TIMOTHY WOODWARD, JUNIOR (photo credit: EVAN DE NORMANDIE)
Timothy Woodward, Junior is an actor, a writer, a producer and a director. He has done at least one of those jobs, and in some cases, most of those jobs on a variety of TV shows and film projects, including STUDIO CITY, HICKOK, BEYOND THE LAW, AMERICAN VIOLENCE and THE FINAL WISH.
Woodward’s current project is THE CALL, a psychological horror movie set in 1987 and starring the wonderful duo of Lin Shaye (THE FINAL WISH and the INSIDIOUS franchise) and Tobin Bell (the SAW franchise) as a seclusive couple who, after being tormented by four teenage pranksters (played by Chester Rushing, Erin Sanders, Mike Manning and Sloane Morgan Siegel), suffer a horrible tragedy. Edward Cranston calls the four to tell them that his wife, Edith, has died and has named each of them in her will. There’s a catch, however. For them to collect the money, each of them must go to a room in the Cranston home and make a phone call… to Edith, who had a telephone buried with her. If the youths can stay on the line for one minute, they will get their inheritance. Along the way, each must face their biggest fears and regrets. The film is a dark and brooding character study that occasionally brings to mind the lurid Slasher flicks of the 1980s in vivid splashes of red.
THE CALL DVD box
After a brief run at drive-in theaters in October, THE CALL will be available on DVD and Blu-Ray on December 15 at the usual outlets. This brief phone interview with Timothy was conducted on October 2, the day of the film’s theatrical release.
THE MULE: So, we got ten minutes. Let’s jump right into it. Watched the movie last night. I liked it… a lot. I’ve gotta say, a lot of stuff made sense to me that didn’t make sense in the trailer. Primarily, the press release said that it was set in 1987 and I couldn’t, for the life of me, figure out why such a bizarre… I mean, why pick 1987? And then… I mean, this is an homage to those classic Horror/Slasher movies from that time period.
TIMOTHY WOODWARD, JUNIOR:Yeah. For sure. And, you know, I turned four years old in 1987. That was the first year I watched my first ever Horror movie. So, that’s also why I picked that year. Could be the setting, ‘cause it was originally kind of generic ‘80s, so I picked ‘87. I just thought there was a lot of Horror that was coming out around that time. I kinda started setting out the sort of ‘80s Horror vibe.
THE MULE:Yeah, it worked really well, too.
TWJ:Thank you. I think we’re gonna release another trailer that’s gonna have more of an ‘80s vibe. We had two and we were going back and forth on which one we were gonna use. We didn’t want people, when they saw the trailer, to think that we were using the ‘80s almost as a crutch. So, we wanted to kinda catch people with the hook and then potentially release another one where we kinda focus on, you know, the more… as we get closer to the movie, the uniqueness instead of violence in the trailer.
THE CALL (Lin Shaye) (photo courtesy: CINEDIGM)
THE MULE:Sure, sure. The one thing I gotta ask you, man: Working with Lin and Tobin had to be just absolutely incredible. How did you snag them for this work? I know that Lin had… she’s got a production credit in there but, other than that, how did you end up choosing them for these roles and how was it to work with them?
TWJ:So, I got the script, actually, from Lin’s manager through Lin. They were already producers on it and they gave it to me to direct. I worked with Lin on THE FINAL WISH. Jeffrey Reddick (producer on both films) and I had a really good rapport and working relationship on that movie and they liked what I did. They came to me and said, “Hey, look, we’ve got this script and we’d like you to direct it, maybe come on board as producer. What do you think?” And I wanted to work with Miss Lin again… in a heartbeat so, I read it, liked the concept and we started punching up the characters and, I think a couple months later we were in production, ready to go.
THE CALL (Tobin Bell) (photo courtesy: CINEDIGM)
And, you know, the idea of Edward Cranston… we were trying to figure out… there’s this couple, revenge that has to happen, there’s… if you’ve seen the film, there’>s probably things that aren’t in the trailer, it’s not just a straight they break windows and a revenge thing by any means. So, you wanted someone who would feel suspect a little bit, did he have anything to with this. Someone, you know, who just fit and Tobin had come across in conversations between me, Gina (Rugolo, another producer on the film) and Lin and he just felt like a perfect fit from the start. I’m just so glad we went that direction because I think he did such a great job and Lin and him had such good chemistry immediately. Which, you usually don’t see people just walk on set, you know, never really met in person or worked together before in person and they’re iconic like that, in a certain genre, and then they just click and they disappear into their characters like they are just who they are, you know. They look like they fit, they feel like they fit and those scenes were so easy because their chemistry was so good. It was just point the camera and shoot.
THE MULE:Yeah. That’s amazing that you got into production so quickly. That almost never happens.
TWJ:Yeah, we were lucky that we were able to do it, to pull it off.
THE MULE:The… uh… I’m gonna put “teenagers” in quotes here, but they all really pretty much hit the spot with their characters and the horror aspect, their horror at what was going on… from originally, >you know, the whole prank thing… there’s a backstory there that’s just amazing.
TWJ:Thank you, man. Yeah, that’s something that I carved out… even while we were filming, I was coming up with different situations and ideas for that because the backstory in the original script wasn’t fleshed out much for each character, it wasn’t much more of a blueprint. The two weren’t originally brothers and we said, “Hey, let’s make them brothers.” I worked with Jeffrey Reddick and Patrick – Patrcik Stibbs, who wrote it and Jeffrey Reddick, who was a producer – and, I was like, “Let’s make these guys brothers and, then, kinda create a situation for all of them where it’s just a little bit more personal.” You know, the idea is, hopefully you think one way about a person, then you feel another way in another moment. And it makes you feel for them or you don’t. It’s just to make them feel more three dimensional, so they didn’t just feel like complete cardboard characters until you feel like, “Hey, I understand why this person may be this way.” I can understand what this person’s going through.
THE CALL (Chester Rushing, Erin Sanders, Mike Manning, Sloane Morgan Siegel) (photo courtesy: CINEDIGM)
THE MULE:Right. I was actually going to say that, without giving anything away, all four of those characters come with baggage that kinda makes sense for… the way they turned out. Let’s put it that way.
TWJ:Yeah. Definitely. Yeah, for sure. And, their story for why they’re doing what they’re doing, you know… again, can’t give away too much… but, you feel one way, you think one way and then, it’s something else and the trailer tells you something completely different. That’s kind of the idea, we want you going in not really knowing exactly what it is you’re going to see and exactly who to pull for and in what way and be just… entertaining, you know. A psychological war. Psychological war is important to me because I think that’s… the idea of living in your mind and repeating your worst nightmares and your dreams… I mean, your fears on loop and repeat, that’s pretty terrible thing to be, you know.
THE MULE:And, it does work on that level, as well, as far as psychological horror, psychological thriller, whatever you want to call it. And, not only is it an homage back to those very bloody ‘80s kind of Horror things, but even back further than that when the horror wasn’t actually shown on screen, it was just intimated. I mean, it works really well because there’s stuff going on in that… in the final third of that movie that really… it sets the standard for stuff to come, I think.
THE CALL (Brooklyn Anne Miller) (photo courtesy: CINEDIGM)
TWJ:Yeah. That was the idea and it’s just a little bit… people are like, “Well, you got Tobin from SAW and SAW was gory… ” and people kinda automatically assume from the trailer that it’s gonna be really just this… gory film and I’m going, “You may be surprised. It’s not going to be just like you think.” It’s very different… on purpose. It was done that way because I think your mind can imagine way worse than what I can show you. If I can show you a piece of it, your mind can go other places, you know. So, that’s the thing about it. Whether it’s JAWS and the shark, you know… if you see it all the time it becomes this way… But, we wanted to pull out spots in a few areas to make your mind go, “Oh, shit!” and just let you wonder what they’re going through. Even at the end of it, ya know.
