, on her cell phone. As she plays, she notices that there is a crossover between the game and reality. Rather than freaking it out (as it would me), she is charmed by it. However, there is a malevolent force behind it, which should come as no surprise to genre fans. Without any dialog, we watch as she comes to realize that there is danger afoot. This can also be seen as a commentary on cell phone and/or gaming addiction (ever notice how many shorts have people playing computer games? But I digress…), because even as things turn for the worse, she keeps at it, until… Well, the ending is no real surprise, but there is a genuinely nice jump scare involved, and the film, while working old tropes, manages to put a feeling of dread into the process, so kudos for that. There is also some really nice photography considering the levels of lighting used. Worth a – err – peek. And if you’re interested, there are a whole bunch of reaction videos available for this film.
Full film HERE 

Larry
Directed by Jacob Chase
5:21 minutes, 2017
Poor Joe (Joe Calarco), stuck in a boring job as an overnight Car Park attendant, with a single car in the lot. Personally, I would have a book with me to read, but instead, Joe finds a Lost and Found box under the counter. In it is a Kindle, which contains a children’s story of a lonesome monster named Larry, who is looking for a friend (ever notice how many shorts have people on computers? But I digress…). With flickering lights and shadows hovering around in the near vacant lot, is there something there? Well, it’s a genre film… The story has a nice build to it with a couple of good jump scares, and yes, a somewhat cliché conclusion, though I found it enjoyable. Director Chase does well with the confining space and looming darkness beyond.
Full film HERE 

Root of All Evil
Directed by Alex DiVincenzo
Lockbridge Productions
7:34 minutes, 2016
As part of the 48 Hour Film Project (for which this short won), this film incorporates the idea of the Halloween Tree (giving props to Ray Bradbury). In New England (where this is filmed), a gaggle of friends get together on Halloween to celebrate, led by witch-dressed Jessica (Jackie B. Fabian). Among her guests are Matt (actor/director Jordan Pacheco, who recently directed Blood Pi, reviewed HERE),lHarry (Jamie Dufault; congrats on your degree), and Sophia (Anacaren Delgado) and Brooke (Allie Marshall) – both of whom were in Blood Pi. The premise is kind of silly, with the tree taking revenge for being mistreated by most of the guests (ever notice how many genre films have plants that move, like Evil Dead? But I digress…). DiVincenzo (who also directed the short “Trouser Snake” the same year, reviewed HERE), takes this quite whimsically (it is a horror comedy short, after all), but never disappoints. The acting is a bit over the top in sit-com fashion, and it’s pretty meat and taters filmmaking, but there are some really nice gore SFX thrown in and an attractive cast. It was a smile-bringer because sometimes in this complicated world, you just want to sit back and watch some plants kill people.
Full film HERE 

Smiling Woman
Directed by Alex Magaña
ACM Official
2:44 minutes, 2019
At 1 AM, a young woman (Ariel Fullinwider) is sitting at an outdoor train station on her cell phone (ever notice how many shorts have people on cells? But I digress…), when a woman with a big smile dressed in yellow (lovely Merlynda Sol, who reminds me of Lesley Ann Warren) keeps popping in and out around her, either on the other side of the station, or closer. If you have ever seen the 2013 short, “2AM: The Smiling Man” (reviewed HERE), on which this is very similar, you know there is an evil element to the situation. and she is up to no good. It’s a well done, creepy short that works, even with a similar trope as previous releases. That being said, it amazes me how many films are duplicates of both “Smiling Woman” and “2AM Smiling Man.” One, titled “Smiling Woman (Stay Home)” even uses the same locations and yellow-dressed antagonist, literally spliced from one film into the other. Isn’t that plagiarism? Anyway, stick to the originals, they’re better.
Full film HERE 

Songs My Mother Taught Me
Directed by Doug Cook
Breakframe Digital
13:44 minutes, 2018
This Canadian release is a lot of fun. The basic premise is a group of friends – on Halloween of course – use a Ouija board (ever notice how many films have people using Ouija boards to negative effects? But I digress…), to contact a brother and sister’s (Brock Morgan and Ace Hicks) recently dead mother. Needless to say, using a Ouija board is never a good idea, especially in genre films, never mind on Halloween. Of course, this opens a door to demons that decimate the party (body count). What’s different than many other shorts is that while there is little gore (though there is one scene that is excruciating to watch), there is a large, bloody build-up of bodies. The effects, both SFX and digital, look really good, the acting is just fine, and the story is actually quite compelling. Excellent work from everyone.
Full film HERE 

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Phobic
Directed by Bryce Clark
Pale Moon Entertainment; StoryLab; Samuel Goldwyn Films
82 minutes, 2017 / 2020
www.facebook.com/samuelgoldwynfilms

There was a time when, generally speaking, sins were punished by humans (e.g., Se7en) and fears were inflicted by the supernatural. Phobic can arguably be considered a cross-over as the police procedural chases down a masked serial killer(s) who inflicts their death not by machete or knife, but the person’s own phobias.

Personally, I have no phobias. Sure, I used to be terrified of the dark as a kid, and I have a fear of bees (though respect them) or another Trump presidency, but nothing that would fall into the realm of scared-to-death. That is where this film starts up in the prologue when we meet the protagonist, Police Detective Riley Sanders (Jacque Gray), who suffers from, of all things, Selaphobia, a fear of flashing lights. Speaking of which, if the reader of this review is an epileptic, note that there is a lot of strobe lights, especially during the credits. Same warning about the credits for those who are also prone to motion sickness (it made me a bit queasy).

Davin Liljenquist, Jacque Gray

Anyhoo, three months after the prologue, Sanders is partnered with veteran Homicide Detective Paul Carr (Davin Liljenquist, ex-host of “The Parade of Homes Show”). Of course, as is the nature of these stories, she resents him at first. As a sidenote, they always portray the hard-bitten detectives (such as Harry Callahan) as being “imposed of” by being a partner, but rarely do they take it from the standpoint of the partner, how miserable it must be working for someone that full of themselves, even though Carr seems to have boundary issues. This has no bearing on what I feel about this film, but it should be noted. And, as always, I digress, especially since they bond before any of the real action begins anyway.

Definitely a slow burn, this almost feels like a Scandihoovian murder mystery mini-series on cable, like Wallander, but it’s actually shot in beautiful Salt Lake City, UT, as indicated by the between-scenes arial shots of the city. The action picks up after someone has died/is murdered due to an extreme phobia. What I find really interesting is that this film does not always take the easy route of common fears, such as spiders, but mostly rather odd ones, such as phobias of a particular color (chromatophobia) or mannequins (automatonophobia), to name a couple, though not all. That is quite more intriguing, in my estimation.

Overall, despite the nice body count, this is pretty benign as far as blood goes, and watchable for those who are squeamish (unless you have one of the phobias highlighted, of course). There is, however, a lot of talking – which is common in police procedurals – as the new detective team discuss the case and get chummy. This is a large part of the slow burn I mentioned earlier.

As for the killer, a sackcloth mask is worn and who only speaks in whispers to hide the big reveal later on, so there’s hints but only sparingly. That’s a good thing. There is also a strange and I’m going to say obnoxiously evil psychiatrist, Elizabeth Holden (Tiffani DiGregorio) whose specialty is phobias, and her victims are the very ones she’s looking after. You can tell there’s something suspicious about her by her constant crooked-smile smirk.

This release plays into one of my main annoyances about these kinds of stories, in that the detectives always go to investigate seemingly abandoned suspicious buildings on their own, always by flashlight. This happens numerous times with multiple players, and I just say, “Oh, come on! There’s a whole police force out there, even if it doesn’t fit into the film’s budget!” Also, the characters give out too much personal information about themselves to relative strangers. For example, one says at too early a point in meeting someone, “What’s wrong with me?”

