'Killer Weekend' is made watchable by strong acting performances

Killer Weekend (2007)
Starring: Eric Roberts, Frida Farrell, Jake Terrell, Cherie Johnson, and Jenna Colby
Director: Rob Walker
Rating: Three of Four Stars

An abusive husband (Roberts) goes full-scale psychopathic killer when his sister-in-law (Farrell) and friends come to spend the weekend with his wife (Colby).

"Killer Weekend" is one of those films that is technically incompetent on almost every level--the dialogue is clunky, the script is badly done with virtually no story element properly developed, and the cinematography is incompetent with many scenes being badly framed and a number of traditional niceties being almost completely absent (I think I only noticed one proper two-shot in the entire film)--but which is made watchable by strong performances by actors who deserved better material than what they were working with.

The main reason to watch this movie is Eric Roberts. He is once again playing an eccentric lunatic, but the combination of smarm and homicidal mania makes the character lots of fun to watch. The character is, like every other character in the film, paper-thin, but Roberts plays him with such psychopathic glee that it hardly matters. It would have been nice if he had been a little less of a cypher as far as where he had come from, how he got to be so rich, and why he went from being an abusive control freak to a psycho-killer, but Roberts is so good here that I can forgive the bad story-telling.

Two other stand-out performances are given by Frida Farrell (strangely credited as Frida Snow) and Cherie Johnson. While Farrell's character ultimately ends up as a stereotypical last-minute bad-ass who survives via bad writing, and Johnson's character ultimately ends up as just another murder victim (although dispatched in one of the more sadistic ways in the film), the performances given by both of them make their characters rise above the bland writing. If a little more effort had been put into the script, these would have been great characters--Johnson's character in particular since there were hints about her being psychic. Those hints didn't go anywhere, though, and ultimately just end up as a random, pointless element in the story--like the Mexican gardener who stumbles around for two days fatally wounded, or the two house guests who arrive in a separate car. If these two fine actresses had been given better material, they could have been great here. (And speaking of better material--if you're going to put a shower scene in your film, especially if its got a hottie like Farrell in the shower, pay her enough money to make the shower scene matter!)

I am rating "Killer Weekend" a generous Three Stars, almost entirely on the strengths of the performances given by Roberts, Farrell, and Johnson. Almost everything else here is either forgettable or bad--although I will say that the death of Johnson's character is one of the creepiest ones I've seen in my 30 or so years of watching horror flicks. In fact, all the business surrounding the samurai sword is extremely disturbing and far better realized than any other part of the film. Still, the bad here so outweighs the good that the only reason to check out this film is if you're a fan of Roberts or looking for something to round out a slasher movie-centric bad movie night.

'Slices of Life' is interesting but flawed

Slices of Life (2011)
Starring: Kaylee Williams, Jack Guasta, Toya Turner, Thurston Hill, Deneen Melody, Galen Schloming, Helen Alter-Dyche, and Judith Lesser
Director: Anthony G. Sumner
Rating: Five of Ten Stars

I've said it before, and I'll say it again: I love anthology films. There's a sense of fun about them that you don't get with other kinds of films--each segment is like a new movie and you never know what you're in for... and in the best of them, the framing sequence offers a little bonus story that may or may not tie in the others. Anthology films are like Forrest Gump's box of chocolate in every way.

Which brings me to "Slices of Life", a film I first watched early last year but never finished writing the review of for some reason. The initial notes and my memory both indicated that the film started weak and finished strong.

And sure enough, I my notes and memory were correct. The film is uneven in quality, but, ultimately the good outweighs the bad, making it a fun viewing experience if you can look past the sections where the ambitions of the director and special effects crew overreaches their budget and forgive some of the weaker actors for their transgressions.

Like the best anthology films, this one features a "bonus story" by way of a framing sequence that connects the other segments. A young woman (Kaylee Williams) wakes up on a lawn in front of a motel, not remembering who she is. The creepy owners insist she works there and that a trio of sketchbooks filled with elaborate drawings are hers. The girl paging through the sketchbooks are what leads us into the three stories within the framing story. These bridging sequences get creepier as the movie unfolds, and together they earn Six Stars.

First up is "Work Life: W.O.R.M.", the weakest of the three tales. In it, an unpleasant and isolated office worker (Jack Guasta) unleashes a nanite computer virus that turns all his co-workers into murderous zombies. He spends the rest of the segment trying to fend them off as he is chased through the building. While this could possibly have been an interesting and amusing cross between the cyberpunk and zombie genres, it ends up falling flat because writer/director Andrew Sumner chose to replace clever storytelling and characterization with a string of meta-references. Just like merely referencing other movies doesn't make a comedy like "Disaster Movie" funny, neither do wink-wink references to oher sci-fi and horror flicks make "Work Life" scary. It rates a generous Four Stars.