(RBG FILMS/CLUMSY TIGER PRODUCTIONS/LOADED IMAGE ENTERTAINMENT (85 minutes; Unrated); 2020)
Without a doubt, this is one of the silliest movies I have ever seen. HAWK AND REV: VAMPIRE SLAYERS aims to be a kind of cross between DUMB AND DUMBER and THE LOST BOYS, in that it focuses on two very dim-witted friends, Hawk (Ryan Barton-Grimley) and Rev, his vegan-hippie space cadet counterpart (Ari Schneider) who are sure their town of Santa Muerte, California is being plagued by vampires. They wisecrack about everything, assemble a plan to take on the bloodsuckers that may or may not include the eye patch-wearing tough guy Jasper (Richard Gayler), and find time to parody other, better-known films such as FROM DUSK TILL DAWN. In fact, when former security guard Hawk tries to make a point about predictability to his clueless friend, he rattles off a long list of quotes from classic movies that Rev shows unblinking ignorance of. It’s a preposterous scene, and yet, it did sort of make me chuckle. So did a brief chat about how yes, you can still rent DVDs in some places, and seeing a trio of punk rockers mistaken for vamps (one of whom is a black leather covered gimp in an homage to Tarantino’s PULP FICTION… silent, but shown eating popcorn in one scene). The low-budget movie eases into its absurdity at first, with most of the budget apparently spent on some gory scenes that are over the top a la Monty Python. But by the final half hour, it simply goes all in on complete and total idiocy that, if you’re in the mood for it, will possibly give you giggle fits. The film is like an ego project for some college students making their magnum opus, probably stoned for most of the production. Weirdly, though, the acting is decent in a self-indulgent way, and Barton-Grimley is no newcomer. He’s been in the business for years, and I recognize him from one or two TV projects I can’t recall the names of. He’s obviously having a great time here, sending up every cliche in the world of vampire and crime investigation type films. The two leads are joined by a female writer named Theo (Jana Savage), who comes across as though she were doing little more than helping a couple of pals. And a bit of extreme gore in that last half hour will make college students chuckle, perhaps, but likely won’t be of much interest to anyone else.
HAWK AND REV: VAMPIRE SLAYERS (Ari Schneider, Jana Savage, Ryan Barton-Grimley) (publicity still)
I thought at first of including some of the more comical lines of dialogue in this review, and decided against it. The pace of this film is frenetic, and it wears its willful stupidity proudly, honestly wanting to be a throwback to the ‘80s on almost every level. There is an audience for this kind of movie, just as there was for DUMB AND DUMBER, although that one was art compared to the slim production values of this thing. And yet, its gleeful dedication to a brainless aesthetic is admirable. I DID actually laugh a few times, and once I realized that nothing serious was going to happen and the “stakes” (pun intended) would remain low, I could appreciate the lack of pretension here and the high number of ridiculous scenes. But forget all about stuff you’ve seen before like BUFFY THE VAMPIRE SLAYER if you watch this. That Joss Whedon show is like MASTERPIECE THEATRE compared to Hawk and Rev’s exploits. Describing the plot beyond what I’ve already said is pointless. These “vampire slayers” are just wanna-be’s, lug-headed friends whose main purpose is to send up a couple of time-worn genres. They do that moderately well at times, but any expectations at all for this film beyond indulging in some extreme silliness, are likely to result in head shaking and exhaustion. And yikes, it looks like a sequel dealing with werewolves is out there. You gotta be howling mad to make a franchise out of this stuff.
(UNCORK’D ENTERTAINMENT/ALTERNATE ENDING FILMS/LIMBO ENTERTAINMENT (89 minutes; Unrated); 2020)
Whenever I’m assigned a review for a low-budget indie type film, usually something I’ve never heard of before, I have a tendency to mentally prepare myself for an experience that’ll be tedious and hard to write about, as has been the case more than a few times. It’s just that there are only so many ways to make a film genuinely entertaining and interesting; the “surprise factor” is a rarity in below-the-radar films. Imagine my pleasant reaction, then, when LIMBO turned up, on a particularly bad day for me when I was mostly making myself kill time, and lo and behold it grabbed me right away and didn’t let go. There have been other films that combined the legal profession and the underlying theme of good versus evil – THE DEVIL’S ADVOCATE comes to mind – but there is enough clever, offbeat stuff in LIMBO to make it a worthy viewing experience. A timeless theme that has occurred throughout the history of films is given some curious new life here thanks to writer/director Mark H Young’s clear interest in the whole “heaven or hell” debate. And yes, I was surprised.
LIMBO (Veronica Cartwright) (publicity still)
A bad brute of a guy, Jimmy Boyle (Lew Temple) commits a senseless murder of a mother of three (Veronica Cartwright in a brief but memorable appearance), and must face justice. It’s giving nothing away to say that he dies himself; the film is concerned with whether he’s going to go to hell, or get a “redemption” that would allow him to go to heaven. So two attorneys in a dingy underworld office must argue the case: Balthazar (Lucian Charles Collier), a young looking guy with an oddly casual accent, gets to make what surely appears to be an open-and-shut case for why this reprehensible killer should go straight to hell, even though the “witnesses” called indicate he had a horrible, abusive father and a drug-addict mother. But not so fast: the white-suited new attorney for Jimmy, an attractive gal named Cassiel (Scottie Thompson) has some pluck and energy to take a deeper look into Jimmy’s past; this includes exploring his atypical relationship with a self-aware prostitute named Angela (Lauryn Canny). Balthazar is being pressured to “close this case down” quickly by a nasty rep for Lucifer named Belial (a fiery Peter Jacobson). And it sure seems like Jimmy is irredeemable; in fact, Cassiel tries to quit the case, figuring this is just NOT going so well. But Mark H Young has some things he wants to say about humanity and justice. “I’m very confused,” Cassiel tells Balthazar at one point. “I put my trust in God. But now that I’ve seen what humans can do with my own eyes, I don’t know what I believe anymore.” And the film does take a more interesting than you’d expect view of what makes a guy bad, with a couple of interesting twists.
LIMBO (Richard Rhiele, Lucian Charles Collier) (publicity still)
There is some dark humor along the way, and a crucial bit of acting levity by Richard Riehle as Phil, a wisecracking stenographer, whom film fans will remember from his role as Tom Smykowski in the cult film OFFICE SPACE. I enjoyed the understated, sort of weary back-and-forth between Collier and Thompson, two actors I was not familiar with; there’s a grudging mutual respect for the very separate worlds of good and evil that each has to represent. We do see various demons with minimal horns sticking out of their heads, including Riehle’s character, walking in and out of various scenes, and there’s an amusing sequence in a hell bar. And by the time Lucifer himself appears near the end (James Purefoy, adding to the endless unique interpretations of a character we’ve been conditioned to ALWAYS be curious about), enough interesting stuff has unfolded in this movie to make Purefoy’s performance a genuine delight.
LIMBO (James Purefoy) (publicity still)
While Temple is mostly one-dimensional in his portrayal as Jimmy, he is certainly unsettling to watch and provides a mostly compelling story arc. Thompson and Collier are both so unconventional they make things move along rather briskly, and Jacobson and Riehle are excellent. LIMBO aims for a fresh look at the most timeless theme in the world, that being good versus evil – and there are times when the plot is really a stretch. Jimmy doesn’t give us enough depth to care that much about him, and certainly there are questions of plausibility throughout. But I truly liked the setup of this film, and the whole notion of everyone getting a “trial” to see which way they are going after they die. The script has more panache than I expected, and I would say Young is a director to watch. I was never bored watching LIMBO; in fact, I am kind of eager to see it again. That’s a surprising thing for me to say, considering my not so enthusiastic attitude when the opening credits first rolled.
Zombie minimalism. I doubt it will become a THING, as most audience members probably WANT to see oozing-faced members of the undead fraternity, ravenous for fresh flesh and single-minded of purpose. There is nothing discrete or casual about the way zombies behave (not that there is a rulebook on such), but director Jesse Thomas Cook (THE HOARD, SEPTIC MAN) deserves a spot on some future panel discussing the zombie cinema genre, which DEADSIGHT, after two years of industry machinations, is now a part of. It seems like Cook and his two stars, Adam Seybold and Liv Collins, are pretty familiar with zombie and plague movie lore, and mostly decided NOT to follow in the footsteps of George Romero, Danny Boyle, et al. They took their own restrained path, somewhat admirably. Cook, Seybold and Collins (who also co-wrote the script) gamely try to tell a suspenseful story in an idiom which has been done to death on both the big and small screen. Seybold plays an injured everyman, Ben Neilson, who has just had a tough eye operation, resulting in seriously impaired vision. He’s hoping to get back to his family soon, but something is terribly wrong. Ben is clearly at a disadvantage when it comes to skulking dead dudes who keep showing up hoping to snack on him. His only ally is a pregnant police officer who crosses his path, Mara Madigan (Liv Collins), taking it moment by moment in what is now a rural “zombieland.” The two must team up simply to survive.