As with most of these films, the action picks up in the third act, as some things are explained through flashbacks and the killer(s) wreak havoc on our heroes. Who will live?! Who will die?! Tune in next week for… nah, I’m not going to give it away, but there are two moments at the end where I said to myself, out loud, “Henh?” (in a high-pitched commentary), even as the final credits started to roll.

The acting is pretty solid, especially by Gray as she slips in and out of varying emotions. Liljenquist seems a bit stiff on occasion, but fares well. DiGregorio sneers her part excellently, but seems too young for the role, honestly (a compliment, I promise you). That being said, it’s nice to see a film with mature actors (I’m going to say many in their late ‘30s or early ‘40s?) for once. I can see this playing on television without any cuts.

You can also tell this was a product of Utah, due to its lack of blood, cursing, nudity, or sex (though we see some wine drinking and hints of coffee consumption). That’s not to say there is not quite a bit of tense moments, squeezed between the talking and mood shots while Riley roams about her apartment (it’s almost worth seeing the film for the kitsch décor). While Mormonism is not mentioned (and I don’t recall any tan pants), there is definitely a skew to this film, including a large distrust of psychotherapy. As Robert D. Hunt and K.H. Blacker state in the introduction to their article “Mormons and Psychiatry” in Dialog: A Journal of Mormon Thought, “Among many Mormons there exists a genuine distrust of psychiatry. Apprehensions arise partly from misconceptions about psychotherapy and partly from a stigma that many attach to anything associated with emotional disorders.” This definitely comes across in the zeitgeist of the film.

While this film could have been a lot better with more involvement with the victims (we usually do not meet them until it is an investigated murder scene), and a lot less descriptive dialogue, such as the one with Riley, Paul and Riley’s dad, Jack (Ernie Lively) sitting around a table, eating, and yakking. Sure, the information conveyed was important to the story, but it just went on too long, as did another luncheon scene between Riley and Paul.

If you like police procedurals, this is like an extended television show, so it’s a good watch – even though the visuals are on the dark side – but it could have been so much better with a bit more action and engagement with the characters for the audience. This is only the director’s second film, so let’s give him some time. There is promise here and a whiff of a possible sequel.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

We Still Say Grace
Directed by Brad Helmink and John Rauschelbach
Brothers Shamus Pictures; Dauntless Studios; 
Lexicon Entertainment; Room in the Sky Films; Vertical Entertainment
94 minutes, 2020
www.facebook.com/wssgmovie
www.westillsaygrace.com  

As I have posited before, there is no one scarier than a human monster; more than a supernatural creature to “tear your soul apart,” and I don’t mean humanoid slashers with machetes that cannot be killed (or will not stay dead), but “Furthermore, the hearts of men are full of evil and madness while they are alive…” (Ecclesiastes 9:3).

To be more specific, nothing is scarier to me than a human who believes they are backed by God and therefore are among the righteous, and have the duty to obey what they consider what God has “spoken” to them. I give you most of the Republican party and at least a third of the Supreme Court as examples. That is where this film comes in.

Before I even start, I just would like it to be known that I have been a fan of Bruce Davison since I cut out of school and first saw him play with rats in Willard (1971). He has had some major roles in blockbuster hits, but I still feel he is underrated. In this film, he personifies the human monster of which I describe.

Molly Taylor, Rita Volk, Arianne Zucker

Davison plays Harold, the “spirited” super-Christian patriarch of his family. This quartet includes his wife, Betty (Arianne Zucker), devoted older teenager Sarah (Rita Volk), and the protagonist of the story, younger and unsure Maggie (Molly Taylor). They live in an isolated farm house that looks like it is always filled with either smoke (candles?) or dust. There’s a bit of an Amish vibe going on, with Harold wearing suspenders – though unlike the Amish, he has a moustache on his goatee – and the women wearing old-fashioned and modest clothing. This is a close knit family… veryknit. Essentially, they are a four-person cult.

My question is, with the closest neighbor being almost 30 miles away, and without a telephone or car, how do they get the gas to run the tractor and the generator, and how to acquire essentials like, say, toilet paper (don’t take me there)?

Like Jim Jones, Harold believes that his calling includes at some point poisoning his family, supposedly to prove their trust in their bloodthirsty god (must be Old Testament). While Betty is obedient but hesitant, Sarah is ready, and Maggie is questioning and scared. Things are about to take a turn for the even stranger when along comes a spid… I mean, three dudes of varied ethnicities whose car has blown a couple of tires down the road from our story locus. Knock, knock, they approach the house without realizing the insanity inside, and the unclear and present danger to their bodies and souls. So ya don’t get all worked up, this is only just over 10 minutes into the feature. You knowthings are going to go south.

Dallas Hart

Our little miss Maggie sees the trio – Fisher (Dallas Hart), Randy (Frankie Wolf), and the Biblically named yet profane Luke (Xavier J. Watson) – as a possible means of escaping an early dirt bed. In a house whose worn furnishings and appliances appear to be from the 1970s, along with the fatherly threat of eternal peace, it is no surprise there’s a desire to leave Maggie’s farm (sorry…). Obviously, the family does not employ cell phones (or any kind of communication devices, including radio and television), but it’s odd the guys don’t (they take pix on a polaroid). While it is not indicated, my guess is that perhaps this takes place before the millennium, which would explain the house décor a bit more.

Now, as for the guys who are on their road-trip-across-the-country summer before college, well, for a couple of them, I need to ask, who raised these kids? When someone invites you into their house, even if you don’t believe what they believe, you show some respect. I’m certainly not Christian, but I have been able to sit through grace before supper without squirming. It’s a matter of respect; of course, it’s Fisher, the white guy, who has the most manners and at least tries to be courteous. That bothered me on a few levels, but let’s move on.

Molly Taylor

Harold comes across as quite a benign, God-lovin’ man, who won’t tolerate drink (other than Sabbath wine) such as beer, and bristles at cursing, which he considers non-Christian. And you don’t wanna be non-Christian around this guy. Davison plays him to the hilt, with, at first, some befuddlement and seemingly kindness and then a deep anger towards these strangers who invade his sacred space (the farm) that has repercussions with what he views as his minion (i.e., his family), coz the Bible and God told him so. I could go into a whole – er – sermon on the evils of this level of religion, but I’ll put the blood on the doorway and move on.

While tensions rise, Fisher is caught between being loyal to his friends and not wanting to disrespect his hosts, thereby being placed in the middle, while Maggie has her eyes on him (of course it’s the white guy). While the tension slowly builds although always present like a steady beat, around the halfway point, the fanaticism ramps up and hits the fan.

Bruce Davison

The entire cast is stellar, as I have already discussed with Davison, but Zucker definitely deserves a notice. She plays her role to nuanced perfection. It is also worth noting that even with the action being sporadic, the tension is, as I said, always present. It is beautifully written with lots of surprises and a few legitimate jump scares (one effectively enhanced by the music). There is little blood other than a couple of scenes, but a few of the deaths are sometimes traumatic and somewhat unpredictable (with a few exceptions). Also noteworthy is the imagery, such as the stilted and musty air and the sepia filter tones used indoors, and sometimes it’s just glorious, including a scene near the end with Davison and a fire behind him (not going to give details) that is just stunning.

While ol’ JC is mentioned a few times, this is definitely Old Testament fire and fury, and blood sacrifices. The film reminds me of a bumper sticker I once saw that said, “Oh, Lord, protect me from your believers.” I am convinced it’s more accurate to say, “Protect me from your interpreters.”

The film is not anti-Christian, but more pointing out a mindset that sometimes religion causes to envelop certain megalomaniacal types. Most religious films I see have do to with Catholics, priests, and possession, or a crazed cult of kids who murder (Children of the Corn). Here, the human trait of the lack of humanity (or humility) is all the more terrifying. This is an incredibly well-done film.