Things look up after that false start, however. With "Home Life: Amber Alert" Sumner delivers a tale of a very pregnant cop's wife (Toya Turner) who finds herself haunted by the ghosts of children who have been murdered by an elusive serial killer.  The way the hauntings are presented is quite scary and this could have been the best segment in the film, and certainly better than what is featured, if Sumner perhaps had trusted in the fact he had a powerful story here and refrained from engaging in cheap and predictable tricks as it built toward it's finale. What he probably thought was improving the segment actually undermines it, dispelling the atmosphere of dread that had been building with clumsy melodrama and unneeded gore. The segment also suffers from the fact that Thurston Hill gives a terrible performance that is made to look worse by the fact that Toya Turner is rather good in her part. This segment rates a low Six Stars, because of the way Sumner drops that ball toward the end.

The best episode of the film, "Sex Life: Pink Snapper", is the third and final story. It's a cleverly constructed tale that interweaves seemingly unrelated events involving a couple on the run (Deneen Melody and Galen Schloming). It's a story where the characters who are ostensibly the heroes of the piece are not exactly conventional and the villains are not at all what they seem to be. The segment draws its plot threads into a clever payoff that is just as creepy as it is satisfying due to the mixed feelings that viewers will have about the sort of poetic justice that is embodied by the fate of the various main characters.  The acting here is also more solid, with the entire cast giving a good accounting of themselves, and Deneen Melody being especially excellent as a heroine that's intentionally hard to like. This could easily have been a Seven Star segment if not for the fact that Sumner once again either didn't have faith in his story, or wanted to show off his horror geek-cred by tossing unrelated horror tropes into the segment. Yes... we all known Countess Bathory was a horrible, evil person, but did throwing references to her into this story doesn't add as much as it detracts because of its unnecessary randomness, and it drags the segment down to a rating of Six Stars.

When those ratings are averaged out, and Sumner's habit of mistaking horror cliches and references to other horror movies as story telling is taken into account, the entire package ends up rating a solid Five of Ten Stars.

"Slices of Life" is one of the better low-budget horror anthologies of the direct-to-DVD set. If you like the genre and the anthology format, I think you'll enjoy it. Sumner might also be a talent to look out for; if he had a little more faith in his material, I think he could deliver some excellent horror movies.

Not much story to get in the way of the gore

Recycled Parts (2010)
Starring: Girstin Bergquist, David Dartt, Joe Duffy, Brandon Brendel, Lisa Gail, Michael Dias, and Larry Sands
Directors: Larry Sands, Erick Vega, and Bradley Young
Rating: One of Ten Stars

Three unlikeable college friends (Brendel, Gail, and Dias) and two stupid ones (Bergquist and Sands) become victims of a madman (Dartt) who is abducting people and harvesting their limbs and organs for sale on the black market (or something like that).

First of all, this turned out not to be my kind of movie, so maybe I'm unable to appreciate its strengths, but sitting through this movie was a miserable experience. Regular readers know that I can't stand "torture porn" movies... and there's really not much else to this movie that gory deaths and screaming victims.

The best thing about "Recycled Parts" was that it was that it was so to the point that it lasted just one hour.

But during that hour, you get to see just about every variety of incompetent filmmaking you can imagine--from bad dialogue to bad characterization; from amateurish Foley work to uneven sound levels and inaudible dialogue; from badly lit scenes to badly framed shots, this film has it all! Hell, it even has a textbook example of the moronic "shock twist ending" that is so bad it actually ends up being one of the worst parts of the movie.

The only reason I'm not rating it Zero, is that the filmmakers did manage to creep me out with te Christmas-themed lair of the psychotic doctor's assistant Einstein (played by Joe Duffy). Then again, with three directors and five cinematographers, one would expect them to get SOMETHING right. Unless, of course, each director and cinematographer was brought in to work on a part of the film that didn't play to their strengths....

Perhaps if you're really, REALLY into films with less substance and class and creativity than the "Hostel" series, you might like this film. Everyone else should probably stay away.





(Full disclosure: Distributor Midnight Releasing provided me with a screener of this film.)

'Deadfall Trail' is a chilling tale of survival

Deadfall Trail (2009)
Starring: Shane Dean, Cavin Gray, and Slade Hall
Director: Roz
Rating: Seven of Ten Stars

Experienced outdoorsmen Julian (Dean) and John (Hall) head into the Arizona wilderness together with obnoxious city-boy Paul (Gray) for a survivalist camping trip. When John is seriously injured, Julian apparently suffers a psychotic break and Paul finds himself needing to learn the ways of the wilderness quickly if he is to have any hope at all to survive.

"Deadfall Trail" belongs to the "backwoods survival" horror subgenre, but it is refreshingly free of psycho hicks, toothless townies, and dialogue containing the words "squeal" and "pig".

What it does have are some nice performances by its three stars, each of them coming across as totally believable in the parts they are playing. Shane Dean, as Julian, is particularly noteworthy and interesting to watch, as he does an excellent job of keeping the audience guessing as to whether he is really a dangerous psychopath or just a socially awkward jerk.