PART TWO: THE INTERVIEW
“For me the attraction of making a movie like this, is that you’re not really making a ‘zombie movie,'” said Adam Seybold, during a recent phoner, of portraying Ben with both vulnerability and determination. “I’m playing a regular person who is blind, trying to get back to my family. And I meet a woman who is trying to survive WITH me. That’s what we’re doing. All you can do is play the moment to moment truth of what is happening. There are only so many ways to show a zombie outbreak. In terms of explaining where they come from, we don’t really do that. Viewers are smart about that. There just happen to be zombies. It’s better to just let the story happen and use zombies as a backdrop.”
Oh, they’re a bit more than a backdrop. Poor Ben never knows when he is gonna hear erratic footsteps behind him, and have to fend off another attack. Mara has the firepower, however, and Ben wants her close by at all times, especially when he learns she is pregnant.
“Liv was actually pregnant during the shoot,” he revealed. She was exhausted much of the time. But she was such a trooper. I’d say, ‘You should be at home resting instead of running around with a double-barreled shotgun!”
ADAM SEYBOLD in CREEP NATION (publicity still)
The two have an easy rapport on screen, despite the rather minimal dialogue. They previously appeared in CREEP NATION together, which Seybold described as a “PSYCHO for the modern age.” In DEADSIGHT, they often spent rainy, cold days on set trying to crack jokes and keep each other grounded.
“She’s one of my favorite co-stars,” he said. “We’ve worked together a couple of times. It makes those transitions (from off-camera waiting to ACTION) easier. Some actors save it all for the camera. But Liv and I are chatty by nature, so we’d try to crack each other up between scenes. It makes such a difference when you are comfortable with someone, and you can trust each other.”
How did Seybold prepare for such a challenging shoot? After all, he has gauze wrapped around his eyes for most of the film, and there are scenes of him attempting to make his way up steep hills or maneuver through the rooms of an unfamiliar house. Seems dangerous!
ADAM SEYBOLD with JORDAN HAYES in EXIT HUMANITY (publicity still)
“As much as possible I tried to limit how much I could see,” he said. “Unless there were obvious safety issues. I’m sure there’s hours of outtakes Jesse has where I am wandering out of the shot or something. But when your eyes are closed, you’re not really acting anymore. You might be truly in danger. I think that’s why we make horror films. It takes you to that edge. Sometimes it’s miserable while you’re IN it, the frustration of not being able to see. But I chose that situation ‘cause it does take you beyond the limit. My day job is a writer, and I don’t have those concerns. My biggest decision is, am I gonna have tea or coffee?”
I commented on the surprisingly minimal action for a zombie movie, and the rather austere look of the film. Did Seybold sense it was going that way when they were shooting? “I haven’t actually seen the finished film yet,” he responded. “We shot it two years ago. I think that initially, Jesse told me, they had something a little more comedic in mind when they conceived it. That was the vibe before Liv and I. But based on our skill set, it was the way we acted together that changed the movie. Stemming from the vulnerability of these two people. So I guess the acting and direction ended up becoming more naturalistic.”
While films such as DAWN OF THE DEAD and ZOMBIELAND seemed to take pleasure in featuring gorey closeups of the dead either having flesh fiestas or getting blown to smithereens, DEADSIGHT avoids that kind of thing for the most part. Yet it is still suspenseful, and the zombies are in some ways even more believable as a result.
ADAM SEYBOLD in EJECTA (publicity still)
“They are what makes the movie,” agreed Seybold. “If the zombies don’t work, the whole thing falls apart. It’s a credit to the tone that it worked so well.” An early scene of a “transitioning” woman confronting Officer Madigan near her police car is rather unsettling; you don’t know what to expect, and Collins plays it that way. But creepier still are shadowy figures showing up a distance from Ben and starting to shuffle towards him. This sort of thing is almost never good in horror movies. And having Ben be virtually blind is an undeniably interesting touch. But whatever DEADSIGHT’s strengths, it’s unclear if audiences will discover such a “subtle” tale of the undead.
“That’s out of my control,” said Seybold. “I don’t know about niche. I’ve done enough things now where I play the game of how things will be received. You can’t write a hit on purpose, or by accident. It’s been two years since we shot the movie. It exists in a time when I was with those people. I had a great time working on the movie. Those people are my friends, like brothers and sisters. And that’ll be true, whatever the outcome.”
PART THREE: THE REVIEW
(RLJE FILMS/RAVEN BANNER/FORESIGHT FEATURES (82 minutes; Unrated); 2019)
I’m a fan of minimalism, I gotta admit. And when you’re talking about a cinematic genre as inherently goreworthy and unhinged as zombie horror, it’s admirable if a director does NOT aim to out gross-out the likes of DAWN OF THE DEAD, 28 WEEKS LATER, WORLD WAR Z, TV shows such as THE WALKING DEAD, et cetera. Honestly, the restraint shown by director Jesse Thomas Cook in lensing this modest production was the first thing I admired.
DEADSIGHT (Adam Seybold) (publicity still)
The film opens with a partially blind man, Ben (Adam Seybold), awakening in a hospital disoriented about where he is and what the hell is going on, a story element borrowed from Danny Boyle’s classic 28 DAYS LATER. Ben’s eyes are covered in gauze wrap, and he knows enough to put drops in them periodically, but everything is quite blurry. And rather than staying put, Ben decides to wander around and see what he can suss out from his surroundings. This is not a wise choice, as periodically a shadowy figure will appear behind him or come out of nowhere, and these of course are the undead. Weirdly, they often take their time in stalking and trying to dine on Ben, which tends to give him opportunities to hide or whack the living shit out of them with his little walker weapon. Ben seems a little too bold and clever for this story, and I found it hard to believe he could just walk up hills and locate empty houses as easily as he did having very little of his eyesight to aid him. But I don’t fault Seybold as an actor; he’s reasonably effective, and not overly emotional in his portrayal.
DEADSIGHT (Liv Collins) (publicity still)
It’s a lonely journey for Ben until a female… and rather pregnant police officer named Mara Madigan (Liv Collins) crosses paths with him. Mara has had a few zombie encounters of her own, and it’s probably best that we don’t get much exposition of how this particular apocalypse came about and why Mara ended up the lone officer on her force, pretending to do her job when the only sensible pursuit is terminating these ugly zombies with extreme prejudice. There is an interesting scene early on where Mara confronts a female almost-zombie, and it’s almost poignant. Somehow the hapless officer allows the transitioning undead missy to get in her squad car and drive off. That struck me as ludicrous… wouldn’t she have shot the fuck out of her before she could get in the vehicle? And how far can you get as a soon-to-be-undead citizen, already drooling and covered with oozing sores, behind the wheel of a car? These questions are not answered; Officer Madigan continues rather calmly on foot, and reaches Ben just in time to blast a hungry fiend before it could snack on the hapless sight no-seer. Whatever tension that remains at this point comes from the cautious relationship between Ben and Mara, which is underplayed and not as well scripted as it ought to be. Still, the actors are watchable and grounded in this peculiar reality. There are no dumb speeches, and thankfully, no romance. But the two do care about each other, and Ben shows plenty of compassion upon learning that Mara is preggers.
DEADSIGHT (Jessica Vano) (publicity still)
Each zombie kill is distinct, and there are no scenes of hordes of ravenous undead descending upon our heroes, as is usually typical of these films. It’s actually a fairly quiet drama overall, with little or no excess gore. And I want to say that the cinematography is a bit better than you might expect. That is thanks to a guy named Jeff Maher, who films the empty, half forested landscape (probably the eastern US) with a disarmingly pastoral sweep, making you notice the trees and the winding rural roads at all times, so that when a creepy figure emerges from a roadside in the background, it has maximum dramatic effect. Also the film pays attention to how many bullets Officer Madigan has in her gun, a detail I appreciated. And the script counts Collins as a co-writer and producer, so bully for her for committing to every aspect of this movie. I give it points for underplaying what is normally the type of horror that absolutely goes for broke in the gore and/or black comedy department (as ZOMBIELAND did). The music score is restrained, the action is selective, and I admire the fact that very little is explained.