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Slayed
Directed by Jim Klock and Mike Capozzi
Code 3 Films; Terror Films; Frozen Vapor Productions
73 minutes, 2020

Not to be confused with Slade’s best album, 1972’s Slayed?, this film is Xmas oriented with a homicidal Santa Claus roaming around with elfin mischief and murder on his mind. Now, this is not new territory, as there are more than a dozen killer Claus films out there, but generally they fall into two categories: the first is the rarer realSanta as a demon, and the more common trope is someone dressed in the red and white while doing malevolent deeds.

Well, the makers of the religion-themed Red Letters (2019; reviewed HERE), Jim Klock and Mike Capozzi, have joined together for this holiday romp, to bring new life to an old motif. Not only do they co-direct, but once again they also star in the film. Luckily, they are skilled both in front and behind the camera. 

Mike Capozzi and Jim Klock

Though it was filmed in Northern Virginia, the film takes place in Harris County, Arizona, opening with the obligatory set-up prologue in 2014. With a bit of taunting carnage and a couple of murders containing some decent yet minimal gore, we are brought to “5 years later,” taking place in 2019, before COVID-19 (I bring this up because the film was actually shot duringthe pandemic).

The horrific acts of the short opening piece took place in a water treatment plant, which is in the process of being shut down, led by Nicole (scene-stealing Coel Mahal), while worker Crandle (a very muscular Capozzi) tensely walks the grounds on Xmas Eve, smoking cigarettes furiously and making sure everything is working honkey-dory while spouting lines like “I know you’re out there, you son-of-a-bitch. Let’s dance.” Nicole gives us a hint quickly on, in a hilarious phone call bit, that while this may not be classified as an official comedy, there is some definitely tongue-in-cheek approaches as well as the terror of mutilation. Five minutes in, and this is looking like it is going to be a fun sleigh ride.

Placing it in Arizona is actually a smart move, because as it was filmed in 10 days during the summer, something Klock admits “was a push,” it makes sense that people are walking around in short sleeves during the holiday season. And what is it about Santas and hatchets; is there some tradition I don’t know about? But I digress…

Into the mix comes security guard Jordan (Klock in a semi-comedic relief role). He plays cops often in his films, which is not surprising, because he has worked for years as an officer in Virginia. Unfamiliar with the place, he’s got spunk (though Nicole doesn’t like spunk), and it’s just him and Crandle on the job as the Eve turns into night. Until reports of a kidnapping come over the radio. Santa redux.

Okay, I’ve talked about this before, and I am going to repeat it as often as possible. When a rescued kidnap victim, Heather (Kyra Kennedy, who was also in Red Letters) wants to call the coppers, Jordan stops her because (a) he is afraid, and (b) because Crandle told him to “stay down.” Why do men blindly listen to other men, but not intelligent women in these movies? It’s a disease, I tells ya!

Remember the really old Bugs Bunny cartoons, when he’s being chased by Elmer or whomever, and there’s a hallway with many doors, and the characters keep coming out of one and going into another? That’s kind of what the second act feels like here, as various people are either looking for the killer Claus or trying to escape, while the evil, hatchet carrying miscreant pops up here and there, always just outta reach. It is both effective with the building of tension, and wearying at the same time, like filler songs on a really good album, such as “Creature From the Black Lagoon” on Dave Edmunds’ 1977 Repeat When Necessary.

When the action ramps up in the final act, it comes at the right time, and the action becomes more intense, with really fine performances by Klock and Capozzi, as does Kenny, making the most of her role which is, honestly mostly whimpering (I say, if you can write women as smart, also write them strong). As I said earlier, Mahal is a joy to watch.

As with Red Letters, there is a bit of religion thrown in, but here it’s more casual (well, it is Xmas) with some Bible quotes thrown in near the end. As for the SFX, they are all practical, done by the team of Coel Mahal (a woman of many talents) and Nui Agustin. There is a fair number of slays (yeah, I went there) so there is a nice amount of blood and gore, without much in the viscera department. It is all incredibly well done, being just the right amount without being stingy but not over the top.

The photography, handled by Emily Adams as DoP, is quite fine. A lot of the film takes place outside in the dark, and everything is really clear. There is also some really beautiful drone work early on. As with the imagery, I would also like to point out the editing is a fanciful mix of meat-n-taters and some spectacular work as well.

As for the identity of the killer, well, I won’t give it away of course, but I kinda figured out part of it about halfway through (I had another guess before that, but was proved wrong, thankfully). There are plenty of surprises and some decent jump scares paced throughout, not to mention some unexpected actions that took me by surprise, happily.

Yes, the canon of deadly St. Nicks is large, and this one is a fun addition that can be enjoyed during this festive season. It is certainly more recommended than your Aunt Phyllis’s fruit cake that suspiciously may have been regifted from last year.

You can find a decent interview with Klock and Capozzi on the Pop Horror blog HERE 

Text © Richard Gary / Indie Horror Films, 2020
Images from the Internet

Nicole
Directed by James Schroeder
Dopp Kit Media
74 minutes, 2020
www.nicolethemovie.com
www.schradesproductions.com

To paraphrase the late, great Leonard Cohen: “Nicole takes you down to her place by the river… / You can spend the night together / Then she’ll chop your perfect body with her axe…”

When we meet budding artist and daytime office assistant Nicole (Tamika Shannon), it is easy to tell she is a woman with issues. Chugging back vodka upon awakening and playing lovingly with knives, she keeps people away by using ear-buds around the office. She may be lovely, and men are constantly staring at her in that toxic-masculinity way (man, I hate the open-office workplace concept), but you know right off the bat that there is something – or multiple things – off about her. But then again, is it real or her imagination? It seems like everybody – male and female – is into her, including a creepy jogger (Tre Lockhart) and a nice comic relief turn with a goth hardware store clerk (Madeline Brumby).

Though a man who works with her (Ke’Shawn Bussey) who is obviously one of the good guys (every other male is kind of stereotypical), asks her out to see his band play, and she rebuffs him. The viewer’s heart goes out to him, but she’s arranged an online first date with charming John (Stephen Green), who’s handsome demeaner also hides a broken personality: he imbibes with lines of white powder and has a tendency to pull a Cosby on women, and then throw them away after getting what he wanted. Nicole and John seem to be not water-and-oil, but fire-and-fire. It’s hard to tell who is the fox and who is the henhouse. Fifteen minutes in and I am itching to see where it goes.

Tamika Shannon and Stephen Green

This is mostly a two-person film, as Nicole and John are two celestial bodies orbiting around each other, with other characters being their moons: part of the system but on the outskirts. It is interesting to see the way the two of them interact, her being stiff and unsure, and him being loquacious to the point where you want to give him a throat punch, making really bad jokes that are red flags the size of a city block. He’s a playa on the move and the question is will she be moved by him. The second act starts as the date begins.

The sheer number of substances that this couple imbibes is quite impressive, probably more in their one day (including his snorting) that I have done in at least 10 years in total, if not more. Alcohol culture has always confused me (the appeal of it, anyway), and this film is definitely a reason why. At least no ciggy-butt addictions; watching people smoke has always been a turn-off for me, but not as much as when films show tooth brushing, of which we get to enjoy more than once here.

This is a very dark comedy that is beautifully shot in black and white, except for Nicole’s inner thoughts or desires, which is a reversal of the usual trope of memory portrayed on film. It presents the drabness of her life, as she stumbles through it. But color shows not only her memories, but her hopeful delusions as well. As for the lessons of this film, it is double-directed: first, women, never leave your drink unattended, especially around someone you don’t know well; and second, men, do not be a Cosby because (among many reasons) it may not work out as you intended.

