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.
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.
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.
(IMAGE ENTERTAINMENT/CALIBER MEDIA/DESTROY ALL ENTERTAINMENT/REVEK ENTERTAINMENT (83 minutes; Unrated); 2015)
Today’s version of the slasher movie is very rarely a nuanced thing; these flicks are more about the body count, finding unique ways to raise that body count, as well as making sure that a fair number of the bodies being counted are either scantily clad or completely unclad… there is generally no rhyme or reason for the slaughter, as the slasher (rather human, spirit, demon or other) just shows up and starts hacking. I’m not going to tell you that certain aspects of the genre are not here in spades with SOME KIND OF HATE but, the reasons are well-placed and well-thought-out. The writers‘ (Brian DeLeeuw and Adam Egypt Mortimer co-wrote the screenplay) original concept and script was titled BULLIED, so there is much more of a message here than the usual “let’s go to the woods, get drunk and screw” mentality of one of these things. Obviously, bullying is a horrible problem pervading our society, particularly our school systems. It isn’t a new thing… there have always been older, bigger, richer, prettier, whatever type of people who feel a need to push and belittle those they deem to be beneath them; sometimes a bully is someone who is so insecure that they attack others just to feel good about themselves. The problem – and the symptoms – seems to be getting worse, with the number of victims rising daily. Even without the vengeful spirit aspect of this movie, the under-riding theme is enough of a horror story on its own merits. This ain’t no AFTERSCHOOL SPECIAL or one of those “Very Special Episodes,” though… there’s too much blood.
SOME KIND OF HATE (Ronen Rubinstein) (photo credit BENJI BAKSHI)
The lead character, Lincoln, is your standard issue dark and brooding angst-ridden type… a quiet, artistic tortured soul who is abused at home and bullied at school (played to the quiet, brooding hilt by Ronen Rubenstein, who explained in a recent interview that, while he was never really bullied, one of his friends was bullied to the point that he committed suicide). Lincoln tries to stay out of the way of the big-man-on-campus, spoiled jock who delights in torturing those he deems too different (Lincoln is an “art fag” who doesn’t look or dress like everybody else); the loutish tormentor – his friends and hangers-on trailing behind like puppies – finds Lincoln alone and pushes the kid over the edge. Of course, when Lincoln retaliates, he is the one deemed a troublemaker and he is the one sentenced to a rehabilitation facility for teens with anti-social proclivities. The secluded “camp” is one of those “let’s get in touch with our feelings,” hippie psuedo-religious places for “troubled youth” that MAKE you wanna go all Jason Voorhees just to shut up the directors and counselors. The name of this place? Why, Mind’s Eye Academy, of course. There are the usual group of screw-ups and misfits, all stunningly beautiful, most with darker problems and secrets than the things that had them sent to the MEA; naturally, they have all learned to play the game and fooled the staff into believing they have assimilated. Lincoln is befriended by another newcomer, his bunk-mate Isaac (Spencer Breslin), a sorta boastful, obnoxious kid who ended up at the camp for “porn hacking” the computer system at his school. Everyone definitely is not copacetic with the new kid, though, as a tough named Willie (Maestro Harrell) and his goons start pushing Lincoln to see how long it will take before he goes crazy and attacks them. Ah… good times. Good times.
SOME KIND OF HATE Ronen Rubinstein, Grace Phipps, Spencer Breslin) (photo credit: BENJI BAKSHI)
Lincoln finds solace and a kindred spirit in another societal reject, Kaitlin (played by Grace Phipps, a refugee from Disney, who starred in the tween-sation TEEN BEACH MOVIE and its sequel), a bad girl cheerleader whose coping mechanism was/is cutting; Kaitlin is another kid with a secret… she has first person knowledge of what bullying can lead to but, she doesn’t share with Lincoln until much later. After the third altercation with Willie and his minions, which sees Lincoln lashing out and hitting his tormentor, Lincoln is drawn to the basement of an old building, just to get away from everything and to get his thoughts together. Still enraged, he blurts out, “I wish they were all dead!” That phrase brings forth the spirit of Moira (another former Disney star, Sierra McCormick, who played the oddball genius Olive in a series called ANT Farm; she may also be remembered for her role as Lilith for a couple of episodes during season four of SUPERNATURAL, her only other appearance within the horror genre), a former student at the Academy; Moira was driven to suicide by the taunts and bullying of her peers and now seeks vengeance for herself and for other victims of bullying. Part of the appeal of such movies is discovering how and why violent things start happening, so I don’t want to spoil the fun for you; let’s just say, that soon after Moira’s appearance, Willie is found dead, with deep cuts all over his body and a razor blade in his hand. The first sign that things are not all sunshine and light at the Mind’s Eye Academy occurs as a sleazy sheriff’s deputy comes to investigate Willie’s apparent suicide: The deputy tells Krauss, the assistant director of the facility (Noah Segan), “It’s an hour drive – each way – every time I gotta come out here to pick up another dead kid.”
