CHATEAU SAUVIGNON: TERROIR

THE SETUP

Firstly, I’d just like to say thank you Writer/Director, David Maire for allowing me access to an online screener of his 13-minute Horror/Thriller short “Chateau Sauvignon”. The film is a coming of age story for Nicolas (played by Michael Lorz), the adolescent son in a struggling viticulture family. Torn between the demands of his father (Sean Weil) and helping an ill mother (Pooya Mohseni), Nicolas sees an opportunity to please both parties in two very different ways when a devoted mother and her disinterested son arrive at the vineyard. The film also stars Anthony Del Negro and Nancy Nagrant.

Maire’s intent for Chateau Sauvignon is clear from the outset, and it’s to disturb. The film opens with some rather unsettling establishing shots of decaying matter, and transitions into a few nice close-ups and a handful of shots that emphasize the quality of the set design (or location if it wasn’t a conventional set). The audio track is nicely mixed and Robert Eletto (who scored The Hobbyist) approaches this with a less is more approach and it pays dividends. The performances are all solid and it was great to see Pooya (who worked on Terrifier) make an appearance in a couple of scenes. Anthony Pepe and his effects team did a commendable job of the makeup, applying a dark and tired look to Lorz’s Nicolas. The film has a couple of violent sequences and they showcase a healthy dose of pracitcal blood and gore too.

I didn’t enjoy all of DP, Oliver Anderson’s camera work. The film is guilty of some unstable handheld moments toward the beginning, as well as a sizeable chunk of dizzying movement during the final vineyard scene (seen in the image above). It was seemingly unnecessary to convey it that way because the victim couldn’t go anywhere, as is revealed in the shot that immediately follows where we see Patrick (the father) just standing there. Some of Anderson’s framing lacks assurance and the choice to use one obligatory 80’s zoom (you know the shot I’m talking about) seemed completely out of context. I noticed one continuity issue that results in a character making it all the way outside and into a vehicle before the other can really even turn around, it just simply wouldn’t have been possible without him noticing. I can’t say much about the ending without revealing spoilers, but I was left with a couple of questions regarding Eartha (Mohseni) and why the family was doing what they were.

David was kind enough to reach out to AdamTheMovieGod with what is just his second short film, Chateau Sauvignon. He builds this particular world quite well, doing so through plenty of attention to detail and some evocative color grading. The score is subtle, the performances are engaging, and there are a few genuinely violent moments for genre fans to rejoice in. Some of the framing isn’t as even as it could have been and the disorientating movements in the climax are seemingly pointless. There’s one obvious continuity issue from the cellar to the externals of the property, and most are likely to have questions surrounding the family and their actions. Notwithstanding its shortcomings, Chateau Sauvignon is another enjoyable and professionally made horror short and I look forward to seeing more from Maire and AireBedd Productions. You can check out the teaser trailer below!

My rating for “Chateau Sauvignon” is 7/10

THE HOBBYIST

THE SETUP

Firstly, I’d just like to say thank you to Producer, David Munz-Maire for sending me an online screener to the 8-minute Crime/Mystery/Thriller short “The Hobbyist”, Written and Directed by George Vatistas. A mystery man (played by Daniel Mitura in his first short film) walks into a vintage chemist late at night, in search of a particular individual (Robert W. Smith) who supposedly possesses an undetectable poison. What starts out as a simple transaction, quickly spirals into chaos as hidden agendas arise.

Maire, a Writer/Producer, and Director (among other things) was kind enough to reach out to AdamTheMovieGod seeking a review for some of the work his production company “Airebedd” has put out in recent years. The Hobbyist serves as Vatistas’s debut short film and it’s an impressive one at that. Cinematographer, Ryan De Franco has built quite a career in short filmmaking and his vast skillset is well and truly on display here. Everything is nicely framed and the shot choices are simple but productive. The audio track is controlled and Robert Eletto’s score is something entirely new. He invokes a sort of magical essence to the sound of keys and adds what sounds like individually plucked notes on a harp. Mitura and Smith’s performances are lively and believable, and the story takes an interesting intriguing direction.

On the downside, I was a bit disappointed that George conveyed central information disclosed between the pair of men via intentional inaudible dialogue. Some viewers are likely to want to hear the details Sangstrom (Mitura) shares with the chemist. It’s no great mystery though as things start to unfold, but I still think the drama may have hit home a little harder had Vatistas went the other way. It could have even served as a point of exposition for Sangstrom to elaborate on having carried out previously tried means before actually resorting to the toxin. There’s a scene displaying Sangstrom standing around waiting for the shopkeeper, done so through a rather simple time lapse. I think a few more diverse shot choices to further highlight his stress levels during that time would have been of benefit.

The Hobbyist is a stylish little short from 2016 and a wonderful debut film from Vatistas. The script has a hint of the criminally underrated “Five Fingers” about it, and the presentation is even reminiscent of something like “Predestination” (one of my favorite science fiction films). The camera work is slick, the audio is clean, and Eletto’s score is one of the standout features. The performances are both good and the narrative is engaging despite a couple of missed opportunities. I could have gone for some more back and forth discourse between the two characters and the inclusion of a few more frames would’ve helped drive the suspense. All in all, this is a great little film and I urge people to check out the teaser trailer below and keep an eye out for the release, Enjoy!

My rating for “The Hobbyist” is 8/10

PREY

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Bill Whirity for sending me an online screener of his 4-minute Horror/Thriller short “Prey”. Prey opens up at the tail end of a movie date between young adults Ben and Casey (played by Jacob Zachar and Jessica Cook). Whilst walking back to their car they discover they’ve been set upon by a pickup truck and must fight to survive the night. The film also stars Jimmy Sieczka and Monte.

Whirity’s speedy setup is a simple and relatable one. Those awkward moments on a date where you’re just feeling the other person out, trying to make a good impression. In this case, doing so by discussing the post-game wrap up (so to speak) on the movie they’ve just come out of seeing. Prey is nicely shot by experienced DP, Edd Lukas (The Gallows). Everything is framed quite nicely and the Steadicam approach works well. The audio track is crisp and clear and the music evokes mysterious tones that complement the material. I remember seeing Jacob a few years back in the leading role in “Detention Of The Dead”, a thoroughly enjoyable zombie take on the iconic film “The Breakfast Club”. As for the stunning Jessica Cook, she featured alongside Matt O’Leary in “Stung”, another solid independent horror film. The pair’s chemistry here feels natural and they both deliver good performances.

I think the combination of some dark color grading and the scarcely lit car park results in a somewhat overly shadowy final image. It came to my attention because of a cut during an ambiguous moment where a character ends up hitting the ground and there doesn’t appear to be any reason for it. They’re standing side on in relation to the vehicle, plus it’s stationary. The whole sequence was a little vague. Unfortunately, Prey’s inevitable twist is a rather predictable one, although that could just be because I’ve grown used to anticipating such things.

Prey is my first venture into the work of Bill Whirity, and it made for a thoroughly entertaining introduction. The camera work is well conceived, the audio is sharp, and the two performances are fun. I would’ve liked to have seen the film lit slightly better, as well as that first flash of action re-cut and edited for continuity sake. Seasoned viewers are likely to see the twist coming, but thankfully it doesn’t take away from the overall enjoyment of this one. Prey feels a bit like a segment out of one of the early V/H/S films and it’s sure to please horror fans. Keep an eye out for this one very soon!