The film really picks up steam in the third act, when the line between reality and what is going on in one’s head starts to – er – bleed. Is what we’re seeing real, or imagined? I love that kind of story, as the possibilities are unlimited. The conversations start to become a bit surrealistic and way more interesting.

There is a nice touch of blood and body parts, without being overly graphic (though granny may not be too happy), in part to the director’s nimble touch, and I’m certain the budget restraints helped. Blood always looks better in monochrome.

The dialog, written by the director Schroeder is sometime sharp, and politically nuanced, such as one character saying, “That’s what you get you Harvey Weinstein motherfucker.” That made me smile. The acting is sharp; 40 years ago, Nicole might have been played by Pamela Grier, but Shannon does well to show the shades of emotions and thoughts that run through Nicole’s head. John is a bit more one-dimensional, but Green also plays him realistically, I’m sorry to say (what I mean is that John is not a nice person).

This is Schroeder’sfirst feature, and his only non-documentary credit. Yet the way the film is presented, it almost feels like a documentary, with the way it is shot and the black and white helps, as well. This gives the film a cool and calculated look that works for its subject matter. I look forward to more fictional features from him.

The film is available on Amazon and TubiTV.  

Favorites and Not Favorites for 2020

 Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

As always, I will first republish the rules I have about such lists as these:

I have an issue with “Best of” and “Worst of” year-end lists for the following reasons: most are chosen from either those that play in theaters. For me, I like to watch the DIY ones, for these tend to have more heart. My list consists of films that I saw and reviewed in 2020, not necessarily ones that were originally released in that year.

As for Best and Worst, I never liked those terms; art is just way too subjective, which is why I called them Favorites and Not Favorites. That being said, even the “Not” ones have redeeming qualities, and the fact that they don’t touch me means nothing. I have hated films that have won tons of awards, and liked some that other find abhorrent, so don’t take anything I say, good or bad, as the definitive. It’s just opinion, and I welcome you to agree or disagree. It’s all good.

These two lists are alphabetical, rather than ranked (another thing I don’t believe in).

These are condensed reviews. The link to the full, original review is at the bottom of each listing.

Favorites:

Before the Night is Over
Directed by Richard Griffin
If I were to break this film down into its most primal descriptors, they would have to be “languid” and “gothic.” Remember when Southern-focused releases like Hush… Hush, Sweet Charlotte (1964) and, well, Frogs (1972) were more common, with big mansions, accents that make y’all wanna hush yo mouth, sugah, and evil doings were hidden by “the scent of magnolias, sweet and fresh / Then the sudden smell of burning flesh” (quote from Abel Meeropol’s 1939 song, “Strange Fruit”).Like a Bob Fosse dance number, every shot and move made by the cast seems nearly choreographed, with hands and faces in the forefront. This is quite effective for the “languid” part. It also makes for fascinating watching of the actors as they move around the screen, or even if they are sitting still, there is still the precise motion that is almost hypnotic, which works for the “gothic” intonation.As for the basic set-up of the story, listen here chile: when we are introduced to petite Samantha Pearl, her parents have recently passed on, and she’s been taken in by her aunt, Blanche DeWolfe, who owns this here bordello that is filled with men, and also caters to men. Similarly in charge is the “prickly” Ms. Olivia. These are the only three women in the film. Also helping to run the bordello is the intense and towering Ambrose.Samantha also is having visions that are silent, fuzzy and in slow-mo (again, “languid”), where she can see violent events that have occurred in the house recently. Oh, and did I mention that there is also someone in a cloak and cowl running around hitting customers on the noggin’ with various instruments until they’re on the rainbow bridge with Jeebus? And what’s in her mother’s diary that the aunt is keeping from her, and what’s with the mysterious locked room she’s not allowed to enter? It’s a mystery that’s bound to get ramped up and involve Samantha (again, “gothic”). Well that’s why y’all are here, ain’ it?Much like Cinderella, Samantha’s role in the “house” is to be the maid. Of course, this gives her access to everything and everyone there, so as we follow her around, we get to learn as she does just what is going on up in here.The atmosphere and structures around the story are part of it, even the incredibly accurate, stylized and yet ugly wallpaper. There is a persistent mood that runs throughout, giving the actions of the characters more gravitas. This film is a fine combining of the supernatural, and the abundance of the male form in various shapes and sizes. There is a lot of nudity; penii abound, and yet the story warrants it. If you’re a Neanderthal who is indoctrinated in not being used to this, get over it. This film is too beautiful to miss.There is a bit of violence here, but relatively mild with little blood; however, the tension is definitely there as murders are committed and a mysterious presence overhangs the bordello that Samantha tries to get to the source.It’s easy to see the influences and reflections of earlier classics that I could list, but I don't want to give too much of the story away.As with of most Griffin films; I just want them to keep going. That says a lot about this release, as well.
Full review and trailer HERE

Ever After (aka EndZeit)
Directed by Carolina Hellsgård
If you’re looking for a deeply serious Euro-centric post-Z-Apoc universe where everything is dire, well, have I got the film for you! When the film opens, the Z-Apoc happened two years previously, and in Germany, there are only two barricaded cities left. We meet our central character, (dyed) redhead Vivi (pop and soul singer Gro Swantje Kohlhof), who suffers from severe PTSD from an experience as the munching pandemic virus took a bite into humanity. We see it in snatches of flashbacks. She’s withdrawn and nearly child-like. She manages to meet up with Eva, who is also running away after an incident. Eva is the opposite of Vivi in that she’s hard as nails and not exactly cuddly. They both decide to try to make it to the other city by cutting through the Black Forest. For this adventure, the zombies are fast, growl like beasts as their only verbal communication, and of course are ruthlessly vicious with no sense of their previous personhood. Like sharks, they’re mindless machines lookin’ for a snack of gristle and gore. An odd thing about that is even though there are some cringe-worthy moments, this is definitely not Fulci-like. It is more story-driven, so there is a dependence on character development rather than focused on shots of viscera. There is also a philosophy that runs throughout, and that is to ponder what our place is in a world in which society as we know it is no longer strong enough to support us. Everyone seems to be searching for an answer to that, either directly or unconsciously. This is mostly Vivi’s story, and we basically see it through her eyes. It’s a world that is both harsh and beautiful as she mentions that one can see the stars again. I enjoyed it a lot, but it took some thinkin’ work to get through it all. In German with subtitles, and except for the flesh eaters, all the main characters and most of the secondary ones are female. Director Carolina Hellsgård presents a bleak world yet filled with beauty, as I said, and takes us on a physical and philosophical journey that needs to be taken one step at a time.
Full review and trailer HERE