SOME KIND OF HATE (Sierra McCormick) (photo credit: BENJI BAKSHI)
As the body count starts to rise, Kaitlin begins to think that Lincoln is the one killingthe bullys; he tells her and Isaac about Moira but, Kaitlin has her doubts until she follows Lincoln back to the basement, where he confronts Moira and begs her to stop. Moira, once again feeling betrayed, tells the boy, “I’m yours Lincoln… and you’re mine.” Now a believer, Kaitlin seeks out Moira and the two bond over a bit of self-loathing and bloodletting, as the vengeful spirit recruits the other to help with the devastation. Now, I know that you guys are pretty sharp, so you’ve probably already guessed a lot about this movie that I didn’t share here, but… I think that there are still enough scares and more than enough buckets of blood to keep you engaged ’til the end. And, if you stick around, there’s a quick tease to let us all know that there will be a sequel. While the underlying current (bullying) is something that the kids should be made aware of, I’m going to suggest that you keep this one away from them until they’re sixteen, at least. The flick is available on DVD or Blu-Ray, as a digital download or Video-On-Demand.
I had the chance to speak to the star of SOME KIND OF HATE, Ronen Rubenstein regarding this movie and another project that will be premiering soon. It’s called CONDEMNED and is in select theaters on November 13. The movie also stars Dylan Penn as a rich kid, squatting with her boyfriend in an abandoned building. Unfortunately, we had horrible reception (he lost signal at least once), which means that I wasn’t able to save enough of our conversation to post the whole thing here. However, he did have this to say about CONDEMNED: “It’s funny, it’s gory; some scenes make you want to throw up, some scenes make you want to laugh.” You had me at “throw up,” Ronen. We’ll definitely be looking for that one soon. Until then, here’s the trailer:
(XLRATOR MEDIA/FORBIDDEN FILMS (103 minutes/Unrated); produced 2012, released 2014)
“My brother keeps a human head in his closet.” When a movie begins with a line like that, you just know that you’re in for a laugh riot… or, one of the most deeply disturbing stories you’re ever likely to see. FOUND. is based on a novella by Todd Rigney, the coming of age, innocence lost story of seventh grader Marty, who discovers that his older brother is a serial killer. As Marty narrates, we learn that, maybe, the creepiest aspect of the whole thing is that brother Steve is the only person in Marty’s life who really cares about him and looks out for him. Well… there is one other thing that kinda came out of the blue and hit me like a hammer, not “creepy” in the strictest sense of the word, but unsettling, nonetheless. More about that later, though.
FOUND. (photo courtesy of: XLRATOR MEDIA)
Marty (portrayed by Gavin Brown) is pretty much your standard issue twelve year old, into comic books and horror movies. He’s quiet and unassertive, not yet into girls. All of these things are like beacons to the school bully, a bigger kid who has problems with authority (and pretty much everybody that doesn’t bow down or cower in fear when he confronts them) and may have been held back a year or two due to his disciplinary problems. The first time we get a look at Marcus (belligerently played by Eddie Jackson), he flips off the teacher and is shocked – shocked, I tell you! – that she has the audacity to punish him. The scenario sets up a confrontation between Marty and Marcus and, later, Marty and his best friend, David (Alex Kogin). Both scenes add to Marty’s misery, alienating him even more. The episode with David quickly devolves as he aggressively starts to verbally abuse Marty during a sleepover. Marty finds himself questioning his life and wondering if he could do what Steve does, wondering if all of the abuse will make him a killer, too. Once Steve (Ethan Philbeck) discovers that his brother knows what he does late at night, even that relationship begins to fray.
