FRANKENSTEIN VS THE MUMMY

THE SETUP

“Frankenstein Vs The Mummy” is the second full length feature from New York based writer/filmmaker Damien Leone, who had previously made the Horror film “All Hallows Eve”. Frankenstein Vs The Mummy follows college professor Victor Frankenstein (played by Max Rhyser) who is trying to balance his life involving secretly carrying out experiments trying to regenerate dead tissue, while at the same time attempting to keep up a personal relationship with Naihla Khalil (the lovely Ashton Leigh), a work colleague whose doing her own study of the mummy of a cursed pharaoh. As Professor Walton (Boomer Tibbs), head of the research department conducts his own analysis of the mummy and Victor takes his corpse to the next level, all hell breaks loose in the university as a showdown between creations ensues. The film also stars Daniel Rodas, Brandon deSpain, Robert MacNaughton and Constantin Tripes.

THE GOOD

The tale of Victor Frankenstein is hardly an original one, it’s been retold in various ways or style for many years. In Damien’s film, the core character and his rationales remain the same but they’re made a little more interesting by the inclusion of a mummy, as well as the excitement of a head to head. It put’s a very different twist on a classic story, that lately has become quite stale. I really dig the film’s artwork and it’s “Freddy Vs Jason” inspired hybrid. Most of the camera work and shot choices look good and the audio is relatively consistent. This is a low-budget film with minimal locations so cinematographer, George Steuber should be commended for his ability to make the film look interesting while it’s playing out in confined spaces. I noticed that all the scenes that take place in the basement of the medical facility, looked very similar to those in Leone’s earlier film. I thought that aspect was a nice touch, I believe his mother works at a hospital so the basement doubles up and acts as a cost-effective set. The soundtrack was a bit hit and miss for me. The best piece of music was a nice piano ballad that played during a conversation in the car between Victor and Naihla. Overall the score needed to be more upbeat and intense. It’s clear that Damien did his research and spent a lot of time on the script, all the dialogue is well written and most of it realistically articulated. No one can accuse it of skimping on exposition either, which is something these types of films are usually guilty of. I didn’t Google information or history on Pharaohs or Mummy’s after watching the film, so I can’t verify with absolute confidence that everything in the story is fact but I was pretty well sold (haha).

It’s refreshing to involve yourself with two really likable lead characters, both of whom are played pretty well by Rhyser and Leigh. They had quite a natural chemistry together and seemed to be having fun. With the exception of a couple of downplayed reactions spread out over the running time, I was genuinely impressed by the duo. Max doesn’t seem like the obvious choice for Victor but ends up carrying himself pretty well. I wasn’t expecting such a brutish figure, I thought that kind of character called for someone far more meek. I’d seen Ashton Leigh in two other films called “Demonic” and “Swamp Shark”. I wasn’t a huge fan of either of the films but her performances were consistently good. Some of her scenes here were very impressive. Her character was the most emotional player and her performance hit the mark when it needed to. The remainder of the cast do their bit but the surprise packet was the janitor, who was supplying and blackmailing Victor with the organs needed for his research. I searched long and hard but the actor doesn’t seem to show up anywhere, nor is he listed/credited for the film. His performance reminded me a lot of Dwight Yoakam’s character Raoul, in David Fincher’s “Panic Room” (a favorite of mine). That controlled type of crazy, crossed with a moment or two of unpredictability made him an enjoyable character to watch, so kudos.

This is a clear deviation from the Suspense/Gore based horror that was the focal point in All Hallows Eve, none the less Damien showcases his talent for practical effects yet again. Given the budget the creature effects (for lack of a better word) looked pretty solid. Though it seems that the attention to detail was more of a focus on the mummy than it was on Frankenstein’s monster. The way he was wrapped, the texture of the symbols on the hard exterior and the mask which I assume was latex, all looked authentic. On the other side of the coin, the monster was far more effective when seen in the shadows than actually on-screen. He ends up looking like a rushed version of The Crow meets “Victor Crowley” (the madman from the Hatchet films). I’ve gained a fair bit of insight into how difficult a number of things can be on an independent film, so I have a different outlook on those things nowadays. Knowing Damien, I assume it was a hiccup involving budgetary or time constraints because his work is usually of the highest quality. The opening action sequence looked great, it didn’t hit until about thirty minutes in but it’s well worth the wait. There were a couple of pretty brutal kills, one in particular but I don’t want to spoil it. All the gore effects and gags were done by Damien himself.

THE BAD

Some of the lighting was the only technical aspect that I could find fault in. A big part of the reason the film might appear on the low-budget side is due to poor or insufficient lighting. It’s not quite as bad as “Frankenstein’s Army” (possibly the biggest squander of potential for success), which was another low-budget film containing cool monsters, where the crew basically failed to light a single scene appropriately. With the amount of time Frankenstein vs The Mummy’s spends in labs, corridors and basements, is it any wonder how difficult it is to showcase quality aesthetics. They don’t make for the easiest locations to light realistically, but even conversations in the car and altercations at the house are far too dark as well. During some of the last scenes there’s some obvious imitation, CG fire which doesn’t look great but because it’s not a huge Hollywood film you can let them off the hook. I also have to mention a sequence involving the Janitor and a homeless man. It’s essentially straight out of American Psycho (in my top 10 films of all time), not that there’s any real issue with that other than it automatically takes me out of the film and into something else I prefer. The way in which the film opens clearly foreshadows some of the problems that will arise between the Janitor and Victor. I liked the first half of the Janitor’s narrative but then things got a little foolish, that could have been written in a better way.