DEADSIGHT (Adam Seybold, Liv Collins) (publicity still)
This ends up being a minimal two-character drama overall, and I can’t name another zombie movie you can say that about. It’s pretty suspenseful, and I was not bored by DEADSIGHT, which I sort of expected to be. It’s made with attitude and an understanding of its cinematic template, while seeming determined to avoid most of the cliches of the genre. Sure, it has a few screws loose, and I would have written a few more soul-sharing conversations for the two leads, but DEADSIGHT moves briskly and economically through its contribution to a genre that would seemingly have little new territory to explore. And that’s a “dead sight” more than you have a right to ask for.
The flick is available on DVD, Digital HD and Video-On-Demand beginning Tuesday, July 2.
(ITN DISTRIBUTION/FRIGHT TECK PICTURES/DAGGER 3 MEDIA (104 minutes; Unrated); 2019)
I want to say something straight off the bat. B movies or even Grade “Z” movies should NOT be weighted against big budget or “major” films when they’re evaluated. It’s not fair. There are different tiers to moviemaking, and a low-budget production with unknown actors is NOT in competition with “regular” movies that get wide distribution. Or even a Netflix offering. Such films should be seen as what they are, lower-tier offerings that are either entertaining or NOT. And let them exist on that level for better or worse, while recognizing that they may still stink, or not. We NEED these films, and they can launch the careers of talented people sometimes. Enough said.
AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET (KateLynn E Newberry, Rob Jaeger, Brianna Burke) (publicity still)
So, this low-budget horror film, AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET came my way, and it survived two immediate tests for me as a viewer. First, it is entertaining. And, being a horror film, it’s actually rather suspenseful. It has some scares, and doesn’t always quite do what you might think. So I give it points for that. The titular Lilith Ratchet was an ill-fated woman who suffered losses during the Civil War (including her head) and vowed revenge for her suffering, via a series of chanted phrases which, if invoked along with her name, will cause hellish torments for those doing the chanting. When an antique shop owner sells the supposedly “shrunken head” of poor ol’ Lilith in a mysterious box many years later (the buyers are two curious young women, Alice Crow and her friend Lauren), a disturbing series of events begin to unfold, especially after Alice (KateLynn E Newberry) and Lauren (Brianna Burke) approach a paranormal radio show host named Hunter Perry (Rob Jaeger), whose show “Beyond the Veil” is immensely popular with the locals. The girls want to know more about this “thing” they bought, and Hunter sees an opportunity to get serious attention if he arranges for a “chanting game” to be done live in a local watering hole on Halloween. The kids can just toss Lilith around, say those phrases, keep pouring drinks, and see what kind of merriment results. I mean, what are the odds that the demonic spirit of Lilith Ratchet (Crissy Kolarik) would suddenly return and start inflicting nasty mayhem on all these fun-loving youngsters? Well, there wouldn’t be a movie if she didn’t, right?
AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET (Crissy Kolarik) (publicity still)
Lilith is not your garden variety 19th century spinster, let it be said. She has terrible teeth frozen in a murderous grin, beady eyes bent on watching you take your last breath, and black, long, curving fingernails just perfect for slicing through youthful flesh. To paraphrase the Terminator, “she can’t be reasoned with, she can’t be bargained with, and she will not STOP until you are dead.” Hunter thought he was just gonna get some ratings for his podcast, and poor Alice and Lauren, while clearly spooked by disturbing visions and understandable apprehension, try to go along with the proceedings semi-enthusiastically. Nate, Lauren’s boyfriend (George Tutie), is not happy about the big “Beyond the Veil” fiesta and leaves the proceedings early. You can probably guess what happens to him. This Lilith gal, though a little too pleased with herself for her demonic ways, has an agenda, and unless the somewhat smug Mister Perry can suss out what to do, Ratchet will NOT bury the hatchet. It’s best not to get too attached to any of the characters in this film, to say the least. While most of the acting is simply functional, Newberry puts some real energy into her role as Alice and has you believing some of this craziness is really happening. She’s a gifted actress with a slew of credits as it turns out. Jaeger has a kind of generic charisma, and Burke acts like she’s at least trying. As for the nasty Ms Ratchet, her makeup designer deserves as much credit as the actress, although being singularly demonic for over 90 minutes has gotta take some concentration. The guy putting this vision on screen in its totality, however, is writer/director Eddie Lengyel, who has a good sense of pacing and a clear understanding of common horror movie tropes… the jump scare, the build-up, the power of an evil face, et cetera. Although everything in the movie is something we’ve seen before, Lengvel knows the formula well. Certain things are kind of ridiculous: the shrunken head itself, the ludicrous scene where Hunter evades Lilith by hiding in a bathroom stall with the door not even fully closed (I mean, come on… if you’re a demon and you’ve shown your ability to float in and out of EVERY physical space, how would a BATHROOM stall flummox you when you’re victim hunting?), the supposedly “crowded” party which seems to boast no more than a few dozen participants. I also was annoyed at the lack of genuine emotion shown when various characters found out their significant other had bought it. I can’t elaborate without giving stuff away, but come on… you’re gonna cry and be in anguish if your loved one is now history at the hands of a demonic old woman, right? There are a couple of exceptions to this complaint, thankfully.
All this said, there is something admirably purposeful about …THE CURSE OF LILITH RATCHET. It keeps moving, it has a fairly riveting nasty at the center, and it uses music well (some of that supplied by Timothy Smith). And at least a few of the actors rise to the occasion. The biggest “curse” I find in movies like this is usually that they are boring and show stupid people behaving stupidly. I was not bored watching the film, and I didn’t groan that much watching these characters. So hey, let’s give this little fright flick its due. But Eddie, my boy, I don’t think Lilith could really be called a “poltergeist.” Look up the definition. This vengeful bitch belongs in another category; she doesn’t just move objects around. She does some serious slicin’ and dicin’, and in case you decide to do a sequel (there is a hint of that), lose the “p” word. Just a thought…
If I had to come up with one word to describe THE LIMEHOUSE GOLEM, it would probably be “stylish.” However, that isn’t the way reviews work, so… let’s get to it, shall we? The film, based on the Peter Ackroyd novel, THE TRIAL OF ELIZABETH CREE (also known asDAN LEO AND THE LIMEHOUSE GOLEM), is a tightly woven murder mystery set in the Limehouse district of 1880 London. At the time, Limehouse was a dark and gritty place and, geographically, not too far from Jack the Ripper’s Whitechapel haunts of 1888. Thanks to the attention to detail by director Juan Carlos Medina, cinematographer Simon Dennis, set decorator Pilar Foy and all of the other talented individuals on the other side of the camera, the seediness and rather tawdry look and feel of the sets (especially the music hall, where much of the movie takes place) are as important to the plot as any single character.
THE LIMEHOUSE GOLEM (Olivia Cooke, Douglas Booth) (photo courtesy: NICOLA DOVE)
That plot unfolds from the end, with a music hall dramatization of the murder trial of Lizzie Cree, an abused and neglected child who has grown up to be an abused and neglected young woman. Amid a frenzy of savage murders perpetrated by a sadistic slasher dubbed the Golem, Lizzie is accused of murdering her husband, John, a failed author, aspiring playwright and primary suspect for the Goelm’s grizzly work. The public, fascinated and horrified by the Golem murders, demands answers and an end to the madness; faced with the possibility of failure, the high-ranking Scotland Yard official handling the case passes the assignment off to Inspector John Kildare, a senior detective with “problems” of his own. With Kildare installed as the fall-guy, the Yard’s hierarchy sees a chance to kill two birds with one stone, so to speak: If Kildare fails to stop the killings, the top brass can save themselves a personal humiliation by laying the blame squarely at the feet of a man they don’t like and want to be rid of. And, why don’t they like Kildare? He is one of THOSE fellows – the Inspector is gay, something not well tolerated in the nineteenth century. By extension, Kildare also inherits the Cree murder case, which leads to a kind of father/daughter relationship with Lizzie. Believing her husband to be the murderous fiend terrorizing Limehouse, the Inspector seeks to prove John guilty in an effort to free Lizzie on a self-defense plea.