Housewife Alien vs. Gay Zombie
Directed by Andreas Samuelson
Sometimes, ya need to make a focused, driven movie. Other times, you just gotta say fuck it. Horror films with a gay center seem to lean towards the latter, and this Swedish (in English) release goes above and beyond; it is camp from Campville. HAGZ, for short, is by far one of the silliest films I’ve seen recently. Newlywed couple Ken and his dick (pun not intended) of a platinum blond be-wigged partner Rob have moved into a new house that is still full of the previous owner’s possession, including an old and mysterious book. Hector is afraid because the local legend is that the person before turned into a zombie (so why would you move in? Oh, wait, logic… never mind). That takes care of the “Gay Zombie” part; as for the other, Catherine, who dresses like she just stepped out of an episode of “I Love Lucy,” is given the opportunity through a head in a suitcase with glowing eyes, to resurrect her dead sister Ruth, bad teeth and all, using some Alien DNA, turning Ruth into a murderous alien-creature serial killer. And yet, the film has barely started. I’ve already left out so much that has happened, including a ludicrous superhero named Zebraman and a Dirty Harry type copper with a heart of lead, Detective Sheridan. It’s like there is (purposefully) 40 lbs. of material in a 20 lbs. bag (or should that be kilos?). There is so much to unpack! The two titular main storylines are separate at first and of course, at some point combine, though it feels nominally, which actually works to the stories’ advantage. I don’t know if I would refer to this as a “gay film,” but it is definitely at the core and there are some love scenes (well, scenes of people having sex), but it certainly has a message, which I believe is a good one: no matter who one is attracted to, there will be good people and there will be the shits. But enough pontificating. For me, as much as the action is fun, and I will get to that, it’s the dialogue that really makes the film for me. It is just dripping with puns. The film liberally uses clichés to make it’s points, or just to give a nod to other genre classics. For example, there’s the use of a talking plant that’s reminiscent of The Little Shop of Horrors (1986), and even a wink at The Evil Dead (1981). The cast is amazingly huge and most of the actors, especially the key ones, wear some kind of hair accessories, be it wigs, huge eyebrows, and generally ludicrous (I’m guessing Drag influenced) make-up. This goes for the gore make-up as well: it’s a bit over the top, though a couple of scenes are really nicely done, such as the last zombie attack. In other words, there is absolutely no subtlety to the humor here, just a cosmic, comedic sledgehammer, but it hurts so good. The funny bits are fast and furious, and made me laugh. There is so much happening that these are almost set pieces all strung together, but at the same time does not lose the thread of the story in its own reflection. Honestly, this film may not be for everyone; if you’re homophobic because the Bible tells you so, if you don’t like gratuitous violence, or you need a serious picture with a more linear narrative step carefully. However, if you are like me and enjoy silliness for silliness sake, and yet like a smart undertone with great references to genre films (drinking game, perhaps?), then, as I did, you may enjoy the hell out of this and have a good laugh.
Full review and trailer HERE

M.O.M. (Mothers of Monsters)
Directed by Tucia Lyman
We live in a world full of reflection through a camera, be it selfies or someone trying to make some kind of record of an incident (e.g., a public meltdown). Either way it is based on ego, such as believing the event is important, a way to point a finger of blame away from oneself to another, or a deep-seated fear that compels one want to make sure your story is told. This film falls into all three of these categories.The mother in question is Abby. Her teenage son, Jacob, has a history of acting out in violent ways that Abby refers to as “Monster Time,” such as randomly dropping bricks off high buildings without looking to see if anyone is below. With a way of charming psychoanalysts that most true psychopaths have, he has managed to skirt his way around the legal system. The found footage aspect is either Abby recording herself on a cell phone to tell her side of the story, videos made by others such as Jacob’s friends, or the hidden cameras Abby has placed throughout the house. We get to view them, not necessarily in chronological order, thereby giving us a bit of perspective on Jacob to show that it’s possibly not just a puberty/hormone thing.One of the brilliant aspects of this thriller is the question of absolutes. Jacob can be an outright shit, but so can Abby. The question is left hanging for quite a while whether Jacob is insanely violent, or is his mom over-vigilant – such as lack of respect of his privacy – due to aspects such as her substance abuses. Though in color, this is clearly a Noir piece with modern technology of cells, Skype and Spy Cams added in. As for the figurative, despite its gothic throwback mood, it’s placed in a modern situation, where teenagers are inundated with not just said technology, but the psychological damage of living in a post-Columbine era of increasingly frequent mass shootings, a fascination with Nazis, casual Anti-Semitism, and public spectacles of events like Charlottesville, all of which play into the story in some form or another. Every person here puts in a solid performance. There is also a very short cameo by Ed Asner, for some added star power. There are some scenes that are unexpected and downright shocking (again, figuratively and literally), with some squeamish bits, but mostly this is a psychological thriller. The game of “who is the crazy one” is played out in sharp detail, and there are lots of twists and turns to keep the viewer entertained from the first shot to the last.
Full review and trailer HERE

A Serial Killer’s Guide to Life
Directed by Staten Cousins Roe
“Life coaches” claim – for an entrance fee or buying a copy of their latest tome of psychobabble – to be able to improve your life. Go to the Self-Help section of the bookstore to find out just what I mean. We meet Lou, who feels spiritually lost. She clings to self-help material to aid her in her day-to-day life, where she works in a shop in Brighton, UK, and lives with a very demanding, demeaning and self-centered mother. Very early on it starts to be clear why Lou is so self-deprecating. At a talk by a mercenary writer/guru in the field, she meets a self-styled self-help coach, Val, who oozes self-confidence and wears bold, bright red lipstick. She is instantly everything Lou wants to be. When Lou gets invited by Val to go on a road trip to visit a self-help icon, Lou find the courage to leave her home and mom, and jump into the car for the ride along. We are shown in little snatches that this road trip is going to be interesting and a bit bloody. Essentially, this is a twisted dramedy buddy road trip film. Nearly all of this genre tends to be male oriented, so there is obviously going to be some Thelma and Louise (1991) notations in reviews along the way (such as this one just now), but there’s also some Henry: Portrait of a Serial Killer (1986), along with others that would reveal too much. It’s easy to see through Val as the story does not try to hide her compulsions, and that’s the fun. Val’s almost stoic and assured personality is part of the enjoyment for the viewer. She is not smug, she’s just persistent. The slow growth of Lou as she comes out of her shell is also fun to watch, as she starts – well, for lack of a better term – to be woke, both to Val and herself. This is a very dark comedy, all the better for it. Part of what is amusing is that the film mixes showing some self-help tropes (e.g., “be yourself,” “an end is only a new beginning”) and what some may see as some sound advice, and also mixing it with a dose of cinematic reality (there is an oxymoron for ya) to expose just what BS it actually is in the real world. This could have come out as kind of preachy, but it doesn’t thanks to some good writing by Cousins Roe. I am so wanting to discuss the truly interesting ending, but I won’t. The good thing about that is that the film makes me want to dissect it, meaning it is making me think. Not many films today do that, especially the mainstream ones that are there mainly for the cash grab (sequel number 18; remake number 6). Yes, this film is entertaining. I laughed out loud a few times and smirked more than usual.
Full review and trailer HERE

The Supers (aka The Supers!)
Directed by Yolanda Torres
Recently, comic book superhero films have been mega-gigantic, CGI-driven extravaganzas, with a cast of thousands, a cost of multi-millions, and scenes of destruction left and right. It’s only been recently that some of the lesser characters have been getting some screen time, with the likes of the Suicide Squad, or Guardians of the Galaxy.  Well, let me take a step back here, because the indie films have been busy in that department for years, with varying success (story-wise, not financially). Actually, I find the minor releases more interesting than the mainstream superstars, because usually they are shown as more “human.” That is where The Supers comes in. We are introduced into a world where both DC and Marvel characters exist and mutant powers are somewhat culturally normalized, though we never meet them, of course, thanks to copyright laws. Among those who we do encounter are our three leads, who all live in the City of Justice: first, there is Paul, the Atomic Avenger, whose power is Telekinesis (he can move things or people with his mind, or pop them out and then in where he wants) but suffers from a severe fear of the dark; Tyler, the Restoress, has the power to heal but is OCD and has a fear of germs; and then there is Stan Kirby (great name that’s a mix of combo of Stan Lee and Jack Kirby, which is – err – Marvelous) who is Pulseman, and whose power is EMP (Electro-Magnetic Pulse) and has debilitating claustrophobia. Heading it off is Dark Ness, who can use mental control but has narcolepsy, and whose costume looks a bit like Darth Vader’s (or perhaps Dark Helmet’s, from 1986’s Spaceballs), who has dreams of being a supervillain instead. Her lone henchman is a security guard named Frank, one of my two favorite characters in the film for some reason. The essential premise is that this threesome’s minor powers are overshadowed by their weaknesses, so their Superhero licenses are rescinded, and they are forced to take the most menial of jobs (e.g., telemarketer), which even with that they struggle for various reasons. But, of course, there is an assignment given to them by the superhero Powers That Be through Bob, to join together and retrieve a stolen object that is important to those Powers. Are they up for the task? We find out starting with the Second Act of the film. This is both a simple story and a complex one, because of the human element. The characters are all likeable, even Dark Ness and Frank. Everyone is trying to live their lives with all its foibles, and yet most still do some good in the world. This mix of simple comic book-level story with a tendency not to talk down to its audience or complex characters gives the viewer a pointed new look at a (especially recently) well-used theme of superheroes. There is a very sharp and dark sense of humor and self-awareness that flows through the veins of the story, without it being – dare I say it – too comic book-ish. Even with the comic book framework of “cells” that separate scenes, this is more story and heart than bang-bang (though there is some of that, as well).
Full review and trailer HERE