There’s only really one conversation throughout the film which wasn’t entirely accurate and it involves Naihla and the Detective. Shortly after the officer has questioned Professor Walton about the whereabouts of one of his students, he asks Naihla a few questions. After they are done talking, she asks him “What exactly did he say to you” (meaning Walton), and the cop proceeded to tell her. By law, he wouldn’t be allowed to divulge any information regarding what was said by any of the witnesses or people questioned regarding the investigation so that’s a bit of a goof. The biggest aspect hurting Frankenstein vs The Mummy is the extended running time and its ponderous pacing. The story is quite slow to get to any real action so for those of you who are waiting for that inevitable confrontation between the Monster and Mummy, you might like to know you’re in for a wait. As far as payoffs go, it will depend entirely on what you expect to see in a Creature/Horror flick made for under $100,000. The battle isn’t exactly Freddy vs Jason but what we do get to see looks pretty cool and again highlights Damien’s experience at more than one facet of film-making, I thought it was fun.

I’ve done my best not to be biased when it comes to Frankenstein vs The Mummy because it’s Damien Leone, but in the end I had fun with it. It isn’t the best monster movie you’re likely to see but it’s a far cry from the worst. The technical aspects, the standard of writing and the thoroughly likable characters played by competent actors/actresses, make it a much easier watch than it probably should be. Even though the effects were a little more scarce compared to Leone’s previous work, they were just as bloody and impressive. The monster designs were at the forefront of this unique blend and that made for a nice change of pace. It’s the sour note involving a few revelations in the story and the slow-burn movement towards anything resembling action that stifle the film. Running 114 minutes long, only about 6 of which are spent on the supposed climactic battle between monsters, you can’t help but feel a little cheated. Damien could have tidied this up and done away with some of the over analyzing of information and shortened what felt like some real-time sequences and instead given us more of these larger than life creations going head to head, after all that’s probably the reason you’d watch a film called Frankenstein vs The Mummy isn’t it?

My rating for “Frankenstein vs The Mummy” is 5.5/10

SHE KILLS

THE SETUP

Ridiculously overgrown mustaches, uncontrollable diarrhea, kung fu, randomly placed film references, a killer vagina with dentures and fake male appendages a plenty are on display in Director, Ron Bonk’s latest film “She Kills”. It’s an homage to Exploitation and Grindhouse films of the 70’s. I just want to say thanks to Ron for giving me access to an online screener of the film prior to its official release, I really appreciate it. She Kills is a story about Sadie (played by Jennie Russo), a free-spirited young woman whose just gotten married to her sweetheart Edwin (Kirk LaSalle). Shortly after checking into their honeymoon suite at a local motel, Edwin is viciously murdered by a gang called “The Touchers” and Sadie is raped. The group are led by Dirk (Trey Harrison), a self-proclaimed ladies man sporting preposterously long facial hair. After Sadie is assaulted she discovers a dangerous secret about her body, she’s cursed with a condition called “fire crotch”. An exorcism of sorts gone wrong unleashes Satan’s control over her genitalia and all hell breaks loose in this blood soaked, bat shit crazy revenge flick. The film also stars Michael Merchant, Jody Pucello, David Royal, Martha Zempsta, Niecy Cerise, Mateo Prendergast and Matt Mendoza.

Prior to watching the film I saw the trailer so I knew a bit about what I was in for. I’m quite fussy when it comes to the grindhouse cinema especially if the cast/crew don’t have much money or experience, because it can be a hard sell. She Kills was made for an estimated $8,000, so how does it fare against the films it’s mocking?

THE GOOD

Even though I’m picky about these types of films, I do like a good throwback or homage to an era gone bye, when it’s done right. The poster looks like something you’d see for a 1970’s film, the retro and hand drawn designs are making their way back and I for one am glad. The introductory credit font and the recognizable static, film reel approach are both well conceived. Music is the big one for me, in most cases there’s some good and some bad. I’ve written and recorded music for over a decade, but it wasn’t until I became more interested in film that I realized how important it is in aiding to express a certain emotion. The soundtrack for She Kills is incredibly eclectic. For example, the opening piano composition as Sadie is innocently frolicking in the meadows, conveys her purity and easiness with which she carries herself. The scenes that ensue in the motel room become heightened in intensity and the music shifts accordingly, we get to hear some propulsive low-fi synth that builds until the scenes culmination. The latter part of the film has a couple more ballads as well as a complex song that drives the action, it’s made up of several different sounds and was the best aspect about that particular scene. Ron’s camera work and shot choices are a little more modern than you might expect in a film spoofing the 70’s but everything looks great regardless. The gentle zooms help highlight the voyeuristic nature of “The Touchers” (possibly the lamest gang name to be conjured up haha).