My rating for “Prey” is 8/10

THE SERMON

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Dean Puckett for allowing me access to an online screener of his 11 minute Drama/Thriller short, “The Sermon”. The Sermon takes place in the world of a private church community in the isolated English countryside. Ella (played by Molly Casey) is preparing to deal with the fallout of keeping a secret from her father, a tyrannical priest figure (Grant Gillespie) whose preparing for yet another bout of hateful preaching. The film also stars Oliver Monaghan, Denise Stephenson, and Emma White.

THE GOOD

The first thing that hits you with The Sermon is its interesting aspect ratio of 3:2 – having been shot in 35mm. It’s a method seldom seen in modern filmmaking, even more so with that of films of the independent persuasion. Experienced DP, Ian Forbes is behind the wonderful presentation and high production value of the film. The Sermon opens to some fantastic establishing shots of the vast and beautiful landscape, and often transitions its dramatic cadence via gentle movements and tracking shots. All the framing is superb and the shot choices are smart. The audio track is clear, and Benjamin Hudson’s combination of orchestral musicianship and contemporary suspenseful synth works wonders. Central performances from Casey, Gillespie, and Monaghan (as the religious family) are all extremely professional. The characters are unwavering in their convictions and Dean paints an interesting picture of that fanaticism. The essence of Ella’s secret poses as a metaphor for having a sort of devil inside – playing perfectly to the religious content on display.

THE BAD

If I’m being nitpicky I’d say that Denise Stephenson might have been a little too old to be cast in the role of Ava. I was expecting someone younger, but that said, her performance is still a solid one. Though I would’ve like to have seen her show some more emotion considering what she endures. Being an atheist, I’m always torn when it comes to how I feel about watching religious films (in one way or another). Blind faith tends to frustrate me and I genuinely felt moments of anger watching parts of The Sermon. I guess that’s Puckett’s point perhaps?

The Sermon was a wonderful surprise and an extremely impressive piece of short filmmaking. The 35mm cinematography is brilliant, the score is befittingly moody, and the performances are all very good. The material unfolds in a unique fashion and audiences should find the climax to be rather rewarding. I think Dean could have had Stephenson (and in turn her character) offer up a little more emotion and the religious subject matter can make for somewhat frustrating viewing depending on your belief system (or lack thereof). It just so happens over the last week I’ve managed to discover some of the best short films of the year and The Sermon is no exception.  Check out the teaser trailer and you can also now watch the film at the link at the bottom!

My rating for “The Sermon” is 8.5/10

KNUCKLEBALL

THE SETUP

775 Media Corp and Freestyle Digital Media presents “Knuckleball”, the latest Horror/Thriller feature from Co-Writer/Director, Michael Peterson. Knuckleball sees parents Mary and Paul (Kathleen Munroe and Chenier Hundal) offload their 12-year-old son Henry (played by Luca Villacis from Channel Zero) with Mary’s estranged father Jacob (played by Michael Ironside) while they try to reconnect following a death in the family. When Henry awakens to find Jacob’s body stiff and cold, panic sets in and nearby neighbor Dixon (Munro Chambers) sees an opportunity to take advantage of the situation. With a snowstorm fast approaching, Henry must overcome his fears and outsmart the mystery man if he’s to survive the night.

THE GOOD

Peterson’s a Canadian filmmaker with an extensive background in shorts, having made a dozen or so over the last decade. I’d heard some positive rumblings in the lead up to the release of this wintry home invasion style flick and wanted to see for myself what it was all about. The snow-covered setting usually makes for a great foundation and often leads to some rather picturesque cinematography. In addition, the element of a snowstorm further adds to the severity of the protagonist’s plight (in this case it’s that of young boys). Jon Thomas conveys simple framing and a bunch of nice shot choices early on. The use of a drone also helps to capture some of those widespread aerial shots on display at the beginning of the film. Furthermore, the color grading looks natural and defined. The audio track is nice and clean, and the score slowly builds around low-fi bass that turns to ominous droning synth as the situation begins to escalate. The film’s pacing is reasonable and there’s an eventful family dynamic at play too. I give Mike some credit for at least attempting to ground the story a bit more, even if it doesn’t always feel convincing.

Peterson reunites both a talented veteran actor in Ironside (Total Recall and The Machinist), with a rising Canadian in Munro Chambers to form two of the three pitchers in Knuckleball (see what I did there). The two previously worked together on the criminally underrated “Turbo Kid” *see review* https://adamthemoviegod.com/turbo-kid-review/ and it’s great to see them back together here, despite the two not sharing many scenes. The performances are all solid- Ironside well and truly suited to playing the hard ass- and presents with an aptly dour front. As for Chambers, he gets to play by his own set of rules a bit more and I enjoyed seeing that. Young Luca turns out to be the surprise packet of Knuckleball, which is surprising because it’s usually a gamble when your lead character is a child. It’s not easy to keep audiences engaged for a full 90 minutes, especially when you’re a relatively inexperienced youth, so kudos to him.  The action elements in the film are adequately carried out, though perhaps without being overly memorable. One is likely to draw comparisons to Chris Columbus’s infamous “Home Alone” and in turn, Kevin McAllister’s manning of the house with traps. There can be no denying that Peterson’s script is much darker though (think something like Bereavement) and there are a few effective sequences that involve violence and blood and gore.

THE BAD

Displaying Henry’s phone messages and gaming habits via a separate screen image in the frame isn’t a great look. I understand maybe establishing the medieval style game he plays on his phone in the beginning (if for no other reason than to show him being groomed for what comes later), but several more references in that same fashion to both the phone, the game, and a message, just feel stale. Some of the visual foreshadowing at the end of the first act is rather obvious (not sure if that was the intention), and so when Henry makes use of those items you often see it coming. Even though we do get some insight into Dixon’s motives, they don’t really present themselves until the very end of the film and that hinders how much of an effect his character has on the viewer in the lead-up. What we do learn appears to be a little lacking anyway. It’s made known early on that there’s been a sizeable fracture in Mary’s immediate family. A disconnect with her father and some emotional scarring regarding events that took place at the property during her childhood. One may deduce from that, that it might not be the best place for Henry, Right? I would’ve liked to have seen him either take longer to warm to Jacob (given how little they’ve seen of each other over the years), or the characters to have made mention of seeking someone else out for the “babysitting” duties, in turn, eluding to Mary’s father being a last resort. As I said, Luca’s performance is quite a good one, but Henry’s complete poker face and non-existent reaction to one particularly violent action (really the only one) doesn’t really help to sell the believability. In fact, for a lot of the more intense moments, Henry doesn’t appear to be all that worried. A situation arises that involves a drugging. My question is that if said drug is a hallucinogen (which I was led to believe it was given the trippiness that transpired after) why would you aim to use it on that particular character? On the contrary, if it wasn’t that and a sleeping pill of sorts instead, Why time the visual of those altering effects to coincide with the crucial soda pop scene? That part was a little hazy because at that point there’s no prior evidence of Dixon being anything more than just a little odd.