There is a scene between the brothers that is emotional and heart-warming and, oddly enough, the scene that introduces a reason for Steve’s actions. Marty asks him, “Why?” and it’s then that we learn the murders are racially motivated. It’s not exactly out of the blue, because the kids’ father uses a racial epithet early on in the story but, still, it just seems a little… gratuitous. After that bombshell, Steve makes it known that if Marty tells their father or anyone else, he would take care of them. “What about me?” asks Marty. “I would never hurt you, Marty.” As the story progresses, we are also privy to the brothers’ home life, why Steve does what he does and why Marty is the sensitive, quiet one. From that point forward, FOUND. spirals toward one of the most brutally disturbing endings ever put on film.
Marty’s love of horror movies is exploited in the sleepover scene with David, as the two borrow a couple of… shall we call them “art house” movies? One is called HEADLESS, apparently the impetus – surprise, surprise – for Steve’s murderous proclivities; the other, DEEP DWELLERS, comes off as a schlocky monster movie with (intentionally) bad acting. Neither is particularly well-done, but then that’s the whole point; these “movies-within-the-movie” are there, more than anything, to move the plot along. As unbelievably gory (and borderline unwatchable) as HEADLESS is, it’s almost like a bad car wreck: You just can’t look away. There are full versions of both of these “movies” as part of the special features.
This movie (and the HEADLESS short, in particular) is not for the weak-at-heart or the easily offended and, it definitely isn’t intended for anyone under the age of, say, seventeen (yeah, kids, it really is that graphic!). However, anyone older than that who enjoy their horror flicks more on the psychological tip (and you aren’t one of those delicate types that are easily upset with sexually graphic gore), FOUND. is, ultimately, one of the best genre entries you’re likely to see this year. But… be warned: “Stuff like this can really warp a person.”
(IMAGE ENTERTAINMENT/DAVED PRODUCTIONS/FLASHBACK FILMS (86 minutes/Unrated); 2014)
What a strange little film this one is! VARSITY BLOOD is part slasher flick, part PORKY’S style teenage hijinks (with far fewer yucks) and ALL genre farce. While there’s stuff to like about this movie, it has definite problems, chief among them the cardboard acting performances from the majority of the cast (most of the kids and all of the adults). We’ll hit on the other major problem with this one a little later in the review but, first, let’s set the scene for VARSITY BLOOD, shall we?
VARSITY BLOOD (Kiarra Hogan, Natalie Peyton, Elle LaMont, Elyse Bigler and Lexi Giovagnol) (publicity still)
The movie starts – as all good slasher movies should – with a bunch of jocks terrorizing the school mascot and a gaggle of cheerleader being mean to each other and even nastier to those they deem beneath them, which is most of the student body and all of the faculty. These kids are “Warriors,” so the mascot is in Native American dress and carries a tomahawk, a bow and arrows; the big paper mache head the kid has to wear (part Indian war paint, part demented gorilla clown) is enough to give you nightmares, if the snotty cheer squad hasn’t already. Of course, it’s Halloween… it’s always Halloween, right? The bad stuff that leads to THIS bad stuff happened the previous Halloween; apparently, the Warriors only play football on Halloween night, regardless of what day of the week it happens to fall on. There was, of course, underage drinking; tomfoolery was definitely afoot. As the testosterone and alcohol fueled players tossed the football around – in a ritualistic and time-honored chest-thumping pageantry performed to get the female of the species to “ooh” and “aah” and giggle into their hand – the cheerleaders, in like-minded plumage-preening pageantry, were attempting a dangerous pyramid stunt. As is often the case (particularly in the scripted reality of movies and television), a football toss goes awry and a pyramid crumbles, leaving the principal‘s daughter (who quite conveniently, as head cheerleader, was atop the pyramid) in an irrevocable state of… death. She was dead; kaput; bereft of life, she would stunt no more. The kid who threw the errant pigskin suffers serious mental deficiencies (in a blank-eyed, non-verbal kind of way) and is placed in a facility for serious mental deficiency sufferers.
