(GRAVITAS VENTURES/SAVE THEM WILD DOGS (96 minutes; Unrated); 2020)
Wow. I remember a review of the Viggo Mortensen film A HISTORY OF VIOLENCE, in which the writer used the effective line “You won’t know what hit you” to summarize the dastardly plot. That’s how I felt at the conclusion of the genuinely compelling new film UP ON THE GLASS. I really don’t want to give away much here, because this film is worth experiencing on your own, without knowing key details beforehand. It manages to be suspenseful, visually appealing and non-formulaic throughout most of its 90-minute running time, and that is quite an achievement. So here’s what I can say. Jack DiMercurio (Chase Fein), the main star of this unique film, is a restless, introspective sort who is not given to explaining his emotions or thoughts very easily, and has an uncertain employment history. He’s agreed to spend some time at the lake house of his old friend Andy Shelton (Hunter Cross), who’s a bit too abrasive and honest, but is a successful businessman who seems to have good intentions. Andy’s wife Liz (Chelsea Kurtz) is only talked about for the first portion of the movie. We learn that Jack may have once been involved with her and gets moody when her name comes up. We also have to endure the obnoxiousness of a third friend, “Mose” (Steve Holm), who joins his old buddies for the weekend. At first you think this movie is going to be a character study of these three friends, starting to feel their ages, drinking too much, and questioning each other’s life choices. They’re in a beautiful setting along Lake Michigan, enjoying the shoreline and the imposing sand dunes Andy takes them to so they can lose themselves. “There’s space out there. Men need that,” Andy tells his pals. But though we’re shown some memorable scenery, and these guys overall seem to be basically likable, friction soon develops. Andy pushes Jack to share more than the latter is comfortable with. “I think you’re TOO smart,” he tells him matter of factly. “It trips you up. You overthink things.”
UP ON THE GLASS (Chase Fein, Hunter Cross, Steve Holm) (publicity still)
For this part of the film, I was admiring the believability and charisma of the characters, especially Jack, and the bright, striking cinematography by Mark Blaszak. I was intrigued. But then there is a sudden, rather implausible event that changes the entire nature of the film. Hopefully no one gives it away to you because, despite this didn’t-see-that-coming development, the film trades on a different kind of suspense and a couple of pretty rich themes from then on. Although we’ve been treated by this point to the appearance of a couple of lovely women from town, store employees Becca (Jessica Lynn Parsons) and Kate (Nikki Brown), their part in the story is mostly minimal. Not so when Liz shows up at last. Chelsea Kurtz does a fine job investing Liz with depth of character and conflicting emotions. She and Fein have clear chemistry and authentic-sounding conversations, and there is some seriously good acting going on here, as a sense of buried romantic potential must compete with a few other developing themes. You sort of WANT these two to get together. A dripping faucet in the kitchen, which Jack promises to fix at least twice, provides a metaphor for the passing of both time and opportunity, and these two terrific actors really do make you want to see what will happen in the next scene. The grim nature of reality, however, prepares you to expect bad stuff. Director and co-writer Kevin Del Principe shows plenty of command with his helming of this tale, and he has the patience to trust that most audiences will take the ride, slow though it may be at times. I think he has the makings of an exceptional filmmaker.
UP ON THE GLASS (Chelsea Kurtz) (publicity still)
I simply can’t say a word about the ending. I watched this film early in the morning, letting a couple of its big surprises wash through me, and I want to enjoy my feeling of sheer admiration, something I don’t feel near enough these days after I screen a film. You do NOT get a neat resolution of anything with UP ON THE GLASS. It does almost nothing that you want or expect it to do. It certainly gives you a couple of complex characters with shifting motivations. And it creates its own brand of intense suspense that for me was truer to what might happen in real life than a dozen bigger budget films. And I liked all six of the principal actors, with something pretty unforgettable being captured here by Chase Fein. He’s an actor to watch. Judging from a few less enthusiastic reviews on IMDB, not everyone was enamored with Del Principe’s directorial vision, however, and you certainly could be forgiven if you don’t like the main plot twist or the way you’re left hanging at the end. But I genuinely admired this film for how it avoided the obvious at most turns, and tried to hint at much bigger themes and character conflicts than what we usually get on screen. I won’t forget UP ON THE GLASS, that’s for sure, and I plan to follow the careers of virtually everyone who played a part in making it.