All of the dialogue audio is loud and clear, the intentional syncing issues surrounding the ADR (additional dialogue recording) were quite humorous. For those of you who don’t watch much of the genre or maybe this film is your gateway in, delayed dubbing was all the rage in the 70’s and 80’s. Some of the flashes of discoloration are another clever nod to films like “I Spit On Your Grave” and “Bring Me The Head Of Alfredo Garcia”. I also enjoyed some of the sound effects on display. The harsh jarring sounds in the opening act were straight out of something like “The Warriors” or a 50’s gangster film. Much like the dialogue audio, they had silly timing issues during impact hits in fight sequences (on purpose). The amount of comedy is obviously subjective, it will depend entirely on your sense of humor and what you might be expecting from a film this moronic. In my opinion it’s a mixed bag. The best parts involved Sadie’s Asian father, yes you heard me Asian father and his interactions with her half-brother Chung Lee the third (even reading that back has me going haha). Both dialogues were severely delayed, like something out of a Shaolin Kung Fu, TV show and made for a good amount of chuckling. The other was a simple “I’ve got my eyes on you” gag as Dirk leaves the motel room at the end of the first act, I knew how it was going to play out but it didn’t stop me from laughing my head off.

Jennie Russo playing the protagonist, has the difficult job of carrying this enigmatic mix of puzzle pieces but handles things pretty well. It helps that she looks like a young woman out of the 70’s and can also be likened to actress, Amber Tamblyn. Russo plays things sprightly, never losing sight of what this thing is actually about. There’s a handful of nude scenes that will be to the liking of the male audience, hell maybe even some of the female audience as well because let’s face it Jennie looks great. I’m not sure what to make of Trey Harrison’s portrayal of Dirk, I’m thinking Bonk probably told him to act as absurdly as he possibly could and in that sense he succeeds. I’m sure the Actors/Actress playing The Touchers are probably just giving their best with what’s written, but I’d imagine a lot of audiences aren’t going to like the absurd nature everyone airs here. The characters were just to exaggerated to take even remotely serious (the intention I’m sure), but in a situation where you’re supposed to be acting menacing it doesn’t really identify. Michael Merchant as Reggie, the “greaser” stereotype is the only other member of the gang that makes an impact when he’s on-screen. His “Hey Boss” thick New York accent was played up big time and accentuated how much of a schmuck he was. The characters of Poodle, the hispanic guy who just laughs for no reason, Blue, the childlike, mentally challenged oaf and Beatrice the leather sporting loudmouth don’t get the same stretch to display much of an arc.

What little back story there is shines through pretty clearly but I still would’ve liked some clarity regarding the mysterious, mask wearing Reaper who pops up from time to time. I’m assuming his evil ways or sorcery powers and what not are what set’s Sadie on her path of destruction. I can only say that because otherwise it’s just a random guy in a cheap, dollar store mask. The inclusion of a very short scene involving miniatures was completely out of left field but hilariously entertaining all the same. A re-enactment of a scene from “Batman Begins” is even thrown in for good measure, just encase you were thinking “Oh, that’s not so odd”. Don’t ask me the point of any of these little Easter eggs, because it should be clear by now that I don’t know. Lastly I want to commend Colby Flinchum who did a really solid job of the special effects. As previously mentioned, it’s less than a $10,000 film yet the practical effects are nicely executed. It’s all very cheap looking but ambitious none the less, you have to applaud the effort when so many other films don’t even try. I don’t want to spoil all the good stuff but my favorite kills involved a castration (of sorts) and a full head/face being smashed and ripped open and it looks marvelous! If that’s not enough for you, the last gag is particularly impressive because it switches from some shoddy CG, to an Actor physically inside latex material with his head hanging out of the top. It’s brilliant to see a crew even attempt something like that practically. The final swallow, bravo (haha) that’s all I’m going to say, bravo.

THE BAD

I’m over 1,300 words into this review and I haven’t even started on this section yet, so I can say this much about She Kills there’s a lot to cover. A lot of the dialogue in places is quite poor. Sadie’s dumb blonde shtick didn’t really gel with the character, given her strong nature and what she’s able to overcome as the film progresses. The relentless euphemisms for vagina become a bit much after a while, I get that these kind of films are linguistically crude but it feels a little played out. There are a few continuity issues here and there, but not anywhere near the amount one would think in a film with this type of budget. Edwin get’s a knee to the face while being attacked by Reggie but there’s no cuts or gashes during either the impact shots, or the frames that follow. There’s a moment involving some irregular stock footage of police and emergency services driving down a road (probably played for laughs, just incredibly odd). Considering most of the effects were done practically and looked great, you can imagine my surprise when I saw a lot of poor CG, blood splatter scattered throughout the final act. Knowing what indie films can be like, it was probably due to time constraints or budget but I just thought it took something away.