THE LIMEHOUSE GOLEM (Daniel Mays, Maria Valverde, Bill Nighy) (photo courtesy: NICK WALL)
As the tale continues to be told with a glance backwards, we are introduced to several characters essential to the Cree’s story, including Dan Leo, a flamboyant music hall performer and stage “narrator”; a stage director and calming presence for the music hall troupe called “Uncle”; aerialist and sexual focal point of the group, Aveline Ortega; and, in flashback fashion, perhaps the person most pivotal to Lizzie’s current woes, her mother. In the 1995 novel, Ackroyd populated his story with several historical figures; Jane Goldman’s script retains three of those luminaries for the film version, to stunning effectiveness: George Gissing, the troubled author whose first novel, WORKERS IN THE DAWN, was published in 1880; Karl Marx, the father of modern Socialism and Communism; and the aforementioned Leo. It is never an easy task to weave real personalities into a work of fiction, but the creative team responsible for THE LIMEHOUSE GOLEM have peopled the story with an entire cast of realistically believable characters that the trio of Leo, Gissing and Marx fit right into the surrounding landscape. All three lived in London during the time of THE LIMEHOUSE GOLEM, with both Marx and Gissing appearing on the suspect list (and in Kildare’s reimagining of the grizzly killings).
THE LIMEHOUSE GOLEM (María Valverde, Sam Reid, Douglas Booth, Olivia Cooke, Eddie Marsan) (photo courtesy: NICOLA DOVE)
While I fairly well had sussed out who the killer was early into the film, I found myself second-guessing my theories – changing my mind several times as Inspector Kildare and his equally astute assistant investigator, Officer George Flood, interviewed Lizzie and her music hall compatriots and unearthed new leads. Yet, the story is so well done that, when the identity of the Golem is finally revealed, you aren’t disappointed in the least. This is a movie and a story that works so well on so many levels. At the beginning of this review, I told you about the artistic and stylistic beauty of the sets… to that beauty, we can definitely add the work of costume designer, Claire Anderson, whose slightly modern take on the wardrobes of Victorian Londoners is every bit as important to the look of THE LIMEHOUSE GOLEM as anything else. Of course, any film is ultimately based on the talents of the people on the screen and this one is stacked with actors perfect for their roles, even if one is actually a replacement for another beloved performer. Olivia Cooke (ME AND EARL AND THE DYING GIRL and the BATES MOTEL television series) is devastatingly vulnerable as Lizzie Cree, while Sam Reid is suitably smarmy as her fame-seeking husband, John; as both business man/mentor and over-the-top stage performer, Douglas Booth (JUPITER ASCENDING, as well as Reid’s co-star in THE RIOT CLUB), shines in the pivotal role of Dan Leo; Spanish beauty Maria Valverde sizzles as Aveline Ortega; in fact, each member of the supporting cast shines brightly and each is given their moment in the spotlight, including Eddie Marsan (Uncle), Keeley Forsyth and Amelia Crouch (as Lizzie’s mother and a younger Lizzie in a couple of frightening sequences that give the viewer important insight into the character) and Daniel Mays (as the rather uptight but totally professional – and loyal – George Flood). As brilliant as these cast members are, I’m not sure that this flick would have risen to the heights to which I have elevated it if it were not for the presence of Bill Nighy (Davy Jones in the PIRATES OF THE CARIBBEAN movies, Minister Rufus Scrimgeour in HARRY POTTER AND THE DEATHLY HALLOWS, PART ONE and a ton of video games and animated stuff over the last decade or so) as Inspector John Kildare; with Nighy’s understated performance, Kildare is thoughtful, vulnerable and, though set-upon (and set to fail), determined to get at the truth. Nighy was a last minute replacement for Alan Rickman, who was forced to pull out of the project due to illness (the film is dedicated to Rickman, who passed away in 2016).
THE LIMEHOUSE GOLEM (Olivia Cooke, Bill Nighy) (photo courtesy: NICK WALL)
Obviously, to divulge too many of the intricacies of the plot would be akin to telling your kids that the Tooth Fairy doesn’t exist (remember how that turned out for Dwayne Johnson in THAT movie?), so I’m just going to tell you that THE LIMEHOUSE GOLEM is worth your attention and, even if you think you have things figured out in the first twenty minutes, you won’t see the end coming. Just getting to the end is a thrilling, chilling ride through the dark underbelly of late nineteenth century London. Anyone who has ever explored, examined or theorized over the case of Jack the Ripper will certainly recognize the similarities here… that was Ackroyd’s intent with his novel. The fact that the film incorporates several of the tropes common to modern police procedural and crime scene investigation fiction keeps things fresh and allows us to play armchair detective, all the while rooting for Lizzie and Kildare; the fact that both of the main characters are fundamentally flawed (but, then, aren’t we all?) keeps us intrigued and totally invested in the story’s outcome. As always, there are certain scenes, as well as the generally violent theme of the movie that some may find objectionable and, as such, I would probably advise parents of children thirteen or younger to steer clear of THE LIMEHOUSE GOLEM while the kids are around… though I’m sure that they could possibly see far worse on an episode of LAW AND ORDER: SVU.
(Scott R Schmidt/Tyler Sowles/Sara Sowles; 32 pages; SOURCE POINT PRESS; 2014)
Hard boiled film noir detective meets things that go bump in the night in the premiere issue of HANK STEINER, MONSTER DETECTIVE; or, maybe a more apt description for the minions of the monster underworld would be “things that get bumped off in the night.”
HANK STEINER, MONSTER DETECTIVE Page 5 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
Hank’s Tower City mirrors a world divided; there’s the Human Side and the Monster Side. Both communities would like nothing better than that the twain never should meet. This first issue begins with – as all great detective stories should – a body. The desecrated body of something… not human has been pulled out of the river that separates the two sides of the city. The police on the Human Side grouse and grumble about having to handle a suspicious death from the other side, especially during the playoffs; the detective in charge is not about to miss the playoffs, so he’s called in back-up from the Monster Side: “Stand down, fellas, that’s a pal of mine, Frank.” Well, close… “It’s Hank.” In true noir fashion, our hero delivers a running inner-monologue-as-therapy, beginning here: “I hate humans. Comedians, every one.” Detective Steiner quickly identifies the putrid remains: “Looks like you fellas got yourselves what used to be an imp.” Equally as quick, the human cops dump the case on Hank, telling him to “Take him with you when you’re done.”
HANK STEINER, MONSTER DETECTIVE Page 9 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
Back across the bridge, we meet Hank’s operatives, including his secretary, Iris, and a human informant (and garbage man) named Gus. The garbage man’s trash talk (literally) leads the big guy to some underhanded dealings coming from the goblin underworld boss, a fat, cigar-chomping Mafioso called Madtooth. Action comes fast and furious, as Steiner confronts some of Madtooth’s underlings and a trio of vampiric babes in a pool room dive that serves as a front for the mob’s business activities. Of course, Madtooth’s intervention leaves more questions than answers, as he tells Hank that they’re merely the middle men for something far more nefarious than his boys’ illegal shenanigans. Like many of the finest films of the genre, things take a rather unexpected turn, leading to an apt justice being meted out to the criminal element; also mirroring those classic movies, that justice comes in the form of a too-quick resolution. This plot could very easily have been delivered as a multi-issue storyline, fleshing out the characters (recurring and otherwise), the historical background regarding the animosity of the two districts of Tower City and the origins of Hank Steiner’s world.
HANK STEINER, MONSTER DETECTIVE Pages 14-15 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)
But… that’s a trifling complaint. Scott R Schmidt’s story and dialogue is fast-paced and quick-witted. One could almost envision Humphrey Bogart (well… maybe Raymond Massey) in the role of the Monster Detective. Tyler Sowles’ artwork is powerful and uncluttered, with his wife, Sara’s muted colors adding to the overall noir feel of the book (by the way, she is responsible for page layouts and lettering, as well). If Schmidt and the Sowles can deliver high quality stories like this in a consistent manner, the future certainly looks bright for the denizens of Tower City… or, at least as bright as things ever get in Hank Steiner’s world. I personally cannot wait for future installments, hopefully ones that will answer some of my questions about the whos, the hows and the whys of just what is happening in Tower City. HANK STEINER, MONSTER DETECTIVE is available at your favorite comics shop or, you can secure it digitally from DriveThruComics or Comixology. Now… go ye forth and consume, comics lovers. The fun part of your brain will love you for it.