(SABAN FILMS/SPEAKEASY/ORGANIC MEDIA GROUP/FOTON PICTURES/DARK DREAMS ENTERTAINMENT (100 minutes; Rated R); 2020)
You set yourself a real challenge as a director by making a film about unpleasant characters doing unpleasant things, something that director/co-writer Seth Savoy was probably NOT thinking that much about when he helmed ECHO BOOMERS, a sort of “millennials gone wild and destructive” story timed to coincide with the bitter division and economic meltdown of recent years (though pre-Covid). It’s hard to sympathize all that much with a quintet of college graduates bitter over debt and fewer real opportunities, who decide to work for a greedy criminal entrepreneur named Mel (Michael Shannon), robbing mansions of the well-to-do and then utterly destroying as much of their untaken possessions as possible. We know right away things aren’t going to turn out well because the film opens with an author (Lesley Ann Warren) asking the most conscience-troubled and otherwise sort of likable member of the gang named Lance (Patrick Schwarzenegger) if he’d be willing to recount the troubled tale for a book she wants to write about the dastardly crime spree. So events unfold in flashback, as Lance is asked by his cousin Jack (Gilles Geary) to join in an “opportunity” to make some good money and have some fun. We meet the crew at a poker game, with abrasive and dour Ellis (Alex Pettyfer) and the charismatic female member Allie (Hayley Law) providing the most screen presence apart from Lance. The gang have pre-arranged addresses of their wealthy targets; they then wear evil masks, go in and bust the place up big time (an explanation from Lance about the destruction preferences of each member – one likes to destroy family photos, one prefers disintegrating the most valuable objects – is genuinely painful to experience, but at least it’s given a bit of expository background), and retrieve selected paintings and other valuables for the resourceful Mel to fence through his connections. Money comes in, everyone theoretically gets paid, and that’s that.
ECHO BOOMERS (Hayley Law, Alex Pettyfer, Patrick Schwarzenegger, Oliver Cooper, Jacob Alexander, Gilles Geary) (photo courtesy: SABAN FILMS)
Not for long, though. Mel doesn’t trust his charges overall, and newcomer Lance really has a lot to prove. The gang don’t trust each other much either, and it’s quickly established that Ellis is keeping a watchful eye on Lance for his receptivity to Allie, who is obviously sort of involved with the tougher guy. Tension grows exponentially, with Lance doing a voiceover about the various “lessons” of this trade (ie: “If they won’t let us dream, we won’t let them sleep”) and how these quickly evolve into rules. The “they” he refers to, of course, is those dang selfish rich people, and it doesn’t quite wash that they deserve all this intrusion and destruction, especially when the motivation of the young anarchists is so selfish and unfocused. As stated earlier, these jerks aren’t that likable; moments of character and conscience are present but scattered. What makes the film compelling is wondering where the slip-ups will occur that will bring this enterprise crashing down, trying to follow Lance’s mini-journey of morality as he’s the most relatable character, and wondering if Mel or Ellis will erupt in violence, something that is certainly hinted at. To the film’s credit, it does NOT take a truly predictable path compared to similar genre offerings, and it does have some things to say about greed and trust issues in a criminal endeavor that is clearly shaky to begin with. This sort of keeps you watching. The opening clips from CNN newsreels about the nature of the times set an interesting tone, but doesn’t really provide enough context for what has motivated these entitled lawbreakers. You’re glad when things are brought to a halt, and I give Savoy credit for keeping a steady hand as a director and pacing the story more than competently.
ECHO BOOMERS (Lesley Ann Warren) (photo courtesy: SABAN FILMS)
The actors all do fine, especially Schwarzenegger and Shannon, a veteran of countless productions. I’d be remiss if I didn’t mention Lesley Ann Warren also, who has long been one of my all-time favorite actresses and a genuinely underrated talent for decades. She’s only in a few scenes here, which is a shame, as she always brings a certain authority and believability to anything she does. But it’s still great to catch her again. It’s impossible to say if ECHO BOOMERS will find an enthusiastic audience; it doesn’t break much new ground, and other than seeing a lot of stuff get smashed up, nothing is all that shocking. But it’s worth a view as a character study of bummed-out millennials doing dirty deeds not so dirt cheap. And maybe a rule should be added to Lance’s list which stops at 10: “You play with fire too much, and eventually you’ll probably get burned.”