To Your Last Death (aka Malevolent)
Directed by Jason Axinn
Animation sure has changed since I was a kinder. With computer animation, it opened up a whole new world to what was possible. The animation here looks a bit like a cross between anime (e.g., Akira) and Britain’s 2000AD comic line (they do Judge Dredd). It is minimalist when it comes to movement, but that gives it more of a comic book look, which I really liked. Some of the backgrounds tend to be pretty amazingly detailed here. The storyline is basic, but with some unusual twists that elevate it quite a bit. An evil billionaire arms manufacturer, Cyrus (voice of the Ray Wise), who is a cross between Donald Trump and Lex Luthor, calls his four estranged adult children in for a meeting. There’s the hero of the story, Miriam, who has gone the charity route for peace in diametric philosophy from Cyrus and has had mental issues in the past, Ethan, an aspiring musician into sexual asphyxiation, Kelsey that has a sad life of a trophy wife to Cyrus’s biggest rival, and Colin, a mini-version of Cyrus’s business ethics, but is rejected by dear ol’ dad because he’s gay. Perhaps inspired by the short story or films, “The Most Dangerous Game,” hired mercenaries – one voiced by Bill Moseley – turns this shindig into a battle royale in a life or death struggle. The implements used sometimes are reminiscent of the later Saw franchise, where the victim is asked to complete a horrendous task. But there is a whole ‘nother layer added to the story. Some interplanetary gamblers are betting on who will live and who will die. Like the gods in Clash of the Titans (1981), they sit around a table and watch the goings on below. The busty being running the room is the Gamemaster. She can manipulate time and influence the players. It’s kind of like a video game gone gore. Yes, there is a lot of blood and gore in this one (and one bit of nudity), and even for animation, it looks pretty decent. And to give a “Star Trek” opening-like voice over in a nicely done though over emoted cameo is none other than William Shatner, himself. I quite liked this film, from the comic book-style animation to the quirkiness of the story, in which time is played with; director Axinn makes it feel fresh by not just repeating, but mixing up the storyline. Because of these time shifts, people are killed and/or they aren’t, or die multiple deaths. And all of them in different means of disposal. The unpredictability is part of what makes this even more intriguing. The whole gameplaying with these super-being gamblers was a nice touch. Of course, the Gamemaster pops in and out frequently throughout to work her malevolent magic, which enhances the story, because it is hard to really predict what’s going to happen next. Given the ending, this can be a franchise and the gamblers face new murderous stories to play the game. I am so okay with that.
Full review and trailer HERE

Full review and trailer HERE 

Not Favorites:

Mermaid Isle
Directed by Jason Mills
Evil mermaids seem to be a bit trendy relatively recently, but the kind, female tail flopper from the 1980s are long gone as washed-out tropes. These mermaids, as in The Odyssey, are up to no good.The set-up is simple though painful: four friends head off to a deserted island for fun and recreation. Annoyingly needy and insecure Toby is in love with cute Amy and wants to use this getaway to ask her to marry him, but she’s not “there” yet as they started dating recently. Along for the ride is Toby’s bland pal Roy, and Amy’s goth friend Shelly. If I may digress here for a second, why are goth characters in these kinds of films sooooo annoyingly bleak, sarcastic and downers? So stereotypical. I can’t even imagine Amy or any of them putting up with Shelly’s shitty ‘tude. When Shelly is bitten by something (in clear, exceedingly shallow water, I might add), that’s when the trouble begins. Bad horror film decisions are made left and right. They know to stay out of the water, so what do they do? Walk through the water. When their friend is hurt, do they head for the boat? Of course not. No sign of a cell phone from these 20-somethings? Hmmmm. If this is supposed to take place pre-phone era, then I missed that cue.  Transformation from human to mermaid is rare in story, though here we only get to see the before and after. And to keep the title accurate, it seems only women get bit and change, with males just getting off’d. So, I guess there are no interest in Mermen? The biggest problem for me, beyond the weak acting is that the story is only about 30 minutes long, with the rest being atmospheric shots of the beautiful landscape. The film could use some serious rewriting and video editing, such as the long, silent walk through the woods at the beginning. Much could have been excised and this could have been a pretty damn decent short. As a 30-minute release, this could have been a real tight story, but it takes too much time dealing with exposition and scenery, and unnecessary and distracting “mood,” that the film self-implodes and self-deflates.
Full review and trailer HERE

Pit Stop (aka Acid Pit Stop)
Directed by Jason Wright
In this British release, we meet two mid-twenties mates, stoner Paul, and practical joker / wise guy Lucio, who is a bit of an asshole. Paul has just broken up with his girlfriend Anita, and to cheer him up, Lucio is taking him to a party / rave that he organized for just that purpose. Meanwhile, we meet two other mates, diminutive Anita, Paul’s ex, and Shailene and her bouncing cleavage. Anita has just broken up with her boyfriend Paul, and to cheer her up, Shailene is taking her to the same party / rave. The problems start when the car of the latter two literally run into the back of the former two on a less than busy road, so now they have to share a car. But first, Paul and Lucio stop off at a dealer’s house to pick up some – er – refreshments in the form of an experimental designer drug for which they don’t quite understand the dosage level. Before long, the drug turns the party goers into starker blood-hungry and slow-moving zombies. As the violence gets wilder, our four intrepid… schmucks?... hide out in the bathroom and have a discussion. Not that you can tell much of what they are saying; the sound quality of the film is absolutely atrocious, once the rave in in play. The accents don’t help, either. Meanwhile, our four blokes are laughing it up, not taking this all too seriously, while trying to figure out a way out. On some level, this is a comedy, I gather, from certain moments, as it gets goofier as the film plays on. Or maybe it thinks it is funnier than it actually is, though there are moments that certainly made me smile. The level of gore is decent, but far less graphic than one might expect. Bloody parts look a bit stringy and rubbery, but there is lots of blood. The final act begins with the arrival of a gangster, his body guards, and some Hai Karate after-shave (I kid you not). Who will survive? Who will come back from the dead? Who will care? Considering the loss of life of their friends and acquaintances, the foursome don’t seem overly upset about that part. The acting is generally over-done by just about everyone. Was this a good film? Generally, not really, but to be fair, there is a lot I lost in so much of the dialog being so badly recorded. Generally, I like zombie comedies, but this one either went over my head or out of my ass, I’m not sure.
Full review and trailer HERE

