TICKLE

THE SETUP

Firstly I’d just like to say thanks to Writer, Haley Norman and Director, Corey Norman for allowing me access to an online screener of their 12 minute, Horror short “Tickle”. Haley’s got a handful of writing credits to her name already and Corey’s spent plenty of time behind the camera on projects such as “The Invoking 2”, “Suffer The Little Children” and “The Hanover House”, just to name a few. I was surprised to find his name attached to the upcoming horror anthology “60 Seconds To Die”, which I was tentatively writing something for, anyways onto the film. Trudy (played by Casey Turner) has been given the thankless task of baby sitting young Charlie (Andrew Lyndaker) for the night. He asks for a story so Trudy decides to tell him the legend of Tick Tack (not the breath mint haha). Rumor has it if Tick Tack sees the kiddies feet hanging out of the bed he takes them! Then again rumors are exactly that, Aren’t they? The film also stars Sean Carmichael, Daniel Noel and Dennis Healy as “Tick Tack”. Tickle was shot for an estimated $3,000.

THE GOOD

According to the poster the film only premiered a couple of weeks ago, so I’m very pleased to be one of the first, if not the first International critic to have seen it. I love the 80’s Slasher orientated poster and the simple setup of bedtime stories. I’ve seen a few other short films take a similar angle but each with varying amounts of success. They say you should never tell kids a scary story before bed and Trudy learns that lesson the hard way. With the exception of a few shots in the beginning, the films framing is outstanding. All the shot choices are simple and smart, indicative of what might be about to take you by surprise. There’s some fantastic subtle zooming during a scene that leads to Trudy calling her boyfriend Donnie (Carmichael). Later, there’s some direct panning in the climax of the final sequence and that’s great too. The audio is probably the clearest of any film I’ve ever seen on this kind of budget. It’s obvious from the opening shots Corey and Haley know exactly what they want, it’s super impressive.

There’s not that much room for dialogue in a film that only runs for 12 minutes but the cast all do a fine job in their respective roles. The music was another nice feature here. It opens with a mix of 80’s, TV movie suspense score and towards the end it moves to resounding, bass popping synth music both of which were awesome to hear. Tickle is a really well-lit film with warm colors, even in tone. In the most suspenseful scene there’s an almost foggy mist from the night air coming through the bedroom window, it sets up the atmosphere brilliantly. The makeup effects and the blood and gore I won’t spoil, so let’s just say they’re commendable and you’ll be surprised with the ending.

THE BAD

As already stated, the only technical thing I noticed was some slightly close framing of Trudy in the opening minute or two as she’s sitting on the bed. I suppose that’s more of a personal preference issue than a flaw though. Young Andrew has only done three short films, so taking into account his lack of experience he does a solid job. The only thing that wasn’t clear was the age he was supposed to be playing. Most of his lines were delivered in a little kid like manner, closer to that of an infant coming of age than a 6 or 7-year-old, which is the age I would have picked him to be. Maybe it was just lost in translation from the script to screen, I don’t know.

Tickle was a film I knew nothing about. In fact I only came across it because I use the popular Horror website “DreadCentral” regularly. Both Corey and Haley are fast becoming proficient at their trade and it shows. Everything from the accurate camerawork and transitioning, to the crystal clear audio, atmospheric music and all the appropriate lighting. If those aspects alone aren’t a selling point, the entertaining and eerie legend that is the premise of the film should be. The cherry on top is some surprise action and a different type of ending. I don’t feel right saying anything is perfect, there’s always room for improvement but in this case my only advice would have been to clarify the boy’s age or make it clear through line delivery, keep the rest exactly how it is because it’s perfect. Keep an eye out for this masterful little short guys, you don’t want to miss it!

My rating for “Tickle” is 9/10

RESTORATION

THE SETUP

Firstly I’d just like to say thank you to Writer and Director, Ryan Oliver for allowing me access to an online screener of his 47 minute, Horror film “Restoration”. One day while playing hide and seek in the countryside, Yvonne LeMay (played by Lily Horn) gets stuck in the trunk of a 1950 Fleetline Deluxe. Over 50 years later Sonny Ray, a rev head (Brant McCrea) spots the car for sale in a newspaper ad. Shortly after the car changes ownership, it’s relocated to a mechanics clubhouse/workshop. Little do the employees of the workshop know Yvonne’s spirit still remains inside the classic car and she’s little to happy with the change in location. The film also stars Billy Favata, Norbert Caillouet, William J. Norris and Molly Brenan. Not only is the first time I’ve seen any of Ryan’s work it’s also the first “half film” I’ve seen.

THE GOOD

The poster was the first thing that caught my eye. I saw the tagline on a flyer for the film festival this was showing at and that’s how I ended up getting in touch with Ryan. Clearly inspired by the likes of Stephen King’s “Christine” as well as any of the modern “Paranormal” based genre films, Restoration supplies us with a fresh take on the supernatural spirit. It takes a similar setup and a few cues from King’s, 80’s Thriller while at the same time mixing an entertaining new blend of sub-genres. What if the once fancy car you bought for a steel wasn’t the thing haunting you, but instead the restless remains of a young girl. The film opens with some exquisite black and white photography. An entire  sequence of wonderfully presented cinematography, by Marcel Morin starts things off on the best possible note. The barn/shed and vast corn fields are the ideal location to set up a tragic set of circumstances. Those settings and the opening suspense score can be compared to that of M. Night Shyamalan’s “Signs” (a personal favorite).

All of the camera work is handled meticulously. The panning is perfectly implemented in crucial scenes and it’s impeccably smooth in transitioning. I was thoroughly impressed by all the camera movements and after finding out the budget was estimated at only $10,000, even more stunned with the results. The careful use of wide shots are as good as any mainstream film and all the framing in regards to the actors/actresses is excellent too. Ryan and his crew really know their craft and it makes for an incredibly easy watch, you might say somewhat of a rarity in low-budget film making. The sequencing of events is straight forward and the editing is neat. Several scenes have slow motion included in them and for the most part they work. There’s a haunting buildup showing the rundown vehicle, wasting away under shrubbery on the gorgeous property of Leander Humes (William J. Norris). Majority of the story takes place at night, so I was pleased to see it sufficiently lit for most of the scenes inside the workshop. There’s a striking, red tinge reflecting off the walls during the Action scenes that were a nice addition.