Supporting and augmenting the great performances is equally excellent technical work in the photography and sound department. This film has a professional look about it that is entirely too rare among the low-budget pictures that are common stock of distribution labels like Midnight Releasing, Brain Damage Films, and Chemical Burn. I can't even complain too much about the quality of the script... the dialogue and the characters all seem mostly believable. Heck, it even has a "shock ending" that works! Even better, director Roz seems to practice the old adage that "less is more" when it comes to scenes of gore and violence; he leaves our imagination to fill in the details of the film's more horrific scenes, something that lets him avoid the need for prosthetic effects that his budget probably wouldn't be able to support if they were to be done right. It's an approach I wish more low-budget filmmakers would consider taking, as it would make them appear as if they actually knew what they were doing. (Here--most of these movies can show you how it's done.)

That's not to say that "Deadfall Trail" is perfect. There are a couple of moments in the film that were presented to establish aspects of the characters but which also have the feel of "rifle over the fireplace" moments, but we never come back to them. I'm the kind of person who perhaps over-analyzes films I'm watching, but the fact the metaphorical rifles never got fired annoyed me enough to be distracting as the film moved through its climax and I realized that there would be no pay-off to what seemed like perfect set-ups.

Despite minor blemishes, I recommend checking out "Deadfall Trails", especially if you are a fan of the "man vs. nature" or "backwood horror" genres.

'Attack of the Vegan Zombies' is an uneven but entertaining effort

Attack of the Vegan Zombies! (2012)
Starring: Christine Egan, Jim Townsend, Natalia Jablokov, Kerry Kearns, Watt Smith, John D. Kelly, H. Lynne Smith, and Wyatt Gunter
Director: Jim Townsend
Rating: Five of Ten Stars

A string of bad growing seasons might cause Dionne and Joe (Egan and Townsend) to lose the vineyard and winery she inherited from her father, so Dionne turns to her mother (Smith), a practicing witch, for help. Together, they cast a spell that causes the grapes to grow like never before... but there is one big problem: The plants are sentient and thirsty for the blood of anyone who drinks wine made from the vineyard's grapes.

"Attack of the Vegan Zombies!" is one of those films I wish I liked more than I do. It has a lot going for it... a cast that's generally more talented than what I often see in films at this budgetary level, and a writer/director who seems to actually haven taken his script through more than a single draft, because the dialogue actually seems polished (although I got the sense that maybe a little more research into wine-making might have been needed). Also, as an idea for a low-key "Shaun of the Dead"-type horror spoof, this is a great one.

Townsend also clearly has a firm command of the technical aspects of filmmaking. The scenes are well-framed and well-lit, the edits and establishing shots always dead-on, the sound always clear and well-balanced, be it dialogue or sound effects. On a technical level, this film stands heads-and-shoulders above the vast majority of is low-budget, direct-to-DVD kin.

But as much as I want to like it, the weaknesses present here are so strong that they really get in the way of my overall enjoyment of the film.

The most glaring and persistent of these weaknesses are the characters portrayed by Watt Smith and John D. Kelly. These are a pair of uber-nerds that are played with such over-the-top gusto and caricature that they are out of step with the more realistic performances around them, making their characters irritating on the level of the comic relief characters that were shoehorned into the majority of horror films from the 1930s and 1940s. However, the aren't quite as bad as the majority of those characters, because Kelly and Smith have enough charisma to be likable through the annoying character acting. It's a shame that director Townsend chose to go in that direction, because the geeky banter back and forth between these characters would have been even funnier if they'd been played in a more straight fashion.

Another aspect that weakens the film is that Townsend may have taken on more than he was ready to handle in his first outing as a director; he may have made a mistake when he chose to play the male lead in the film he also directed, because every scene he appears in as an actor seems flat and lifeless when compared to those he isn't in. The clearest example of this is the scene where Dionne and her mother reveal that they are witches with a very real ability to weave spells. It's a great little scene that brings back fond memories of the "Bewitched" TV show, but actresses Christine Egan and H. Lynne Smith showed far greater energy in the scenes where they were interacting with each other or with other actors while Townsend was off-screen watching the scene unfold instead of trying to watch it from within. With more time and money to "get it right", Townsend might have been able to both star in and direct this picture, but given that he only had $30,000 as his budget and presumably the severe time limitations that arise when you have to coordinate your cast-with-dayjobs with when your locations are available, I don't think he had the opportunity for the multiple takes probably needed.