(QUOTABLE PICTURES/VERTICAL ENTERTAINMENT (77 minutes; Unrated); 2020)
Our impressions of comic genius Robin Williams over the years came mostly from his manic, unpredictably spontaneous appearances on various late night talk shows, where he was a frequent guest, and from his creatively cultivated movie career, where he proved beyond a shadow of a doubt that he was more than just an inspired funnyman in films such as GOOD WILL HUNTING (for which he won an Oscar), DEAD POETS SOCIETY, AWAKENINGS, THE FISHER KING, the NIGHT AT THE MUSEUM series and many more. Williams had the kind of crazed, full-tilt energy that was hard to keep up with for audiences and fellow performers alike. “He was a constant spark,” says director Shawn Levy in the poignant new documentary ROBIN’S WISH. “I remember many many days when Ben Stiller and I were watching Robin Williams in his head just GO OFF, and that kind of manic, wildly creative bottomless pit of ideas – that mojo, that ability which was like a superpower; I’d never seen anything like it.”
ROBIN’S WISH (Shawn Levy and Robin Williams) (photo courtesy: VERTICAL ENTERTAINMENT)
None of us had, of course. Although other comic icons like George Carlin had the ability to free-associate and connect different thematic threads inventively, Williams was unique in his rapid fire characterizations (often lasting just a few seconds), his physicality and his matchless ability to adjust immediately to a host’s question or an audience’s vibe by veering breathlessly from one comic tour de force to another. Arguably there has never been a comic artist with such an adrenaline-fueled presentation so consistently, and it could wear people out. As the movie makes clear, it sometimes did that to Williams himself. As we learn quickly in this compelling documentary, the culprit for what ultimately preyed upon and then killed Williams was a rare condition called Lewy Body Dementia, an insidious brain condition that has no cure. Williams never knew he had it.
ROBIN’S WISH (Robin Williams memorial outside his home, 2014) (photo courtesy: VERTICAL ENTERTAINMENT)
“Lewy Body Dementia is particularly tragic in the way that it increases anxiety, increases self-doubt, causes delusions and misbeliefs that have never been present,” one of Williams’ main physicians explains. Robin’s wife, Susan Schneider, our primary “guide” for the downward journey we see the icon take in this well-realized doc, adds “When someone gets sick like that, it’s so confusing. It’s not their heart that’s sick. It’s the mainframe. It’s the computer. That’s very different.”
ROBIN’S WISH (Susan Schneider-Williams) (photo courtesy: RICHARD CORMAN)
Williams started showing signs of difficulty a couple of years before his death by suicide in 2014, an event that shocked the entertainment world. We hear from many of his close friends and colleagues in the movie such as Rick Overton, Mort Sahl, Shawn Levy (producer/director of the NIGHT AT THE MUSEUM franchise) and David E. Kelley (producer of Williams’ final TV project, THE CRAZY ONES, in which he co-starred with Sarah Michelle Gellar). All pay tribute to his love of performing and his boundless comic gifts. There’s a poignant segment on Williams’ close friendship with the late Christpher Reeve, and a spirited chapter on the LA comedy club the Throckmorton, where Williams began showing up for legendary, well-attended improv nights. Some of his colleagues talk about how difficult it was to even keep up with his energy. But some noticed him slowing down or starting to not show up. “There’s nothing sadder than when a comedian is by himself,” says one upon describing seeing Williams sitting alone one day.
ROBIN’S WISH (Susan Schneider-Williams and Robin Williams) (photo courtesy: VERTICAL ENTERTAINMENT)
Something was very wrong, and the tragedy this film makes so clear is that Williams simply couldn’t understand what was happening. Directors such as Levy describe how the actor would need to “check” if his work was okay, needing more and more reassurance. He took it personally, thinking he was losing his talent or ability to focus when in fact the truth was more insidious. Susan Schneider, who tears up and talks about how she and Williams met, how much they were in love and how gradually the change happened, makes the tragic elements of the story abundantly clear. “We had unknowingly been battling a deadly disease,” she says, “one of the worst cases they’d ever seen.”
