BAD APPLES

THE SETUP

Firstly, I’d just like to say thank you to October Coast and Uncork’d Entertainment for allowing me early access to an online screener of the Horror/Thriller film “Bad Apples”, Written and Directed by Bryan Coyne. Bad Apples is a home invasion style horror flick set on Halloween night. The Blocks, a young married couple played by Brea Grant (of TV’s, “Dexter” and “Heroes”) and Graham Skipper (“Almost Human” and “The Minds Eye”) have just moved across country for new job opportunities. Shortly after settling into their new place, they become the unsuspecting targets of a demented duo of sisters wearing doll masks and wielding serious weaponry. The film also stars Andrea Collins,  Heather Vaughn, Hannah Prichard and Richard Riehle.

THE GOOD

Bad Apples is just Coyne’s second feature film and I can respect that he never once tries to pretend this is something other than what it is, home invasion caper. The home invasion sub-genre has seen countless entries in recent the years, more so since Bryan Bertino’s 08′ masterpiece, “The Strangers”, seemingly the home invasion film to which all others are measured against. Despite the common formulaic approach to them, there’s been some good additions in recent years such as “The Purge” and “You’re Next”, through to some of the lesser known indies like “Home Sweet Home” and “The Aggression Scale”. DP, Will Barratt’s (cinematographer from Adam Green’s films “Hatchet” and Frozen”) camera work is simple but solid. With his consistently good framing and shot choices, he gives Bad Apples a higher production value feel than the budget would suggest. The audio track is decent but it is a little low in places, most notably in the kitchen conversations between The Blocks. It appears Andrew Ceperley, (credited in the music department) is a man of many talents, having a background in animation and visual effects, camera work and editing (among other things). The low-end synth in the beginning of the film feels very 90’s, it was a good addition. There’s also a nice deep dark orchestral theme during the opening montage. The film relies mostly on clattering noises and sharp spikes in bass in order to generate suspense, doing so capably.

I didn’t know much about Bad Apples prior to watching it so it was a welcomed surprise to see Grant and Skipper together, even Richard Riehle in a small role as the school principal. I’ve seen and reviewed a couple of shorts that Brea has appeared in, one was a vigilante story called “Night Watch” by Director, Barry Battle (Baytown Outlaws) and the other, a super impressive 50’s themed short called “The Root Of The Problem” from Ryan Spindell. Grant’s got the Julie Benz kind of beauty going on and she’s inherently watchable. Same goes for Skipper (well maybe not the Julie beauty part haha… sorry Graham), I’d seen an enjoyed his work with Director, Joe Begos and particularly loved his brief but memorable screen time in what was perhaps my favourite film of 2016, Mickey Keating’s “Carnage Park” *see review* https://adamthemoviegod.com/carnage-park-review/. I think most viewers will agree that the couples performances are the best of the lot. Their characters are likeable and sympathetic and they have a natural back and forth that works. Although Bryan’s guilty of zigging when he should have zagged in regards to his characters arcs, he does make up for it by giving horror fans that fundamental first kill five minutes into proceedings. Those who know me know that’s a genre must, it gets audiences engaged nice and early. It’s a bloody first death and each of the remaining kills are conceived with impressive practical effects as well. The highlight being a series of rather graphic aftermath shots of a character who has been disemboweled. The asian style baby doll masks were a nice touch as well, even if they have become somewhat tiresome in modern horror.

THE BAD

Bad Apples wears its badge of independence proudly but feels like it lacks attention to detail. There are issues when it comes to the story and its lack of exposition. Picky things like the principal’s office looking like it was just a small room in someone’s house, I can usually let slide. Not to mention his desk being completely free of paperwork yet the guy’s a principal? Anyways (it’s all semantics). There’s also a handful of minor technical issues with the film too. Sound and lighting were both in need of some work. At one point the sisters use a gun but the muzzle flash effects, even from a distance, just don’t look right. Nor does the sound have the appropriate impact for such an action. The audio track is pretty clean, but the sound does clip on occasion, most notably where scenes abruptly cut (it could just be the screener version I watched). I’m rarely a fan of muted sound with impact hits conveyed through silence, much like a lot of what Bryan does with his action here. I understand it’s often down to either budgetary constraints or simply someone taking creative license, either way, I prefer the appropriate foley and sound bed to match the action on-screen. I wish when the sisters killed someone you could actually hear it. The issue is even further compounded when you have a scene like the one that takes place in the neighbours home, where on top of an absence of reliable sound everything is far too darkly presented as well.

The two biggest shortcomings of Bad Apples are its complete lack of exposition and the fact that on multiple occasions characters completely downplay their reactions in response to serious events. The first comes from a secondary character’s reaction to discovering a body in the school. She musters up the faintest of squeals and then just shuts the door (unintentionally funny) as if the body will just magically disappear. Of course the gruesome discovery doesn’t make the local news of this small town either. Once shit hits the proverbial fan and Grant’s character evades the twisted sisters momentarily, she has the opportunity to grab a knife (that’s in plain sight might I add) Does she do it? Don’t be silly… that would make some sort of sense and in the world of a horror film we’re not about that sense. Even that, I can deal with though. What I can’t swallow is the reaction, or lack there of, from one particular character during the final act reveal. It’s not a case of bad acting, she’s clearly talented and had obviously been advised to play it a certain way, but how nobody on the set raised the question surrounding the level of believability is beyond me. Greater than all of that, is that for two-thirds of the film Grant and Skipper’s arcs appeared extremely one-dimensional. It wasn’t until a random third act reveal by Skipper’s character, which comes completely out of left field might I add, are we actually given something to go on in regard to the context of their makeup. Forget about the crazy sisters bred from violence, because unfortunately we don’t learn a single thing about either of these girls, so much so that I can’t even credit the actresses to their respective roles.

Bad Apples is a fairly paint by numbers home invasion film but there’s still fun to be had here for fans of the sub-genre. Barratt’s camera work is solid and Andrew’s dark score complements the violent material. I like the pairing of Grant and Skipper who deliver serviceable performances. The practical effects displayed are the highlight of Coyne’s film, particularly the graphic finish in all its crimson glory. There’s a lack of attention to detail in the lighting, set design and sound which of course limits the aesthetic appeal of this one. The biggest hindrance is the lack of exposition regarding all four lead characters, and that really hurts the film, that and credibility has to be called into question with several of those vastly indifferent acknowledgements from characters in regard to major events. You can check out the official trailer below! Bad Apples will be available on VOD (video on demand) from the 6th of February.

My rating for “Bad Apples” is 5/10

THE HATRED

THE SETUP

Firstly, I’d just like to say thank you to Kid Kalifornia Productions and Writer/Director, John Law for allowing me early access to an online screener of his debut film, “The Hatred”. The Hatred is an otherworldly horror film by way of a western, set to the backdrop of the Blackfoot Territory in the 1800’s. A young orphan (played by Zelda Adams) hell-bent on revenge against those who killed her family, conjures a recently executed soldier (played by Law himself) back from the dead to help carry out retribution. The film also stars Lulu Adams, Stephen O’Donnell, Thomas Burnham and Michael Hall.

THE GOOD

Law’s sophomore screenplay feels like the supernatural version of “True Grit” along with being akin to the dreamlike state of a film like “A Girl Walks Home Alone At Night”. I give John credit for entering into this very specific sub-genre, recently inspired by the likes of “Bone Tomahawk” and “Brimstone”, two stunning works of cinema. Most of the cinematography in The Hatred is quite slick-looking and professional, which may come as a shock to some considering it appears that members of the cast also doubled as camera operators. The snow-covered landscape makes for some wonderful wide shots and there’s the gorgeous view of a small waterfall, probably my favorite shot in the film. Everything is nicely framed and Law’s decision to use only natural lighting (a technique displayed flawlessly in Alejandro Inarritu’s “The Revenant”) is ambitious as hell. Now, while The Hatred is no 130 million dollar DiCaprio film, the natural light is still really well conceived. The audio track is crisp and clear, notably without any ADR (or at least anything obvious). Not only did Law write, direct and act in the film, he also scored it. There’s a number of scenes with warping low-fi bass as well as an off kilter three note piano motif which creates some tension. The writing isn’t the most engaging but each of the lead performances are solid and it’s Zelda Adams that virtually carries the crown. Michael Hall’s special effects work is fairly basic but it works. Blood spray to complement a handful of on-screen kills in the speedy hour run time.

THE BAD

Being an independently made film from a first timer, and presumably a number of other newbies, The Hatred isn’t without its technical imperfections. The very opening shot sees a huge peak in audio as a soldier screams in agony, fortunately it was just that one minor hiccup in an otherwise nice sounding film. I wasn’t a huge fan of the mumbled philosophical rantings from our young orphan, and at times even the general narration gets a little heavy-handed. Law could have allowed some space momentarily for the film to breathe. There’s a brief section of shaky cam that’s a little rough around the edges in the beginning, showing soldiers retreating (just a personal preference issue though). I feel like John missed the opportunity to compose a conventional western score, which could have added another layer to the film. Westerns have long been known for their sweeping themes, instead the only real form of music we get here is a scattered piece of metal music within the first few minutes (it doesn’t exactly scream period authenticity). There was only the one flat reactionary performance, coming as one of the soldiers is having a knife wiggled around in him, his mannerisms felt forced. It’s never clearly explained how Vengeance rose either (the name of the deceased soldier). Was it a details that was just an afterthought, or did I miss something? Because I felt like some context was warranted in order to fully get behind the young girls cause. I found it difficult to engage the film due to the fact that it felt light on material, that and none of the characters have conventional names. Instead, they go by emotions, which is an original concept but not so easy to build an hour-long story around. There’s a lot of screen time spent showcasing establishing shots, or characters constantly in transit traipsing through heavy snow, it gets a bit tedious after a while.

The Hatred is an interesting concept that Law unfortunately doesn’t quite flesh out to its full potential. I like the blending of tones within the genres and Zelda’s all black look, which is clearly inspired by the works of Edgar Allen Poe. It’s a well shot film in a snowy but barren location. The natural light use is a wonderful accomplishment, the sounds are eerie and the performances are pretty good. Sadly most of the action occurs without suspense backing it, but this is a low-budget indie so I can forgive that somewhat. I had a few personal preference gripes and I think the film would have benefited from a more memorable score. A couple of moments fell flat and I wanted to know more about the young orphans abilities. The Hatred is a slow-burn if you’re that way inclined. But I’m not sure there was ever really enough meat on the bone to warrant a full length feature. None the less, this is a solid first effort. John Law, hey? It’s a bit like John Ford, isn’t it? Maybe he’s got a future in the wild west too, let’s hope so. You can watch the teaser trailer for The Hatred below! It’s now available on Amazon Prime.