I found the biggest problem with She Kills is not that it’s so damn crazy, it’s that it’s not controlled craziness. It lacks direction and at times loses its momentum all together. It begins with a clear setup and opening sequence, only to then linger in no man’s land for an extended period. The Touchers start acting like cavemen and monkey’s for reasons completely unknown, and aren’t ever really made clear to the audience. What follows is an incredibly inaccurate rape sequence that lasts far too long, with actors and actresses giving the most farcical facial expressions one could make while performing that action. If it was played for shock value I could understand but it ends up looking and feeling incredibly awkward because everyone except for Russo is fully clothed. Don’t get me wrong, these people are all horrible human beings but it’s hard to justify what’s ultimately a revenge film if you can’t sympathize with that supposed anguish, and I just didn’t feel it, it wasn’t authentic. Then again, the film shifts this time to Sadie’s half-brother and their father in what has to be the dumbest fight sequence ever written (clearly for laughs), although this viewer didn’t get much out of it. There was the odd laugh but it felt like it lasted about twenty minutes and lost whatever the desired effect was.

The next time we see Sadie she’s got a painted face, reminiscent of Brandon Lee in “The Crow” as she enters a bar that The Touchers regularly frequent. After already having endured an earlier bar sequence, where a painfully long musical number played on the jukebox as the group danced to it in real-time, I’d had enough. This slow motion sequence had a mellow acoustic guitar accompanying it, while everything else in the film was muted. It’s not something that would normally be done in a film like this and didn’t fit the tone of the scene either. It’s a bunch of these types of scenes where the film loses its way. The visual effects during the “exorcism”, for lack of a better word are about what you’d expect to see in a film made for under $10,000. They’re pretty hokey but with a driving soundtrack complimenting the scene, it saves face somewhat. The points I have made here are mostly in regards to what I like to see, as I already mentioned these aren’t really my specialty and hardcore fans of the genre are probably going to be okay with the films shortcomings.

I’m not sure what to make of She Kills but it was by far in a way the most outlandish and resourceful entry into the Grindhouse/Exploitation genre that I’ve ever seen, and for that alone it should be lauded. The visual approach mirrors some of the classic films. The self-aware audio issues are a hoot and a mix of wonderful music top off what is a technically polished product. Some of the humor was spot on and all the little random gimmicks that were built-in, made it all the more entertaining. The cheap and cheesy, blood and gore effects couldn’t have been better they eclipsed some of the average visual effects and shoddy CG blood, so that was nice. Some of the rehashed writing, sloppy direction and loss of momentum end up hurting the film’s re-watch ability factor (at least for this viewer). I’m not sure the chipper and jubilant style of acting worked either but each to their own. In addition, there’s some problems with continuity and the assault sequence wasn’t at all what I expected. However, keep in mind this is an $8,000 film and I think true hardcore fans of the genre will find even more to like about it than I did. I look forward to seeing future films from Ron Bonk and his crew, be sure to keep an eye out for this one because it’s coming soon!

My rating for “She Kills” is 5/10

LOST AFTER DARK

THE SETUP

I first heard about Ian Kessner’s, Slasher film “Lost After Dark” about a year ago. It’s a Canadian made film and clearly an homage to slasher films of the 80’s. A group of teenagers decide to borrow a school bus, skip the dance and head to a cabin for a weekend of partying. Their road trip is quickly short-lived after they break down near an old and decrepit farmhouse. They split up into pairs and head out to try to find help, little do they know a cannibalistic madman is lurking nearby hoping to add the kids to his sacrificial shrine. The film stars Jesse Camacho, Kendra Lee Timmins, Elise Gatien, Justin Kelly, Stephan James, Eve Harlow, Lanie McAuley, Alexander Calvert, Mark Wiebe and Robert Patrick.

THE GOOD

Kessner’s film definitely isn’t the first modern film heavily inspired by Slasher’s from the 80’s. Sure the teens in the woods, madman on the loose premise is a pretty formulaic one. Saying that, there’s a reason it works. Most fans just want consistency and this familiar concept is nothing if not consistent, the reason we continue watching these types of films is because we know what we’re in for (for the most part). Even though I enjoy that 80’s look and feel, whether it be the clothing or the music maybe even just the nostalgic appeal, I still enjoy watching how far the acting and effects have come these days. Ian’s camera work in Lost After Dark is simple but productive, the shot choices often highlighting the intended 80’s aesthetics. The audio is loud and clear and a majority of the scenes are sufficiently lit. A film entirely set at night, as is this one (for the most part) can be difficult to balance the amount of light you use. Some of the internal shots throughout the second half of the film were quite dark, I would’ve liked to have seen a bit more of the set design because what I did see looked cool.

It’s a rarity to find more than one character to root for in these types of films. The writing often only caters to a specific character you know is probably going to end up at the center of the crisis. Lost After Dark gives us the cliché’s we’ve come to know and love, while at the same time managing to make everyone somewhat likable in their own way. It’s a welcoming nod that the names of the teens here, correlate with different people associated with past films in the genre. Adrienne (played by Timmins), is the play it safe, sweet girl who begrudgingly hosts the weekend getaway in a desperate attempt to fit in with the popular kids namely Sean (Justin Kelly), the guy she has a crush on. Wesley (James), is the more mature of the guys but that’s not saying much. According to the beautiful Jamie (played by Elise Gatien) he’s a bit of a player. Johnny and Heather (played by Alexander Calvert and Lanie McAuley), play the token rich kid with connections and the princess dumb blonde. Rounding out the group are Tobe, the nerdy out of shape stoner (Camacho from the underrated “12 And Holding”) and lastly, Misfit/Rebel Marilyn (played by Eve Harlow from TV’s “The 100”).