Finally, the film, strangely, seems to come apart at the seams during the final half-hour. For most of its running-time, it builds steadily toward what promises to be a chaotic climax full of killer grapevines and blood-sucking zombies. But as we get to that climax point, promises made early in the film don't pay off--like the exchange the mother has with a local restaurant owner to whom she sells a case of wine that seems to have been made from the magical grapes and its promise of a whole hoard of zombies attacking the winery in search of more "nectar". There are also strange continuity gaffes, and a repeated shying away from anything resembling physical altercations or violent action: We get the set-up, but in nearly every case, the action is either truncated or completely absent. All-in-all, what seemed very promising just sputters out at the end... even to the point where Townsend makes the huge error of tacking on one last joke in the form of a "shock surprise ending" which is predictable, not very funny, and nowhere near the closing moments that this film deserved.

There is enough good about this film that I hope it does well enough for Townsend to either motivate him to self-produce another movie, or for someone to hire him to make one for them. I would like to see what he could come up with, given lessons learned from this film. I also wouldn't mind seeing Christine Egan take another turn in front of a camera, as I think she did a fine job here, in what seems to be her only film role so far. This really is a an okay little movie that got torpedoed by a few bad choices on the part of a first-time director.

"Attack of Vegan Zombies" was completed in 2010, and Townsend has been selling copies of the film directly through his website and on Amazon.com. However, it was recently picked up for distribution by Midnight Releasing, and it will be available everywhere come January 3, 2012.



(My thanks to the good people at Maxim Media for providing me with a copy of the film for review.)

'Sinister' nails feel of a 1970s horror flick

Sinister (2011)
Starring: Donna Hamblin, Donny Versiga, Lucien Eisenach, Luc Bernier, and Isabelle Stephen
Director: Steve Sessions
Rating: Seven of Ten Stars

When Emily (Hamblin) comes to believe she is being haunted by the ghost of her mother, she enlists the help of her brother (Versiga) and a ghost hunter (Bernier). The discover that the root of her problem is actually an enraged voodoo conjurer (Eisenach) who has placed a death curse on her. Will Emily and her brother be able to harness the power of voodoo themselves and reverse the evil magic before it's too late?

In the years since the retro-flick "Grindhouse" captured the imagination of filmmakers with an affection for low-budget thrillers and horror films from the 1970s and 1980s (if not that of the movie-going public), there has been steady stream of movies made with the intent emulating "classic" drive-in movies.

Many of these efforts have been gimmicky failures, being run-of-the-mill direct-to-video low- or no-budget films with digital "aging" effects added. Even those pictures where the filmmakers tried to capture the essence of movies from the time frame, they usually failed to get the look, the feel, or the nature of the acting right.

But with "Sinister", writer/director Steve Sessions hits every right note to bring us a modern film that would have fit just as well in the 1970s as it does today.

When the opening credits appeared on the screen, the chosen font and the music both made me think that Maxim Media--the parent company of Brain Damage Films, Pendulum Pictures, and Midnight Releasing--had found an old movie that they were re-releasing along with their usual current-day indie fare. However, it quickly became apparent that what I was watching was not an old movie, but a movie where someone had finally captured "grindhouse" atmosphere in a new picture, because the featured actors were mostly not born, or were in pre-school during the '70s.

It isn't that Sessions tried to make a period piece--the film is full of cellphones and other 21st century references--that makes the film an effective mimic, but rather he actually seems to have watched and paid attention to those old time horror flicks.

From the use of lighting to the color schemes, from the cinematography to the soundtrack music, from the nature of the special effects to the style of acting, everything about this movie has a genuine "retro" feel about it. Even the pacing is reminiscent of an old style movie, with a shocking murder to get things going and then a quiet period while the film builds toward its terrifying finale.

If you can't get enough of those "grindhouse" movies, I think you'll find "Sinister" well worth your time.





(My thanks to Maxim Media for providing me with a screener copy of this film.)

'Bound by Blood: Wendigo' is a packed chiller

Bound By Blood: Wendigo (2011)
Starring: Brian Anthony, Cheyenne King, Leon South, and Bob Dobiesz
Director: Len Kabasinski
Rating: Six of Ten Stars

In the dead of winter, a small town sheriff (Anthony) and a doctor (King) face off against a band of ruthless assassins hunting a Federally-protected witness and the body-hopping, cannibal spirit known as Wendigo.

This is one of those movies that was much cooler in concept than execution. I absolutely love the set-up and the way the movie unfolds with three story lines--the Wendigo spirit cutting gory swath through the back country, the mysterious assassins honing in on their target, and the sheriff who you just know is in for the worst day of his life when he inevitably gets caught in the middle of several situations he can't even begin to understand. Or, rather, never gets a chance to understand, because the bullets are flying and the bodies are dropping too fast.

The biggest problem with the film is that here's simply too much going on. There are too many characters up to too many things at any given time. While Kabasinski is skilled enough as a writer and director to keep all these balls moving through the air in a steady and orderly fashion, he has to move back and forth between the sheriff and the doctor, the wendigo claiming victims, the FBI protection detail, and the hit team, with such frequency that the viewers never really get invested with one set of characters or another. The end result is not one that builds suspense but rather one that builds impatience. We don't care more for one set of characters than the other, so all we want is for the film to reach the three-way confrontation it's promising.