Knuckleball is a darkly entertaining Horror/Thriller take on something like the aforementioned “Home Alone” or even last years “Better Watch Out” (only far superior to the latter film). The camera work is satisfying, the score is effectively moody, and Peterson tries to bring some family drama to proceedings. I thoroughly enjoyed the return pairing of Ironside and Chambers, and young Luca is a lot better than he has the right to be (at his age and development). Despite some conveniences here and there, things get entertaining as the storm approaches and Henry’s situation worsens. The cat and mouse game is fun and there are a couple of scenes involving some practical blood work. The negatives are mostly personal preference related. I’m not a huge fan of phone content being displayed in the fashion it is here and the foreshadowing is a little too predictable. The reveal of Dixon’s motive is left until late in the piece, Henry fails to react to something pretty shocking, and the drug plot device doesn’t play out all that clearly. In spite of its issues, Knuckleball is 90 minutes of good solid entertainment and I’m looking forward to seeing more films from Peterson and his production company. You can check out the official trailer for Knuckleball below and it’s now available for viewing on VOD (video on demand) and various other streaming platforms.

My rating for “Knuckleball” is 6/10

HERE THERE BE MONSTERS

THE SETUP

Firstly, I’d just like to say thank you to Wanderer Films and Writer/Director, Drew Macdonald (Creeper) for allowing me early access to an online screener of his 14-minute Horror/Thriller short “Here There Be Monsters”. Here There Be Monsters is an Australian made film about a timid and tormented school girl named Elki (played sublimely by Savannah Foran McDaniel), who falls asleep during the bus ride home and awakens to find herself at the end of the line where something lurks in the shadows of the depot. The film also stars Jordan Small and Toby Barron as “The Monster”.

THE GOOD

Some of you die-hard MovieGod readers (if such a person exists haha) might remember me reviewing Macdonald’s previous short film “Creeper”, a genuinely disturbing slow-burn Mystery/Thriller, that was, in fact, the best short of 2017 *see review* https://adamthemoviegod.com/creeper-review/. Well, I’m pleased to see Drew right back at it again with another outstanding homegrown piece of work. The film, whilst fictional in nature, broaches some of the current societal issues we’re having with bullying in our schools and the detrimental effects on the victims of that bullying. Young Elki is just minding her own business on the bus home from school and is yet subjected to a barrage of physical and mental abuse from fellow teen classmate Noelle (Small). Sadly Macdonald showcases the worst of adolescent behavior, and what’s more disturbing is that it’s true to form. This is happening to youths everywhere and it shows the dangers of what can transpire if others idly stand by and do nothing. This is DP, Josh Zaini’s first venture into short filmmaking and it’s a successful one at that. His framing is lovely, the shot choices are smart, and the low angles on the school bus are some of the best shots in the film. The night exteriors of the depot are atmospherically backlit too.

Erin McKimm (who scored Creeper) delivers another memorable score and some really sharp sound design here. Early provocative foley techniques effectively generate a sense of uneasiness and help convey Elki’s ever-growing frustration and anger toward what she’s constantly having to deal with.  A lovely section of the score contains somber piano and violin, and then when the situation escalates, the driving synth begins to flow in. The creatures terrifying sound is another facet worth mentioning. A rather inexperienced Savannah McDaniel simply blew me away with her performance. She’s got her eye line right, a truly expressive face, and she manages to hit all the required emotional beats – seemingly doing so with ease. I wasn’t surprised at all to see Steve Boyle’s name (expert special effects artist from Queensland) attached to this project. Boyle’s worked on a number of impressive films (Daybreakers, Bait, and Boar are just a few) and combines here with Toby Barron to bring this otherworldly monster/alien to life. Macdonald times his final dramatic transition in the ideal place and the viewer is also left to make up their own mind about the validity of the creature and what it represents in the scheme of the narrative.

THE BAD

One particularly shocking moment between Noelle and Elki at the start does lead to the smallest of continuity errors regarding the latter and her makeup (at least if what I saw or didn’t see, was right).

I recall giving Drew’s previous short Creeper a perfect score (something I don’t usually do) and I’m very much inclined to do the same thing with this follow-up film. This is simply brilliant filmmaking of the highest order. The issues on display are pertinent, the technical elements are outstanding, and McDaniel has got that raw talent that very few actors possess. The creature is carefully presented and the film as a whole is entertaining, informative, and thrilling in its final stages. I can’t fault Macdonald at all, he’s a guy who budding filmmakers can look to in order to see how it’s done. I feel he’s poised to have a successful career in the industry if he continues driving high standards and production values. With only a couple of weeks left before I compile my Top 10 of 2018 list, it’s almost impossible to see anything dethroning Here There Be Monsters for the best short of the year. Keep an eye out for this one soon, you certainly won’t want to miss it!

My rating for “Here There Be Monsters” is 9.5/10

MYSTERY BOX

THE SETUP

Firstly, I’d just like to say thank you to Stockholm Syndrome Film and Co-Writer/Director, Sonny Laguna (Blood Runs Cold and Wither) for allowing me early access to an online screener of his 10-minute Horror/Mystery short titled “Mystery Box”. Mystery Box opens on an isolated island with Moa (played by Lisa Henni), a young woman whose enjoying a quiet bit of fishing, her only haul for the day being a mysterious metal box. Placing it in a nearby shed she thinks nothing more of it, but as nightfall approaches, there’s a knock at the door and Moa discovers that getting rid of the box might not be so easy.

THE GOOD

I was introduced to Swedish-born Sonny Laguna years back, around the same time he released his feature film “Blood Runs Cold” (one of the first films I reviewed here at AdamTheMovieGod). It was a micro-budget homage to the slasher in the woods trope (only those particular woods were snow-covered Canadian ones) and the end result certainly surprised me *see review* https://adamthemoviegod.com/blood-runs-cold-review/. Sonny followed up with “Wither”, yet another tribute, this time to Sam Raimi’s “The Evil Dead”. I thoroughly enjoyed the practical effects on display and even some of the action sequences, but the film as a whole was rather lacking. From there, Laguna dropped off my radar for a few years, despite going on to make another couple of features during that time. Mystery Box sees him return to the world of short filmmaking. This might be the first time I’ve seen him utilizing more cinematic methods in spite of  budget. The cinematography is made up of some glorious aerial shots of both the boat in the beginning and Moa’s cabin too. The edit transitions with a bunch of nice quick cuts, most of the framing is good, and there are even a couple of smooth tracking shots as well. The audio is clear and the foley work is the best it’s been in any of Sonny’s films thus far. The music can be likened to that of a Lovecraftian style film. Loud horns are eerie and atmospheric synth gives Mystery Box that desired otherworldly feel. This is a one-woman show and Henni does a fine job in the role. Stockholm Syndrome Films have always taken pride in their effects work, and once again, Mystery Box is no exception. This time, Sonny and Co. opt for dirty and greasy makeup and goop and a majority of it works.

THE BAD

My only real complaint is that the film lacks clarity in regard to the function of the box. The climax plays out in intriguing fashion but you don’t necessarily get the reveal you might be expecting. Also, Lisa has somewhat of an understated reaction to the contents of the box. I expected her to show a little more shock and awe.

Mystery Box is an entertaining and sharp short film from talented European filmmaker, Sonny Laguna. The film is clearly inspired by the world of H.P Lovecraft, with perhaps a little nod to something like Richard Kelly’s “The Box” in there. The cinematography looks impressive, the sound is clean, and the moody synth score further complements the intended tone. Henni is easy to watch and the practical effects are of a high standard. Issues are slim and mostly personal preference in nature. I think Moa’s reaction to what’s inside the box is a little weak and I think the film may have better benefited from some clearer details in relation to the box itself. Small gripes aside, Mystery Box is an impressive short film that genre fans are really going to enjoy. Keep an eye out for the teaser trailer soon!