The facet I enjoyed most about this young group of actors/actresses was the natural chemistry they all shared. I know some of them worked together on the TV show “Degrassi”, but they all managed to convey the dynamics of their characters friendships quite well. All the girls respective characters had such different personalities, each likable for different reasons. Majority of the acting feels real, often towing the line between Drama and Comedy, but never takes itself so seriously. Most of the dialogue is well-written, profanity only included where necessary and the films light-hearted moments normally on display at the right time. Ian opts to take the path less traveled where certain revelations are concerned. There were a couple of characters whose arcs contained unique surprises that I definitely didn’t see coming. I thought Tobe (played by Camacho) had the most interesting and entertaining character arc out of all the teens. He delivered some well-timed, comedic relief and acted quite the fool who had a crush on the girl he knows he probably can’t get. For a nerd he’s quite cool, even Marilyn says so.

The first part of Lost After Dark rings true to the Slashers of old, by not containing much Action but still getting in a couple of early kills to help set the tone, although one of them is off-screen and the other is fairly generic. As the film progresses, the body count starts to rise and there are some more on-screen deaths, albeit only briefly shown. The effects were done practically and look pretty solid. A couple of the highlights involve a post hole digger and a makeshift wooden weapon. I just want to quickly mention “Terminator 2 Judgement Day’s” Robert Patrick, who plays the war vet/ high school principal Mr Cunningham. He’s a welcomed addition to the cast and he had some fun isolated dialogue, I just wish he had of featured a little more often.

THE BAD

Music is key in most films, even more so when it comes to re-creating the 80’s. We’re talking about a point in time where some of the cheesiest songs, written by one hit wonders found their way to the top of the charts. The soundtrack for Lost After Dark was very disappointing as were the references. There’s only one or two shots showing the kids listening to an old-school, boom box style radio with a cassette player attached. Even then the songs are very low in the audio mix and you can barely make out what’s playing. A couple of passable muted pop songs aren’t enough to satisfy me, this is supposed to be the 80’s, Where’s the synth? You can’t make an 80’s inspired film without synth that would be like pancakes without maple syrup. I could forgive it to some degree if the soundtrack played much more frequently than it does. The sound effects are just as plain as the lack-lustre score. For the most part it’s a generic, low-key violin mixed with your simple three note piano score. It’s only in a few more of the climactic chase scenes that the score manages to rise to the occasion.

The faux, 70’s style grindhouse aesthetics placed throughout certain points of the film are a distraction. The combination of using static blemishes and missing reels feels far more suited to channeling a low-budget, SOV (shot on video) film than it does in this. Most hardcore genre fans will be disappointed in the lack of sex/nudity in Kessner’s film understandably so, personally I wasn’t bothered by it each to his own. Lost After Dark takes its time getting to the good stuff and that can be problematic if that stuff is rather ordinary. The second half of the film contains some fun kills but they’re fleeting, there’s no lingering for suspense, no time spent building any level of fear. Our heavy coat wearing madman has very little that’s distinctive about him, other than a fairly rotten set of teeth. We only know he supposed to intimidate us because he’s big, it’s not because he’s all that menacing. If the “Axeman” killer and Fisherman, Ben Willis from “I Know What You Did Last Summer” had a cousin it’d be Joad.

Even though most of the dialogue does aid in progressing the story, it’s still lacking some much-needed punchy 80’s lingo, especially as far as one liners and comedy go. Several lines of dialogue don’t make sense and should have been re-worded to feel more natural. The film’s opening drops us into the 70’s where we see a girl running away from a madman. Now, in hindsight it’s unnecessary because other than giving the audience a bit of early action and a brief glimpse of the killer, it has no context to the Joad character or anyone else in the film. The main problem is that the back story surrounding Joad (Wiebe) isn’t made known until three-quarters way through the film. The audience has barely seen him, we don’t know what he’s been doing for all these years or if there’s a deeper meaning behind it all, we get next to nothing. It’s an extremely long wait to expose information to the viewer that the group already knows. I think it’s Tobe and Marilyn that see the name on the letterbox as they enter the property, yet no one raises this well-known “campfire” legend until it’s crystal clear they’re in his house and all being hunted. Robert Patrick is by far the most experienced cast member here but he only gets a few short scenes to try to make an impact. He’s shown at one of the kids parent’s houses early on, and then isn’t referenced again until the final act. I don’t like seeing that break in continuity that makes you wonder what a character has done during that chunk of screen time (think of any number of “Pretty Little Liars” episodes where characters disappear for ten episodes at a time and no one questions where the hell they’ve been!).