My rating for “The Hatred” is 5.5/10

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

THE SETUP

The Oscar-winning yet still undervalued, Francis McCormand (Fargo) makes a long-awaited return to the spotlight in Martin McDonagh’s latest Crime/Drama film, “Three Billboards Outside Ebbing, Missouri”. Three Billboards is about exactly that, three billboards that reside on a road less travelled that leads into the small town of Ebbing (but that’s just the first piece of the puzzle). Mildred Hayes (a disheveled looking McCormand), a grieving mother in the process of dealing with the rape and murder of her teenage daughter, has finally had enough of the inept local police department and decides to publicly display her contempt for the authorities via controversial messages placed on three billboards. Well respected chief of police, Bill Willoughby (played by Woody Harrelson) suddenly feels the pinch to act, and with dim-witted, bigot, Officer Dixon (Sam Rockwell) as second in command, Mildred finds herself in a personal battle to find her own brand of justice. The film also stars Caleb Landry Jones (Get Out), Lucas Hedges (Manchester By The Sea), Abbie Cornish (Seven Psychopaths), John Hawkes (Small Town Crime) and Peter Dinklage (of HBO’s “Game Of Thrones”).

THE GOOD

I’ve been a fan of McDonagh’s witty writing ever since his 08′ feature length debut “In Bruges”, a Crime/Comedy about two hitmen with extremely different personalities, thus making for a darkly funny film with a surprising amount of heart. Martin’s follow-up in “Seven Psychopaths” (which saw Harrelson and Rockwell working with each other for the first time), again took on a similar life, a violent foundation that introduced a multitude of colorful characters, cleverly doing so in a film that’s ultimately about storytelling and the creative process itself. Being two for two in my mind, I’ve been eagerly awaiting the release of McDonagh’s latest, another Crime/Drama with elements of dark comedy which also sees a number of his regular players return. DP, Ben Davis keeps the cinematography fairly simple, doing the material a service given that it’s mostly a character piece. The entire color palette looking rather dreary, in turn fitting McDonagh’s intended tone. The Coen brothers composer, Carter Burwell is perhaps one of my favourite artists. He’s responsible for some of the most memorable scores over the last 30 years (most of which were in Coen films). I had my suspicions it was Burwell’s western style notes behind Three Billboards, especially when you hear the opening orchestral theme and that piano flavored flair reminiscent of films like “True Grit” and “Miller’s Crossing”. Little did I know that it was him until the end credits. Three Billboards projects an interesting contrast, developing with its slow burn pacing, yet at the same time, relying on quick fire delivery. At almost two hours and with very little on-screen violence, the film takes its time establishing the true depth of disconnect between Mildred and those around her, namely law enforcement. I have to say that the plodding development clashes a little with Martin’s dialogue delivery for most of the duration, especially with McCormand’s character rattling off most of her sassy remarks so swiftly.

Sizeable blocks of the writing are quite entertaining and even darkly funny on occasion, a cornerstone of McDonagh’s writing. If you like the say it how it is approach and a pull no punches attitude, Mildred is certainly a character you’ll be able to invest in. She’s your everyday woman dealing with a broken family, financial burdens, and if that weren’t enough, a loss of great magnitude with little or no hope to go on in regards to finding some much-needed clarity. The film has its light-hearted moments too. My favourite line comes from Mildred as she unexpectedly walks into her kitchen to find a priest, it goes something along the lines of, “I think that midget wants to get in my pants”… “Oh, Hello father” (haha). The cast are all consummate professionals and deliver consistent performances across the board. While, McCormand doesn’t quite reach the heights she did with her character work of the infamously chipper “Margie Gunderson” in Fargo, she turns in a resolute and honest performance just the same. Harrelson has quickly become one of Hollywood’s most reliable and diverse actors, I loved seeing something different with his character arc here. Secondary parts like Landry Jones’s “Red Welby”, the local advertising manager, and Dinklage’s slightly desperate townie “James”, make for great additions as well. In addition, actors with bit parts make their screen time count to boot, such as the underrated John Hawkes, playing Mildred’s ex-husband, and Abbie Cornish playing Bill’s wife. Even Martin’s go to for comedic relief, Zeljko Ivanek as a desk sergeant shares some good scenes with Harrelson and Rockwell. Speaking of Sam, I’ve had huge wraps on him for a long time and he steals the show in Three Billboards with his portrayal of Dixon. I’m glad he’s finally getting some recognition especially with the nuances in this performance. The character is a multi-faceted one and easily the most interesting part of Three Billboards Outside Ebbing, Missouri.