I figured the music was going to be a standout feature, given the opening credits sequence displays a retro jukebox playing 50’s tunes. The suspenseful score was quite plain but Oliver makes up for that with some cool period music and the casting of some “Rockabilly” extras in a party scene. The pacing of the film works, I think if this had have been 90 minutes it would’ve fell victim to the same trappings of every other film in the genre. Most of the deaths are brief or shown in slow motion, all but one are pretty stock standard but at least there’s on-screen kills. Taking into account the small budget here, you’ve got to respect all the effects which were done practically. Those of you who’ve seen it will agree that the last death takes the cake. It’s extremely inventive and completely brutal and although you see it coming, what ends up on the screen isn’t at all what you’d expect and I loved that!

 THE BAD

It could just be due to my computer speakers but some of the dialogue levels were a bit uneven. I could understand all of it but some scenes were louder than others. For the most part the stylized, slow motion sequences work but at times they’re still somewhat overused. I was looking forward to seeing some of the action play out in real-time, I think it would’ve had more of an impact. Most of the scenes aided as a catalyst to the escalating threat of Yvonne, but one in particular involving some idle chit-chat between gear heads at the workshop, could have been cut. Speaking of Yvonne, her makeup looked great but the suspense surrounding the character gets stifled early on. She’s revealed to the audience as the presence in the vehicle almost immediately. I know this only runs for half the length of a feature film but it may have benefited from a slower build up, and by not showing the audience everything in the opening act. The motive behind her explosive behavior is a little thin, given that half a century earlier none of the characters were even alive. Revenge is always the most logical plot point though and it’s a horror film so I digress.

With its exceptional production value and thoroughly entertaining fusion of genres, Restoration was a blast from start to finish. Ryan’s expansion and take on a similar idea to “Christine” made for a great little premise. The multiple locations, beautiful black and white photography and concise camera work are of the highest standard. Every frame of this film is simply superb and on top of that, the lighting is atmospheric and the 50’s inspired music coming through that eye-catching, jukebox is great as well. The action sequences were solid, one in particular was extremely well executed and gory as hell. The only issues lie with some minor audio inconsistencies and a slight excess in slow motion frames. There’s lapses in building the tension and a fairly predictable motive but that’s nothing to get hung up on. Restoration is a must see especially for all Horror fans and I highly doubt considering the budget, you’re going to see a film this good again for a while. Keep an eye out for the release its on its way soon!

My rating for “Restoration” is 8/10

SLIMY LITTLE BASTARDS

THE SETUP

Firstly I’d just like to say thanks to Writer/Director, Dave Parker for allowing me access to an online screener of his debut, feature-length film “Slimy Little Bastards”. I’ve been a subscriber of Dave’s YouTube channel for a while now so I was pretty stoked when I heard he was going to try his hand at shooting a film. Slimy Little Bastards grounds itself in modern Horror/Comedy but at the same time, it’s a love letter to the micro-budget creature features of the past. It’s a 66 minute film containing three different segments and a wrap around, each involving a different type of gooey monster. The wrap around sees Jack Barson (played by Keith Voigt Jr) having car troubles and deciding to ask a nearby neighbor (Brandon Salkil) for assistance. He’s invited into the strangers house and told of three different tales involving a mysterious gooey substance. The first story involves a Gaunt man who lives alone, he discovers a substance that he thinks stems from a maintenance problem. After a quick inspection things escalate from bad to worse. In the second part of the film, Sandy Calvin (Erin R. Ryan) is suffering from anxiety and depression, circumstances made worse by her overbearing and controlling mother. Dr Lance Archache (Dustin Mills) offers her the chance to trial a supposed miracle drug (a different gooey substance) but it ends up having some unexpected side effects. Lastly, a group of friends get together for their weekly fantasy game. What starts out as some regular down time quickly turns to shit (literally haha). The film also stars Jeremy Ryan, Matthew Hudson, Aaron Anthony and Dave Parker.

THE GOOD

Initially I didn’t know that this was Dave Parker’s film, regardless the catchy “Slimy Little Bastards” title made damn sure I wasn’t going to miss this one. It’s a very Roger Corman esq idea and a great setting for a low-budget affair. Now keep in mind, even Corman’s early work had a substantial amount of money behind it. Parker’s first endeavor see’s some of his closest friends come together in order to bring it to life. There’s no doubting that this takes the DIY approach all the way and while that adds a certain charm to the film, it’s not guaranteed to succeed. I’ll admit I’m a sucker for a throwback to the old style b movie, especially the creature orientated ones. Audio levels can be a difficult thing to get right when you’re working with a very small budget. So much to my surprise, the opening segment of dialogue was quite clear and a lot of the sound effects were loud too. The different sounds the monsters made, the squelching of the goo, it was all pretty amusing. The brief shot of miniature Claymation at the beginning of the last segment was a nice little surprise, so kudos to Dave for throwing that in there!

The cast clearly wanted to help out their friend, while at the same time treating this like a bunch of weekend hangouts much like Peter Jackson did with his friends when working on “Bad Taste”. The performances were okay but it’s difficult to judge. Tone wise the movie is rather out there and extravagantly presented. Erin, whose worked with Dave and on several other DMP Productions such as “Applecart” and “Skinless” *see reviews*, turns in the most consistent performance of the bunch. Dustin would probably admit he’s far more suited to being behind the camera than in front of it. He has some decent moments here but most of it feels scripted, the same goes for most of the cast. I’ve enjoyed a bunch of Brandon’s performance but he has that kind of flare that’s better suited to theater performances. I think he’s got plenty of talent but in his role of “The Curator” he seems to exaggerated (probably the intent though) yet in his other appearances offers very little (in part because of the writing). Several of the actors here play multiple parts in the film, much like they did in the aforementioned Applecart. Regardless of performance levels everyone still seems to be having fun and when you’re on such a small film that’s one of the key ingredients.

The two strongest aspects of Slimy Little Bastards lie with the ambitiously homemade, cheesy practical effects and the synth heavy soundtrack. The camera drifts around too much to really see any impact hits during the fight and action choreography, but what we are left with is some glimpses of a pretty blotchy aftermath. The gore is that paint colored red and the monster fluid is clearly made up of a combination of jelly and Coolade, or something to that effect. This kind of resourceful technique can be seen in a lot of low-budget films and you have to admire the work ethic. In this case I was reminded a lot of Richard Mogg’s “Massage Parlor Of Death” *see review*. The standout kill involves a complete smashing, a watery but completely entertaining mess. The glowing highlight in Parker’s first film has to be the music. It’s nice and clear in the mix and combines 80’s synth/pop with the use of a Glam Rock sounding lead guitar, like something you might have heard in a 70’s grindhouse flick, I totally dug it. The last segment shy’s away from those kind of sounds, instead opting for an oriental composition reminiscent of “Big Trouble In Little China”. Many congratulations to all involved with the music, bar some randomly placed Drum and Bass tunage, it’s all pretty great!

THE BAD

I’ll summarize the film first and then break it down into the respective sections. This being a first feature not to mention one on a shoe string budget, it may have benefited from simpler story telling. There’s no even that much of a story here, it’s more that the three segments which feature new characters often played by the same actors, feel drawn out and detached. Maybe the intention was to make a short film but it just happened to grow into something bigger over time, I’m not sure. The only common theme in these sequences are the mysterious goo these slimy little guys leave behind, I don’t even recall any exposition on how this stuff was concocted, if the information was there I must have missed it during all the shenanigans. At one point the substance burns characters, other times people rub it on their skin and begin to hallucinate, as can be seen in the second and third acts. No real rules or back story regarding the sole plot point are ever established. The wraparound was very predictable and only served as a minor introduction, the first and last sequences were definitely the more enjoyable. Most of my gripes about the film are technical based though, some of which can be chalked up to lack of funding, the rest  down to experience.

The issues with the camera work are down to the combination of framing and focusing. There’s a lot of shots that are just ever so slightly out of focus, it could be an equipment or lighting based issue that ends up highlighting it. The framing of Voigt as the Jack Barson character was shot far to closely to the actors face and the same goes for the group of guys at the table towards the end of the film, one of which can even be seen holding back laughter through most of his dialogue. Keep the camera work simple, basic shot choices and clean cuts. If it was just camera movement or imperfections I could handle it but combine those with the quick cuts and abrupt editing, it makes for a difficult watch. There’s several pointless cuts back and forth as the lonesome man waits for the maintenance guy to arrive. Said guy is supposed to be Russian, I’m not sure why Dave opted for that (maybe spice up the character? It only ends up being delivered quite unevenly by Mills). Some of the slow motion and fast editing in the second segment feels like a major shift from its prior course. I’m assuming the sudden jolts and impulsive editing are to depict Sandy’s state of mind but end up coming across as amateurish (but then Parker is an amateur so). Dave records a lot of videos for YouTube though so I was actually surprised the camera work wasn’t of a higher standard, however shooting on a tripod isn’t exactly the same as doing an entire film so I understand that. The dialogue spoken by his mother in the same segment is also too fast and ends up sounding like static.

In the end I found very little to like about the second segment, mainly because the technical stuff smothered it completely. The story of a young depressed girl and the opportunity for her to escape her demons is an interesting enough premise, but this time it was the audio hurting it. Throughout the first segment it was pretty smooth but then the dialogue was at a consistently low-level. As things get a little heated a lot of the dialogue starts pitching and peaking all over the place. A character would laugh or raise their voice during an interaction and that shrill sensation is heard and it’s not nice. There’s often background noise in a lot of the scenes but that’s a nit picky thing and par for the course when you don’t have equipment to muffle or edit it. The color grading is inconsistent and the lighting leaves a bit to be desired as well. The color saturation as the hallucinations/out-of-body experiences occur is rather uninspiring but those sorts of things are down to creative license and the filmmakers make those choices for themselves.

Despite its problems Slimy Little Bastards made for a relatively interesting and original watch. Unfortunately it’s bogged down by the usual technical glitches that often accompany the low-budget genre. It’s difficult to be objective when you review an acquaintance or friends work, so I try to approach it almost exactly the same way I would with anything else. First and for most I commend Dave and the entire cast and crew on getting this feature-length film made. It had an estimated budget of just $1,000, yes you heard me correctly. It’s got a cool title and some brief but impressive animation, passable performances and some really ambitious DIY, practical effects. The standout for me though is the original and eclectic score, it’s as good as anything I’ve heard in the genre lately. If a lot or all the technical aspects had have been rectified (whether that be through more time or money) this would have been much easier to watch and an enjoyable romp. Even still, it’s a far better film than others in the genre like “Mutantis” or “Ooga Booga”. I won’t sugarcoat it this film isn’t great but have you ever seen a film made for $1,000 that is? It won’t be for most people but I had a bit of fun with it and if you like and or can appreciate micro-budget films and the work that goes into them you might too. Please support Dave as well as the team at DHP Productions and check this one out.

My rating for “Slimy Little Bastards” is 4.5/10

THE BRIDGE PARTNER

THE SETUP

First off I’d just like to say thank you to Director, Gabriel Olson for allowing me access to an online screener of his 12 minute, Suspense/Thriller short “The Bridge Partner”. The Bridge Partner is about timid housewife Mattie Whalen (Beth Grant), who believes she hears her new bridge partner Olivia (Sharon Lawrence) threaten to kill her. Will it be a fight for survival or is it just her sanity that’s in question? The film also stars Catherine Carlen and Robert Forster. I was lucky enough to have Gabriel stumble upon the site and request that I review his film. For the most part its me chasing filmmakers and writers, so it made for a nice change of pace.