Verotika
Directed by Glenn Danzig
Heavy music and horror films have always had a symbiotic relationship. This is especially true with independent films of the genre, who oft times use metal or punk for their soundtracks. Metal star Rob Zombie took it a step further and started writing and directing. Now enter Glenn Danzig, vocalist of heavy punk bands The Misfits, Samhain and Danzig. But he also has his own decade-old comic book imprint of erotic EC Comics-style short horror stories from which these tales are adapted, likewise by the name of Verotika. Critics have been harsh with this film, to say the least. Right off the start, we are introduced to our host, Morella, as she performs a violent act on a chained woman. It’s a bit overdone, but most horror host(ess) bits historically tend to be like that. The first story is “The Albino Spider of Dajette,” which I am assuming is supposed to take place in France, considering the attempt at accents. Poor Dajette has eyes instead of nipples on her ponderous bosoms, which freaks guys out. Her tears after being rejected by some abusive guy change a white, cartoonish-CGI spider into a six-armed man who kills for her by reading her subconscious. Oddly, he kills women, rather than the doods that abuse her. This is a world where women are prostitutes and men are machismo morons. The editing is kind of choppy, and the line reading stunningly wooden, but the downfall for me is the pretentiousness of the dialog. It tries to elevate itself into some kind of lyrical poetry or art, but falls flat, right from the beginning. The story not only makes little sense, but has no explanations It’s a rocky start. Then we’re off with “Change of Face,” the second story. A mysterious and scarred dancer has a predilection for killing women and stealing their faces… then wearing them… while stripping… wearing a schmata to cover her face. Wait, what? The last story is “Drukija: Countess of Blood,” freely based on the true story of Countess Bathory. Drukija has a thing for virgins in the Middle Ages ‘hood of Hungary. I realize that odds are Danzig was going for a Hammer Films look in this segment, but he doesn’t quite achieve that, as he tends to “linger” a bit too long. Shots of Drukija bathing in a peasant girl’s blood, both of them starkers, stays longer than a relative at Thanksgiving, letting tedium build. This story actually does not really have a plot, but is a series of set pieces to show women bled, eviscerated and chopped up. Even the torturous level of gore in 1970’s Mark of the Devil at least had a narrative to justify its actions, such as it was. Perhaps what Danzig should have done is start off with some meat-and-taters films to get his hands dirty and figure out what he wants and what he is doing, even if there is some artistic ambience thrown in to elevate it a bit, and then experiment with a goal in mind that is achievable at an earned level of experience. Perhaps his life of fame and right wing conspiracy posturing has given him the confidence that is beyond his skills. The biggest problem, in my opinion, is that he both wrote and directed the film, and with the kind of ego he’s been known to postulate, he may not be inclined to listen to others because he knows what he wants. With a lack of experience in filmmaking, more often than not it is important to have a middle person between the writing and the directing for editorial purposes. I’m hoping when a sequel comes out, and it should, there will be more cohesion.
Full review and trailer HERE

Text by Richard Gary / Indie Horror Films, 2021
Images from YouTube

Both these fun, comedic films, which were made independent of each other, have the same premise: a strong, young woman is trying to sleep, calmly placating a demon or creature under her bed with humorous undertones. Both films are linked below.

In Bed Demon, which was released in 2013, is 4:32 minutes in length, and is directed by Henrique Couto, and stars Erin R. Ryan as the bed denizen and the director voicing the mysterious creature, Bedemon.

For Under the Bed, the best I can tell is when it was uploaded to YouTube in 2018, and it is 4:37 minutes. Although there are about two dozen films with the same name on IMDB, this one is not listed. It was directed by Ben Greco, and stars Natalie Trainor. There is no credit for the demon's voice, but I am just going to assume it's also the director.

Another thing both films have in come is toothbrushing. Now that's horrifying...

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

A Brief Interview with Actor Anna Rizzo

www.annarizzo.net/

In the decade of her career so far, Anna Rizzo has managed to show a wide range of characters, from comedy (Fairfield Follies, 2018), to deep drama (Moments from a Sidewalk, 2016), to classics (A Midsummer Night’s Dream, 2017), to television and web-series work (“Law and Order: Special Victims Unit,” 2019; “The Realm,” 2015, respectively), and definitely a few in the horror genre, including her most recent release, Blood Pi (2020). Being quite prolific, she also have some other films due out this year in post-production.

Part of the Rhode Island film collective, a much more active group than you might imagine, she has also spread her wings to other parts of the country for roles, and is a musician, too boot (not to be confused with another musician with the same name, though).

Personally, I’ve been a fan since Seven Dorms of Death (2015). I sent her a list of questions, and she was gracious enough to answer back. You can find other, role-specific interviews with her on YouTube. My questions are more random.

Indie Horror Films: I’m happy to be able to give you the second degree (a shade lighter than a third degree).
Anna Rizzo: Happy to be second degreed!

IHF: I guess the place to start is with a simple query: what brought you to acting?
Anna: I did plays ever since I was a little kid, but usually because the plays I had access to would involve a decent amount of singing, which was the real draw to me at the time. I was a very shy and introverted kid who was always reading in the corner rather than talking to people, but I liked to sing.The high school I went to had a respected and competitive theatre program. The first semester of my freshman year my parents convinced me to audition for the school's production of The Importance of Being Earnest (even though there was no singing), saying “you have to pay your dues and audition multiple times before they're going to cast you in a musical. You won't get in this time, but they will start to get to know you that way.” So I went in, figuring nothing would happen, and ended up cast as Gwendolyn. And I absolutely loved it. I fell completely in love with acting and never looked back.

IHF: Do you have a favorite role, so far?
Anna: It's so hard to pick because, honestly, I fall in love with every character I get to play while I'm preparing the role. Getting to know who they are, what makes them tick, then finding that within myself – how could you not love each one after all that?The closest I could come to picking would probably be Tara in On the Seventh Date (2016), because she came to me at a time when I was living through something remarkably similar – knowing exactly what my heart wanted but being too scared to own it. But she had the ability to take bold action and speak what she wanted. She might be the closest to a favorite because working on that story and getting to deeply know her taught me a lot. It helped me find those parts of her that I admired in me.

IHF: Being in the Rhode Island area, you’ve done a lot of films with director Richard Griffin. Any stories of the films or working with him?
Anna: So many! The reason I've worked with Richard Griffin so many times is because he is such an incredible creative, whose enthusiasm and love of filmmaking spreads to everyone who steps foot on his sets. Every single film he does, he invites you into this incredible world he is creating, and as an actor that is such a gift. I've seen him create everything from post-apocalyptic bomb shelters, to haunted abandoned catholic schools, to magical woods in colonial America to raucous romantic comedies, and everything in between.I think one story which beautifully encapsulates Richard Griffin magic in its element, was the first day of shooting Seven Dorms of Death. We were filming in a closed-down, beautiful old theater in the middle of January, shooting 8-10 pages with most of the cast that day. And there was no heat in the building. In January. But he and the crew bundled themselves up and got to work. They lit the whole thing, all while letting us actors stay bundled up and warm as long as possible, and they did amazing work.But it was still freezing. And all of us actors were shivering through our lines with our noses looking more and more like Rudolph the Red Nosed Reindeer each take. And yet, even through those conditions, it was still so much fun. Everyone's spirits were high because Richard always finds amazing people to be a part of his team. But at the end of the day, Richard made the tough decision to scrap location, and therefore the day, because it was too much to battle against the cold for the rest of the shoot. For those not familiar with filmmaking, scrapping a day of shooting and changing locations is a big deal and I don't know too many other filmmakers that could have kept a production on schedule after that.But not only did he keep it on schedule, he found us a new theater to shoot in (pretty much overnight) that worked even better, and he shot a visually beautiful, hilarious movie that was an absolute joy to work on. Because that is what he does – he comes in with such a clear vision of the film he wants to make, that no upset knocks him out of the game. Things that would sink another production, he rises above and uses his creativity and vast experience to find an even better solution and makes the whole film better for it. You cannot stop him when he wants to make a film!

IHF: Your range is quite large, from comedy to deep drama and horror. Do you have a preference?
Anna: My preference is all of the above! I love working on things that make me laugh and making other people laugh. And then I also love working on things that make me feel deeply and move other people to feel something. I think we try to crack each other up in the most tense and difficult circumstances in order to survive them, and the funniest moments are often infused with life-or-death stakes at the time they happen.