Fast forward to this Halloween and a pep rally for the big game. The principal scowls at the players and the cheerleaders and, as he recounts the awesomeness of his defunct offspring, the mascot draws an arrow, nocks it and let’s fly. The intended target? The principal? One of his bubba-like tormentors? The head cheerleader? Of course not! That would be too easy, wouldn’t it? He shoots high above the gym floor, hitting a large cache of orange and black (school colors, don’t you know) confetti. Post-game plans are made to sneak off to a – wait for it! – an abandoned farmhouse deep in the woods, for a little drinking and even more poking and prodding of the opposite sex. The new/chaste girl, Hannah (Lexi Giovagnoli, one of a couple of fairly decent actors, in – unfortunately – a fairly interchangeable role), is forbidden to go but, then, we all knew that she would, right? The token (sorry, but there’s no better term for the character) black cheerleader (and daughter of the unimaginably clueless sheriff) bemoans the fact that she will be the only one without a hookup because the town falls pitifully short on its “brothers” quotient. Other goofy moments that add to the farcical homage to ’80s slasher flicks: The word “chaps” is used by one of the kids to describe the other males in the group; three members of the party are snorting cocaine (is that even a thing anymore?); when the first party-goer is murdered not fifteen feet from the others, do the geniuses take the four steps to their vehicles to get the heck out of there? Of course not! They run into the abandoned house, light a bunch of candles and kerosene lamps and cover all the windows… because nothing says, “Ain’t no one here!,” better than sheets on a window. In a spectacular demonstration of calm-under-pressure, they do somehow manage to secure all of the beer and coke… but, you know, just to take the edge off. By the way, this is probably as good a time as any to confirm the suspicions of such comedians as Chris Rock and the great, sorely missed Patrice O’Neal: That first dead camper was – Duh! Duh! Duh! – the token black cheerleader. And I was really rooting for her, too! Talk about a twist ending, huh? The only black kid in a hundred miles is the one to outsmart the murderer and survives the decapitations, bisections by truck, pitchforkings and toilet drownings to appear in the inevitable sequel. Ohhhh… wait! Yeah, it’s probably best that she died, ’cause if she HAD survived, she woulda moved to someplace safe. Like Detroit. Then, who would the sequel focus on?
So, anyway, even though there are no Muffys, Buffys or Biffs in VARSITY BLOOD, there is a Blaine and a Bubba, the latter of which is comatose for much of the movie, then he gets hit on the head and loses consciousness. Thankfully, he comes to just in time to save the… Oops! Sorry, Bubba. You really shouldn’t be sneaking up on chaste cheerleaders who are armed with big butcher knives, trying not to be victim number… whatever of a killer in a mascot costume. Man, this slasher has it good! His victims are picking themselves off!
VARSITY BLOOD (Natalie Peyton) (publicity still)
The sheriff finally gets a clue – actually two clues: First, the kid from last Halloween has escaped from the institution where he has been housed since the principal’s daughter was killed and, second, an old lady called in a complaint about young’uns harassing her (one of the girls escapes and tries to get help, knocking on the lady’s door). The sheriff pulls up to the abandoned house, hears the kids yelling for help because there’s a crazy killer picking them off one at a time and replies, in true adult-in-a-slasher-movie fashion, something that amounts to, “Yeah… okay… I don’t have time to worry about that now… where’s my little girl?” At which point, the killer speaks: “Right here, sheriff. Under my feet!” A great line that would have sounded way more menacing if the actor delivering it was even half way good. Or, as has been speculated elsewhere, maybe these performances are purposely lousy, adding to the ’80s cheese-factor. I’ll leave that one up to you to decide after watching VARSITY BLOOD yourself. So, let’s recap, shall we? There are, by my count, at least seven possible choices for slasher du jour, including the principal’s daughter (I never count out the dead people in one of these things… Jason Voorhees, anyone?). Pretty much everyone you’d expect to die (and a few others, just for good measure), does. And, finally, after the reveal of the slasher’s identity (a real bait and switch, but one I’d actually thought of and dismissed as too much of a stretch), there are still some bodies – alive or otherwise – unaccounted for, virtually guaranteeing a sequel.
VARSITY BLOOD (publicity still)
As far as slasher movies go, VARSITY BLOOD is definitely one. How good of one, again, I’ll leave up to you. I mentioned earlier that I had one more major complaint about this flick. Here it is: When the sun goes down and the lights are off (or, in most cases, nonexistent) this is one dark movie! Now, I’m not talking about gloomy, spooky, Gothicy dark; I’m talking full-on can’t see your hands in front of your face dark. I thought it may have been the settings on my TV, so I turned the brightness all the way up and, though it helped a bit, most of the killings and pretty much everything that happens in and around the old farmhouse are fairly well blacked out. It looks like writer/director Jake Helgren was intent on using only “natural” lighting, ie: The moon, the candles, the campfire. Maybe you’ll have better luck with the brightness control than I did… if you’ve got the guts to watch this one all the way through. You can take that last statement any way you like; I am not here to judge you (only the movies you watch).