THE GOOD

I love the above poster art, it’s reminiscent of some of Dario Argento’s work and to an even larger extent Hitchcock. The script is incredibly well written (adapted from a short story I believe) and carried equally well by an experienced cast. The film opens with some extremely well framed and meticulous camera work. It’s always on the move sometimes with a voyeuristic approach, a gentle zoom or even a tracking shot other times there’s an emphasis on certain placement of something in the scene. The lighting gave off a very neutral and harmonious vibe, use of a lot of white’s and creams. The audio levels are sharp and the intense sound effects help to convey Mattie’s paranoia as it becomes heightened with each passing moment. Every sound seems fit to provoke Mattie, an in turn the audience. The clock ticking inside the hush walls of the Whalen house, the car doors and even the scratching of a nail file/cleaner, all act as a constant reminder.

The dialogue and interactions between Mattie and Olivia start naturally enough, but quickly become tense as suspicions of hostility and aggression arise. You can sympathize with Mattie if you’ve ever been in a situation where you feel like you just don’t fit, or you find yourself the odd one out. A quick glimpse into her mundane home life with care free husband Don (played by Forster), implies that she’s not a terribly happy woman and just maybe she’s started to lose her grip on reality. The final conversation dissecting the nature between Dog and Sheep ends things in the most suspenseful of ways. The writing is among the best I’ve ever seen and the entire tone is comparable to that of the great Alfred Hitchcock. I’ve been a fan of Beth Grant’s for a while, she’s appeared in films like “The Artist”, “Donnie Darko” and “No Country For Old Men” as well as shows like “Everwood” and “Jericho”. She’s got a heap of experience and draws you into the life of Mattie with ease. Sharon Lawrence from TV’s “NYPD Blue” and “One Tree Hill” is every bit as good playing the mysterious foreigner with seemingly vindictive intentions. Although his role is brief, Robert Forster from TV’s “Heroes” and “Alcatraz”, rounds out the cast nicely.

Honestly I can’t say a bad thing about The Bridge Partner. I think it’s the best short film I’ve ever seen and reviewed. It looks like it was shot on a substantial budget, so that has to be taken into account given most of what I review here isn’t. The camera work and sound effects are superb, all the lighting and set design helped create the suspense and atmosphere. The performances are all top-notch and the dialogue, especially in the climax of the film is outstanding and very unsettling. My only minor issue is that it ends with a certain amount of ambiguity although normally I like that sort of thing, in this case I was hoping for it all to be wrapped up during that final shot. I suppose it creates a certain amount of debate about what the possible outcomes might have been and that’s not a bad thing. I can’t believe something this fantastic comes to us from a first time Director in Olson. I can’t wait to see what he does next and here’s hoping he sticks with the Suspense/Mystery genre, Brilliant stuff! Readers can keep an eye out for it in the near future.

My rating for “The Bridge Partner” is 9.5/10

THE SKIN

THE SETUP

Firstly I’d just like to say thanks to Justin Timms, Co-Writer and Director of the 8 minute Horror short, “The Skin” for allowing me early access to an online screener. After the mysterious death of her father, Lena (played by Claudine Quadrat) discovers that her sister Sarah (Elizabeth Paige) is showing signs of the same symptoms he had. After happening upon a local country hick named Otis (Martin Pfefferkorn), Lena puts a plan in motion to prevent her sister experiencing a similar fate.

THE GOOD

The film opens with a close look at a young woman’s skin, that of Sarah’s (Paige) as she moisturizer’s her arms and face with cream. She’s quickly interrupted by her sister Lena and told they need to get back on the road to head for their family cabin. The sequencing of events here is presented in a clever and subtle way, never once alluding to what may occur at the climax of the film. The audio levels are loud and clear and the color grading/saturation is nice and natural. I think the strongest aspect here is the clunky and unnerving sound effects/score. I wasn’t expecting something so subtle to be so eerie, it was great. Most of the film is neatly edited and there’s several great shot choices as well. The standout sequence involves some effective panning from one side of the road to the other when Otis happens upon the girls who’ve broken down. Not only do Claudine and Elizabeth do a great job in their respective roles, it helps that they look like they could be related anyway. The makeup effects during the films final moments were a great way to finish what is a striking short.

THE BAD

My only criticism of The Skin is that there’s some unevenness in camera movements when the Action/Suspense picks up. Everything up until that point is done using a lot of Steadicam and clear cuts. When things escalate out in the forest it falls down a bit with some of that familiar shaky footage we’re used to seeing, luckily it doesn’t last that long. In the synopsis for the film it states that the girls now deceased father was showing strange symptoms before he died, I would’ve liked to have known a lot more about that finer plot point. I understand that with such a short running time you can’t necessarily delve into details and back story though, so maybe that’s all going to be revealed in a later sequel, Who knows? Guess we’ll have to wait and see.

The Skin is an entertaining and polished short, made all the more impressive by the fact it’s Timms first time behind the camera. He’s done extremely well to get most of the technical aspects to a high standard and his cast two female leads that really look the part. I loved the interesting direction it took and the sound effects/score were the highlight for me. Some of those camera movements could have been sweetened and I would have liked some more exposition and clarity within the plot details, maybe some newspaper clippings or something similar but that aside it’s a great watch. Keep an eye out for “The Skin”, which will be coming soon!

My rating for “The Skin” is 8.5/10

NIGHT OF THE SLASHER

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director Shant Hamassian for allowing me to view an online screener of his 12 minute, Horror/Comedy short “Night Of The Slasher”. Jenelle (played by the gorgeous Lily Berlina) a young teenage girl, must break all the cardinal rules surrounding the do’s and dont’s of a horror film such as drinking, taking drugs or having sex. She aims to do this in an attempt to lure a masked killer (Adam Lesar) in the hopes of finishing him off once and for all. The film also stars Scott Javore, David Swann and Eve Constance.