It’s a marvel to see Williams doing voiceover work for some of his popular animated characters, and an eventful trip he took to entertain troops in the middle east ends up being unbearably sad. Williams had the proverbial heart of gold; he was a deeply empathetic person, wanting to make a difference to others while sometimes barely being able to reign in the untameable talent he possessed. For all the incredible work he did in his career, 63 seems far too young to be his age at death. He surely had much more to give, and though the film alludes to past episodes of substance abuse, it’s made clear that he was “sober, not on drugs” before he died. The film does a fine job of balancing observations of Williams by those who knew him best, with the need to explain about this bizarre “Lewy body” disease and the awfulness of debilitating brain disorders in general. Be warned that the grief and sadness hold more sway in this doc than the celebratory aspects of Williams’ talent, which you can find elsewhere. ROBIN’S WISH is an examination of a tragedy, an unexpected shutting of the doors on one of the most promising comedy and acting careers of all time. Director Tylor Norwood keeps matters close to the heart throughout, and gives us probably the most personal look we’ve ever had at Williams. If you’re prone to tears, you may want to keep the kleenex box close at hand while watching this movie. The degree to which Williams honestly CARED is the strongest impression you come away with. And you won’t soon forget the moment that Susan finds a scribbled note in one of her husband’s books after he died. It says, simply, “I want to help people be less afraid.”
(GLOBAL DIGITAL RELEASING (78 minutes; Unrated); 2020)
If a movie primarily consists of talking, and mostly features just two or three characters, a few things are essential. First, those characters should be distinctive and somewhat charismatic. Second, the thematic material covered should be compelling and fresh in some way. Third, the film needs to be shot and lit effectively. The little indie film TWO WAYS TO GO WEST gets about 50% of each of those categories down effectively. It looks good; everything is pretty sharp and clear, and the many, MANY closeups of the three leads help us get to know them and form at least some kind of opinion.
TWO WAYS TO GO WEST (Drew Kenney, Paul Gennaro, James Liddell) (publicity still)
Those characters, Gavin (James Liddell, who also wrote and produced the film), Marty (Paul Gennaro) and Shane (Drew Kenney) portray old school chums who have loads of problems and are not too happy with each other for most of this movie. Gavin is a struggling addict who’s made some movies; one of these gets some attention early on in a discussion and we even see a poster for that film, a nice touch. Marty is the most organized and proactive of the trio; he’s trying to put a small bachelor party together for Shane but finds himself appalled by the behavior of his two chums. Shane has a fiancé that he’s struggling to commit to. Gavin is sort of involved with a Las Vegas dancer named Addison (Levy Tran), who is from the Philippines, is covered with tattoos, but seems to have the most common sense of all of them. So about those three essentials: the characters are “sort of” distinctive, and certainly physically appealing and masculine, but they don’t reveal much depth. They say a lot of abrasive things to each other over and over (“What’s wrong with you?” is a recurring line, and “You always take everything much harder than everyone else” is a charge leveled at Gavin), express disapproval, and talk about women – a LOT. Gavin is fighting the drug thing with only partial success. We don’t necessarily get much insight about his habit, but we DO see that he’s giving it his best shot not to go under. Shane tends to be selective in what he shares, and it’s revealed that he slept with someone important to Gavin in the past. There is some bad blood. Marty is really disappointed in his pals, to say the least, and has little faith that they will ever be there for HIM, in ways that he tries to express.
TWO WAYS TO GO WEST ( James Liddell, Paul Gennaro, Drew Kenney) (publicity still)
So about that “thematic material” I mentioned? Well, “flawed male bonding” is the biggest take-away (including disappointed expectations of old friends), with the way relationships with women can impact things through the years. And also, cinematically speaking, the tensions, laughter and nostalgic asides that emerge in intimate, sustained conversation with those you think you know best. There are some believable dynamics and fast-moving discourse in this film, but it also gets tedious at times. You wait for a big revelation that doesn’t really come. By the time the film leaves the dark apartment where most of its “plot” takes place, and you get to see Marty in an actual diner talking to a sympathetic waitress who has a darkly funny story to tell (this story gives the film its name), the effect is oddly refreshing and memorable. And it helps set up a final conversation between the three friends that does have something to say about the passing of time, the possibility for change, and the ability of those we care about to face up to mistakes.
The film doesn’t quite earn any big emotions, and none of the three leads seems like someone compelling enough to imagine being old friends with (although they all try pretty hard to create real-life multi-dimensional chums convincingly). But as a talkie type film, it’s at least above average, and both the movie and its stars look plenty sharp, even if the emotional content goes flat at times. TWO WAYS TO GO WEST is directed by Ryan Brookhart, who does enough with his camera and perspective to make me think he’s got a promising future in character-driven films. He’s also chosen excellent country songs (including a couple by Suzanne Santo) to begin and end his little opus.