(Kim Roberts/Various Writers and Artists; 80 pages; WP COMICS; 2016)
The English people are a weird lot. They have a very dry, wicked sense of humor. They have also given us some of THE most frightening tales of horror… ever! Their views on Christmas are… let’s go with “skewed,” shall we? It goes well beyond the fact that they maintain a stubborn habit of saying “Happy” rather than “Merry” when wishing one well during the season of goodwill. Many of those views have been engrained for centuries; well before, I’m sure, the Church usurped the holy days, celebrations and traditions surrounding the winter solstice. All of this is my wholly American way of introducing you to a relatively new comic from the UK called CHRONICLES OF TERROR and, in particular, the fourth issue, a collection of Christmas themed stories sub-titled “Santa’s Twisted Tales.” Now, to be certain, all of the pieces here do not come from the minds and hands of our stalwart British friends; in point of fact, a “Creator of the Month” feature highlights Ohio comics writer and publisher of Disposable Fiction Comics, Jack Wallace.
CHRONICLES OF TERROR, Issue 4: “Snowvenge” (written by KIM ROBERTS, art by HARALDO)
Starting with the magnificent, delightfully gruesome cover image by Haraldo (like Cher, I suppose, this artistic genius only needs the one name), this book takes on every traditional concept – both religious and secular – regarding Christmas, as well as the so-called “pagan” rites and rituals of more ancient (some would say “arcane”) holy days. Haraldo’s stunning artwork is back in an imaginative take on the old “revenge is a dish best served cold” proverb; with a brilliant story and script by anthology editor, Kim Roberts, “Snowvenge” is certainly setting the bar high as an opening salvo, as it hits on all cylinders, from concept to finished art. “The Never” is a cautionary tale from the twisted brain of writer Eric Gahagan… a warning from the Anti-Santa for children everywhere about peeking at their presents. Pietro Vaughan’s hard angular lines and thick black shadows are akin to the fever-dream sets used in the brilliant, century old German expressionist horror film, THE CABINET OF DOCTOR CALIGARI. Ever wonder what the Jolly Elf’s reindeer eat to keep their energy up on those long Christmas Eve journey? Paul Bradford and artist Allen Byrns paint a very vivid picture in “Reindeer: Oh, Deer – Oh, Dear.”
CHRONICLES OF TERROR, Issue 4: “Charles ‘Chucky’ Dickens’ ‘A Christmas Carol'” (written by GABE OSTLEY, art by GABE OSTLEY and CHRIS ALLEN)
Gabe Ostley’s obscenely off-kilter “Charles ‘Chucky’ Dickens’ A Christmas Carol” is eight pages of wildly gratuitous violence featuring the obligatory firefight between Death and Satan and his goat-minions, as well as Cthulhu, the festering corpse of the famed author of THE STORY OF THE GOBLINS WHO STOLE A SEXTON (if I’m not mistaken, he may have written some other fairly famous pieces, as well) and, of course, the totally unlikeable (anti-)hero of the story, a rooster named Cluck, appearing here as Scrooge McCluck; as Cluck is so repellant, I cannot wait for another installment of his adventures. Chris Allen’s vivid palette adds to the already surreal Hellscape. “The Ancestors” delves into some of the “pagan” beliefs and rituals that have become a part of traditional Christmas celebrations. MC Carper’s art has an old-world quality that fits Hunter Eden’s story perfectly, just as Chris Allen’s colors suit Carper’s line-work. As people of varying cultures and religions have migrated farther and farther from the homes of their fathers, the desire to break away from those familial and cultural bonds has grown, even as the need to remain grounded in those cultures and religions is instilled by the ancestral ways invariably follow (and, sometimes, haunt) the immigrant; this story follows one such tortured soul to his own inevitable conclusion. Though only three pages in length, “The Book of Eden Z: Come Gentle Christmas Angels” is… beautiful. The story is simple, elegant and sentimental; I’m not ashamed to say that it brought a lump to my throat and a tear to my eye. What do the spirits of children who are the victims of some unexpected violence wish for on Christmas? J Christopher Greulich’s story is both heart-warming and heartbreaking and his magnificent black and white art is among the best in this volume.
CHRONICLES OF TERROR, Issue 4: “Bad Santa” (written by KIM ROBERTS and CHRIS ALLEN, art by BRADEN HALLETT); “Unwanted Gifts” (written by JAMES JOHNSON, art by JAMES JOHNSON)
“Bad Santa,” from writers Kim Roberts and Chris Allen and artist Braden Hallett is a cautionary tale of greed and the importance of inspecting each and every package, making sure to read any and all warning notices… even hand-written ones from in-house quality-control engineers. James Johnson’s “Unwanted Gifts” holds the least appeal, story-wise, for me. I don’t know why… it has so many horror linchpins: Loving family set upon by demon spores/spirits/whatevers living in the limbs of the family’s chosen fir tree, each possession driving the inhabited family member over the edge and, as they succumb to their inhabitants, further into the world of ancient Solstice religious beliefs and secular Christmas traditions. Maybe that’s the problem: Johnson’s plot is just too chock full of thoughts and ideas and visions to be coherent enough for a numbskull like me. The blood and the guts (yards and yards of guts!) and the extreme mayhem are cool, though. A drunken stepfather, an uncaring mother and an alien monster all impact poor little Sidney as she awaits a visit from Santa Claus on “Christmas Eve,” though, maybe not in the way that you would imagine. Jojo King’s story does a fine job of exploring the young girl’s hopes and wishes, while the artwork of Alister Lee aptly relates the horror of the season. The ending is much more graphic but is still very reminiscent of this issue’s earlier “Reindeer: Oh, Deer – Oh, Dear.”
CHRONICLES OF TERROR, Issue 4: “The 512th Day of Christmas” (written by JACK WALLACE, art by REINALDO LAY CONTRERAS and CHRIS ALLEN
The remainder of this fourth issue of CHRONICLES OF TERROR is comprised of special features and pin-ups, including a killer pin-up by Gabe Ostley (with suitably bright colors from Chris Allen) called “Christmas Turkey.” As mentioned earlier, a “Creator of the Month” feature focuses on Jack Wallace, writer and co-publisher (with the by-now ubiquitous Chris Allen)at Disposable Fiction Comics, who discusses his entrance into the comics industry, working with a wide variety of artistic talents and the pitfalls of self-publishing. Following this in-depth profile is a five page preview of Wallace’slatest graphic novel, THE 512TH DAY OF CHRISTMAS,with magnificent art from Reinaldo Lay Contreras (better known as Rei Lay) and colors from… you guessed it: Chris Allen. More info about and ordering info for the book is available at Disposable Fiction Comics; plus, you can order your own copy (physical or digital) of this Yule-themed CHRONICLES OF TERROR (as well as the first three issues of the incredible anthology) here. Enjoy! And… Merry Christmas, one and all.
(FULL MOON FEATURES/FULL MOON ENTERTAINMENT (32 minutes; Unrated); 2016)
Populated by the usual freaks, degenerates, mad scientists and monsters that have become staples in any of his devilishly off-kilter features, Charles Band’s new web series, RAVENWOLF TOWERS, will be an acquired taste for the uninitiated, but… for those familiar with such delightfully gory offerings as THE GINGERDEAD MAN, PUPPET MASTER or GHOULIES, this first episode is like manna from the dark gods. The premiere installment of the seven-part series debuted on December 13, to coincide with the full moon; future episodes will follow suit, bowing on the six subsequent full moons. RAVENWOLF TOWERS can be viewed at Full Moon Entertainment’s streaming platform and their Amazon channel; each episode will also be offered as a stand-alone DVD release (no word yet on a collected DVD release).
The half-hour opener is titled “Bad Mary” and begins with an obligatory sexual encounter which – in true Band fashion – ends with one of the participants dying on the floor, minus an arm after checking the couple’s wardrobe for a boogie man. The horribly deformed giant in the wardrobe (so hideous, in fact, that he has to be played by two actors – Robert Cooper and Nihilist Gelo) is a member of the freakish, incestuous family who inhabits the top floor of the formerly opulent Hollywood hotel. And, then, things start to get weird… GENERAL HOSPITAL, soap opera weird. The newly hired assistant manager of the Ravenwolf, Jake (Evan Henderson), is warned by his histrionic boss (Sonny King) to stay away from the eleventh floor unless specifically requested by the family living there. During this admonishment, a suspicious character calling himself Doctor Ivan Ivanoff (a dark, understated performance from George Appleby, who has a resume that includes GAME OF THRONES and SHERLOCK) appears, seeking to rent a room. When the manager asks him to fill out an application for the room, the good doctor produces a stack of hundred dollar bills and is immediately given a key, offering insight to the management’s priorities. Once in his room, it becomes apparent that Ivanoff is a very different kind of doctor.