THE GOOD

The concept of Night Of The Slasher takes me straight back to 1996, the year that gave us Wes Craven’s “Scream” (R.I.P Wes). The Horror genre was quite stale at that time and Scream ended up becoming the film to breathe life into the genre once again. In Craven’s classic, Randy the joker of the group explains the rules one must abide by to survive a Horror movie and that premise is the basis of Shant’s film. I dug the killers mask, he kind of looked like Spock from “Star Trek” (I’m not sure if that was intentional or not haha). It was creepy and his weapon of choice being the kitchen knife, comes across as a bit of a nod to the Michael Myers character of the “Halloween” franchise. The audio was nice and clear and the rock song playing in the beginning was a solid track. Some of the still shots while Jenelle and “The Bait” (played by Javore) were sitting on the couch looked impressive. Jenelle’s approach towards the drinking part of the night was entertaining. Side-note, the kitchen of the house draws a striking resemblance to that of Stu’s kitchen in the original Scream, so keep your eyes out.

Lily Berlina does a wonderful job of venting her frustration given her predicament and all without saying a word (well almost). She’s absolutely gorgeous and I can’t wait to see her in future projects. She has some enjoyable comedic moments, as does her unfortunate date for the night. His timing was great and the over zealous approach towards Jenelle tied in with his demise was very funny. That sequence is something a lot of the female viewers will probably roll their eyes at and be able to relate to. The practical blood and gore on display was of the highest quality. It builds to quite a ferocious finale that I think hardcore horror fans are going to enjoy.

THE BAD

It’s difficult to find fault in Night Of The Slasher given it’s only 12 minutes long, but here’s a couple of nit picks. One thing I’d mention was that the score was a little uneven. I understand this had elements of Comedy and Horror depending on how you look at it, but it felt slightly more “Twilight Zone” supernatural sounding than I expected. I also respect the fact everything was shot in one continuous take but unfortunately that leaves some rushed and jolting camera movements when the action picks up. It also creates problems with some of the consistency regarding the films framing. In a few shots the camera is rather close to the actors/actresses faces and doesn’t make the most of the scenes surroundings.

Night Of The Slasher is a welcomed addition to the “Short” film category and to Horror/Comedies in general. The traits and specifics in the genre are entertaining and nostalgic ones that are carried by a beautiful and talented lead in Lily Berlina. The comedy hits the mark, the killer is creepy and the blood and gore effects are a hell of a lot of fun. If this had have been broken up and cut together a bit more stylistically it would have suited me even more so. Hamassian’s film is still right up there with some of the best, such as Chris McInroy’s “Bad Guy #2” and Jason Kupfer’s “Invaders”, both of which I reviewed on this here very site. Night Of The Slasher is doing the festival rounds and receiving plenty of well deserved praise, so keep an eye out for it soon!

My rating for “Night Of The Slasher” is 8.5/10

BLOODY KNUCKLES

THE SETUP

Firstly, I’d just like to say thank you to both Eric Bresler of Artsploitation films and Matt O’Mahoney, Writer and Director of the Horror/Comedy film “Bloody Knuckles” for allowing me access to an online screener of the film prior to its official release date of October 27th. Bloody Knuckles is Matt O’s first full length feature film. The story follows Travis (played by Adam Boys a fellow Aussie), a comic book artist with a proclivity for the morbid. When a copy of his latest edition falls into the hands of Leonard Fong (played by Kasey Mazak), the local Chinatown crime boss who’s offended that he’s the current topic, Travis’s drawing hand is removed and his life spirals out of control when he’s hand takes on a mind/agenda of its own. With the help of both Amy (Gabrielle Giraud), a reporter and love interest and Homo Dynamous (Dwayne Bryshun), a gay, dominatrix dressing crime fighter of sorts Travis can get his life back. The film also stars Ken Tsui, Steve Thackray, Kent Leung and Tim Lok.

THE GOOD

Bloody Knuckles has an interesting and unusual premise, one that appears to have been inspired by the likes of “Idol Hands” and “Big Trouble In Little China”. The poster art is pretty cool and the opening title credits are entertainingly presented. There’s some really talented drawings on display with the “Vulgarian Invasion” brand of comics that Travis creates. I’m not a comic fan myself but I can see the talent behind that style of art, so kudos to whoever drew those. The film’s opening sequence was a great way to kick things off acting as an indication to what sort of business the China-man are into, as well as giving the audience some clever gooey practical effects early in the piece. Nearly all the camera work is expertly handled and the editing is nice and crisp. Audio levels were loud, and with my second-rate speakers that’s saying something. Bloody Knuckles is adequately lit and the subtle use of low-fi, synth music is great as well. There’s only a handful of locations in the film which helps to keep the cost down. There’s Travis and Ralphie’s (Tsui) apartment, an underground club and Fong’s Chinatown hangout.

I enjoyed a fair share of the humor on display in Bloody Knuckles. A few of the jokes were a little crass for my liking and some of the desperate stuff was rather obvious but most of it was fun. The awkward interactions and misunderstandings are among the films strongest moments, comically speaking. The “I don’t work with terrorists” gag and a majority of the serious, voice over communication done by Dynamous were the funniest things in the film. The constant talk of vengeance was humorous given the nature of the story, and for the most apart interactions between Travis and his hand were also pretty funny. Midst the entertaining movie references and silliness of the story, are serious undertones that establish contemporary issues regarding censorship and act as a social commentary throughout the mayhem of what’s ultimately a Horror/Comedy film. That aspect didn’t leave me any further informed on the subject but it also didn’t hurt giving the film another avenue.

All of the cast in Bloody Knuckles did a great job. Ken Tsui was entertaining and likable as Travis’s roommate and best friend Ralphie. Gabrielle realistically portrays Amy and supplies us with some of the films more serious moments because her character’s a little more well-rounded. It’s Adam Boys though that ends up elevating the film, he appears to know the exact intended tone of the character and just the film in general. You can sympathize with his situation, he’s basically rebelling against the system and what is and isn’t politically correct and let’s face it we’ve all wanted to do that at some point. The animatronic work that went into controlling the hand deserves plenty of praise. There’s several scenes where we get to see the hand exploring its surroundings much like “Thing” from “The Addams Family” film does. There’s also some great practical blood and gore effects on display, most of which can be seen in the second half of the film. The consistency in blood color varies from time to time, but when a character gets killed it’s always considerably messy and in particular one of the kills, but I won’t spoil it.