THE BAD

Given the somewhat hindered pacing I think the film could’ve been cut by ten minutes and it wouldn’t have lost anything. For example, a seemingly nothing scene where Willoughby explains the rules of fishing to his daughters in order to get some alone time with wife, Anne. In hindsight, the scene does have relevance given what transpires, but it could’ve been something referenced through dialogue or narration and it would’ve been just as meaningful. If you’re looking for authenticity in accents you won’t find it in Three Billboards, excluding Rockwell’s take on a southern drawl (which is quite good) nobody else bothers. Cornish’s acting is solid but the decision to keep her original Australian accent proves to be a misstep, as she comes off sounding somewhere in between American and English, noticeable in her gift shop scene with Francis. McDonagh’s films are known for their excessive profanity, usually in the name of comedy, and to Martin’s credit it often works. Though on the odd occasion it does fail to land, most notably in a scene in Three Billboards where Mildred’s son “Robbie” (played by Hedges, in much the same manner he played his character in the previously mentioned “Manchester By The Sea”) who I’m not sure ever really found his place in the film, proceeds to call his mother an “old c*n*”. It didn’t come off as humorous though, just crass and not how any self-respecting young man would talk to his mother. If I’m watching Gary Oldman’s “Nil By Mouth” where domestic violence and drug abuse are present then I’d expect something like that but not from a film of this nature, even in spite of Hayes rough around the edges demeanour. In life, we often end heated interactions with people negatively, which is something you shouldn’t do (the reasons for that are shown in the film), though I did find it hard to believe that Mildred would wish such things upon her daughter with such an over reaction. The one thing holding Three Billboards Outside Ebbing, Missouri back somewhat, is that for every poignant moment McDonagh evokes from his cast and their respective characters, he often immediately undercuts with an off-beat line or an inappropriate quip attempting to be passed off as meaningful. One example is Mildred’s spontaneous emotional outpour to a terrible looking CG deer… what was with that?

I’ve been following the progression of Three Billboards ever since first hearing about it well over twelve months ago. A year is a long time to build anticipation and after all the oscar hype, I had high hopes. It’s a competently shot film, beautifully scored and well acted right across the board. McDonagh’s writing has been consistently good over the course of his relatively short career, and he shows signs of that quality in parts of Three Billboards. Mildred is an interesting character to say the least, and she ends up in a number of humorous dealings with different people in the town. However, my favourite scenes in the film mostly involve Sam Rockwell. Dixon’s unapologetically funny, energetic and certainly rash. Sam’s wonderful depiction of a character that comes full circle over the course of the film makes this one satisfying and well worth your time. The pacing suffers a little at times, some of the profanity feels forced and the local accents are nowhere to be found. Not all of the reactionary stuff seems entirely plausible either and Martin undoes some of his good work by clashing space, therefore the film never quite feels as emotionally weighty as the material suggests it should. Three Billboards Outside Ebbing, Missouri is a good character piece, sadly it’s just not a great one. The film is currently showing in theatres and you can watch the trailer below!

My rating for “Three Billboards Outside Ebbing, Missouri” is 6.5/10

STIRRING

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Troy Escamilla (Party Night) *see review* https://adamthemoviegod.com/party-night-review-2/ for allowing me access to an early screener of his second feature film, “Stirring”. Stirring is a Christmas themed Horror/Slasher about a group of students who are celebrating the holidays by attending a party at a previously troubled sorority house, but they get more than they bargained for when a killer disguised as Mrs. Claus starts offing the guests. The film stars Hailey Strader, Billy Brannigan, Ryan Poole, Jantel Fontenot, Heather Bounds, Kaylee Williams and Brinke Stevens. Rewind twelve months and I was checking out self-proclaimed  horror fan, Troy Escamilla’s debut feature film “Party Night”. A “Prom Night” meets “The Mutilator” inspired independent slasher flick. It was a good time, an entertaining slice of genre filmmaking despite having some obvious budgetary hindrances and a few shortcomings. I’ve been following his latest film Stirring since that time and now here we are, so lets’ get to it!

THE GOOD

Much like Troy’s sophomore venture, Stirring has some really cool 80’s inspired poster art and the premise of the film closely resembles a number of other popular genre films, something Escamilla has no qualms about. I recall Party Night having a clean audio track, and the same can be said here. Though ninety percent of the film takes place indoors, audio can still be challenging having to contend with outside noise. Troy’s previous DP, Derek Huey returns with a simple but effective shooting style and a relatively smooth edit. While there’s not a lot of variation in techniques and shot choices, everything is still nicely framed and Huey makes use of gentle focusing to enhance things in the background. The score was composed by Mark D’Errico, a guy with over 15 years experience and a number of credits to go with it. There’s some lovely ambient piano and haunting vocal melodies hummed throughout the course of the film. My favourite theme is an extremely off-kilter divergence of the infamous christmas carol “Jingle Bells”, it plays to suspenseful effect. Stirring is rather light on the adult activity (compared to some slashers) but makes up for it with some impressive practical effects. That being said, there’s some brief nudity in the form of Sophie (played by Daiane Azura), the latest plaything of douche jock, Grant (Poole).