Every film opens itself up to criticism it’s par for the course, Lost After Dark even more so because it’s aiming to model itself on popular Horror films of the 80’s. After waiting for the film’s release for so long I had high expectations, honestly I felt a little let down once the credits began to roll. It’s clear Ian’s got a sound knowledge of the technical aspects and along with (Co-Writer, Bo Ransdell), the ability to write interesting and likable characters while introducing clever twists audiences are starved for. Despite its slightly off kilter pacing and in my mind lack of true bloodshed, the entertaining group dynamics and the practical effects are reason enough to watch and enjoy this one. Something tells me Kessner’s film probably would have worked just as well, if not better in a modern setting. Taking into account its PG nature, the new age discourse and a lack of focus on creating an 80’s inspired synth pumping soundtrack, Lost After Dark ends up somewhat of a miss. It never truly shines in the Suspense or Horror department. With a combination of convenient background information coming to the surface, entwined with the killers generic look, Joad will simply be remembered as just another cookie cutter killer. On top of it all the ending was rather anti-climactic, but that could be because a sequel is on the cards I’m not sure. If you like to kill some time (pardon the pun), with a modern Slasher film this one is still well worth a look. If you er on the side of caution when it comes to Horror, you’d be safer with the old school classics.

Lost After Dark is available to purchase through Amazon.

My rating for “Lost After Dark” is 6/10

INVADERS

THE SETUP

Howdy Pilgrim! I’d just like to say thanks to Writer/Director Jason Kupfer, for allowing me early access to an online screener of his 7 minute, Horror/Comedy short “Invaders”. Prior to entering a wealthy families suburban home, a pair of invaders ponder potential character choices as well as how to proceed with the job. The film stars Ricky Wayne, Jordan Woods-Robinson and Larry Bukovey. I originally stumbled upon a write-up for Invaders and thought it sounded great. I’ve seen my fair share of short films over the last twelve months, most of which have been really polished films so what about Invaders? This is Jason’s third short and it was shot for an estimated budget of $10,000.

THE GOOD

The premise of Invaders is an extremely entertaining one. A deliciously dark comedy done in good nature. We all remember “Home Alone’s” Harry and Marv, the simple-minded buddy duo that could never seem to get it together when it came time to get young Kevin. Our driver and passenger in Invaders are very much cut from the same cloth as the aforementioned. Though I felt a hint of John Hughes’s classic film about it, there aren’t any real references in here. However, a couple of other films are mentioned during the opening lines of dialogue so that was a nice touch. All the shot choices are fantastic so kudos go to both Jason and Cinematographer, Marco Cordero. Everything is expertly framed and crisply edited, those specific shots with a gentle zoom help give the viewer a variety of camera activity to look at.

All the audio levels were clear and though the piano score didn’t necessarily fit the tone, it still sounded nice. Invaders is cleverly written. The funny dialogue and timing of delivery from Wayne and Robinson is what really draws you in (as much as one can be in 7 minutes haha). The debate over choice of mask is hilarious, made even funnier by our drivers inability to focus properly on the task at hand. The importance he places on trivial details is entertaining as hell. I’ll quickly mention the splatter inspired, blood and gore which closely resembles Asian cinema like “Tokyo Gore Police” and “Lust Of The Dead”. The last sequence is brilliant and the household owners method of dealing with the situation is golden! This would be as close to a perfect short as you’ll find, if not for the fact that as the credits roll one character remains upright, when it would be scientifically impossible to do so. I know it was probably played for laughs (I mean I laughed), so I’m going to let that one slide. Now you’re probably wondering where is the bad, there’s always bad right?? Not this time, well almost not anyway.

THE BAD

The way in which a certain character meets their demise wasn’t made as clear as it could have been (at least in my opinion). Upon a second viewing though I got a glimpse of what I had missed the first time around.

Invaders is a superb little short, in fact it’s just about the best short I’ve ever seen. The technical aesthetics are brilliant, the dialogue is fresh and the desired intention is clear  from the. The actors do a great job and the gore effects are almost as good as Chris McInroy’s “Bad Guy #2” see review * https://adamthemoviegod.com/bad-guy-2-review/ Invaders will be online in November so keep an eye out for it, especially if you were a fan of Bad Guy #2. Brilliant work from Jason Kupfer and Co, I can’t wait to see what he does next.

My rating for “Invaders” is 9.5/10

DISMEMBERING CHRISTMAS

THE SETUP

“Dismembering Christmas” is the latest Horror/Slasher from Slasher Studios, the team that brought us the 80’s inspired slasher “Don’t Go To The Reunion” see review * https://adamthemoviegod.com/dont-go-to-the-reunion-review/. About a year or so ago, these guys started an online fundraising campaign for this latest venture of theirs and it was quite the success. I was one of many that originally backed the film and I have to say it’s great to see that it’s finally being released this October. As part of a rewards perk I’m being given a Blu Ray copy of the film, but seeing as it’s not ready just yet this review is based on the online screener sent to me by Producer and Co-Writer, Kevin Sommerfield. Dismembering Christmas is about a group of high school friends some of whom are even siblings, who are heading out to a Vacation lake house to celebrate Christmas. Shortly after their arrival, they’re warned by a local to stay away because supposedly a vicious murder had taken place in the cabin several years earlier. They soon discover someone is out for revenge as the body count continues to rise. The film is Director, Austin Bosley’s first full length feature and it stars Baker Chase Powell, Nina Kova, Johnathon Krautkramer, Leah Wiseman, Danielle Doetsch, Shannon McInnis, Jennifer Lenius, Marla Van Lanen, Scott Seagren and Austin Bosley.

THE GOOD

Right off the bat, a catchy title like Dismembering Christmas has to peak your curiosity especially if you’re a fan of DIY, low-budget film-making. Most fans of the genre are always down for a Christmas themed entry into the genre. Over the years we’ve seen the likes of the “Silent Night Deadly Night” series, the two “Jack Frost” films and of course an oldie but a Goldie in “Black Christmas”. Dismembering Christmas’s advantage is that it keeps everything simple, it’s a one location, small cast simple setup type of deal, and that’s all most of us want to see. The three or four different posters floating around are all impressive and the cabin most of the film takes place in is gorgeous. Some of the holiday theme music was cool, and although the piano pieces were a little out place in their respective scenes, they still sounded nice. I loved the subtle use of bells and chimes that build throughout a few of the more climactic scenes. It aided in accompanying the few small stock sound effects that were used. Majority of the transition between scenes was smooth and the editing was clipped in all the correct places. The quality of light and the crew’s ability to shoot said light was the other triumph on the technical front. All the internal shots are gentle but bright enough that we can see anything important, and the external light is shown using gleams from outside the frame while still maintaining sufficient darkness for the scenes at night.

The camera work and its effective panning is the technical aspect that highlights the production value of Dismembering Christmas. Bosley has worked on some short films and it’s clear that so far he’s learning things the correct way. From the opening frames that roll in at ground level and see someone unpacking presents to put under the tree, to the carefully edited vertical shots seconds later looking over a kitchen table, it’s all very crisp and precise. Austin manages to avoid the inevitable shaky cam moments that often plague micro-budget films. Instead he chooses to tone things back a notch or two by not framing the actors/actresses faces so closely. If my memory serves me correctly, there weren’t a lot of tracking (dolly) shots in Don’t Go To The Reunion, so it was nice to see more of that style implemented here. There was one sequence in particular that involved Lauren (played by McInnis), as she’s running away from the masked killer, where the camera tracks from behind, through the snow, up the stairs and around the corner all in one incredibly well executed take. With only an estimated budget of $16,000, you won’t find a better sequence in the Horror genre than that one.

The standard of writing from Kevin Sommerfield and Steve Goltz, who also worked on Don’t Go To The Reunion, has improved a considerable amount with this second outing. The profanity is far less frequent and the dynamic of the groups dialogue flows a lot better. The cast and their chemistry seemed far more natural than of those who worked on DGTTR, I believe Marla and Jonathon were the only two from this film that worked on the aforementioned. The breakdown of the story goes as follows. Mark Turner (played by Powell) and his girlfriend Katie (played by the gorgeous Danielle Doetsch), are using Mark’s Dad’s cabin to play host to a bunch of friends for Xmas. The group consists of Brother and Sister, Emma and Justin (played by lovely Leah Wiseman and the returning Johnathon Krautkramer) couple Lauren and Travis (McInnis and Bosley), as well as Justin’s lifelong friend Sam (the alluring Nina Kova) and Katie’s friend Claire (played by Jennifer Lenius, one of the most experienced of the cast). Most of the conversations throughout the film revolve around the relationship dynamics of the pairings, and how the “friends” fit in, or don’t as the case may be. When you combine some of the character revelations with a tale of murder, told to the group by a local named Frank Fuller (Seagren), the short running time passes quite quickly. The second half of the film picks up in intensity as we find out who is committing the murders and why (sort of).

Taking into account most of the cast are relatively inexperienced, this group does a pretty solid job. Baker and Jonathon have their moments in a couple of scenes, as does Danielle, whose playing the self-absorbed bitchy girl of the group. It’s really the lovely duo of Leah Wiseman and Nina Kova that grab your attention though. Not only do they both look beautiful, they deliver the two most consistent and believable performances of the group. I realized around the half way point that I’d seen Leah in “Dorchesters Revenge” or “Dollface” as it goes by now *see review https://adamthemoviegod.com/dorchesters-revenge-the-return-of-crinoline-head-review/. Dorchesters was another decent low-budget, indie slasher flick so it’s nice to see Leah getting another role in the genre. I liked her dialogue and the line delivery, the character was very much like your everyday girl making her easy to root for. Nina Kova on the other hand, is a fresh face. Regardless of her only having acted in a handful of short films, I can tell you that she’s already beginning to showcase her talent. Her Dawson and Joey (Dawson’s Creek reference there for those of you who maybe slept through the 90’s haha), will they won’t they seesaw with Justin worked nicely, and really displayed the best side of her character Sam.

Lastly, you probably want to know about the Action sequences and effects right? I don’t want to spoil anything for those who haven’t seen it, but I can safely say it delivers on my number one rule of always including the early kill to get the audience engaged. Two of the deaths were pretty inventive and nicely established. One involving a decoration and the other a popular snow item. The finale was a good payoff and it’s where most of the red stuff flows, you’ll be happy to know that everything was manufactured using practical effects too. If you watch the film that much should be clear, especially for fans of the genre but if not, keep a look out for a glimpse of the tubing that’s used to pump the blood. Ordinarily I would take issue with seeing something like that in the frame and say it’s lazy, however a couple of goofs here and there are to be expected when you’re working on such a small budget and limited time, I found it amusing all the same.