THE BAD

It’s clear that on the technical front Matt has learnt his craft well. With the exception of a handful of shots that could have been framed better and the early inconsistency in blood which was ironed out quickly, everything else is admirable. The other minor misgivings are in some of the writing and the fact that at times, the middle part of the film lags. The youngest of the Asian gang (can’t remember his name), but who holds Amy at knife point early in the film didn’t do his best work. It was obvious that he was the least threatening member of the gang mainly because everybody else did their bit. That could just be down to a lack of experience and he’s character might be seen as the new up and comer in the group but he didn’t sell me on his performance. Detective Frank played by Steve Thackray was okay but my issues stemmed from some of the writing involving his character. He’s shtick came across to me like a parody (maybe intended), where he’s just going through the motions and being extremely unprofessional. Even if you had a certain agenda or no interest in the specifics you wouldn’t conduct yourself in the manner he does throughout the investigation involving Travis.

Bloody Knuckles says “nobody has the right not to be offended”, but I’m sure there’s plenty of people who will watch this and won’t be, it takes a lot to offend some people. I wasn’t a fan of the BDSM sequence in the film but I guess it supposed to make you feel uncomfortable (which it did haha), and I know it had a purpose in setting up the arc for the Homo Dynamous character so it’s probably more a personal preference than a knock at the film itself. There’s an assortment of colorful language in here too. Some of it in context but other times it feels forced, bringing to mind the C bombs that get a little crass. There’s quite a lull between the time Travis loses his hand and when he comes to terms with deciding to take out the Chinese gang. There’s no real interactions of any importance throughout that part of the film and it turns into a bit of a chore as you wait for the showdown to ensue. The one thing I thought was going to have more of an impact simply because of the poster was Travis’s hand giving him the finger at some point. There’s a moment where we see a side on index finger after the hand has been thrown out of the window and hits the street, but I would’ve enjoyed seeing it during the final showdown maybe aimed at Fong. Speaking of the showdown it was over prematurely. I was hoping for a bit of back and forth and plenty more splatter! Maybe a certain characters head to explode “Scanners” style or something but alas.

Look “I know you don’t have ears but listen up” Bloody Knuckles is a bloody good time. It has that Asian influence/charm of “Big Trouble In Little China” mixed with the absurdity of the previously mentioned “Idle Hands”. Matt O’Mahoney is a filmmaker to watch out for in the near future, he’s created something with a great energy and high in production value. Everything from smooth camera movements, to clear audio and balanced lighting plus a nostalgic soundtrack Knuckles has more good than bad. The performances are mostly fun while remaining professional and the practical blood and gore effects are as good as any Horror/Comedy on the shelves. I could have done without some of the crass dialogue and desperate moments of comedy, as well as the slow middle section. A couple of writing hiccups could have been rectified and a lot more mayhem added to the film’s climax to just help put the icing on what is a pretty impressive cake. Bloody Knuckles is available for pre-order through Amazon I suggest you get yourself a copy!

My rating for “Bloody Knuckles” is 7/10

ALL I NEED

THE SETUP

Firstly I’d just like to start by thanking Dylan K. Narang, Writer and Director of the brand new Horror/Thriller film “All I Need” for allowing me early access to an online screener. I saw it was currently circling film festivals around the United States and quickly received a reply from Dylan. All I Need weaves parallel story lines that involve a desperate man named Andrew (played by Markus Taylor from the underrated Zombie flick “Deadheads”), whose down on his luck and having trouble supporting his teenage daughter. At the same time a young woman (played by the beautiful Caitlin Stasey), is trying to escape a motel room her and several other girls have been imprisoned in by a mysterious killer. The film also stars Rachel Melvin (“Dumb and Dumber To” and “Zombeavers”), Leah McKendrick, Sorel Carradine and Holly Twyford. This is the first full length feature from Dylan Narang.

THE GOOD

The poster art is very 80’s. That hand drawn technique is all the rage at the moment and it looks great. On the surface All I Need appears to have a feel of something like “The Collector”. Depicting that brutish figure standing outside the door, weapon in hand you’d probably expect a bloodbath some of you might be disappointed to know that’s not the case here. The basis of the story is rather conventional but I don’t mind that, it’s not real clear if the path’s of Andrew and our unknown “final girl” (listed on IMDb as “Chloe”) will cross, and that’s probably due to some odd placement in the plot progression. You assume with a film like this it’s just a matter of time before there’s an encounter but that’s not always the case. The film gently fades in, identifying our mystery girl slowly coming too and quite clearly distressed. The setup and opening frames are reminiscent of the original “Saw”, it was nice to be thrust straight into the turmoil for once. The camera work is unbelievably personal, paying particular attention to every nuance the talented Caitlin Stasey presents us with. There are a multitude of different shot choices and most are effective. Some are taken from the floor, faintly through an overhanging bed sheet showing the killers work boots as he enters the room, others are aerial shots through a vent in the ceiling shaft. Given most of the story takes place in one location resembling a motel room, it’s a satisfying visage. The dialogue audio was nice and clear and the sound effects built adequately. Most of the score was fairly generic but the subtle uses of sharp violin were productive, played to great effect when the girls are weighing up how much time they think they have to escape before the mystery man comes back.

A photo from Production

As I already touched on, the production value and interesting visuals are to be lauded given this is a one or two location, minimal character type of film. The motel set was well dressed and had the appropriate amount of attention to detail. A Dilapidated bathroom with squalid walls and patchwork, old and stained carpet and tattered bedding in which any number of girls probably slept in are just a few examples of that. A majority of Narang’s film is also set during the daytime making it an extremely easy watch. Although it takes the potential away for any real surprise element it gives a different and sharper aesthetic appeal. Andrew is introduced to the story quite abruptly, he’s seen running late for work and its inferred that he gets fired. With bills and child support payments mounting up, his wife on his back about taking responsibility for his life, he’s given the opportunity to solve all his problems but it will come at a cost. After an unmarked package is dropped at his apartment door, Andrew begins conversing on the phone with a mystery man who offers him a delivery job if he wants it. On the surface it all sounds easy but there’s more to the job than meets the eye. Taylor does a solid job of bringing a certain amount of empathy towards Andrew considering we don’t get any interactions between him and his daughter, nothing to solidify their bond. Unfortunately there’s a lengthy period in the opening act of the film where he’s not cited, leaving us to put two and two together regarding the delivery job. Did he have a face to face interaction with the man? Did he find out if there was a particular reason he was chosen? Why didn’t he question the situation?

Another still from the production

Cailin Stasey is by far in a way the best thing about All I Need (not just saying that because I’m a fellow Aussie). I previously saw her in “Tomorrow When The War Began” and “Evidence”, I wasn’t a huge fan of either film but her performances kept me interested. She’s a gorgeous and talented young actress who delivers an honest and believable performance as our nameless heroin. One thing I’ve noticed in her performances is that she doesn’t overact, occasionally things are slightly underplayed such as her transformation between molds in this film but she can only do so much with the writing. It’s the little things she does that are great, a balance of frustrating whimper to muffled scream, the look of fear in her eyes and even the trepidation in taking action are all realistic reactions to have in a situation like this and she does them well. I’m glad she’s getting plenty of work in the genre because it definitely suits her, great stuff.

THE BAD

Other than its slow-burn pacing most of the issues with All I Need are centered around a few specific choices in the writing, as well as some stretches in the story. Even with a running time of only 85 minutes many of its sequences drag, failing to add anything extra to the scene or a desired effect. Right from the opening frames of Chloe struggling to get her restraints off, through to some of the extended gawking done by a couple of victims early on who aren’t even really looking at anything, it’s all quite slow. Even a choking scene in the finale which always acts as the payoff for everything you’ve seen up until that point, manages to overstay its welcome. The dilemma is knowing how much to prolong a scene in order to balance the build up and suspense all the while keeping the audience entertained. The opportunity to build suspense was there but it’s stifled because of the unnecessarily long takes. There’s a sequence where the killer is trying to get through a door while Chloe and another girl are trying to get up into the ceiling vent. Now there’s a TV cabinet blocking most of the door, so the madman is slowly trying to bridge a gap between it and the door so he can get through, all the while Chloe is doing her best to drag the other girl up into the ceiling. What started out as a “Shit, is he going to get her, quick hurry go” reaction, quickly turned to “Is this thing going to be on all week” and that’s just one of many lengthy sequences.

Not only does the aforementioned scene lose its suspense, you’d think the killer would try to get in the shaft himself. I suppose you could argue that he’s too big and she’s got nowhere to go which is why he decides to attack Chloe from underneath instead. To top it off, the frames that follow foreshadow the blood dripping from Chloe’s shoulder seeping through the small holes in the vent and let the killer know he connected. She also takes a while to realize there’s a vent in the room in the first place but somehow manages to slide a fairly weighty cabinet across the room to block the door. The killer whose three times her size takes an eternity to push against the door from the opposite side to move it out-of-the-way. The climax surrounding Andrew’s character arc was an intriguing one. Although somewhat predictable, the little extra twist in the film’s final moments made for a nice touch in what was otherwise a fairly straight forward finish. Unfortunately the motive behind the entire situation holds no real weight. We learn so little about the “puppet-master” so if there’s nothing to go on other than a bit of convenient exposition it makes it hard to feel their plight. Stasey’s heroin is clearly the most interesting thing about the film yet she never feels like the anchor. We don’t learn a single thing about her other than she has a lot of determination but for all that she’s still a great protagonist to watch, I just wish we knew something, anything.

A great still shot of the Bathroom set.

All I Need has a fair bit going for it but never enough to truly separate itself from middle standing. The contrasting camera work, bright lighting, minimal locations and accurate set design all make it a visual triumph. There’s some effective use of violin and the opposing story lines are inviting enough on their own but sadly they never come together with any pertinence. Caitlin Stasey’s performance was as good as they come and I thoroughly enjoyed watching her in a battle of wits with her captor. If it was only the plodding and  slow-burn nature holding this back that wouldn’t be a problem, but a combination of rather thin plot points, overly lengthy scenes and predictable plot revelations make All I Need a safe course. More relevant story development, shorter scenes and others replaced with key details plus a much more comprehensive story arc for our beautiful/engrossing lead girl would have made this much more memorable. Despite its shortcomings I’d still recommend checking this one out, it remains an entertaining 85 minutes and I look forward to seeing what Narang does next.

My rating for “All I Need” is 5.5/10

TURBO KID

THE SETUP

“Turbo Kid” is the first full length feature from Co-Writer/Directors, Francois Simard, Anouk Whissell and Yoann- Karl Whissell. The trio previously collaborated on a handful of short films over the last decade. I’ve known about Turbo Kid for several months and am glad to see it  being released October 28th on VOD (video on demand). I knew enough about the film prior to watching it so my expectations were quite high. Turbo Kid is an Action/Adventure and Sci-fi Splatter film all rolled into one. Set in a post apocalyptic future “The Kid” (played by Munro Chambers) a young, comic book obsessed scavenger, begrudgingly faces his fears and becomes a hero by helping a peculiar girl named Apple (Laurence Leboeuf). Zeus (played by veteran actor Michael Ironside), is a sadistic tyrant and self-proclaimed leader of the wasteland. Armed with his Bmx, some padded protective gear, a mysterious superhero’s suit and Apple in tow, it’s up to the kid to stop Zeus and restore order to the badlands. The film also stars Aaron Jeffery, Romano Orzari, Edwin Wright, Anouk Whissell and Francois Simard.

THE GOOD

Turbo Kid’s script perfectly squares a unique blend of Dark Comedy, Drama and Action. The poster artwork is awesome and some of the pieces of fan art and retro designs I’ve seen floating around look great. This threesome of filmmakers are clearly very enthusiastic about their work and it shows on-screen. They are incredibly resourceful, as the production value exhibits. Made on what I can only imagine is a modest budget, they’re eager to execute this relatively basic story on such a grand-scale. The camera work is quite diverse, ranging from crane shots in the opening credits while The Kid rides his bike across the desolate landscape, to wide dolly shots to capture the vastness of the wasteland (with authentic looking digital effects backing it), as well as tight concise shots inside the local watering hole or Zeus’s lair, it’s all great. Sylvain Lemaitre was the head of set design, another facet of the film that is sure to impress its intended audience. The Kid’s lair has lost treasures resembling some kind of normalcy in a world that’s anything but normal. Old editions of his favorite comics, action figurines, posters and of course those slide projections inside those binoculars that were all the rage in the late 80’s early 90’s. His cave was like stepping back into that time period and it really fit the tone of the film. The contemporary hint of Turbo Kid is conveyed through the fact Cinematographer, Jean-Philippe Bernier chose a very vibrant look and shooting style, making it a far easier watch than a lot of the films it’s referring to.

The soundtrack was always going to be key in a film that has a nostalgic air about it. Turbo Kid opens with that beloved 80’s/90’s style, synth pop music and as the film progresses so does the mood and technique toward using that type of sound. Some of the heartfelt moments between The Kid and Apple have a lot softer cadence, then when Zeus and Skeletron (Zeus’s right hand man) decide it’s time to make a move the intensity picks up and it’s great. Much like this year’s earlier, outstanding short film “Kung Fury” see review * https://adamthemoviegod.com/kung-fury-review/. The music only enhances the viewing experience and I can’t wait to get my hands on this soundtrack. The entire cast knew exactly how to play their respective parts with the right amount of jesting. It’s a fine line between being natural and professional, versus that self-aware nature that you’re in on the joke. Michael Ironside’s portrayal of Zeus is great. He’s articulation of short monologues and grand speeches is better than most, he’s adept at playing roles of all kinds and the ease with which he does it is evident here. The two surprise packets though are Chambers and Leboeuf, who are actually both a lot older than you’d think. I have an extensive movie collection but I haven’t seen either of them in a film before. I know Chambers was part of the show “Degrassi” and Leboeuf has a sizable amount of credits to her name but these two are leaps and bounds ahead of most of the Canadian competition in their age bracket (at least the ones I’ve seen).

There’s plenty of creative license taken and unique complexities in the writing of Turbo Kid. The awkward manner in which The Kid and Apple interact make for a bunch of great comedic moments. Their interactions were reminiscent of a couple of characters in a specific episode of Season 6 of “Buffy The Vampire Slayer”. The character Frederic (played by fellow Aussie, Aaron Jeffery) felt like the “Mad Max” influence of the film, he’s outback look, rough jargon and colorful vocabulary seemed to be paying homage to the Max Rockatansky character of the well-known franchise. Several of his one liners were great as were Michael Ironside’s, I particularly liked Zeus’s arc and that he wasn’t just the token bad guy, a final unveiling sets up a truly memorable finish to the film. It’s rare to see a futuristic world depicting life without gas and electricity, I thought that was an excellent particular to write, of course making it impossible to pass running time with endless car chase sequences. BMX bike chases act as the substitute for the aforementioned and they were surprisingly effective and a hell of a lot of fun to watch. There’s an array of homemade weapons on display, some of which I hadn’t ever seen used before and they’re cleverly implemented into the story.

Let’s talk a bit about the effects. After I’d seen some grotesque heads on sticks within the first five minutes, I knew this film was going to feature some expert practical effects, boy was I right. If the 80’s/90’s style visual effects, reminiscent of “Robocop” meets popular video game “Street Fighter” weren’t enough, then the brilliant blood and gore will be, I loved it. The color and texture of the blood is spot on, we even get a character that can bleed blue and it looks fantastic. The Action comes hard and heavy, never shying away from full-blown carnage and showcasing the aftermath. The kills are absolutely glorious and incredibly entertaining and inventive, something I felt was missing from the latest Mad Max. I’m still waiting for Hollywood to make a film that displays how talented these special effects and make up artists really are, that’s a big part of the reason I watch films like this. Not only is the body count high, the huge finale is exactly that huge and it should be. Often these types of films fizzle out ending on a bit of a lull, not Turbo Kid. Just when you think the fight’s over there’s one last advance, it never wears out its welcome. I want to tell you everything that happens so you know the extravaganza you’re in for but I won’t, go see it for yourself!

THE BAD

Most of the profanity had context, some of it intended for comedic relief and some outlining character intimidation. On a couple of occasions Jeffery’s rudeness felt avoidable and because most of the time it works, it’s quite obvious when it doesn’t. Although there’s a sufficient amount of back story on our hero Kid and how he came to be fending for himself and living off the land, the convenience with which he’s thrust into the role of protector, didn’t have the necessary setup I think it should have. Is the plot point of finding the vessel and in turn the suit, an indication that the boy we are watching is a character from a comic book? After all, he does find the suit at the exact time that he needs it and in the strangest of places. It would make sense that through imagination and his love for comics that he would take on that persona to give his life purpose. I would’ve liked to have seen that plot point unfold in a more straight forward manner is all, otherwise you could be led to believe that the entire story, the world we’re engrossed in and all its outcomes were already predetermined because it’s in a book. Or am I just reading too much into it? (haha pardon the pun, either way I think it’s an interesting point).

Turbo Kid had a lot of hype and in the end it more than lived up to my expectations, it’s a near flawless film. If you put the cheesy Action and dialogue of any episode of “Power Rangers” and fused it with the friendship/romance, coming of age theme of a John Hughes film then added a healthy dosage of Mad Max on BMX bikes, with any obscure Asian or European splatter film, you’d have something akin to Turbo Kid. The poster art, the inner workings of the writing, the synth pumping soundtrack and the set design are all amazing features. Each of the characters are entertaining in their own way, the performances incredibly even and carried mostly by two really good young actors. The amount of carnage almost entirely conceived with practical effects, as well as one of the biggest finales in any film should make you stand up and pay attention to this trio. The dedication towards attention to detail like that of “Kung Fury”, make it impossible to not immerse yourself in this world. Simply put, Turbo Kid is a masterpiece and if it’s not the best film of the year it has to be right up there. It’s what Mad Max: Fury Road should have been and if you understand the intent behind these films I challenge you to find one better. I can’t wait to get my hands on a hard-copy!

My rating for “Turbo Kid” is 9/10