IHF: In Blood Pi, you play a psycho so well. Did you have a model to base it on?
Anna: Thank you! And yes, actually. I had an up-close experience with a sociopath, and the characteristic that really haunted me afterwards was that reptilian stare. I did a lot of reading around the psychology of antisocial personality disorder to try to make sense of what I had witnessed. And then years later when Jordan (Pacheco, the director) first approached me with the Blood Piscript, I instantly knew exactly who Amber was. And I was so excited to see a female role like this. I didn't want Amber to be two-dimensional, so entering into her world was a lot of figuring out what drives her and what her own weird sense of justice/punishment was, because I think she feels deeply justified in her actions.

IHF: Congrats on your role on “Law and Order: Special Victims Unit.” What was that experience like, and how did it compare to working on indie features?
Anna: Thank you! That was an amazing experience. The “Law and Order” set is massive in terms of how many people work in each department, and they are truly a well-oiled machine. They built that entire dance studio I shot my scene in that morning and then as soon as we were done shooting, in a matter of minutes, had dismantled the whole thing to begin building another set in that same space. That level of organized teamwork was incredible. The first day I was on set was actually their first day of their 21st season and everyone was returning from the break between seasons. It was so cool to see how bonded everyone was, sharing stories of what they had each done with their time off, asking about each other's families, etc. What I love about indie filmmaking is the camaraderie and bond you form when working together and it was so cool to see that even on this massive set with so many people; they still had that bond.

IHF: You seemed to flourish in the role of Titania in A Midsummer Night’s Dream. How was the experience of playing such an infamous Shakespearean character?

Anna: It was so much fun! I would have been massively intimidated, but earlier that year, I played Desdemona in a production of Othello that fellow Richard Griffin actor, Aaron Andrade, directed and starred in. So having just performed another Shakespeare play right before Midsummer helped boost my confidence that I could even do it! Also, Richard did several rehearsals before we got on set, which was such a gift because we had time to play and experiment together. By the time we arrived on set, the words and the cadencing were deeply in my bones, so I could forget about them and just live in the moment as Titania. But the real cherry on top was that Richard and the crew built the whole fairy woods on the stage of the Barker Playhouse [in Providence, RI; it is America’s oldest continually run little theater – Ed.] and each actor had the most incredible hair, make-up, and wardrobe to totally transform us. And that process of physically transforming and then stepping into this magical world they had created was exhilarating.

IHF: I know you were a composer for the film Moments From a Sidewalk. Are you planning to further your fingers into the area of film music, or the use of your singing ability in films?

Anna: I would absolutely love to play more characters who sing and play music! It was so much fun to incorporate that side of my creativity into Sarah's character in Moments From a Sidewalk. I loved taking songs that I had written and were personal and meaningful to me, and then adapt them for Sarah.

IHF: While I enjoy watching you work on the screen, have you thought about working behind the camera, perhaps in directing, writing, or producing?
Anna: I am pretty sure I will experiment at some point, but honestly, the level of skill and talent that goes into directing, writing, and producing is intimidating and I deeply respect the people who do those jobs. They truly each do hold a production up.

IHF: Thank you so much for your time. It was a pleasure getting to ask you these questions, and I look forward to seeing your upcoming roles.
Anna: Thank you so much! It was a pleasure!

* * *

To contact Anna Rizzo for future endeavors on the screen or stage, here is her information:
arizzo@alumni.berklee.edu
www.annarizzo.net

New York Agent:
Take 3 Talent Agency

1411 Broadway, 16th Floor

New York, NY 10018
(646) 289-3915

New England Agent:
Andrew Wilson Agency
(617) 701-6400

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Witch Hunters (aka Witch Hunt)
Directed by Richard Chandler
Boston Film Family; Gravitas Ventures
74 minutes, 2016 / 2020
www.bostonfilmfamily.com/

This film started its brief and succinct life a few years ago under the title Witch Hunt, at 53 minutes in length. A few additional shots over the years and now it is the full length Witch Hunters. And that concludes the history lesson part of this review.

 There are multiple substories going on here that will, of course, merge at some point. First, there’s the brother and sister witch hunters (shades of 2013’s Hansel and Gretel: Witch Hunters) from Bosnia and Herzegovina, who wear Hells Angels-type leather jackets that denote their profession: Dominic Damarus (director Richard “Rick” Chandler, who played Hansel in James Balsamo’s The Litch in 2018) and mute Morrigan Ramsey (Carver Riot). They slaughter – usually via knives – witches.

Richard Chandler and Carver Riot

Second, there is the coven of said witches, led by a literally bloodthirsty piece of work (Lilith Astaroth, from the metal band Sorrowseed, who was in Nun of That and the recent Blood Pi), who is not given a name. This is more the traditional film coven, like you may see in Suspiria (1977), Rosemary’s Baby (1968), or The Satanic Rites of Dracula (1973), rather than the cutsie ones of The Craft (1996), for example. They huddle over their victims and sacrifice them…yes, using knives.

The third follows a priest and failed exorcist, Father James Costello (Graham King). He’s having an existential crisis, questioning his faith and his once suppressed gay sexuality. He is one mixed up dude. Lastly, there is Sheriff Tormada (Tony Ramos Wright), possibly named after Torquemada, who devised the worst of the Spanish Inquisition (as Mel Brooks said in 1981’s History of the World, Part I, “You can’t talk him outta anything!”); after all, the original tag line for the film is “The Inquisition Returns.” He is a murderous hedonist, riding on his power trip and will take down whomever he likes, just for the momentary thrill of it.

Lilith Astrogoth and her Cult

Religion as supernatural has really become almost a sub-genre of late. I am not talking about the general possession type which has been a staple topic since The Exorcist (1973), but rather evil in religious forms, such as The Nun (2018), Beyond Hell(2020), or Red Letters(2020). Here we delve into the Satanic, more than, say, Satan proper. All of these tropes have been used multiple times in previous films, but combining them all successfully creates something new-ish. The question is whether or not it is successful, of course.

Every character suffers from affliction of at least a few of the seven deadly sins, especially those of the flesh. There is a lot of cleavage, nudity, and sex of various forms with numerous participants of either or both genders. For some reason, I find that the films out of New England, specifically between Boston (the environs where this was filmed) and Providence, RI, especially, have been recently focusing more on pan-sexual play, which I think is great. There is as much LGBTQ+ lust here as straight, as it should be. While that is refreshing, it’s definitely more sexual than sensual, as it’s more a meeting of bodies than hearts. There is also a lot of blood, with little gristle, which is also nice. Most of the SFX appears to be practical, rather than digital.

Graham King

In this story, the women are pure, be they good or evil; they know who they are and are consistent. The men, however, are contradictions, behaving in ways that betray (or believe it to be so) what they represent.

And when all the stories truly converge near the end, as they are wont to do in multi-line plots, the question of who will live to kill again and who will die to – err – not, is pretty well done, as the viewer is not totally sure who will come out on top. After all, in most straight, big budgeters, the flawed always fall, but in genre films, that is a gray area, thankfully.

For me, I can live with the questionably narrative storyline, seeing each set piece on its own as well as part of the zeitgeist, helped by the editing and cinematography. The “quality” of the image degrades a bit in the darker scenes, but that is common with some cameras (to paraphrase, “the fault…lies within the equipment, not in the director”).

That being said, the weakest point here is the acting, which is often wooden, or over-emoted. Some actors fare pretty well, but one in particular – and I won’t name names – was sincerely off the mark into overacting.

This may sound strange, but I feel like I was underserved on Father Costello’s story. The IMDB Storyline makes it sound like he was the central focus, but of the main characters – and there are at least five – his is one that feels like there could be a lot more. Perhaps a prequel, if not a sequel? I would watch that. Meanwhile, make sure you sit through the credits for this one.