As fate – or, someone’s insidious plan – would have it, Jake is called to a room on the tenth floor due a leak from the floor above. By the way, as part of what Charles Band calls a “love letter to Full Moon fans past and present,” the occupant on ten will look very familiar to Band and Full Moon devotees. Jake’s repairs on eleven are interrupted by a beautiful young woman (Shiloh Creveling), crawling down the hallway, asking for help. Thinking the girl is being held against her will, Jake does the only reasonable thing he can think of: He takes her to his room and beds her. In the meantime, two of the occupants on the eleventh floor, a bedridden and irascible old coot (played with venomous glee by Arthur Roberts) and his daughter (portrayed in true scenery-chewing fashion by Full Moon mainstay, Maria Olsen) are told by their creepier-than-thou offspring that her son and brother, the giant in the wardrobe has disappeared. After dealing with the mess left by the brute Samson (collecting and destroying the remains in the room, as well as dragging off his traumatized bed-mate for a little late night blood-draining ritual), the father/brother/uncle/son/what-have-you asks a very simple question: “Oh, by the way, where’s Mary?” At which point, things reach a crescendo of weird… we’re talking ANOTHER WORLD weird here, with twisting plot-lines that will leave even the most clear-headed among us feeling a bit dizzy and scratching their head in an “I did not see that coming” sort of way as the credits roll. And, I haven’t even mentioned the very familiar clown who inhabits room 1012!
RAVENWOLF TOWERS (publicity still)
With this first episode, it might seem that Band is attempting a bit too much – getting most of the exposition (or “origin,” if you rather) out of the way before charging full-tilt into the mayhem in the next six installments. Time – and episode two – will tell; so, strap in, kiddies… another full moon is nearly upon us!
Every generation needs its “Scream Queen,” a pretty young lady destined to be set-upon by various creeps, ghouls, monsters and demonic beings in horrific movie after horrific movie. Katie Keene is working very hard at being this generation’s version of the frightened survivor of such horrendous happenings, appearing in a slew of horror flicks including LOST LAKE, UNION FURNACE, the new CLOWNTOWN and the upcoming hospital torture film, INOPERABLE. In a recent interview, Katie discussed her craft, her favorite Halloween memories, her very real case of coulrophobia and her INOPERABLE co-star, the reigning Queen of Scream, Danielle Harris. Strap in, boys and girls… Katie Keene is an up-and-coming talent who is really gonna play on your fears.
THE MULE: Okay… first things first, give us a quick synopsis of CLOWNTOWN and tell us a little bit about your character, Jill.
KATIE KEENE: So… CLOWNTOWN… a little killer clown action for you. A couple of friends go to see a concert, they kinda get lost along the way and end up in this really small town full of killer clowns. Jill is a friend that’s going with the rest of her buddies. You know, couples date. And, she gets stuck with the rest of her buddies in this terrible town… of killer clowns.
THE MULE: You do a lot and I mean… a LOT of screaming in this film. Did you ever lose your voice during your oxygen-depleting, throat-mangling, near-operatic performance?
KATIE: My big screaming scene in CLOWNTOWN, that was a tough one. I have a space that I go to and I sit in this space on set. I’m there way before we’re filming, sitting at that tree, just zoning in… I just kind of sit in the environment and… sorta let that get to me emotionally and, buddy, when I’m directed to scream and to not stop screaming, that’s what I do. I just bring everything I’ve got. I give everything my little body can give. And, when I do it, I’m physically exhausted after but… I never lose my voice. So, that’s kinda cool.
THE MULE: So, you’re physically exhausted, but that must take an emotional toll on you, as well.
KATIE: Absolutely… it does. It’s really a lot of work. I’ve made a couple of horror movies and horror movies are hard to make. They take a lot out of you emotionally. There’s so much screaming, there’s so much high emotion and, when you’re in high emotion like that every day for a month or however long, it works on you… it works on your body, it takes a toll on you. My body is literally giving everything I can to the role. That’s what I love to do.
THE MULE: You mentioned that you’ve been in a couple of horror movies before CLOWNTOWN. So, what really frightens you?
KATIE: Well, that would be those filthy clowns! Clowns are my biggest fear in all the world and when they had… When I took this role, I didn’t know it was about killer clowns. When Tommy, the director, asked, “Oh, you want to be in a movie?” So, yeah… after I booked the role, I was so excited and then he said, “But, we have to let you know… it’s about killer clowns!” I was so taken aback and was a little speechless because I have a legit fear of them. As a young girl… I suffer from terrible nightmares and ever since I was a young girl, I dream about clowns. I’m SO scared of them. It’s crazy to be thirty years old and be afraid of clowns, you know. That’s a real fear that I have and it took me a minute to really check in with myself to see if this was something I could do and I was just like, “You know what? It could be the greatest acting I’ve ever done ’cause I’m not gonna be acting… I’m really going to be scared!”
THE MULE: Oh, yeah… you gotta watch out for those killer clowns! I don’t trust any of them!
Katie Keene on the set of CLOWNTOWN (uncredited photo)
KATIE: Oh, no! Gosh, aren’t they just so terrifying?
THE MULE: So, aside from CLOWNTOWN, what’s coming up for you next?
KATIE: After this movie, actually with some of the same producers, I was… on another horror film called INOPERABLE. We’re finished filming now, but that’s my newest film coming up on the horizon. And that’s just now having a trailer come out and starting to get a little buzz from that. Then, continuing my day-to-day actor life here in LA, you know, auditioning for all kinds of different things day-to-day and working on the craft and seeing what you can land next. It’s kinda nice, ’cause I’ve got a couple films that are coming out around the same time. It’s really cool, especially with the Showmi and the Netflix. You know, I’ve got a couple movies on a couple of different things and people see the trailer for CLOWNTOWN and they go, “Oh, I’ve been a fan since LOST LAKE” or “I’ve been a fan since UNION FURNACE” or a couple other horror films I did… they’re starting to come out around the same time. It’s great for my career; people recognize me from a couple other very small independent horror films. It’s just so cool to be recognized, that people are watching some of these films. It’s just great!
THE MULE: Oh, absolutely. Now, INOPERABLE… I have seen the trailer for that one and, yeah… I guess that’s another thing that can be kinda creepy… hospitals.
KATIE: Absolutely. That hospital we filmed in WAS creepy. It was not a very fun hospital. It’s so neat what scares people… that’s what so fun about horror films – it’s like, there’s so many things you can make scary, you know, you can just play on peoples fears. I know,,, the fear of clowns is very common. There are so many people. And, fear of hospitals… people are scared of hospitals and there are just so many… so much opportunity to play off the fear of real people but… can I just say, it’s really fun!
THE MULE: Yeah, it is. I mean… people love to be scared.
Katie Keene is terrorized and tortured in LOST LAKE (publcity still)
KATIE: Yeah, they love to be scared! You know what? I like to be scared. Halloween is my favorite holiday. The scary haunted houses, they scare me. I mean, I know they’re actors… I used to act in them but, now, that’s what scares me – going to haunted houses. Horror films these days, I’m very critical. It’s very hard for me to find a scary movie that really scares me. I’m always like, “Bring it on! Bring me everything you got!”
THE MULE: I’m less than an hour away from Saint Louis and there are some really good haunted houses there. I’m talking world class haunted houses.
KATIE: Oh, absolutely! And, people will drive from all over to go to the real good ones. It’s crazy! It’s such an interesting thing that people just love to get the shit scared out of them!
THE MULE: You mentioned Halloween. It’s probably everybody’s favorite holiday… well, Christmas is up there, too. But, anyway, what is your favorite Halloween memory?
KATIE: Oh, wow… I’ve just got so many. You know, the Halloween I really liked, I was working in a haunted house; it was a couple years back. It was the Hollywood Haunted Hayride… I don’t know if you’re familiar with it but, they do big haunted houses here in LA. I was working that for Halloween one year and we just had a ball! It was just so much fun. That’s the most recent one that really sticks out in my mind. I always try to do something crazy for Halloween. A lot of Halloweens these days, I’m working. As a child, growing up, we always would dress up and trick or treat and then, when I got a little older, then started the pranks. I was always running around in camouflage, me and my buddies from school… we were big pranksters. So, every Halloween, everybody was going to get egged or pranked in some way. I had a lot of fun on Halloween growing up… always trying to scare people. I’ve got so many good Halloween memories.
THE MULE: Cool. I was just going to get back to INOPERABLE again. What is it like to work with Danielle Harris? She’s kind of a queen of the scream movies.