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.
On paper, SLEEP NO MORE (also known as 200 HOURS, the working title) looks like a cool, ingenious sci-fi thriller; in fact, I was kinda hyped to check it out. I can’t say that the viewing experience made me wanna dig my eyes out (a not-so-veiled reference to an early event in the flick) but… I can tell you that the basic plot, cliched storytelling, unlikable characters and flat, cardboard acting (by some very good actors, by the way) left me feeling that I had just wasted an hour-and-a-half of my life.
SLEEP NO MORE (Stephen Ellis, Keli Price) (publicity still)
So, here’s the premise: The year is 1986 (or thereabouts) and a group of grad students are taking part in a “sleep study” at a prestigious university somewhere (they’re ALWAYS somewhere, aren’t they?). The study theorizes that if one can go 200 hours without sleep, that person will reach “lucidity” and will be free of the constraints of sleep. All of this, of course, is dependent upon an experimental drug called cogniphan. When one of the test subjects (played by Lukas Gage) goes off the deep end, the funding for the project is rescinded and the plug pulled. As this happens right before summer break, the remaining subjects, wont to abandon the study volunteer to remain at the research facility for the two weeks necessary to obtain “lucidity.” Dale (Stephen Ellis), one of the four, is leery of staying on after witnessing the gruesome end of their fellow guinea pig but, having the hots for Holly (Christine Dwyer), decides to stick around and becomes the group’s control subject. The dominant force among the students, Joe (Keli Price), is – to use technical terminology – schtupping Doctor Ella Whatley (Yasmine Aker), the faculty advisor, so he doesn’t fall to the circumstantial evidence that she may have – uh – exaggerated the truth about animal tests that may or may not have been used to further advance the testing into human territory. And, from there, things become a bit murky.
SLEEP NO MORE (Brea Grant, Keli Price) (publicity still)
Seemingly, the only semi-intelligent scientist in the bunch is Frannie (Brea Grant) who lays her cards on the table, folds her hand and gets the heck outta Dodge after Dale accidentally ingests a vial of the no-dose drug. Everything and everyone begins to devolve from that point. Of course, she’s pulled back into the insanity by Joe mere hours before his scheduled “lucidity.” Why? Because the hallucinations that they all experienced turned out to be real manifestations from the dream world, ticked off that they ain’t got nowhere to go what with no one doing any sleeping. Makes sense to me. I mean, I tend to get very cross if I don’t have anybody to play with for a few days. Anyway, without blowing the ending for you if you’re still interested in sitting through SLEEP NO MORE, I’ll just say that there is no happy ending here. That phrase actually has a dual meaning here. Hopefully, the first is rather obvious from my brief descriptions; the second, however, comes from the fact that the ending leaves things wide open for a sequel. I can honestly say that I would have to be severely sleep-deprived to sit through another one of these things. But, I’ll just leave this trailer right here so you can make your own decision about watching (or not watching) SLEEP NO MORE:
The movie is available on DVD, Video On Demand or as a digital download. It does feature some harsh language, several graphic scenes of violence, the usual gratuitous nudity (via a video of an obscure slasher movie from the ‘80s) and equally gratuitous 1980s British pop confectioneries. You have been warned!
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.
The much anticipated thriller from filmmaker Alejandro Amenabar makes its DVD and Blu-Ray – as well as digital and On-Demand platforms – debut on May 10, 2106. The film is set in 1990, as a Minnesota youth, Angela (Emma Watson), accuses her father of sexually abusing her as a child. Detective Bruce Kenner (Ethan Hawke) investigates the girl’s allegations and becomes embroiled in tales of repressed memories and Satanic rituals. The palette of this movie is suitably dark and, like Amenabar’s genre-hopping classic, THE OTHERS, the twists and turns here keep you guessing. The plot features elements of horror, crime drama and psychological thriller all rolled into one, as first Angela, then her father begin to remember a past that may or may not be real. Hawke is at his brooding best as Detective Kenner, while the rest of the formidable cast (including David Thewlis) are swept along in his vortex. Watson is doing her best to move past her HARRY POTTER character, as she chooses roles that are far edgier than the sweet Hermione Granger. Just watching the trailer, I’m not sure this will earn her any new fans (or convince her longtime fans that she is anyone other than Hermione). Time… and a full viewing of REGRESSION… will tell.
(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: