Chateau Sauvignon: Terroir (Review) It’s a family balance…





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 (Review) Be careful what you wish for…





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 (Review) One hell of a first date…





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 (Review) May God have mercy on your soul…





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 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.



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 (Review) Let’s keep it in the family…





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.



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* 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.



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 (Review) It’s time to fight back…





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”.


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* 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.


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 (Review) It’s the gift that keeps giving…





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.



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* 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.



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

I’m Dreaming Of A White Doomsday (Review) Tis the season to lay low…





Firstly, I’d just like to say thank you to Reel Splatter Productions and Writer/Director, Mike Lombardo for allowing me early access to an online screener of his debut feature-length film “I’m Dreaming Of A White Doomsday”. I’m Dreaming Of A White Doomsday (aside from being quite the lengthy title) is a Christmas themed post-apocalyptic/horror film about the lives of a mother (played by first-timer Hope Bikle) and her 8-year-old son Riley (Reeve Blazi) as they fight for their survival in the wake of an end of the world apocalypse. The film also stars Damian Maffei (The Strangers: Prey At Night), Holly Andrew, and Shannon Moyer.



The hand-drawn poster art for Lombardo’s holiday-themed survival film is what initially caught my eye. I didn’t know much about the film going in, but the combination of the end of the world and the holiday season makes for an interesting premise. Now, I’ve reviewed some pretty good post-apocalyptic films over the years, Brett Bentman’s “Apocalypse Road” *see review* is one that comes to mind. In spite of its micro-budget price tag, I’m Dreaming Of A White Doomsday manages to get a fair bit right. The film opens with an abundance of establishing shots showcasing some impressive decorations and Christmas set design. Lombardo managed to do this with less than 5 percent of the budget spent on John Carpenter’s “Halloween”. It begs the question, Where were your decorations, John? (sorry folks and Halloween fanboys but it had to be said haha). Dylan Stern-Courney’s camera work is pretty solid. He employs some nice panning techniques and gentle zooming here and there, as well as opting for plenty of tripod shots in the latter half of the film. The audio track is clean and the score implements a touch of the holiday jingles without overstating it. The highlight is a haunting synth piece that reminded me somewhat of the key theme in Brad Anderson’s masterpiece, “The Machinist”. The art department also deserves some credit for their resourcefulness in manufacturing a bulky and realistic bunker door with such little money. The film’s key location is a basement and that looks fairly well detailed too. The two lead performances are both quite consistent, all the more impressive given that this is Hope and Reeve’s first time in front of the camera. The dynamic between the pair is raw and natural, add a little experience from Maffei and you’ve got a solid foundation. The film contains some practical blood spray but it’s rather brief.



Even taking into consideration the speedy run time of just 71 minutes, I’m Dreaming Of A White Doomsday is somewhat diminished due to its one location and the overall slow burn nature, which ultimately sees very little actually happen over the duration. I think Lombardo could have elaborated on the decline of the environment itself, perhaps eluding to certain essentials dwindling or other resources failing altogether. The food supply is briefly addressed but other than that the rest remains unexplored. The cinematography is usually best when the shots are stabilized. Unfortunately, there are a few moments early on where the focus drifts back and forth and that indecision is a little distracting. The score is good but maybe a touch repetitive, and I’d like to have seen some more foley recorded. The sound of gusty winds is formulated for externals, but at times the sound bed as a whole feels a little hollow. For a sizeable chunk of the film young Riley is nowhere to be seen. The sole focus switches to Kelly (the mother) and there isn’t so much as a glimpse of the young boy. It was quite noticeable because there are predominantly only three characters. The continuity and details surrounding Simon (Maffei) are a little foggy too. He mentions heading out to look for more supplies, and although he appears to return, it isn’t actually shown. There’s no loving embrace or even a general outcome to that particular plot point (Was it in her head?). Unless I happened to have missed something, it seems as if he must have left again at some point (unbeknownst to the viewer). There doesn’t appear to be any fallout from whatever transpired. I don’t know? It was all rather confusing.


I’m Dreaming Of A White Doomsday is a small time indie production competently made by some hard-working people with a DIY methodology. I’m digging the poster art, Lombardo’s setup has its own little spin on the sub-genre, and most of the technical facets are quite well conceived for a film of this nature and budget. Some of the music is memorable, the set design contains attention to detail, and each of the performances is better than I expected. Although it’s only just over an hour, the combination of some slow pacing and a lack of verve do hamper the end result somewhat. Mike could have passed the time better by introducing a few more developments inside the four walls of the bunker to keep it engaging. That said, I quite enjoyed the third act all the same. The film does lack sound design and some much-needed clarity in regard to Simon’s character. All in all, though, this is still a solid debut feature-length film from Lombardo and I look forward to seeing what Reel Splatter Productions does next. If you’re a fan of post-apocalyptic films and indie filmmaking, go ahead and check out the official trailer below!

My rating for “I’m Dreaming Of A White Doomsday” is 6/10

Father (Review) He’s the type of figure you don’t want in your life…





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”.



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.



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 2018 (Review) Michael’s coming home…





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* 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.



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 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 (Review) Something is haunting Marge Ofenbey…





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.



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.



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! (Review) Some things are best kept secret…





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.



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.



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

Good Girl (Review) All good things must come to an end…





Firstly, I’d just like to say thanks to Three Tales Productions and Co-Writer/Director, Wesley Alley for allowing me early access to an online screener of his 9 minute Drama/Thriller short, “Good Girl”. Good Girl takes place on the night of Charles (played by Zack Ward) and Helen’s (Amanda Markowitz) milestone anniversary. The pair is enjoying a nice meal, fine wine, and some old tunes in the comfort of their own home before they realize that all good things must come to an end.


I previously reviewed Wes’s micro-short, “SockMonster” earlier this year and it’s turned out to be one of the most impressive shorts of 2018 thus far. Building a career mostly in the camera and electrical department, Alley has since ventured into writing and directing short films over the last 7 or 8 years. It’s filmmakers like Wes that have inspired me to get involved in the industry. Ryan McCoy’s camera work in Good Girl is smooth in nature and it’s complemented nicely by a soft lighting in a gothic style of presentation. There’s a series of nice close-ups and the proper time is taken in setting the scene. The audio track is clean, and the old record music combines with Rob Reider’s brief but frenetic orchestral score to create an effective atmosphere. Zack Ward (Freddy vs Jason) brings an ample amount of creep factor to Charles. Appearing calm on the surface but you’re never quite sure what he’s thinking. Amanda is solid in her role too.


It’s a little on the nitpicky side, but some of the shots in the climax are just a fraction darker than they needed to be. If I have one key complaint it’s that I was able to predict the direction of the story less than a couple of minutes into it (and that was without looking at screenshots). Being only 9 minutes long though, it doesn’t alter the overall enjoyment of the film. I was left a little in the dark (pardon the pun) about the why of it all, but I suppose leaving your audience on that kind of note isn’t necessarily a bad thing.

Good Girl is another really impressive short film from Three Tales Productions. The cinematography is sound, the audio is crisp, and the score is subtle in the best possible way. Zack and Amanda give commendable performances and it proves to be an entertaining thriller. Seasoned viewers (and particularly ones of short films) are likely to find the key development rather predictable from the outset, and they might be left a little cold on the reasoning. Whilst I don’t think this one is quite as memorable as SockMonster it’s still well worth a look. Keep an eye out for the release of Good Girl soon!

My rating for “Good Girl” is 7.5/10

Hush (Review) When actions speak louder than words…





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.


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.



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! (Review) It’s a bachelorette party to die for…





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.



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.



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

2001: A Space Odyssey (Review) Humanities rise and the dangers of technological advancement…





This is a review of the 1968 Adventure/Sci-Fi epic “2001: A Space Odyssey”, Written and Directed by Stanley Kubrick (The Shining). 2001: A Space Odyssey has been described as a space opera of sorts, divided into three separate acts, each depicting various stages of our evolution. In the beginning, we’re shown how man came to learn about the use of tools and weaponry. The appearance of multiple Black Monoliths (machines built by an unknown species) acts as the catalyst in advancement that eventually sees humanity reach as far as the stars and beyond. Then, onboard spacecraft “Discovery One”, Dr. Dave Bowman (played by Keir Dullea) and Dr. Frank Poole (Gary Lockwood) are en-route to Jupiter on a mission, the details of which are classified. During their journey, they’re confronted with the potential dangers of their onboard supercomputer, the seemingly faultless HAL 9000 (voiced by Douglas Rain). Its ever-expanding intelligence could ultimately threaten the next step in the evolutionary chain. The film also stars William Sylvester, Daniel Richter, and Leonard Rossiter.



It’s hard to believe that in his 70 years of life, Kubrick only managed thirteen films (it sounds like a lot but it’s not). The approach was clearly quality over quantity, and that shows in the way he moved freely across all genres, making a name for himself in each of them. It began (more or less) with “The Killing”, his very own Crime/Film Noir picture that came at the height of the genre, yet still had its own style and structure that set it apart from the rest. “Paths Of Glory” and “Spartacus” saw Stanley step into the world of war, and “Lolita” added that touch of Romance and Eroticism to proceedings. His most well-known films like “A Clockwork Orange”, and the now-infamous “The Shining” received the level of attention they did because of his groundbreaking work with 2001. To date, I’ve seen seven of his films, and whilst I think this science fiction saga has been somewhat over-hyped, I still highly respect the work and the techniques used to make it. Kubrick clearly paved the way for the likes of Christopher Nolan and his less than stellar “Interstellar” (whom the filmmaker even referenced as inspiration), as well as “Europa Report” or something like Alfonso Cuaron’s “Gravity”, a masterclass survival thrill ride. The cautionary tale element of humanity’s technological developments proved to be well ahead of its time, especially given our now somewhat unhealthy reliance on it here in the 21st century.


With over twenty years of prior experience, DP Geoffrey Unsworth (Superman) used his ingenuity to conceive the absolutely stunning visuals on display in 2001, the likes of which had never been seen before. There are a series of grand establishing shots (probably too many) that not only set the atmosphere but allow Kubrick to bask in his own eminence. Understandably so, considering he was the first to take on something of this magnitude. Unsworth utilizes the full scope of the camera’s capabilities, placing it at various angles and in interesting positions throughout the second act in order to demonstrate the aesthetics of zero gravity. It helps to put you in the shoes of the crew members, while simultaneously presenting the viewer with something innovative. The bulk of the cinematography showcasing space is grand in nature and highlighted what could be achieved using miniatures and the right backdrops. Some of the lighting is quite expert too. Namely the use of reds and whites. I personally feel as though the full-blown classical music has a sense of heavy-handedness about it, but the various composers are good and the crew did a wonderful job of the arrangement. I think that the high-quality sound design actually eclipses the self-satisfying ways of the musical compositions. The tradeoff between subtle sounds heard onboard the craft and then the cutaways to Frank out in the haunting void (and the same with Dave) makes the experience a completely immersive one.


2001’s Set Decoration by Robert Cartright is a huge part of the reason that the film was successful and why it’s managed to hold up so well today. The facility set introduced at the end of the first act is nicely detailed, so to the craft that Dr. Floyd and his counterparts travel in. Remember that this was 1968, so attention to detail hadn’t really become a thing of note yet. The design and detail in all the features of Discovery One is certainly something to behold, simply unparalleled for that era. The wardrobe department created realistic suits and helmets and zero gravity is mostly nullified due to the fact that characters are often seen wearing a kind of soft velcro shoe. Due to its seemingly non-existent character development, not a lot of range is actually required of the actors. That said, both Dullea and Lockwood’s performances are serviceable and Douglas Rain happens to possess the perfect tone for the supercomputer’s voice. It’s equal parts controlled and eerie. The middle act is by far and away the strongest. It’s the closest the film ever gets to a semi-conventional narrative that’s both rewarding through its entertainment value as well as its cautionary warning. Kubrick’s writing surrounding the HAL 9000 and its determinations is genius, eventually leading to some thoroughly unnerving and suspenseful moments of unpredictability.



Whilst I really respect Kubrick and what he was able to do with 2001: A Space Odyssey, the film still comes up somewhat short in regard to its “masterpiece” branding. It’s unnecessarily long and lethargic in its pacing, and therefore I don’t think that it really warrants such high esteem, at least not in its current state. There’s quite a sense of overindulgence on Kubrick’s part (and it wouldn’t be the first time), but I guess the hope was to give audiences a larger than life cinematic experience, unlike anything they’d seen before. Said to have set the tone and depict the notion of the unknown, 2001 opens with a black screen and some eerie synth for the first five minutes. I understand the reasoning behind it but half that length would have sufficed. The same can be said of the bizarre warp speed sequence in the third act. I’m not sure I understood the context, so I’m going to assume the most logical explanation was Bowman entering a black hole of sorts. It’s an extremely long-winded scene loaded with landscape establishing shots where Kubrick goes well and truly overboard with colored lens filters, and for what purpose? I really don’t know. In the first scenes with Dr. Floyd, we’re introduced to a number of other scientists and researchers who end up having no bearing on the events. No important information is conveyed between them and they’re never revisited. It’s yet another example of five or six minutes screen time that probably should have been cut. The infamous “hominids” sequence is undoubtedly important to the evolution framework of 2001, but once again, it’s just a bit too long.


Continuity-wise, the film is pretty solid. Though if I’m being finicky I’d say that the counter to depicting zero gravity ( e.g the velcro shoes) isn’t actually established on board the Discovery One. Much of the final act can only be described as highly conceptual and I have no qualms in saying that I didn’t fully comprehend all of it. Stylistic Filmmakers like David Lynch (Eraserhead) and David Cronenberg (Naked Lunch) were clearly inspired by the likes of Stanley Kubrick and 2001. The black monolith still remains somewhat of a mystery, although I suppose that’s the point. The hominids touch the pillar in the beginning and I guess that ultimately acts as a catalyst in their understanding of tools and weaponry and how to use those elements. Does the monolith on earth somehow project to the other one eventually found on the moon? If so, does that mean you have to make contact with it? How do the researchers even know where to go to find it? Or were they heading to the moon on another mission and then randomly discovered it? Little is understood about any of it. What is it that the monolith does to the structure of the space-time continuum that results in Dave being able to see multiple versions of himself? Everything comes to a culmination in a kind of rebirth scene, but it’s all rather abstract. I suppose the takeaway from 2001: A Space Odyssey is that it’s by and large a story about humanity, about the life cycle of a human and told among the widely unknown nature of the universe. Christopher Nolan’s “Interstellar” tried to accomplish the same kind of thing but failed miserably with regard to exploring the human condition.


I’ve been meaning to watch Stanley Kubrick’s infamous “2001: A Space Odyssey” for several years now and just never got around to it. With stars Keir Dullea and Gary Lockwood set to visit Australia next month for a convention, I thought now was as good a time as any. There are some interesting layers to 2001 and Kubrick’s thoughts on life, the universe, and technology, particularly in his foreshadowing of the potential dangers of its advancement. Unsworth’s cinematography is unique and super sharp, the lighting is fantastic and the sound design is often unexpectedly eerie. The set decoration and wardrobe still hold up today and the performances are more than serviceable. Despite not being seen, Douglas Rain’s performance as the HAL 9000 remains the most memorable, and that whole middle segment is where the film is its strongest. Unfortunately, as it stands, 2001 is a good twenty-five minutes too long and the overall sluggish pacing makes it seem even longer than 140 minutes. There are four or five examples of scenes that could have been cut down and they wouldn’t have lost anything. Having questions about something so cerebral isn’t necessarily a bad thing, but coupled with the vibe of Kubrick’s excessive self-congratulatory nature, it’s all a little much. If the bulk of 2001 further explored the link between man and machine it would have not only maintained a more defined narrative, but it would have been more interesting and relevant. With that said, one can’t deny Kubrick’s level of ambition with this film and how truly impressive it is that something that’s now 50 years old, still holds up today. It’s not quite the masterpiece some say, but it certainly helped shape the world of modern science fiction filmmaking and for that I highly respect it.

My rating for “2001: A Space Odyssey” is 6/10

Any Bullet Will Do (Review) You reap what you sow…





This is a review of the Region 1 (U.S) DVD of “Any Bullet Will Do”, the third feature-length film from Papa Octopus Productions. I thoroughly enjoyed their two previous releases which consist of the dramatic thriller, “Big Legend” see review- and a slow-burn western called “A Reckoning” see review- Any Bullet Will Do is an Action/Western film Written and Directed by Justin Lee. Primarily set in Montana during 1876, Former Union soldier turned headhunter Hollis Ransom (played by Kevin Makely), enlists the help of a fur trapper, as he sets out through unfamiliar territory in Big Sky country looking to find and kill his brother Everett (Todd A. Robinson). The film also stars Bruce Davison (Insidious: The Last Key), Jenny Curtis (Friends Don’t Let Friends), Meg Foster (Lords Of Salem), and Mark Ryan (TV’S Black Sails).



Driven. That’s the word that comes to mind when I think of young filmmaker Justin Lee. Here’s a guy with not only a clear knowledge of filmmaking but an understanding of resourcefulness when it comes to independent film. The amount of praise I’ve been singing for Lee in recent times probably makes it seem as though I have an affiliation to, or a biased view of the man, such is not the case. I, myself, are an aspiring filmmaker, and it gives me hope to see someone in a similar position making a successful go of it. Any Bullet Will Do is the second western from Papa Octopus Productions, but unlike the reluctant nature of its predecessor, this time around the pacing is better handled. Lee combines nicely with DP, Will Turner to get a rather fulsome presentation, perhaps his best yet. Shot on location, the Montana forest looks nothing short of breathtaking, both in its spring setting and the winter. Turner’s framing is fantastic and the shot choices are simple but constructive. The use of a drone in several establishing shots certainly raises the production value, as to do the dynamic wide shots during the trekking transition portions of the film. A majority of it takes place during the day but Turner and his team still do a great job of keeping the amount of light consistent from shot to shot. The audio track is crisp and clear, and the use of low-fi treble and bass help complement Makely’s opening piece of narration as the Union prepares to do battle with the Confederates. Justin’s regular composer Jared Forman is quickly becoming one of my favorites. Any Bullet Will Do has three distinct musical styles and is clearly some of his best work thus far. The first theme builds around rock/blues acoustic guitar, the second changes to electric guitar but melodic in nature, even ballad-like. The last is where things become drum-centric, left for the films more suspenseful moments. I don’t normally mention the wardrobe department on independent films, but when it comes to the Western genre it remains an essential detail of the film’s fabric (oooh that’s a bad pun). Christina Bushner deserves all the accolades for the detailed clothing, hats, belts, and holsters (among other things). I was able to buy into the setting immediately and all because of the costume and set design, so kudos.


Some familiar faces return to take part in Lee’s third film, most notably Makely and Robinson. Everyone involved turns in really solid performances though. Experienced heads in Davison and Foster lead from the front and are particularly good. Davison playing “Carrington”, a greedy town mayor/sheriff of sorts. He chews the scenery as good as anyone during his interactions with Makely. Meg makes an appearance as “Ma Whitman”, the woman who runs the prostitutes in town and again she’s as natural as we’ve come to expect. The addition of Jenny Curtis as “Rose Gage” is a nice one too. She brings a bit of fiery female spirit to the proceedings and I dug her characters look. Makely and Robinson worked together on Justin’s two previous films. They’ve definitely grown, and over time developed an organic shorthand with each other. Todd has a little less screen time than he did in Big Legend but he’s good regardless, and I think this is Kevin’s best performance. Not to mention, he more than looks the part of the disheveled and emotionally wrecked lone soldier. Lee’s honed his writing abilities in quite a short period of time and Any Bullet Will Do is solid proof of that. Through some good dialogue, he touches on Hollis’s family division early on, as well as making an interesting choice for the soldier’s guide (leading you one way and ultimately going another). The inclusion of several stronger and more interesting scenes ultimately pays dividends this time around. The opening battle, albeit brief, is ambitious and well-executed. Then there’s Carrington’s eventful interrogation of a townsperson (Bruce’s best scene) and a lively sequence in a saloon. All the western tropes that we love are on display here. You’ll even find the witty and humorous conversation that occurs between two drifters, Lonnie and Karl (played by Sean Cook and Randy Ryan) to be far more entertaining than expected. The action is carefully arranged and somewhat limited (mainly due to the budget), but some practical blood spray and effects work from Jerry Buxbaum bring that vital element of realism to this harsh environment.



If I’m being nitpicky, I’d say that Makely and Curtis try their damndest to stretch their faculties beyond their current limits in order to try to harness the full spectrum of emotions. Crying freely isn’t an easy thing to do for most people, and made even more difficult in the land of make-believe. I found some of Jenny’s punchy delivery to be a touch too modern for the period as well. Lee gives us a few momentary peeks into the window of Hollis’s past, which is more than we got in the aforementioned “A Reckoning”. That said, I think one pure flashback to the event in question would’ve gone a long way to gaining further insight as to how these brothers drifted apart and what the catalyst ultimately was for that happening (other than the obvious). The film doesn’t have any obvious plot holes, other than the fact that it’s not overly realistic to shoot a man once and just leave him for dead, especially not in that revenge-fueled world. I understand the need for said sequence because it sets up the vengeance aspect, but still. I’m a little disappointed that this is a bare-bones release because those of us interested in film would’ve loved some features looking at how something like this was made on such limited funds, never mind though.


Justin Lee’s, Any Bullet Will Do is a super impressive independent venture into the hardened world of the Western. It’s like a mix of “Seraphim Falls” and the “True Grit” remake and is easily Lee’s most impressive film to date (with the end result likened more to the latter film). I love the DVD artwork, the landscape is stunning, the cinematography smooth, and the audio is as sharp as ever. Forman’s score is wonderful and Bushner’s costume and set design are methodical in the attention to detail. The returning players here are great to watch and the newcomers make for lively inclusions, most notably Brea Bee who sings really well in her one scene. The standard of acting is high from all involved, but both Davison and Makely deliver almost career-best performances. The characters are all enjoyable, the downtime is shortened, and most of the scenes are more dynamic than in Lee’s previous western. Whilst the action is still reduced, the story is never boring. I can critique a couple of the finer points in a few of the performances and look at what could have been added that wasn’t, but at the end of the day, it’s nothing that puts a dampener on affairs. People seriously need to start talking about this film and they’re not. For some unknown reason, Lee seems to be copping a bit of a beatdown from critics of late. I think it screams of jealousy or unrealistic expectations because none of their feedback appears to carry any real weight. I say it time and time again, if you’re going to review these types of films it’s important to grasp the process behind it and all that it entails. Anywho, in typical hard-working fashion, Lee just continues to go about his business unaffected. If you’re a fan of western pictures and are open to watching independent films, you’ll be hard pressed to find anything in the genre as good as Any Bullet Will Do. The film is now available to purchase and you can check out the official trailer below!

My rating for “Any Bullet Will Do” is 8/10

The Zero Boys (Blu Ray Review) When war games go wrong…





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.



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 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

E-Demon (Review) When evil goes viral…





Firstly, I’d just like to say thank you to Kate at October Coast PR, along with Dark Cuts Distribution for allowing me early access to an online screener of a new Horror/Thriller called “E-Demon”, Written and Directed by Jeremy Wechter. E-Demon is set within the wonderful world of the interweb, where a group of old friends are enjoying a video chat when things suddenly take a turn for the worse after one of them foolishly releases a demon that’s looking to spread virally. The film stars Julia Kelly, John Anthony Wylliams, Christopher Daftsios, Ryan Redebaugh, Jessica Renee Russell and Vincent Cooper.



It would be safe to say I approached E-Demon with a fair amount of trepidation. For no reason other than the fact that it’s a small independent release presented to us through the familiar medium of the lens of a web camera (or series of web cameras to be more precise). We’ve come to equate a lot of these types of films with amateur technical execution and sub-par acting so you can imagine my surprise as E-Demon rolled on and neither of those expected shortcomings eventuated. This is Wechter’s debut feature-length film after making a dozen or so shorts since 2005. The film’s foundations are deep-seated inside the parameters of the possession component of the genre. Everything is divulged through either the video chat or the eye of each persons headset and web camera. It’s a risky method for storytelling and can easily translate as gimmicky depending on its use. In this case, the live feed works and those end credits in the form of dos information was unique. E-Demon has good quality audio all around, excluding perhaps one half of a phone call that occurs toward the climax. In the beginning, there are several news reports that make reference to “The Quad Murders”, which gives you a little insight as to what’s in store. Following the initial disclaimer delivered by a mysterious hooded figure, we’re introduced (in a roundabout way) to the group of four friends. Kendra (Kelly) is an aspiring author who shares an apartment with her two friends, Taylor, and Fawn (played by Max Rhyser and Lindsay Goranson respectively), AJ (Daftsios), is a confident and charming practical joker with a new girl always on the go. Dwayne (Wylliams) is happily married with two girls, and then there’s the struggling Mar (Redebaugh), who’s just moved back in with his siblings and gamma (grandma).


Once you start to get a look at the different personality types, you can see the potential for drama to unfold amongst them when the situation inevitably escalates. Making matters worse is the parties penchant for elaborate pranks and one-upmanship. Coming in the form of an impromptu game of “Freak Out”, where the goal is self-explanatory- scare the other into thinking the action you act out is real. What I like about this addition is it creates a sense of uneasiness from the get-go, and ultimately you can see things going the way of the boy who cried wolf. There’s some effectively creepy imagery over the course of the film, most notably with AJ’s character, and Wechter does divulge the demons origin story (although stock standard in nature) to save questions being raised in the wake of all that happens. The most clever phase of the writing is incredibly subtle, so much so that I’m not even sure it was intentional. As we come to learn that the demon has the ability to change hosts without warning (well sort of), it appears to ingeniously pit friends against each other through false concern and accusation. At several points throughout the film, Kendra, AJ, and Dwayne all use messenger to type to each other. I noticed that when AJ chats to Kendra about Dwayne and vice versa, his arms and hands don’t appear to be moving… (now that’s creepy). It could just be that the image isn’t entirely clear (due to the format) but I’m going to give Jeremy the benefit of the doubt because I thoroughly enjoy finer details like that. The performances are pretty solid from all involved, particularly the three leads who have varying degrees of experience.



The frames with distorted representation aren’t something I’m really a fan of. I suppose it does create a sense of dread in a couple of the scenes, but fortunately, it’s kept to a minimum. As I mentioned earlier, I didn’t catch Wallace’s dialogue in the initial conversation with Bastian (Cooper), that particular audio was quite muffled. There are a couple of minor continuity issues throughout E-Demon. In one scene, a member of the group gets involved in some commotion that involves someone being fatally wounded. A stabbing is implied but when the body is removed there’s no blood on the rug (I guess it must have been an expensive one). On another occasion, Dwayne flees the kitchen and races to the basement in order to avoid possession. We see the shaky cam from his headset point of view but when he sits down in the second location he’s looking through a webcam again. I guess we’re led to believe he has a second computer in the basement? Feasible enough I guess, but one that just so happens to have a camera as well? There are a couple of other specifics that don’t make a whole lot of sense. For one, no one seems to question why Mar’s camera is upside down for an extended period of time (even if his sister did take it), and when paramedics arrive at Kendra’s place they go on the assertive immediately, even though there’s nothing to suggest that “camera control process” (for lack of a better term) has taken place. The last five or so minutes lost me somewhat too, the people running off in different directions came across as unintentionally funny (think The Sims). Was the resistance network member AJ? That was my take on it anyway.


Much to my surprise, Jeremy Wechter’s Horror/Thriller E-Demon is a really solid first outing from some pretty inventive folks. It feels like a combination of “Unfriended” in terms of its style, yet thematically much more akin to something like Mike Boss’s relatively undiscovered “Anonymous 616”. It’s a prime example of smart independent filmmaking on a budget. We’ve seen this type of presentation before but the real-time approach is well done and the audio sounds good. The characters have their individual trademarks, they interact the same as well-established friends do, and each of the performances further highlights that. The game they play serves as the catalyst for the ever-growing tension between them, that and a couple of Wechter’s creative choices are innovative and add another previously unseen layer. There are a couple of marginal technical hiccups and some continuity errors, but that’s par for the course. A few of the details don’t quite add up and I don’t think the climax is as strong as the rest of the film. The pacing is quite good but a couple of scenes could’ve been trimmed slightly. All in all, E-Demon is one of the surprises at the lower end scale of Horror for 2018. If you like these types of films conceived with a survelliance style of footage, I can definitely recommend this one. Check out the official trailer below and the film will be available in US theatres and on VOD from September 14th!

My rating for “E-Demon” is 6/10

Trouble Is My Business (Review) And the business is good…





Firstly, I’d like to say thank you to Lumen Actus Productions and both Co-Writer/Director, Tom Konkle, and Co-Writer Brittney Powell for sending me an online screener of their latest film “Trouble Is My Business”. Trouble Is My Business is a Film-Noir/Crime film set in Los Angeles in the late 1940’s. Former cop turned private investigator, Roland Drake (played by Konkle himself) has fallen on hard times after backlash from the public, ultimately causing him to be evicted from his office. From there, Drake unknowingly becomes entangled in a web of deceit and betrayal when he takes on a missing persons case involving a woman who he’d previously had relations with. Jennifer Montemar (played by Powell), a wealthy socialite and sister of the woman in question, inquires about his services but all is not as it seems in this world of double-crosses and femme fatales. The film also stars Vernon Wells, David Beeler, Ben Pace, Jordana Capra, Mark Teich, and Steve Tom.



I logged on the other day to find a request from Co-Writer and Actress, Brittney Powell inviting me to watch and review Trouble Is My Business. Shortly thereafter, Tom spoke to me about it as well and I informed him that I had funnily enough just recently purchased a hard copy (which comes complete with both color and black and white versions of the film). I’m a bit of a sucker for film noir and crime films of the era’s gone by. I went on a kick there a while back and purchased a good one hundred or so of the best older crime films (most of which I haven’t even watched yet). It’s clear that Konkle and Powell are both film noir fans too, and perhaps this is their independent venture aiming to serve as a love letter to the genre. The script has all the essentials of the genre, private investigators, corrupt cops, femme fatales and a rare diamond thrown in just for good measure. DP duo, Jesse Arnold and PJ Gaynard achieve quite a simple but clean look with their photography style. Everything is nicely framed and the establishing shots (often conceived with CG) feel diverse and as though they fit well. I’m interested in going back to watch the color version at some point but I was advised to watch the black and white edition (which I’d usually do anyway). Sections of the nearly all CG backgrounds look rather impressive, most notably the driving sequences with Drake and his old partner, Lew (played by Beeler). In addition, the audio track is nice and clear as well.


Thomas Chase and Hayden Clement’s original score is another solid aspect of Konkle’s film. There’s a moody orchestral score in the beginning and plenty of effective french horn and clarinet (or at least what sounds like those two instruments) used in between pauses and moments of dramatic emphasis. The costume and wardrobe design isn’t bad considering the limited funds that would’ve been allocated for it. Tom has a good voice for narration and there’s some enjoyable stuff on display over the course of the film. Though who he’s actually narrating the events to, I don’t know? Most of the performances are serviceable and hit the appropriate beats that best fit the film noir bill. Tom carries a good portion of it and Powell complements him nicely. Both Beeler and Pace, who plays John, Jennifer’s beau (of sorts), provide a clean smart-alec sense of humor to the proceedings. Jordana Capra presents with a natural and well-rehearsed mannerly front as Evelyn Montemar, head of the rich family at the center of the case. Rivers the butler (Teich) is lively, but the characters motivations make very little sense (unless I missed something). A special mention goes to Steve Tom in his small role, and for pulling off a thick and believable Russian accent, no easy thing to do. There are a few moments of decent gunplay and action in Trouble Is My Business but it’s not the prime focus.



There’s the odd bad shadow here and there but the film’s technical aspects can’t be faulted, and that’s an impressive feat in an of itself, especially on this kind of budget. The two biggest issues with Trouble Is My Business are its lengthy runtime and the overall slower pacing of it. Now, that wouldn’t be so much of a problem if the film had more on-screen action or even extra active content, but it doesn’t. There aren’t a whole lot of altercations that occur during the near 110 minutes and that’s a problem. Some of the dialogue feels a little stiff, especially when it comes to Wells character, Detective Barry Tate. Vernon is an Aussie born actor that’s made a solid living for himself in the US, and he’s a guy I usually like watching. Unfortunately, I can’t say that about his performance in Konkle’s latest film (for which he was given top billing). I couldn’t tell what his intended accent was, whatever it may have been though ended up feeling inconsistent and at times noncommittal. Even Well’s off-screen delivery was lacking, and in turn, the appropriate demanding nature of the character doesn’t really translate. A couple of scenes didn’t quite work tonally speaking. The obvious one coming early on between Drake and Jennifer, who have just met, and have to deal with an office intruder in a rather odd altercation. I’m not sure if it was supposed to be funny or if the intended emotional hint just didn’t fit. I thought Drake’s reaction to the situation was rather unrealistic too. There are other examples of characters lacking the appropriate reactions, such as Jennifer pointing a gun at Drake, who gives absolutely no response, yet he doesn’t know her at that point so you’d think he might have some questions. Credibility has to be called into question when the pair overpower three Russian guards, and what the hell was going on with Rivers? Why was he acting crazy? Did I miss something there?


I was looking forward to checking out Trouble Is My Business and I ended up getting to it much sooner than I probably would’ve had Tom and Brittney not inquired about a review. The film is an earnest throwback to the likes of film noir gems like “The Big Sleep” and “The Maltese Falcon”, with perhaps a modern-day touch of something like “Give ’em Hell Malone”. The camera work is great, the audio is sharp and the atmospheric music completes the desired foundation of a genre film like this. Some of the CG is high quality and the costumes are nicely detailed too. The performances are mostly consistent and the script is satisfactorily written. What’s missing though is that important layer of action to help keep viewers intrigued. I’m aware that mightn’t have been the initial intention, but it needed to be. Two hours (or thereabouts) on little money is a long time to try to keep people entertained. Wells performance falls on the disappointing side, some characters actions and reactions don’t always appear to make a lot of sense, and the sluggish pacing makes it a bit of a battle along the way. That said, down the track, I’m still interested in watching the color version and seeing if I gain anything new from it. Whilst I can’t recommend it to everyone, I do think hardcore fans of the film noir style should give this sincere endeavor a look, and keep doing your part to support independent film. You can check out the official trailer below and the film is now available for purchase!

My rating for “Trouble Is My Business” is 5/10