That's not to say this is boring movie. Kabasinski gives us plenty of action and gore as the film unfolds, and he generally keeps things moving at a fast pace. The only boring bit happens right at the beginning, in the pre-opening credits sequence. While I appreciate the need to set up the presence of the Wendigo spirit, that sequence could have been done in half the time and it would have freed up a few minutes later for some more time with the lead characters--the sheriff and the doctor portrayed by Brian Anthony and Cheyenne King respectively--or perhaps with the most interesting secondary character--the leader of the hit team portrayed by the director himself under the stage name Leon South.

This is the third film I've seen by Len Kabasinski, and it's the third one I've enjoyed. As harsh as my review of Kabasinski's "Curse of the Wolf" was, I still found it entertaining and with plenty of merit. He showed improvement as a filmmaker with his second movie, "Fist of the Vampire", fixing most of the flaws I complained about previously and showing improvement in just about every technical area. That development as a filmmaker for Kabasinski continues with this film.

With "Bound By Blood", Kabasinski continues to marry the action genre with the horror genre, but he has become far more adept in staging and filming the martial arts fight scenes. Camera placement is such now that viewers have the illusion that punches and kicks are being thrown and actually hitting home. The use of sound design to further the illusion has also improved over previous efforts. The only problem with the fight scenes is that choreography continues to feel under-rehearsed; with a little more practice time, perhaps the fights could be a little faster paced and the use of editing to conceal the fact they're not continuous could be reduced? I understand, though, that this might not be possible due to the budget constraints that Kabasinski operates under.

Kabasinski also once again deploys CGI effects with great skill through the picture, moreso than in his previous ones. Once again, it's mostly muzzle-flashes and bullet impacts, but it's done very effectively. He tripped up a bit when he decided to use CGI for a gore effect involving a character being shot in the head, but I've seen worse in movies with bigger budgets, so I can forgive him that one excess.

"Wendigo" is not a perfect film, but it's pretty good. I hope that Kabasinski eventually finds a backer who can give him enough time and money to make a movie that's closer to perfect, because I think he has the potential to create a kick-ass action/horror hybrid film.

Regardless, I'll be looking forward to his next movie with great anticipation.




"Wendigo: Bound By Blood" debuted on DVD from Midnight Releasing on May 3. My thanks to Maxim Media for providing me with a preview copy.

'Son of Terror' requires your patience

Son of Terror (2011)
Starring: Ben Andrews, Alan Sutherland, Marcel Davis, and Meredith Binder
Director: Antony De Gennaro
Rating: Four of Ten Stars

A reclusive artist (Andrews) discovers he has a psychic link to a serial killer (Sutherland) who is murderng vagrants around Seattle's Pioneer Square.

"Son of Terror" is one of those movies I wish I liked more. It was made by filmmakers in my home state of Washington, and it features a great deal of creativity in every technical aspect of its production. The use of sound is particularly ingenious, with the music soundtrack and ambient sound mixing and fading in and out in ways often so subtle that you won't realize why the scene your watching is as hair-raisingly creepy as it is. An impressive level of artistry and skill is on display in this movie, especially considering that it's the product of a first-time director who wore many hats and worked with a very tight budget.

Unfortunately, De Gennaro spends too much time putting his artistry on display and the end result is a film that you have to be very patient with. Not only does the story move slowly, but De Gennaro doesn't set up the somewhat unusual method he uses to tell it--switching back and forth between the main character (played by Ben Andrews), and the film's monstrous killer (played by Alan Sutherland), as well as other sequences that initially seem unconnected to anything else, and using television screens to denote the switching--and it doesn't become clear what he is doing until about ten minutes in. Compound the mild frustration and disorientation with the way nearly every scene seems to unfold at a leisurely pace and in a self-indulgent fashion that seems more concerned with making sure viewers notice the creative cinematography and (eventually catch onto) the very effective sound design that proper timing of the story, it's a film that even the most fair-minded viewer will be tempted to turn off before you reach the halfway point.

When it finally becomes clear what is going on in the film, patient viewers will be amply rewarded as it just keeps getting creepier and creepier. But you'll have to be very patient.

"Son of Terror" premiered at the Seattle True Independent Film Festival a couple of years ago, and it debuts in wide distribution on DVD and VOD on March 8, 2011. Although flawed, it's worth checking out for lovers of off-beat, psychological terror flicks, and I think Antony De Gennaro is destined for great things if he sticks with filmmaking. (I had a very hard time choosing between a Four or Five Rating for this film, but I ultimately went with the lower rating, because of the numerous pacing issues. But I still think it's worth a look.)

'God of Vampires' is okay fusion of genres

God of Vampires (2010)
Starring: Dharma Lim, Ben Wang, Morris Chung, Evan Lam, Shy Theerakulstit, and Jason Argento
Director: Rob Fitz
Rating: Five of Ten Stars

Hit man Frank Ng (Lim) knows that in his line of work one kills first and asks questions later. But when a contract brings him into direct conflict with a powerful Chinese vampire lord, Frank discovers that he probably should have asked some questions. With undead stalking and killing everyone around him--even those he happens to pass on the street--Frank turns to an underground doctor and specialist in the occult (Wang) for help. But can even ancient Chinese secrets stop the wrathful onslaught of the undead?


"God of Vampires" is one of those movies that was a labor of undying love and the product of unyielding dedication. Director/co-writer Rob Fitz and his cast of actors have been spending weekends for ten years working on this film. Interviews with cast members and one of the directors of photography, as well as behind-the-scenes documentary footage included on the recently released DVD chronicle the often-times difficult, more-often-than-not stressful process of part-time filmmaking on a tiny budget. These extras are worth the price of the DVD by themselves if you're thinking about making a movie with your buddies, or perhaps even trying to move it up a step and actually get real talent to work with you on it. They are also interesting viewing and far more useful than the usual promotional crap masquerading as documentary material one usually finds on DVDs.

But, from a horror movie viewer's perspective, did the ten years of blood (both real and fake), sweat, and tears pay off?

For the most part, yes. The film is an interesting fusion of the horror and action genres that has at its center a Chinese spin on vampires and undead that many of us who consume a steady diet of coffin-sleeping emos with vaguely eastern European-sounding names will find fresh and usual. The action is generally well-staged--even if there are a couple of points where creative camera placement is used in attempts to hide a few budget short-falls and the limits to what could be done stunt-wise and location-wise--with the fights scenes being exceptionally well-staged for a film at this level of production. The acting is also superior to what I've come to expect from low-budget films. Finally, Fitz and his cinematographers had a great sense for dramatic visuals, and they picked great locations and then maximized them with some excellent camera-work. All in all, I don't think I've come across a more enjoyable fusion of vampire lore since the first time it was done with "The Legend of the Seven Golden Vampires."

However, the film does have its flaws. The biggest of these is the fact that when it should be building to a frenetic climax, it seems instead to slow down. From the point where our group of in-over-their-head vampire killers walk up to the vampire lord's lair in cool-looking slow-motion, what had been a fast-moving film suddenly feels like it is dragging, despite all the violence and mayhem that is unfolding. Even the final battle between Frank and the vampire lord seems like it goes on for a little too long, despite the fact that it features some nice stunt-fighting and sword-play. Part of the problem is that for the first time in the film there are times when characters stop to deliver lines or jokes at times that are completely out of step with the overall flow of events, but a bigger problem is that it's difficult to follow what's going on because many of the scenes during these important climactic battles were either underlit or the film was over-exposed. While one problem could have been fixed with some re-evaluation of the final cut, the other one was probably insurmountable with a movie made by part-timers over the span of a decade.

All in all, though, the good outweighs the bad, and this DVD is worth a look by both lovers of vampire movies and those contemplating making films themselves.





(Oh... and all the gore and gun-play effects are done the old-fashioned way, with squibs and blood-packs and real firearms loaded with blanks. None of this digital nonsense that is showing up everywhere. "God of Vampires" is Exhibit #1 in the case that the old ways are still the best ways when it comes to movie violence.)

'Deadly Memories' is worth forgetting

Deadly Memories (aka "Body Shop") (2002)
Starring: Phillip Newman, Rachel Robbins, L.P. Brown III, William Smith, and Robert Z'Dar
Director: Donald Farmer
Rating: Three of Ten Stars

Small-town body shop owner Art Gary (Newman) is still trying to piece his life together two years after the accident that killed his wife and left his daughter comatose when a neighbor (Z'Dar) manages to identify the teenagers who caused the accident with their reckless driving. They start dying under mysterious circumstances and all signs point to Art having snapped. But is there more to the story?


"Deadly Memories" is a so-so thriller that's done in by an unfocused, meandering plot and characters that are almost too real in the way they're written and acted. They are so real that they will remind you of your own mechanic, or maybe your Uncle Bob, or your next door neighbor. In other words, they're boring. (And at the opposite end of the realism scale, the murder victims are so completely and totally obnoxious that you'll want to reward the killer for putting them out of our misery.)

The best thing about the film is that it provides enough suspects and sheds enough doubt on who the killer might be that it's an open question until he is revealed. However, this bit of quality is itself undermined by an ending that starts out weak and which is underminded further a desire on the part of the filmmakers to make sure this film included all the elements we've come to expect from a slasher film. (The overlong, completely gratuitous shower scene with Tina Krause's naked body being shown in loving detail I can forgive, but the lame attempt at a surprise shock return of the killer I can't. Especially not when it's as badly done as it is here.)

I do give the film good marks for actually offering an upbeat ending--there are entirely too few of those on horror movies these days--and I think that Phillip Newman gave a decent performance as the body shop owner who may or may not be a psycho killer. It's a shame that this seems to have been his last movie.