Members of the crew aren’t the only ones to have worked on Escamilla’s previous film. Stirring happens to be a Party Night reunion for all three male leads Ryan Poole, Billy Brannigan and Drew Shotwell. Their performances are a little more even this time around in spite of two of them playing unlikable characters. The interactions between Hailey and Jantel’s characters are some of the best acted scenes and I had a soft spot for Bounds’s character, “Kayla” because she was just all around pleasant and positive. The standout moment, at least emotionally speaking, comes in the first act where Mel Heflin’s, “Angela” , a new sorority sister whose being hazed, bullied and ridiculed has an emotional breakdown and it all just hits her at once. I thought Heflin’s crying felt natural and it set the bar for her peers in the remainder of the film. Troy’s script is fairly basic but he follows a few of the fundamentals of the genre, such as the inclusion of the first kill coming less than ten minutes into proceedings. It’s “Carrie” like in nature and showcases copious amounts of the red stuff, a memorable opening death to say the least. Stirring was made on a combination of crowd funding as well as Troy’s own financing, so while the kills aren’t always the most elaborate, they’re done with plenty of heart. There’s a cool neck piece prosthetic and a violent stabbing sequence, both of which are done with lots of blood and gore. To top it all off there’s a decapitation scene, and on this kind of budget that deserves props.

THE BAD

Most of the issues I found in Stirring were of a similar nature to those I found in “Party Night”. There’s the odd continuity fault and a handful of small technical things (par for the course with independent film making). I thought some of Huey’s framing was a little thin in certain scenes, I’d love to have seen a few more wide shots and not so many medium close-ups (personal preference of course). A majority of the lighting looks good but there’s a few conversations, namely the one between Kayla and Monica in the kitchen, where shadows appear to be bouncing off the wall and creep into the background of the frame when I’m sure that wasn’t the intention. The first kill was quite well conceived but it’s missing some much-needed foley for the impact, it sounds a little exposed with that blank mix. The depiction of a suicide via hanging looked a little amateurish, so to the close-ups on the machete during one particular action sequence (unfortunately highlighting it as a prop). I much preferred Brannigan’s character in this film compared to his respective role in Party Night, but I couldn’t help noticing that he looked quite ill throughout the film and that was somewhat of a distraction (not sure why). There’s a couple of obvious continuity lapses, namely when Grant advises Sophie to pack her stuff and get moving because he claims it’s going to be dark soon. A problematic passage of dialogue, because the audience has just witnessed them waking up, both look tired and the sun is clearly shining through the window. The other things is the sorority house itself. One can’t ignore that it’s clearly just a regular suburban house, barely fit for even 3 or 4 girls let alone enough bodies to be classified as a sorority (it is just a movie though so let’s not get too carried away). In regards to the dialogue, there’s a bit of immaturity about it, or maybe I’m just getting older and the asinine comments and stoner talk just so happens to get old even faster now. A three-minute conversation about getting stoned had me completely tuning out, but hey, each to their own.

Stirring is yet another holiday themed slasher film in the vein of “Silent Night Deadly Night” with the DIY approach of Todd Nunes indie slasher, “All Through The House” and even the more recent, “Lady Krampus”. I like the poster art, the audio is crisp and the cinematography is simple but smartly conceived. The score has some memorable themes and most of the performances are consistently good, the best work coming from Strader and Bounds with highlights from Heflin and Williams as well. The practical blood and gore is sure to satisfy genre fans, and although the deaths are rather generic, Escamilla makes up for it with a sizeable body count executed on a low-budget (see what I did there). There’s some technical inconsistencies and a couple of fairly noticeable continuity issues, that, and a few sizeable chunks of dialogue didn’t do much for me. I enjoy the cliché’s and stereotypes of the genre but the male characters in this one were almost exactly the same as they were in Party Night, just role reversals from Poole and Brannigan. In the end I think Stirring hits the same marks that Party Night did, and if you enjoy the specific sub-genre then you’ll have a lot of fun here. Take a look at the teaser trailer below and keep an eye out for this one soon!

My rating for “Stirring” is 6.5/10

PLAYGROUND

THE SETUP

Firstly, I’d just like to say thank you to October Coast and Uncork’d Entertainment for sending me an online screener of the Polish made, Drama/Thriller film “Playground”, Co-Written and Directed by Bartosz Kowalski. Playground is a film that centers around three young kids on the final day of primary school in a small polish town. 12-year-old, Gabrysia (Michalina Swistun) hopes to tell popular classmate, Szymek (played by Nicolas Przygoda) that she has fallen in love with him, but not all goes to plan with third wheeler and best friend of Szymek, Czarek (played by Przemyslaw Balinski) in tow. The film also stars Pawel Karolak, Malgorzata Olczyk and Patryk Swiderski. I’d like to preface this review of Playground by informing readers that this film is in fact a modern take, albeit a Polish one, on the infamous true crime story of the murder of 3-year-old James Bulger that occurred in the early 90’s in England. I, myself was unaware of the specifics before I sat down to watch the film (the poster art at the time was completely different), and given the disturbing content, I don’t want others to be caught off guard.