My rating for “Mystery Box” is 8/10

FATHER

THE SETUP

Firstly, I’d just like to say thank you to Co-Writer/Director, Chris Keller for sending me the link to his fifth short film, a 9-minute Horror tale called “Father”. Father introduces us to a young boy named Danny (played by Rodion Kilinc), whose quietly drawing in his bedroom late at night. Shortly after his mother (Rayanna Dibs) and her soon-to-be latest one-night stand (Sam South) arrive home, things take a dark turn. Danny is locked in his bedroom and eventually forced to face the very real demon that plagues his nightmares. The film also stars James Killeen as “Father”.

THE GOOD

Chris Keller has forged a seven or eight-year-long career thus far, working in compositing visual effects on projects like “Man Of Steel”, “Thor: The Dark World” and “The Hunger Games” (just to name a few). Throughout that period he began venturing into short film, doing so with quite some success. DP, Thomas Shawcroft shot Father’s cinematography in glorious 5K, and the image really pops (as is to be expected). All of the framing is nicely conceived and the gentle camera movements make for pleasant viewing. The scenes in Danny’s bedroom are atmospherically lit and provide plenty of suspense to proceedings. The audio track’s clear, there is some big sound design, and the use of keys in the score results in an eerie little theme that feels like something out of a dark fairytale. The demon design and the practical makeup effects are where Father truly shines through though. A decaying corpselike exterior isn’t necessarily anything new (just look to The Walking Dead, among other things) but this trio of makeup artists bring it to life really well (well.. not life but ya know what I mean). Combine its look and sound with Killeen’s sudden jerky movements and restrained advances at Danny and you’ve got a memorable evil.

THE BAD

My only real complaint in Father is that young Rodion, being a little raw/green (in just his second short), lacks consistency with the level of fear he portrays. It’s a tough balancing act because you don’t want a child actor to be over the top or forced, but on the opposite side of the coin, you don’t want to underplay it either. Unfortunately, his performance doesn’t quite progress at the same rate as the level of threat does. That said, it’s by no means enough to take away from the overall entertainment and enjoyment of Father. Also, I’m not sure how I feel about the ending either.

Father is my official introduction to Keller as a Writer/Director and the end result is a rather impressive one. Coming from a visual effects background, it’s clear Chris approaches his work with a high level of attention to detail. The 5K image looks superb, the audio and sound design are both sharp, and the score, while subtle, is rather fitting. The presence of the demon is alarming, and the practical effects, coupled with James’s acting, are the reason this one is as good as it is. If I’m being critical, I do think young Rodion’s intensity wavers somewhat toward the back end of the film, but I have no doubt he’ll further improve with more time and experience. Father is now currently available for viewing on YouTube and you should definitely check it out at the link below, Enjoy!

My rating for “Father” is 8/10

HALLOWEEN

THE SETUP

October 31st, 1978 was the night he came home. He, being the evil that is Michael Myers. Some of you may recall that I recently reviewed Director, John Carpenter’s iconic horror film “Halloween” not all that long ago here at AdamTheMovieGod *see review* https://adamthemoviegod.com/2018/08/21/halloween-review-the-night-he-came-home/. Despite composing a thorough breakdown of the film highlighting all its obvious shortcomings (shortcomings some hardcore fans just refuse to acknowledge), I still really respect Carpenter’s original film and how it paved the way for future generations of filmmakers, particularly in the horror genre and its subsequent “slasher” format. Is it a masterpiece? No, I don’t think it is. But I certainly don’t hate it. I just simply can’t ignore the number of issues, which stem all the way back to even the simplest foundation of creating a Halloween themed film but not establishing any cornerstones of the actual holiday itself. Now that’s not being critical, that’s just an essential element you need if you’re going to call your film “Halloween”. Its age tag shouldn’t be an excuse either, because Wes Craven’s rejuvenation of the genre 22 years ago with “Scream”, still more than holds up in just about every department. Anyways, enough about all of that. It’s been 40 years, a tonne of pretty lame sequels, a tonal shift through two of Rob Zombie’s entries, and here we are talking about the highly anticipated release of Halloween in 2018. Halloween is Directed by David Gordon Green (Stronger and Snow Angels) and is a true sequel to Carpenter’s 78′ original. Laurie Strode (played by Jamie Lee Curtis) is now a broken woman living in isolation. After two failed marriages and a now rocky relationship with her daughter Karen (Judy Greer) and granddaughter Allyson (played by Andi Matichak), Laurie must face her fears once and for all, when on Halloween night she’s confronted by the masked figure known as Michael Myers. The film also stars Will Patton, Haluk Bilginer, Toby Huss, Dylan Arnold, James Jude Courtney, and Nick Castle.

THE GOOD

Halloween comes to us from Blumhouse Productions, a company responsible for some of the best horror releases of the last decade. DP, Michael Simmonds manages to re-create some of that visual appeal that was present in Carpenter’s original, while still maintaining a particular contemporary look and feel for the modern slasher audience. The cinematography is wonderfully executed. Highlights include a number of terrifying and sharp profile shots of Michael, slick panning, and a slew of atmospheric POV shots (point of view). Timothy Alverson’s edit is nice and tight and the color grading exhumes the best of both worlds in regard to light and dark. John teams with son Cody to resurrect the infamous Halloween synth theme – man it’s a classic. The score is much more effective this time around because it’s not overworked, it doesn’t cue every single one of Michael’s entrances and there’s room left for the material to breathe. Where is the suspense if you choose to telegraph each one of those moments?  I’m pleased to say that Green and Co. opted against that. There are a number of stretches void of music and yet they manage to effectively build tension. The dramatic themes are also nicely composed. Make no mistake about it, this year’s undertaking of Halloween deserves its slasher crown. In spite of its worldwide success, in my eyes, Carpenter’s original film was mismarketed. Seemingly advertised as a slasher film, where in reality, very little slashing occurs. It plays as much more of a suspense/thriller than anything else.

Most fans were excited about the return of Jamie Lee Curtis, the real Laurie Strode if you will (not to say Scout Taylor Compton’s Laurie wasn’t real) but… well, you know what I mean. To be honest, I’ve never really rated Curtis’s performance from forty years ago, nor was the one-dimensional character of much interest to me either. I understand the intention was probably to keep a simplistic approach to the setup, but you still want to root for a protagonist you like and care about, and I simply didn’t. Let’s just say Jamie’s improved a lot over the years and she’s gone on to make a number of solid films. Her performance as an older downtrodden Laurie, whose living the life of a timeworn recluse, is a very good one. Not only that but it was a stroke of genius casting a dark-haired Judy Greer to play her daughter Karen, so to newcomer Andi Matichak as the youngest in the Strode family lineage. All three are incredibly well cast and have the required level of fight in them to face Myers. There are a few other familiar faces in here, such as Will Patton (Remember The Titans) as Officer Hawkins, Toby Huss (HBO’s Carnivale) as Ray, Karen’s husband and Jefferson Hall (of Vikings). The performances all around are a hell of a lot better than almost all the other films in the franchise. Turkish born, Haluk Bilginer was a much-needed addition and served as a credible vehicle for Michael’s character arc over the course of the years between the original film and this one. Bilginer plays Dr. Sartain, once a pupil of Dr. Loomis (played by the late Donald Pleasence) who was Michael’s original physician following the murders in 78′. The writing surrounding Sartain makes for a fresh perspective on the potential risks or dangers of spending your entire life studying something that simply can’t be explained. I liked that angle.