KATIE: Danielle… yeah, she sure is. Danielle was so great, such a big help to me, such a good friend to me, such a good mentor. She’s been working since she was three years old and now she’s kinda the big scream queen, you know, with HALLOWEEN. That’s what she does. We were so in awe… it’s always really neat when you grew up watching someone on television and then, a few years later, down the road, there you are working with them in a movie. A known movie. It’s always so great. She was just so very informative, she’s very professional. I love to watch her work, I love to watch her act and to hear her ideas and her thoughts. It was just so professional; you could just tell she’s been doing it her whole life. It was just great to see. We have a similar… She gave me a lot of great advice for my own career. She did a lot of horror films; I’m kinda… in that way, as well… doing a lot of horror films. She gave me great advice and had only nice things to say about my acting. She was like a friend and a mentor, too. I just loved her. She was amazing to work wth, so professional, so good at what she does… it’s second nature to her. It’s so cool to see people work that way, She’s a love, a friend of mine to this day. I really appreciate that. Just a lovely lady.
THE MULE: Awesome. We will be looking for that one and CLOWNTOWN is coming up soon. Thanks for the time and maybe we’ll talk again around the time INOPERABLE is released.
(MILLMAN PRODUCTIONS/STEEL HOUSE PRODUCTIONS/ZORYA FILMS (85 minutes; Unrated); 2016)
This could very well be the first current events, topical horror movie ever made. It is released in the midst of a “Creepy Clown Mania” that has overtaken small towns from coast to coast; in many in rural areas, there are (mostly unsubstantiated) reports about children being menaced and stalked by people dressed as clowns. Personally, I think it’s all a magnificently choreographed – if terribly misguided (think Orson Welles’ 1938 radio broadcast of THE WAR OF THE WORLDS) – promotional stunt… maybe one intended to prepare audiences for CLOWNTOWN. Be that as it may, the Tom Nagel/Jeff Miller hack and slash is, actually, “Inspired by true events.” Apparently, October 2014 saw numerous armed people in Bakersfield, California dressed as clowns, scaring the populace at-large. I guess I missed that newscast… or, just maybe, living here in the middle of the country, I’m kinda used to seeing armed clowns at the corner store and at the family diner down the street. (Before a large contingent of angry townsfolk come after me with torches and pitchforks… that was a joke! Sheesh… why so serious?) Some of the situations our hapless heroes find themselves in call for a major suspension of reality on the part of the viewer, much like great hack ‘n’ slash movies of the past, like FRIDAY THE 13TH. That doesn’t make the film any less enjoyable for what it is: A Halloween movie meant to scare the crap out of you.
CLOWNTOWN (David H Greathouse) (publicity still)
CLOWNTOWN begins – as most such stories do – with a preamble, a foreshadowing of the impending violence. A pretty blond babysitter (I would identify her as “Interchangeable Blond Rack 247,” but that would be demeaning and chauvinistic, so I won’t… the actress’ name is Kaitlyn Sapp, by the way) and her two charges enjoy a final swim before the kiddies’ bedtime; a foreboding mention of the sitter’s predecessor and random shots of clown-related knick-knacks inevitably lead to the… well, that would be telling, wouldn’t it? Fast forward fifteen years as four friends (played by Brian Nagel, Lauren Elise Compton, Katie Keene and Andrew Staton), on a road trip through Southern Ohio to a concert in Columbus, pull into a roadside diner to ask directions and use the facilities. A pair of workers (director Tom Nagel and Jeff Denton) sit at a window booth, one wanting to be on his way home and bemoaning the slow, leisurely manner of his friend’s eating style; remember them… they’ll be back later. Also adding to the (weird) local flavor is the county sheriff (Christopher Lawrence Chapman) and a leering old dude with lewd intentions (don’t worry about him, though, as he ends up dead in the next scene).
CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)
With directions for a shortcut offered by the Sheriff, the revelers are on their way. On the road once more, Mike (Staton) asks his girlfriend to locate the nearest gas station, but Jill (Keene) discovers her phone is missing. Sarah (Compton) calls Jill’s number in hopes of locating it; a male voice answers the call and directs the group to the nearby town of Clinton, promising to meet them there with the phone. The town seems deserted as the four head to the designated meeting place; after several frustrating hours spent waiting, the decision is made to abandon the phone for the time being and get back on the road to Columbus. The group returns to their vehicle only to find that it has been tampered with and won’t start; as the hood is closed, they finally see another person, a menacing looking man dressed as a clown and wielding a machete. The man disappears as Brad (Nagel) and the others approach. Desperate to be on their way, they begin searching for additional signs of life in the town and eventually run into Billy and Dylan, the two homeward bound workers from the diner, who have just had their own encounter with a clown. As notes are compared, the clowns return and Billy is… well, let’s just say that things quickly degenerate from that point. Heading into a suitably foreboding junkyard, the quintet is quickly reduced to a quartet as Jill is caught lagging behind the others; the hotheaded Mike is ready to confront the murderous clown horde, but is held at bay by the levelheaded leadership of Dylan (Denton).
CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)
That works out so well for the harried remnants of the little group that they find themselves surrounded, cowering in the husk of an old Winnebago until a grizzled citizen-in-hiding comes to their rescue – a variation on the whole “Follow me if you want to live” theme. Frank (Greg Violand) comes across as a stereotypical homeless psychotic, but once our heroes regroup in an abandoned warehouse, the truth about why he is the way he is comes to light. It seems that Clinton was once a thriving railroad stop, until a horrendous train wreck ruined the economy and turned the village into a virtual ghost town where the clowns imposed their own style of marshall law on the remaining citizens. Frank concludes the story by emphasizing, “Clowns own this town now.” Dylan says, “I heard rumors of clowns in this town, but I thought it was just bullshit to scare people. I heard it all started with some crazy, messed up family.” Looking away, Frank replies, “I don’t know nothin’ about that.” Which, of course, means… the clowns have discovered their hiding place and are on the hunt again. The sad thing about the whole predicament is highlighted at about the forty-four minute mark of the film, when Sarah tells Brad that she doesn’t really like Country music, anyway – had she made that fact known way back before the original foursome set out for Columbus, they would be safe at home, not running for their lives from a gang of homicidal Bozos (the killer crew are played by David H Greathouse, Ryan Pilz, Alan Tuskes, Beki Ingram and former WWE/WCW/ECW wrestler, Chris Hahn). But, then, what fun would that be for us?
So, anyway… with Frank and his new friends once again on the run, the clowns begin to exhibit certain preternatural – if not supernatural – abilities: Heightened agility, strength, speed and a high tolerance for pain among them. It’s also around this point in the flick that we finally get a glimpse of Jill’s fate; she isn’t dead, but she is being held captive at the clowns’ “compound.” The fact that she is still alive actually came as a bit of a surprise to me, even though the actual body count throughout the entire movie is startlingly low for one of this genre. Don’t get me wrong, there are plenty of gruesome scenes to keep today’s horror fan watching, just not a lot of people dying. After escaping from the clowns (and doing damage to at least one), Frank gives the others directions to find Jill, but along the way, they are set upon once more, as Brad is separated from Sarah and Mike. Now, well after dark, Brad sees lights on in a house; entering the home, he finds a woman (Maryann Nagel… that’s right, this low budget screamer is a family affair, with many a Nagel and Uncle Greg Voiland involved, either behind or in front of the cameras) with screws looser than Frank’s and, upon seeing a familiar picture on the mantle, begins to put things together. Meanwhile, Mike and Sarah are captured as they try to get help and removed to the clowns’ sanctuary. There really aren’t a lot of surprises left by this point, but getting to the end of the story is still a lot of fun… in a “brain-disengaged” sort of way. As I mentioned at the top of this review, CLOWNTOWN ain’t Shakespeare; it’s just good, cheap fun meant to scare the bejeezus out of you around Halloween time. Having said that, I must congratulate the writers for the humorous deaths of a pair of clownsin the last few minutes of the movie. For those who are interested in such things, the movie features a very HALLOWEEN-esque soundtrack. As far as parental warnings, there are more than a few very violent scenes, some implied bondage and one topless babysitter… kinda mild for a horror film nowadays, actually.
CLOWNTOWN is coming to DVD and Video-On-Demand on October 4, 2016… just in time for Halloween and your “Creepy Clown” or “Scream Queen” festivities.