THE GOOD

I think Playground might be the first Polish film I’ve seen, if not, it’s certainly the first I’ve reviewed. There’s an abundance of high quality films being produced in Europe so I was intrigued when this one popped up in my inbox. Playground’s DP, Mateusz Skalski comes from a Documentary film background, and that really is highlighted in the standard of cinematography in this film. Everything is so superbly framed and cleanly shot, even the establishing shots. The color grading is perfectly balanced. The transitions during shots in Gabrysia’s segment are seamless, in turn making the entire edit tight at just 73 minutes (pre credits). The audio is clear and the English subtitles are accurate. Kristian Andersen (Lars von Trier’s regular composer) built almost the entire score around classical orchestral pieces and ballad tempo piano. The score only turns darker once the script calls for it in the final deadly act. It’s highly unlikely you’ll see a film (foreign or not) with this many memorable performances from child actors, all the more impressive is that all three are newcomers. In fact even the adult actors have minimal or no previous experience, though you’d never be able to tell. It’s difficult to buy that natural ability, and without it, Playground simply wouldn’t function.

In the opening thirty or forty minutes of the film, one by one we’re introduced to Gabrysia, Szymek and Czarek. Gabrysia seems to lack confidence, perhaps having been bought up in a conservative family. One can sense a hint of abuse in her past. As for Szymek, at first glance he looks like a polite young kid, all too willing to assist his wheelchair bound father with the mundane tasks of a day-to-day grind. It’s not until a spontaneous an unprovoked outburst at the end of the first act and several seemingly trivial things that make him tick, that one might suspect there’s more than meets the eye there. Then there’s Czarek. Lacking a father figure in his life, he’s forced to share a bedroom with his baby brother despite pleading with his mother over having the child removed because it’s preventing him from much-needed sleep. Czarek is also responsible for the food and the chores, yet older brother, Pawel (Bartlomiej Milczarek) gets off scot-free. The only real thing Czarek has is his friendship with Szymek and that proves to be toxic for both parties. I suppose a handful of things we witness could potentially point to some psychological abuse, and combined with the lack of parental guidance it’s probably feasible. I don’t think anyone could have seen the foreshadowing in what was to come though. There’s two scenes from Playground that will stay with me for the forseeable future. One, the look on the little boy’s face (Swiderski) and in his eyes as he’s so nonchalantly walked away from a mall ride, down an escalator and out of the shopping centre. Secondly, and more importantly, the final 8 minutes of the film. WARNING: This is NOT for the faint of heart, I assure you. The violence is certainly not glorified, Kowalski doesn’t showcase effects or set pieces to highlight destruction, it’s simply just horrifying to watch because it really happened. I want to commend Bartosz on paying the event respect by using a single wide shot structure from a long distance to convey the despicable content and what eventually befell the innocent boy.

THE BAD

On the technical front the only thing I noticed was that the music was a little too loud in the mix (though it is just was screener copy). The film has quite a brief run time as it is, but when you take into account the heavy themes, I think that’s a good thing. It wasn’t crucial for the scene between Szymek and his father (Karolak) to be portrayed in real-time. It does feel a fraction long and perhaps time may have been better spent delving further into his school life. When it comes to Gabrysia, hindsight would suggest she’s rather irrelevant to the story or the fate of the boys, she’s just something in their way. Other than adding an extra layer of bullying and shaming to the story (which I understand is ever-present in today’s society), her arc just acts as padding. Now, while I felt that Kowalski portrayed enough of the boys actions from the true story (definitely as much as I wanted to see), he technically only scratched the surface regarding the multitude of atrocities acted out by the two on the young toddler. By no means am I saying I wanted to see anymore, I’m simply stating that Playground only tells the half of it (and thank god for that) which if you’re one for the details, is technically a shortcoming.

Bartosz Kowalski’s, Playground reminds me of uneasy films like “The Great Ecstasy Of Robert Carmichael” or “Because Of The Cats”. It pulls few punches in depicting its own take on the true story murder of little James Bulger. Some may ask why the Polish felt the need to go there with a modern telling, and to be fair they’d have a point. Still, if you accept the film for what it is you’ll surely give it the credit it deserves. Skalski’s cinematography is amazing, Andersen’s musical composition is fitting for the desired mood and the entire cast give raw and believable performances. Both Przygoda and Balinski present a cold and calculated united front as the film slowly accelerates to a swift and harsh culmination. You never really get the chance to know if you feel anything for anyone until it’s too late and all you’re left with is a lifeless young boy. I have the utmost respect for how Kowalski handles the unfathomable, but that doesn’t make it an easier pill to swallow. There’s a couple of things that could’ve been tightened up, Gabrysia doesn’t fit how I thought she might and if you’re a stickler for authenticity the film isn’t as graphic as the real thing was. Playground’s callousness will leave you uncomfortable and with a sinking feeling in your stomach reminding you that you’ve just witnessed true evil. For that reason I find it hard to recommend, but it’s a wonderfully conceived film and you can check out the trailer below. Proceed at your own peril. Playground is now available on VOD (video on demand).

My rating for “Playground” is 8/10

BUCKING HELL

THE SETUP

Firstly, I’d just like to say thank you to Actor turned Writer/Director, James Kermack for allowing me early access to an online screener of his 16 minute, Darkly Comedic/Thriller  “Bucking Hell”. Bucking Hell is an oceanic themed short that takes place on a slowly sinking ship, where three men from different walks of life are amidst an unconventional game of Buckaroo in order to decide who gets the remaining life jacket, and in turn, salvation. The film stars David Schaal (TV’s “The Inbetweeners”), Nicky Evans (TV’s “Shameless”), Geoff Breton and Warren Mahon.

THE GOOD

I have to give Bucking Hell points for originality, because it’s not often you see independent films set on the high seas. A venture like that usually takes money and a lot of know-how, two things most low-budget films don’t have (even in the case of Bucking Hell where the ocean is only inferred). The initial credit sequence is really effective, with the listings appearing on different parts of the ship an in tandem with Kermack’s opening establishing shots. The audio levels are bright and consistent, and the sound department did a wonderful job of the foley. The creaking of the ship, the pounding of the rough seas and the sounds of the game are all well mixed. DP, Aaron Rogers draws on a lot of clever two-shots and atmospheric lighting, as well as a series of quick cuts that play nicely to Raul Sacristan’s edit. I read in the press kit that Bucking Hell was heavily inspired by Spielberg’s infamous 1975 film, “Jaws”, and it shows. In particular, Quint’s iconic shark story in comparison with Myers tale. The high production value of Bucking Hell is evident through a number of aspects, most notably the set design and the impressive performances. First time composer, Alexander Melkis created a wonderful “Black Sails” esq score, that consists of a lot of violin and what sounded like french horn, definitely gauging that buccaneer vibe. The three characters are very different from one another but each of them as interesting as the next. Self proclaimed host of the game an Ex military man, Myers (Schaal) sounds like the “cockney” of the bunch, providing some good comedic relief throughout. Nada (Evans) is an intriguing one. The middle man, the cautious type. Lastly, theres Burton (Breton), whose a sort of Hugh Jackman’s “Robert Angier” (The Prestige) cross with Johnny Depp’s iconic character, “Captain Jack Sparrow”. The guy’s a bit of a nervous wreck, void of a backbone but also quite funny. The dynamic of the three is certainly something to be seen and each of the performances are strong.

THE BAD

From a technical point of view I only noticed one minor momentary lapse in focus. Another downside was that I couldn’t quite hear Evans last line, I had to backtrack a couple of times to catch it. The film could be described as more equal parts comedy and drama than it is an actual thriller, so that may mislead people somewhat. There’s plenty of humour on display in each of the performances but I think Kermack missed an opportunity for one of the characters to interject with a “god how long is this going to go on for” type of gag during Burton’s long-winded speech, especially considering where it ultimately led (haha). One may also question why there’s only one life jacket on the boat (I believe we’re told everybody else had abandoned ship) but surely from a safety point of view there’d have been a few more. In addition, how did these characters come to be on the same ship, given it looks like a fisherman’s hull and not commercial transport? None of them are dressed like commercial fisherman, so I’m not sure.

Bucking Hell is a great little independent short film from a talented group of people. Other than Andrew Hamer’s, “Three Skeleton Key” *see review* https://adamthemoviegod.com/three-skeleton-key-review/ I don’t think I’ve seen anything remotely set in the  world of Kermack’s premise. I like the poster art, the cool credit sequence and the thought process behind James’s inspiration. The sound is lively and the cinematography drives the high production value, that and I was most impressed with Melkis’s score. The characters are interesting and engaging, so to the performances. There were only one or two small issues and I think a couple of the plot points could have been altered to underline a bit more comedy. Bucking Hell is definitely up there with some of the best shorts of 2017, so keep an eye out for this one soon! You can check out the teaser trailer at the link below!

My rating for “Bucking Hell” is 8/10

THE BABYFACE KILLER

THE SETUP

Firstly, I’d just like to say thank you to Co-Writer/Director, Matthew Forte for sending me the link to his latest online Horror short, “The Babyface Killer”. The Babyface Killer is a 13 minute, micro-budget short that follows young couple and soon to be parents, Mark and Katherine (played by Vic Varriale and Xiomara Forman) as they deal with the sudden loss of an unborn child. This tragedy sets Mark off on a dark path where a further series of events ultimately destroys the life he once had. The film also stars Juliet Picard, Margaret Scura and Matt Bruzio. It’s never a bad thing to stumble across new creative types currently working in the independent film industry. What’s better though are those rare individuals who can take criticism on board with the hopes of further developing their craft.

THE GOOD

Being a slasher-type affair, albeit amidst a heavy psychological layer, The Babyface Killer does have some positive practical effects work (considering the pocket change with which this thing was made). The blood consistency looks alright, so to the killer’s mask, even if it was just a cheaply made prop from the local dollar store. The only real highlight of on-screen carnage sees a particularly nasty disembowelment with a greater purpose behind it. The stomach latex looks awfully fake but the kill itself is fun, so I give Forte credit for simply committing it to screen, especially when you take into account the budget constraints. On the flip side, the set piece is clearly fake and so that takes away from the harsh severity of the action. The only two positive scenes of acting I could find both involved female characters crying. Katherine has a scene in the opening five minutes where she’s quite good and Picard features in the film’s climax.