This latest script, penned by a combination of three writers, is multi-faceted in nature. A majority of the issues surrounding a lack of attention to detail in Carpenter’s original film are all but rectified here in 2018. Let’s start with the raw foundations. As soon as the words October 31st hit the screen at the start of the second act, the holiday is well and truly established. Halloween itself is incorporated into the story through a number of different avenues, none of which required much money to conceive. Whether it be a number of conversations that mention it, decorations on porches and pumpkins exploding, or an abundance of trick or treaters out in force on the streets of Haddonfield. It’s all there, everything you want to make you believe in the world that Green’s creating. Even the school dance is aptly a costume themed one. The importance of simply filling out the world of the film and having Michael blend in with his surroundings cannot be understated. There’s a certain eerieness that’s generated from that. I’m going to assume that actor turned writer, Danny McBride (Eastbound & Down) was responsible for the comedy infused into the script. Surprisingly, it’s good-natured and pretty well-timed. Youngster, Jibrail Nantambu (in his first film) plays Julian, a boy being babysat by Allyson’s friend, Vicky (Gardner). He’s quite a charming kid and a couple of his lines were pretty funny. Huss has his moments, playing the dorky somewhat embarrassing dad To a T, and even the duo of local cops have some back and forth banter in their patrol car which provided a couple of chuckles. The decision to age Michael and have two different actors play him was a smart one. The disheveled look of his mask was a nice touch too.

The pacing and runtime of Halloween are perfect. The proper consideration is taken regarding setting crucial events in motion before the chaos and body count starts to pile up. Normally it’s a strike against any slasher that doesn’t deliver a kill in the first fifteen minutes, but given this is a widely known franchise with a lot of entries I can forgive that. It’s somewhat overshadowed by the fact that you’ve got countless entertaining nods to the original film and a number of others in the series. Notable moments include Allyson looking out the classroom window, shots lingering through a clothesline, the graveyard scene, and one particular character being killed and hung up and left against a wall. Babysitters, escaped mental patients, and references to sibling connections are just a few of the many more. Finally, we get a Halloween film where virtually every single character takes Michael Myers seriously. Even residents of the town are told to stay inside their homes and batten down the hatches. Short of including a news bulletin or a town curfew, not much more could be asked of the writers. Most importantly, Laurie is crafty. She’s prepared for everything that’s coming and approaches the inevitable showdown with a sense of confidence and vigor. It’s a combination that results in an outstanding final twenty minutes that sees Laurie navigate every inch of her home trying to find Myers. It’s darkly presented, perfectly slow burned in nature, and further highlights Laurie’s preparedness. The on-screen violence certainly hits hard too. Maybe not Rob Zombie kind of hard, but still heavy none the less. The film boasts quality practical blood and gore fx and some extremely suspenseful stalking scenes. The killing is often swift and ruthless, especially during a montage of Michael going house to house. Even the off-screen kills usually contain a graphic aftermath and that’s a blast to see.

THE BAD

The number one hindrance with Halloween is the creative license issue that comes when the filmmakers consciously choose to ignore crucial details established in prior films from the franchise. Firstly, if you’re going to attempt to do that then the last thing you ought to be doing is referencing said films, other than perhaps the original. Secondly, I’m not sure why you’d want to disregard the previously explored backstory between Michael and Laurie anyway, especially when the result makes for a far more unnerving context within their cat and mouse game. In this particular sequel, the writers provide us with some passing dialogue intended to debunk the theory of Michael and Laurie being siblings by claiming it’s all just something people made up to make the ordeal seem bigger than it was. Come on guys, that’s a pretty weak out. If the two are related, it’s personal and scary as hell. If they’re not, then why Laurie? Myers has no particular MO, so why her? A couple of pieces of dialogue might have benefited from a re-write. Namely the overly formal use of the term “grandmother”. Laurie is even labeled that way in Allyson’s phone contacts. One might argue that it was to convey the separation of the family, but that only works if Allyson and Laurie feel like strangers, and they don’t. They seemingly talk quite regularly so a simple change to “grandma” would have sufficed. In addition, Laurie’s line “Every night I prayed he’d escape” and explanation “So I could kill him” (I’m paraphrasing), leads to Hawkins reply of “Well that was stupid” and subsequently the conversation ends on an awkward beat. He would have been better to respond with something like “Congratulations, you got what you wanted” (or something to that effect). It has more impact and makes more sense than simply just stating the obvious.

If I’m being nitpicky the older father in the truck with his young son should have been established as his grandfather, the guy was way too old to play that part. Halloween isn’t without a few flat reactions from characters either. Allyson’s phone being thrown into a bowl of food would likely elicit more of a response than she ends up giving (after all she’s a teenage girl). She never really reacts to what she initially witnesses Cameron doing, and then also contradicts herself by showing frustration and disapproval of his drinking and immaturity at the dance, yet moments before makes plans for the two of them to meet up with Vicky and her boyfriend Dave to smoke weed, uh, what?? In addition, it takes laying eyes on Myers and not a friend of hers incapacitated in a precarious position, to make Allyson act. The most obvious example of an undersold reaction comes in response to the demise of one particular and likable character. There’s zero reaction from two others in the moments after it occurs, nor is there anything from them at the closing of the film. The inclusion of a few slow-motion frames highlighting the magnitude of it all wouldn’t have gone astray. Little Jibrail’s reaction to seeing Michael pop out of the closet is oddly comedic and underplayed as well, though he can be forgiven because it’s his first time in front of the camera.

Halloween well and truly exceeded my expectations and has turned out to be arguably the best pure slasher film since “Scream 2”. The cinematography is fantastic, the editing is stylish and tight, and Carpenter’s iconic score is employed in all the right places. There are countless nods for fans of the original, the casting of the family is spot on, Sartain acts as the conduit for the missing years as well as an homage to Loomis, and to most people’s delight Curtis leads from the front and all the remaining performances follow suit nicely. Halloween’s pacing is superb and it boasts a level of attention to detail like no other film in the franchise has. For once the characters actually take Michael seriously. There are a few nice light-hearted moments but the violence is hard hitting and the body count is high. The practical effects look impressive and the final twenty minutes makes for one of the best third acts in recent horror history. I have to say the filmmakers choosing to ignore all the other films wasn’t the best decision and I think Laurie and Michael’s specifics should have remained the same as they always have. A few lines of dialogue feel clumsy, characters sometimes contradict themselves, and on a few occasions the reactions either simply aren’t present or aren’t all that believable. In the end, though, the facts don’t lie. Halloween has just overtaken Wes Craven’s “Scream” as the highest grossing slasher film of all time, and for that and more, it deserves credit. Needless to say, it’s the best film in the Halloween franchise and certainly the best horror film of the year. You can and should check out the official trailer below!

My rating for “Halloween” is 8/10

VESPER

THE SETUP

Firstly, I’d just like to say thanks to Amitice and French Writer/Director, Keyvan Sheikhalishahi for allowing me access to an online screener of his 23 minute Mystery/Thriller short, “Vesper”. Vesper places you in a dream-like state as Marge (played by Agnes Godey), a middle-aged woman, shuts herself off from the world in the hopes of escaping her manipulative and controlling husband, Walter (played by Gotz Otto from Iron Sky). Marge seeks counsel from her young nephew Christian (played by Sheikhalishahi himself), but he begins to discover secrets that involve both him and the troubled pair.

THE GOOD

At just twenty years old, Keyvan has already made two shorts and a feature-length film, a wonderful accomplishment in an of itself. Vesper serves as my introduction to the young French filmmaker and it’s certainly an interesting little film. For the most part, Jean-Claude Aumont’s cinematography is easy on the eyes, with all the shots nicely framed and well executed. The internals at night are one of the highlights and the house makes for a quaint setting for this psychological story. The audio track is clean and the subtitles are all accurate. The original score is rather plain, though some of the high-frequency synth notes help to create a sense of otherworldliness. Vesper aims to keep you guessing about what’s at the core of it all and I certainly had an awareness about what the two male characters ultimately represented. All of the performances are good and the respective characters each have a solid arc.

THE BAD

On the technical front everything is pretty well conceived, but if I’m being critical the lighting is perhaps a touch flat in a few frames. My biggest criticism of Vesper is that it is a bit long and rather vague in some of its specifics. Twenty-three minutes is a long short, probably too long. I think Keyvan’s intention was to leave his audience with questions, but the problem is that the resolution feels unrewarding. It’s as if there are supposed to be two different timelines playing out over the course of the runtime, and characters reactions further support that theory. Christian and Marge are in the living room having a conversation about Walter and his ever-growing threatening behavior when he actually comes in and approaches her, yet there’s no reaction from Christian at all. It’s as if he didn’t know Walter was there, something established again in the scene that follows. Why couldn’t Christian see without his sunglasses? Or more specifically why was it painful for him without them? Was that a reference to something that had previously happened to him? It’s those vague particulars that prevent Vesper from really shining. I feel as though you can get away with a fair bit in the realms of a mystery film, but I think it may have benefited had there been some more clarity.

In spite of its shortcomings, Vesper is a nicely presented and effectively enough Mystery/Thriller from a young up and coming French filmmaker. The camera work is impressive, the sound is sharp, and all three performances are good ones. The story is intriguing enough but the lack of transparency took away from the end result. I think the runtime is a good five or six minutes too long and I had plenty of questions surrounding Christian’s reactions (or lack thereof) to various situations. I think it’s certainly worth a look but I’m even more excited to check out Keyvan’s next short film “Nox”. You can check out the trailer for Vesper below and keep an eye out for it soon!

My rating for “Vesper” is 6/10

HANG UP!

THE SETUP

Firstly, I’d just like to say thank you to Fatal Pictures and Producer, Zach Green along with Writer/Director, Richard Powell for allowing me early access to an online screener of their 13 minute Drama/Thriller short “Hang Up!”. Hang Up is the fifth short from the Fatal Pictures duo and it sees them team up yet again with actor, Robert Nolan (Silent Retreat and Canswer). Gary’s at his work desk when he suddenly gets a call from his wife Emelia (voiced by Astrida Auza). It’s an accidental dial that proves to be enlightening, as a multitude of dark secrets are bought to the surface.

THE GOOD

I’ve been privileged enough to have seen and reviewed three other films from Fatal Pictures, each very different from one another, but all equally as impressive. The common denominator between “Worm”, a story about a high school teacher with a narcissistic personality, “Familiar”, where a father and husband suspects something is controlling his mind, and “Heir” a dark tale of a father and son, is the superbly talented Robert Nolan. There’s a reason Powell and Green continue to utilize Nolan and it’s likely because of his range. Hang Up is tonally quite different from Powell’s other works. He primes you for an intense one-way conversation, where you’re simply a fly on the wall, as Gary, a seemingly everyday man, endures a verbal onslaught that reveals some startling discoveries. DP, Michael Jari Davidson (who worked on the two previous FP shorts) brings a mix of simple shots choices to the table (I mean to the actual table the character sits at haha) but he also implements some interesting techniques, such as flipping the camera on its head or using a reflection to frame something a certain way. The black and white photography is something new from Fatal Pictures and I liked it. The audio is clear, and some bass within the soft score makes for a nice change of pace as well. Nolan’s primarily reactive based display is as good as I’ve seen and Astrida has an interesting and sinful emphasis to her line delivery. Richard’s script is certainly adult in nature and deals with some pretty ruinous stuff. A focus on the dying plant was interesting, I saw it as a metaphorical touch regarding the couple’s connection. In a roundabout way, Hang Up has surprising topical relevance with things like the #MeToo movement and other pertinent issues in the world right now.

THE BAD

My only criticism of the film (and it’s a personal preference issue) is that it should’ve ended after Emelia discovered what transpired. It wasn’t necessary to hear her reaction and I think it ultimately took away from some of the desired impact had she just hung up. Stylistically speaking, the way it bleeds into the credits does kind of work though.

Simply put, Hang Up is just more superb filmmaking from Richard Powell and Fatal Pictures. These guys are constantly reinventing themselves and there’s a real sense of professionalism about what they do. There’s a dedication to telling impactful stories, each different from the next. The black and white works well, the shot choices are cool, and the audio sharp. The script is smartly written and both Nolan and Auza deliver extremely impressive performances. I do think the last couple of minutes could’ve been cut in order to garner more of a one-two punch finish. Leave some mystery. First and foremost, do yourself a favor and pick up a copy of “The Boxcutter Trilogy”, which features three of Powell’s aforementioned short films. Check out the teaser trailer for Hang Up! because it’s coming soon.

My rating for “Hang Up!” is 9/10

HUSH

THE SETUP

Firstly, I’d just like to say thank you to Jam Productions and Writer/Director, Joseph McGovern (All Over Again) for allowing me access to an online screener of his second short film “Hush”. Hush is an 11 minute Drama/Fantasy short about Jeremy (played by Anthony Scanish), a young man struggling with an infatuation for his best friends wife, Suzanna (Melissa Damas). The desire finally gets to be too much following a couples night and the two will never be the same again. The film also stars Kristin Teporelli, Erik Searle, Constance Reshey, and Marion Tention.

THE GOOD

Hush opens in heavily saturated reds that pierce the frame as the credits roll to the sound of Matthew Amadio’s beautiful synth theme. It’s a dramatic composition made up of those familiar tones you’d get from an LA vibe film. Paul DuVilla’s cinematography is simple in structure but well executed, and McGovern’s edit is pretty clean. The red lighting is certainly stylish though perhaps a little overexposed in places. The most interesting element of Hush is McGovern’s reluctance to use dialogue to guide the narrative. His previous short “All Over Again”, about an aging musician, was built around conversation and conventional music, Hush is void of both of those and I like that. As an amateur filmmaker myself, I can’t help but respect Joseph’s willingness to challenge himself by doing something different. I read Hush as one man’s externalization of his deepest desires, something that ultimately culminates in an interesting and dark turn of events.

THE BAD

Hush undoubtedly comes with a few questions. For example, there’s a woman who approaches from behind Jeremy and touches him on the shoulder during the party. I’m not sure if it was supposed to be Suzanna or just a figment of Jeremy’s imagination, it was a little unclear. I thought the imagery might have been his mind simply playing tricks on him, highlighting the guilt he might have felt if he had cheated or was cheating on his girlfriend. I wasn’t exactly sure what Joseph was trying to convey through it all. That said, there are some relevant issues on display here regarding fantasized behavior and the importance of consent. I do think if Hush was half the length it’d make for a tighter end result.

Hush is a unique Drama/Mystery story and quite the diversion from McGovern’s debut short. The synth score is amazing, it’s well shot and the abstract nature toward this kind of subject matter isn’t something you often see. The overly long run time (which is still relatively short might I add) limits the effect of Hush and I think a good three or four minutes could have been trimmed. A few specifics aren’t entirely clear and I’m not one hundred percent sure what Joseph is trying to say here. All that said, this is another solid short film from a young indie filmmaker. Keep an eye out for the official release of Hush soon!

My rating for “Hush” is 6/10

KILLER KATE!

THE SETUP

Firstly, I’d just like to say thanks to both Feld Films and Co-Writer/Director, Elliot Feld for allowing me early access to an online screener of his new Horror film “Killer Kate!”. Killer Kate sees a non-for-profit worker, Kate (played by Alexandra Feld) reluctantly accept an invitation to a remote cabin for her estranged sister Angie’s (Danielle Burgess) bachelorette party. Along for the ride are Angie’s co-workers Sara and Mel (played by Amaris Davidson and Abby Eiland respectively). What the group doesn’t know is that the siblings of a random family business, led by the hesitant, Jimmy (Grant Lyon) have targeted the girls specifically. What ensues is a life or death battle between the two parties. The film also stars scream queen Tiffany Shepis, Brandon Bales, Preston Flagg and Robert Donavan.

THE GOOD

Killer Kate’s high production value ensures that the film be taken seriously, all the more impressive is that this is Elliot’s debut feature-length film. Daud Sani’s cinematography is certainly one of the technical highlights. Everything is nicely framed and competently shot. Both the gentle panning techniques and overall color grading are extremely smooth in nature. A tight edit by young filmmaker Carter Feuerhelm sees to it that Killer Kate never feels like it’s dragging. The audio track is crisp and clear and John Hopkins mighty synth-centric score will go down as another one of my favorites of 2018. One might argue that with the worldwide success of Netflix’s “Stranger Things”, composers are simply just cashing in on the overnight rejuvenation of 80’s synth in movies. Hell, they’d probably be right, but there’s a reason why audiences still love it and it’s because of that sense of nostalgia that kicks in. That said, Hopkins brings his own dramatic ideas to the table, with the inclusion of some lovely somber piano and then fading bass thumps as the situation escalates.

Killer Kate presents as a fairly straight-up horror flick with elements of the slasher thrown in, though there’s a surprising amount of dark humor to proceedings that sadly doesn’t always translate. I’ve seen a few slashers that have played to the setting of a wedding or an engagement party so this is unlikely to be seen as treading new ground. “Hen’s Night”, and even Staci Layne Wilson’s “The Fiance” both come to mind (among others). Most of the cast is serviceable but Lyon delivers quite a fun-filled performance and proves to be the most consistent source of comedy. He happens to look a hell of a lot like fellow actor and funny man, P.J Byrne. As for the humor, some early banter between the family members stands out and the ongoing ski mask gag is quite funny too. The lovely Tiffany Shepis (Victor Crowley) shows off her surprising comedic sensibilities in a brief but enjoyable role. As for the action, it takes more than half the 78 minute run time for the practical blood spray to rear its ugly head. There are a couple of respectable kills involving an ax and a barbed-wire bat, though it turns out that this one isn’t really the type of horror film fans might be expecting.

THE BAD

I’ll be the first to admit that I was caught a little off guard by the tone of Killer Kate. Don’t get me wrong, I love a good Horror/Comedy blend but the humor here isn’t present enough to accurately describe it like that, and the violence isn’t really severe enough to see it appropriately labeled a horror/slasher film either. There’s an attempt by Feld to give his protagonist duo of sisters some more depth, but when all is said and done the expression of the material is a rather self-aware one (highlighted by the “this isn’t a movie” line) and it leaves you feeling uncertain. On the creative front, there are a few frames of overly soft lighting and chunks of the dialogue feel immature at times. It may have been Elliot’s intention to have the girls clearly overreact to the sight of a muddy footprint but it wasn’t a logical reaction to the situation, especially considering nothing out of the ordinary happens prior to that to suggest that people were coming to kill them. Unfortunately just about everything else in the film reactive based-wise is steadily undersold. Once again, that might have been the intent, but it can’t help calling into question the validity of the entire format and perhaps the marketing of Killer Kate. The acting isn’t bad by any means but there’s little weight to any of it. It’s never really explained as to why Mel has it in for Kate so badly? It can’t simply just be a jealousy thing because everything displayed in her character core suggests she isn’t the type. It seems as if there’s been an altercation between the two previously and maybe the audience just doesn’t know about it, I’m not sure though. I spent a fair portion of the runtime asking, Why the strained relationship between siblings Kate and Angie? After all, it didn’t appear like there was one instance that served as the reason for their disconnection (maybe their father’s illness?). I discovered that it was likely Angie’s self-absorbed nature that drove the pair apart, an outlook that she seemed completely oblivious too. Kudos to both writers in Feld and Daniel Moya for writing a realistic character, but that said, Angie’s a frustrating watch and I had little sympathy for her when it came to the business end (and I don’t think that was the intention). All signs appear to point to one particular motive regarding the home invasion. Even underlined by some of Angie’s fiance story sharing with her sister, or so I thought. Then out of left field comes an odd head-scratcher of a rationale behind the killings. Let’s just say I don’t think the landing stuck.

Despite its shortcomings, Elliot Feld’s “Killer Kate!” is a decent debut feature-length film. Sani’s cinematography is wonderfully presented, the audio is sharp, and John’s pulsating synth score pulls plenty of creative punches. Some of the comedy is entertaining and the script elements aren’t bad either, even if they are somewhat tonally conflicting. It’s a short runtime with adequate blood splatter and a few kills and I think Grant and Tiffany give the two best performances of the bunch. On the downside, the film doesn’t possess the emotional weight it wants you to think it does and that’s highlighted in a lot of the under and overplayed reactions. Some of the characters decisions are questionable, Angie’s selfish persona is likely to test viewers, and I couldn’t quite work out why there was so much animosity towards Kate, especially given two out of the three girls had never met her prior to the getaway. The motive remains the weakest aspect of Killer Kate and I can’t help but feel a little cheated. Especially when either directly or indirectly, Feld’s all but sets events in motion with a seemingly clear target in mind, one who disappointingly never really becomes that target. With that said, genre fans are still likely to have fun with Killer Kate and may enjoy it even more than I did. The film will be available in theatres and on VOD from the 26th of October. You can check out the trailer below, Enjoy!

My rating for “Killer Kate” is 5/10

THE ZERO BOYS

THE SETUP

UK distribution company “Arrow Video” have been in the game since 1991. They’ve been responsible for some of the best film restorations in recent times and I never miss an opportunity to pick up more new content from them. Arrow takes the old negatives, tidies them up, color corrects them, and jam packs the releases with new features and interviews etc. The 1986 backwoods style Horror/Thriller, “The Zero Boys” was given the same treatment and it was recommended to me by a friend. The Zero Boys is a genre mash-up about war games that go wrong. The zero team is headed up by the ultra-competitive, Steve (played by Daniel Hirsch) and consists of his two buddies, Rip (Jared Moses) and Larry (Tom Shell) who spend their days playing elaborate survival games in the wilderness. After celebrating a fresh victory, of which the prize being young psych student Jamie (played by Kelli Maroney), Steve, the boys, and their respective girlfriends all head off for some downtime but unknowingly find themselves in an authentic kill or be killed situation. Zero Boys is Co-Written and Directed by Nico Mastorakis (Island Of Death), and also stars Nicole Rio (Sorority House Massacre), Crystal Carson (TV’S Dallas), Joe Estevez (Samurai Cop 2) and Gary Jochimsen.

THE GOOD

This 4K transfer of Zero Boys is incredibly sharp, though having never seen the film in 35mm or the heyday of VHS, I can’t make a full comparison. That said, if I was betting man, I’d say that this print is as good as the 1986 cut will ever look. Almost all the imagery looks clean, and the sets being laced with rain and fog certainly adds an element of charm to the proceedings. DP, Steven Shaw (who had previously worked as an AC on Spielberg’s E.T) carries out some really fine Steadicam operating and utilizes some effective high angle shot choices. The clean and loud audio and fresh master both do the film a huge service. I’m sure that chunks of the dialogue were re-done using ADR (additional dialogue recording), but in this case, it doesn’t make the result any less rewarding. The brandishing and chopping sounds of the killer’s machete are one of the standout features of the sound. Both Stanley Myers, and much-lauded composer Hans Zimmer (Black Hawk Down and The Dark Night) are credited for the surprisingly impressive score on display in The Zero Boys. Zimmer has since become one of the most sought-after people in Hollywood but ZB is one of a handful of the places where he honed his craft. The opening theme is interesting, balancing high-frequency synth with a military march tempo to match the setting of the film. The style of synth becomes more energetic as the film progresses. Myers was responsible for all the suspenseful themes involving the bass, cello, and violin. The best theme comes in a scene that sees Trish (Carson) enter the bathroom to clean herself up only to encounter one of the killers. It’s very Hitchcockian in nature and delivers on the suspense front. I got a kick out of Nico’s nods to both iconic characters “Rambo” and “Jason” (from the Friday The 13th franchise), those were a bit of fun. Some of the cheesy disses spouted between characters provide a number of amusing moments too.

The introduction to The Zero Boys is one of the most entertaining ten-minute sequences in 80’s horror. The trio and their arch-enemy Casey (played by John Michaels), play up the significance of their on-going rivalry something fierce. The 80’s were undoubtedly a simpler time, at least they must have been for Steve and his pals. The proof is in the pudding, in the sense that the appeal of approaching college life and an opportunity for greener pastures would surely outweigh the trivial bragging rights of besting your peers in juvenile war games, wouldn’t it? Well, no, apparently it doesn’t (haha). This innocent game appears to be the most relevant thing in their lives, and I suppose that’s both a happy notion and a sad one. If I measure the characters and quality of the performances here against those in John Carpenter’s infamous slasher film “Halloween” (which came just 8 years earlier), it’s not even a question as to which is better. I believe the budget’s for both films were similar and those who know me know that I’ve been quite vocal about both characterization and acting in the latter film. The arcs were purely one dimensional and the performances lacked the required emotional reactions. Whereas each of the characters in The Zero Boys is first and foremost likable, and though the stereotypes are present, they’re never overstated. Even with Steve’s hot-headed persona, he’s smarter than he lets on (despite voluntarily emptying his magazine at nothing), and Rip’s humor is pure, never mean-spirited. With Larry, the pretty boy looks make him seem like he doesn’t quite fit, so it’s an interesting inclusion to the team. As for the women, they all sport those big hairdo’s. Jamie has a tough exterior and doesn’t pretend to be something she’s not. Sue and Trish are both quieter types who offset their respective boyfriends. None of them are overly annoying or stupid, and consequently, the performances they turn in are pretty good. The threat of violence is ever-present but there’s not a lot of it on-screen. However, one eventful kill does take place during the third act and it includes some practical blood effects.

THE BAD

The only weakness in this brand new transfer of The Zero Boys is the lack of grain management in some of the night exteriors. Ninety percent of the film looks vibrant and illustrates complete clarity, but there are a few scenes guilty of inconsistent resolution efficiency. As I said, the performances are much better than one would expect from a genre film from this time. A handful of lines do feel a little scripted as the film intensifies, resulting in some rather weak delivery. The Zero Boys isn’t without a few obvious continuity issues and some lapses in credibility regarding the writing. Steve and Larry reference a girl from a videotape they watch in the barn, yet none of the other girls ask any questions about it. The same thing can be said about the girls discovering a body in a trunk and expressing virtually no reaction to it. I suppose Trish does spontaneously vomit, but the other girls give nothing. I expected at least some screaming or calling out to the boys for help. In the aforementioned barn scene, Steve and Larry proceed to shoot the shit out of the timber door because there’s a lock on it (one that mysteriously wasn’t there the frame before). Do you know what an Uzi would do to wood? It would completely shred it. Needless to say, the boys enter the barn with the door completely intact and the lock gone. What’s more, they recklessly empty countless magazines all over the barn despite not knowing how many killers are really out there. I’m sure you’d look to conserve ammo and not waste it. The highlight of the film action-wise (involving a pitfall), doesn’t end up holding much integrity. I’m almost sure I saw the entire group walk over the area the hole was in during the prior shot of Sue falling in (it’s also in plain sight might I add haha). Not only is it not covered, but it’s also shown to be so shallow that you could climb out of it on your own. The one thing hindering the re-watchability factor of The Zero Boys is its lack of action and blood and gore.

The Zero Boys is another solid Blu Ray release from Arrow Video. The film is more of a backcountry thriller than it is a horror or slasher flick. It’s in the vein of “Hunter’s Blood” (coincidentally released the same year) or the underrated “The Backwoods”. There’s even a touch of something like “Blood Games” about it, just replace the softball team with a bunch of paintballers instead. I couldn’t have been more impressed with the overall transfer. The cinematography is nice, the sound is crisp, and the Zimmer/Myers score is fantastic and helps drive the suspense. Most of the comedy is upbeat, the film references are fun, and the opening scene dives straight into the setup. Excusing a few flatly delivered lines, the performances are all pretty even and the characters are surprisingly appealing. The night exteriors could’ve used a little more work during the restoration process. I suppose some of the continuity stuff could be deemed artificial given the type of film this is, but characters reactions and actions during crucial moments don’t always add up. The aspect that lets the film down is that it’s almost void of action. Mastorakis stated in a feature interview that it wasn’t intended to be that type of high body count film, fair enough I suppose. Though when you set up the story with 6 or 7 characters and call it a horror film I’m expecting multiple deaths, and I didn’t get that. Still, there’s a bunch of things to really like about The Zero Boys and 1986 was a damn fine year, the year of my birth in fact. I can definitely recommend this one to fans who like these types of Horror/Thrillers. You can check out the official Arrow trailer below!

My rating for “The Zero Boys” is 6/10