THE BAD

You’ll notice throughout my reviews I place a lot of emphasis on audio levels. Now I didn’t discuss them in this film, because I watched it on my computer and my speakers already have audio issues. Taking that into account I did notice there were a few inconsistencies, which often depended on how closely the actors were framed but for the most part, everything was fairly loud and clear. The Blu Ray will allow me to make a more informed judgement of that facet. A handful of external shots in the snow were problematic due to the sun being in the worst spot. I don’t know how much color correction was done on the film but the lighting was irregular from one frame to the next, especially during the sequences with Frank Fuller. Some shots the actors faces had a beam of light bouncing off them, the camera angle would change and then in the next frame it would be on the opposite side or removed all together. It’s a nit picky thing I know, given that this is a $16,000 film and I realize that, it’s just something I noticed and thought I’d mention. Some of the background music wasn’t the best or if it was a certain style of music it didn’t fit the moment. The songs I didn’t like became a distraction, the film may have benefited from incorporating some synth to help build the overall suspense instead.

I understand details of the talked about murders needed to be exposed in one way or another, but the inclusion of the local neighbor Frank was a dead-end. His interactions with the group felt forced, Mark and the girls reacted as though they knew who he was, didn’t ask any questions and just started carrying on a conversation with him. I suppose  ultimately it led them to becoming aware of what had taken place in their cabin, I would have just preferred it was uncovered via newspaper clippings or something similar to what Sam and Justin discover in the last act. The stuff with Frank ends up just being filler that adds to the body-count, he’s written out without any on-screen warning or a reference through dialogue. Unfortunately I don’t think Scott Seagren was the only person grasping at straws here because Marla Lanen as neighbor Joan, fell well short of her mark too. Her first conversation comes about with members of the group while they are unpacking the car. It felt stiff and rehearsed and not at all convincing (maybe partly on purpose but I’m not sure). As the film went along I noticed she failed to really project any personality. Regardless of what type of character you write, they have to possess certain qualities that make them watchable otherwise it just doesn’t work, as is the case here.

The first couple of deaths didn’t have the most fluent or rational setups either. I was thinking hey the killer would never make himself known in that way, and if you were approaching someone you didn’t know you’d probably be a little wary etc. A few small changes in the writing could have tidied some of those plot points up. It’s hard these days, in fact it’s almost impossible to devise an original look or feel of a killer because everything has been done before. Our mystery madman here is a cross between Leatherface and the Leatherface look-a-like from this years Slasher “Girlhouse”. I’m not sure if this film was conceived before the aformentioned but it’s difficult to not draw a comparison. That alone is not reason enough for me to disparage or denounce the film, but the lack of originality goes without saying and you have to critique that portion of the film accordingly. The only two aspects that took me out of this one were the insufficient amounts of blood and gore (at least in my mind) and the underplayed reactions, from everybody towards any and all events that take place in the latter part of the film.

Furthermore, I’ve come to understand the restrictions on the blood and gore front. Whether it be a censorship and ratings related issue, or simply budgetary constraints there never seems to be enough to satisfy me. Like I said, the effects you do get to see are nicely executed, and there’s a good flow of the red stuff albeit in bursts. For a film that only runs about 66 minutes minus the credits it works well enough, unfortunately the end result is not quite the bloodbath I was hoping for. The question I ask is more about the characters and in part some of the acting/writing. Where was the ability for any one of these people to react appropriately to something extremely horrific that they’ve seen. I don’t want to point fingers at the cast because surely it’s a writing issue. Just a few notes here, not a single scream made by any of the girls, no attempts to find the car keys and drive away, not even Justin can be phased by the headless friend lying face down (well sort of haha) in the snow. Instead he opts to keep calm because things haven’t really escalated yet… okay then. You can’t have a film of this nature without the token freak out moment from at least one character, yet somehow no one ever does. You probably thought I was going to complain about the lack of nudity right?? Well there’s that too, but that’s okay I can deal. Characters reactions or lack there of I can’t, and unfortunately that dampens my overall experience.

Dismembering Christmas was a short, snappy and entertaining holiday themed, Slasher flick. A majority of the technical aspects were so professionally carried, made all the more impressive by the age and experience levels of Bosley and this entire group. The film looks and sounds great, the girls are gorgeous and most of the cast do their bit. The brisk running time, inclusion of a couple of inventive kills along with a fun finale make it worth your while. As I mentioned earlier, I would have loved to see a total bloodbath but I get that $16,000 in the greater scheme of movie making is chump change. A few sequences could have been re-written or dropped entirely to tidy it all up, and dare I say a couple of characters recast (my opinion obviously). Everyone needs to bring their A game in regards to their reactions, and in this one they just don’t. Whether that be because of writing or experience I’m not sure, perhaps it’s something to think about for future projects. I love Kevin’s work and this whole team of friends and acquaintances involved with Slasher Studios. Someone please give these guys some damn money! They are so talented and I think I can speak for all genre fans when I say, we as a community would love to see what they could do with a budget. Nice work guys!

My rating for “Dismembering Christmas” is 6.5/10