Destined to make you look at the clock

Destined to Be Ingested (aka "Holocaust Holocaust") (2010)
Starring: Kitty Cole, Kris Eivers, Noshir Dalal, Theodore Bouloukos, Manuel Fihman, Suzi Lorraine, Bill Weeden, and Randall Heller
Director: Sofian Khan
Rating: Four of Ten Stars

In 1987, four Yuppies (Bouloukos, Cole, Eivers, and Lorraine) were stranded on a South Island. The title of the film gives away part of what happens next--and even if it didn't... has there ever been a south sea island that wasn't home to cannibals or people-eating monsters?--but it won't prepare viewers for the Tarazan-esque love story, nor the arrival of the zombies.


First off, let me admit that I may be ill-equipped to review this film. I may even be committing the sort of Reviewing Deadly Sin that I ranted about in this article(and numerous others), because I have seen very few of the movies in the cannibal horror/jungle savage subgenre this movie belongs to,and I've reviewed even fewer.

And that could be the reason why I'm not entirely sure how I was supposed to take "Destined to Be ingested". The title and the preview for the film both scream comedy, but the execution is straight-laced and so restrained that I can't help but think it was intended to be viewed as a straight horror movie, perhaps even a homage to films like "Cannibal Holocaust" and "Slaves of the Mountain God". The fact its set during the 1980s--when many such films were being made--can be used to support either approach, as can the sound mixing. Like many films where quick and cheap dub jobs were done, the dialogue is crystal clear and obviously recorded in studio; either the filmmakers were doing it intentionally, or the soundtrack needed to be mixed better.

Whether it's to be taken seriously as a homage to the cannibal and zombie pictures of the 1980s, or viewed as a spoof of those movies, the film's flaws are the same. First off, it takes entirely too long in getting to the violence and mayhem everyone knows is coming--nearly one-third of the movie's barely over an hour running-time. The movie spends one-third of its running time on setting up characters that never rise above the level of cliches, setting up sex scenes that we don't get to see because the scene cuts away, and setting the stage for some of the most tepid violence you'll ever see in a horror flick featuring cannibals (unless the Hallmark Channel decides to make one).

But even when it gets going, it moves in fits and starts. We have a burst of violence and suspense as the cannibals make their first attack on the hapless Yuppies, but then we're treated to another stretch of nothing... where boring characters wander around doing boring things. Even though in theory there are vicious cannibals in loin clothes and body paint lurking nearby, we get the feeling that the greatest threat facing the characters is that they'll run out of beer before they are rescued.)

It isn't until one of the cannibals falls in love with Kitty Cole's character in violation of the traditions of this culture, and gets her knocked up, that the film starts to get interesting. By this time, however, the film's well over half gone, and there's really no saving it. It gets even more interesting with the hints dropped about the background of the cannibal tribe's chief, but nothing at all ends up coming from that.

The film's one redeeming feature is the way it introduces the zombie aspect. As I do with the vast majority of films I watch and review, I came to this one with no real knowledge of what it contained beyond a little blurb supplied by the distributor. I truly did not see the zombies coming, until they were chowing down on the cast members. (Yes, they're set up their arrival through ominous dialogue about the village being cursed because of Kitty Cole becoming a baby mama instead of a human sacrifice/finger food, but I hadn't expected the curse to be manifested as zombies.)


Unfortunately, the zombies also come to represent the film's biggest inconsistency and the most clear example of how its various pieces--cannibal horror, love story, zombie rampage--don't quite fit together. It's hinted that the cannibal chief is a product of a forbidden union, just like the child his son's outsider love will give birth to. But if this is the case, then why didn't the zombies destroy the village then? Did the curse come to be later? The film doesn't even provide a clue to that question, so as enlivening as the sudden appearance of zombies were, they ultimately end up making the experience of viewing this movie an unsatisfying waste of time... the only benefit you'll gain from this film is the opportunity to check your watch. First, you'll be looking to see if it's working because time seems to be passing slowly, and when the end credits start to roll, you'll be double-checking the movie's length, because it has to be longer than an hour. (It's not, though.)

And that's too bad, because "Destined to be Ingested" is actually a fairly well-done movie as far as the cinematography goes, and the acting is pretty decent all around. With a more focused and better developed script, this could have been a decent movie. (Unless I'm missing something, due to my basic unfamiliarity with the cannibal horror genre.)

"Destined to be Ingested" has been kicking around since 2008, but it will receive wide distribution on DVD through Midnight Releasing on October 5, 2010.

Tales in 'Nightmare Alley' mostly too short

Nightmare Alley (2010)
Starring: Walter Ruether (Host), Geno Dellamorte ("A Fistful of Innards"), Sean Magee, Star Dellamorte, Danielle Saada ("Rebellion"), Brian Carr, Steve Slotnick, and Christina Chavez ("Death Chat"), Scott Boyd, Tara Carlton ("Meat"), Jared Love, Dez K Daver ("Closet Case"), Vincent Bocchini, Michelle Portnoy ("The Great Damone"), Dana Kleinschmidt, and Danielle Schultz ("Slash of the Blade")
Directors: Laurence Holloway and Scarlet Fry
Rating: Three of Ten Stars

"Nightmare Alley" (1947) starring Tyron Powers is one of the unquestionably deserving-of-classic status in the film-noir genre.

That is not this "Nightmare Alley." Not even close.

This "Nightmare Alley" is a low-budget anthology film that tries to capture the style of horror comic book anthologies like Warren's "Creepy" and "Vampirella", but instead comes across more like DC Comics' "House of Mystery" at its absolute worst. With a running time of just 73 minutes, it nonetheless manages to present a framing sequence, intro and closing host segments for each tale, and seven different little stories.

That's a lot to cram into a film as short as this. Too much, in fact, as the stories are more like sketches than full-blown tales--each with mostly unpleasant characters doing stupid things that ultimately leads them to a bad end. There is no time for character development or even to establish mood in any of the stories. Not that there was much attempt to establish mood at any time. I don't know that it was such a good idea to shoot the entirety of this movie in broad daylight, under the Arizona summer sun.

Part of me likes the experiment taking place in this film--the attempt to make a full-blown horror movie in ten minutes or less. It's not an impossible task, but writers/directors Holloway and Fry just aren't up to the task.

The problem starts with their characters. Like the worst of the stories in the DC Comics horror anthologies of the 1970s, they don't behave in anything that even remotely resembles a logical or realistic fashion.

We have a guy who flees from a bum who just murdered his friend... but who then stops around the corner to read a comic book. We have a fat, lecherous neighbor invited over for dinner and shows up in nothing but the pair of cut-off jeans he wore earlier pool-side. We have a flaming homo picking on a pudgy punk rocker at a bus stop for no reason whatsoever. We have girls being stalked by a reborn Jack the Ripper who run to an empty park instead of to a nearby business.

And in every case, at the end of every story, the twist is "and then they get murdered!"--with one exception where it's "the fat slob ate the husband's dead body and then wandered the streets in a Speedo."


Adding to the problem of the universally weak stories are the facts that the cast is mostly made up of inexperienced actors who here are performing in their first screen parts, and who are delivering stilted and sometimes nonsensical lines. Their performances appear even worse due to loose editing, which is at its most terrible in a scene where a philandering husband gets attacked by an axe-wielding ghost. The scene is so sloppily edited that it becomes unintentionally comic, with the ghost raising its axe veeery slowly and giving the guy several seconds to escape--or fight back--but which he spends going "No, please don't kill me!" (In fact, two of the three decent performances in the film--Sean Magee in "Rebellion", as a man driven to murder after being possessed by a demonic novelty item; and Brian Carr in "Death Chat", as a philandering husband who's quest for extra-marital sex backfires--are severely undermined by the incompetent editing of the scenes they're in. For the record, the third performance I thought was good was from Jared Love, because I had me laughing out loud with his ridiculous portrayal of a flaming homosexual on the make.)

For all that is bad about this film, it did have the benefit of most anthology films in that everything is short and sweet. If a story is a complete misfire--like the leading zombies in the Wild West segment ("A Fistful of Innards"), the limp homage to Roger Corman's "A Bucket of Blood" that is "The Great Damone" segment, and the closing Jack the Ripper in modern times segment ("Slash of the Blade")--it was over quickly and followed by something better. In the case of this film, "better" is only a slight improvement, but it was enough to keep me watching. With better technical execution and some more time spent developing characters and establishing mood, "Death Chat," "Meat," and "Rebellion" might actually have been pretty good. The same is true of the Host segments--pithier commentary might have made this nameless Crypt Keeper wanna-be actually amusing. There's also some fairly funny stuff--such as the gross neighbor in "Meat"--not to mention the drinking of beer from wine glasses in that same segment--and some okay gore effects that lead me to give "Nightmare Alley" an ultimate rating of Three Stars--a very low Three, but a Three nonetheless.

In the end, I think "Nightmare Alley" might be worth checking out if you're an aspiring filmmaker, for copious examples of what NOT to do when making a horror film, especially an anthology film.

Oh... and can I at this point make a formal request to all filmmakers: STOP with the artificial "aging" of your films. It was stupid and obnoxious when it was done in "Grindhouse" and it's twice so when done by imitators working with low or no budgets. It does NOTHING to enhance your film, and all you're accomplishing is making viewers like me think about DVDs struck from worn prints of older films that are better than yours. And it makes me think about how I could be watching one of those, films that came by their wear-and-tear honestly, instead of your effort.





("Nightmare Alley" releases direct to DVD on August 10, 2010. This review was based on a preview DVD provided by distributor Midnight Releasing.)