THE BAD

I mostly have myself to blame for this one and as hard as I tried to get into The Babyface Killer, I just couldn’t. Putting aside the rather non-sensical basis for Mark’s killings (which I guess I can swallow in the context of a slasher film), I couldn’t look past the countless technical shortcomings involved in the film making process. Forte Films Entertainment have made a few shorts now, so I honestly expected a fair bit better execution despite the small budget (which I’d estimate at only $500 to $1,000). The audio takes the cake for the worst aspect. The dialogue levels aren’t too bad, but during the external scene with the neighbor there’s a lot of traffic noise in the background. That, and anytime the conversation or its delivery rises in intensity, the volume constantly peaks out. The multiple screams that can be heard may actually cause your ears to bleed. Having worked on a couple of shorts myself, I understand the difficulties of contending with background noise and other issues that might be out of your control, but if they opted to use an onboard mic from the camera that would explain why this happened. Forte’s cinematography and editing aren’t really up to standard. I can let the handheld style of camera work slide due to the budget, but the constant lapses in focus across almost the entire 13 minutes make it hard to watch. The natural light left seeping into the frame during scenes in the house with Mark and Katherine isn’t a good look either. The entire edit feels jarring, Forte could have omitted the silly dream sequence and the scene where Mark is rude to the neighbor (Scura) considering it had no real context. As it stands, the 13 minutes feel sluggish. Unfortunately, I didn’t think any of the performances were any good, though some of the writing didn’t help that.

I wanted to like The Babyface Killer, I’d heard some good things about it and so I wanted to check it out. In hindsight, Forte was up against it right from the outset. Sadly it wasn’t what I was expecting from a technical point of view or a story telling facet. I think the DIY (do it yourself) effects have a certain charm about them and the mask is kind of cool. Both Forman and Picard have emotional scenes that they meet accordingly with above par performances. The pitchy sound killed it for me though, it was far too distracting. The camera work was amateurish especially with such poor focusing, and the lighting was harsh. I think the film could have been trimmed, and with better editing it wouldn’t have suffered quite so much. Even though this one wasn’t for me, I think with a bigger budget behind him and some more experienced heads, Matthew Forte and Co just might deliver on something a bit more professional next time around. If you do want to check the film out, you can do so at the link below!

My rating for “The Babyface Killer” is 2.5/10

UNBEARING

THE SETUP

Firstly, I’d just like to say thank you to fellow independent filmmaker, Samantha Kolesnik for hooking me up with a link to a 9 minute, Horror/Thriller short called “Unbearing”, Written by Jennifer Trudrung and Directed by Aidan Weaver. Unbearing is about a young babysitter, Lindsay (played by Mary Katherine O’Donnell) whose given a job watching a middle-aged couple’s infant child for the night. They leave her with live bedroom video footage from a monitor via her phone and she oversees the sleeping baby. The film also stars Jennifer Trudrung, Reginald Heinish and Jenna Goforth.

THE GOOD

So this eerie babysitter short was recommended to me by Samantha, writer of the recent horror short, “I Baked Him A Cake” which I recently reviewed *see review* https://adamthemoviegod.com/i-baked-him-a-cake-review/. I like the premise of Unbearing, it’s very matter of fact, and in its short run time Trudrung is able to create a sense of uneasiness, leaving me with a similar feeling I got from watching the bizarre German film, “Der Bunker”. The audio levels are good and the lighting is really warm for a film of this nature. I noticed that Unbearing is Samuel Zeilender’s first time behind the camera and I think he deserves some praise for his efforts. The framing is generally quite good, and the use of a steady tracking shot adds to the production value. I particularly liked the aerial shot slowly descending on Lindsay as she lay on the rug with her books and paperwork strewed about. The score has some nice ambience to it and the performances from all four actors are of a high standard.

THE BAD

I give Zeilender credit for shooting his first film but there are downfalls with the cinematography, though he’ll surely benefit in the long run from the experience of Unbearing. For the first four or five minutes of the short the frame rate appears to lag a pace or two (maybe it was just the screener copy). It’s not out of synch, just delayed and quickly starts to become a distraction. He’s also guilty of accidental lapses in focus on a number of occasions, but these things come with growth. MINOR SPOILERS: I somewhat predicted the direction Trudrung’s story was headed in, but I still rather enjoyed it. The only aspect that didn’t fit was the heavy breathing, which clearly sounds very different to how it would if that was the real situation, you’d be trying to replicate the actual sound.

Unbearing is another solid short film to add to the list of impressive shorts for 2017. I’ve seen a lot of great content from different people all over the world, each with varying budgets and degrees of experience and it’s all been positive (well mostly). I liked the setting of Unbearing, the lighting, the score and the performances. I did see some of the developments coming and the breathing part didn’t quite make sense. Unfortunately the camera work is inconsistent, most notably the focus and the frame rate issues and I think that holds the film back a fraction. That said, it’s great to see people trying their hand at the craft and I look forward to seeing what Jennifer and Co. do next.

My rating for “Unbearing” is 7/10

SECRETIONS

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Goran Spoljaric for allowing me access to an online screener of his 13 minute, Horror/Thriller short “Secretions”. Secretions centers around a mutant woman (played by Zia Electric) whose being held captive in a basement by a man (David Macrae) looking to profiteer from her rare genes. The mysterious woman sees an opportunity to escape during a client’s visit to the house. The film also stars Chris Savva and Mark Robert Walters.

THE GOOD

Secretions is Melbourne based film maker, Goran Spoljaric’s fourth short film, and an interesting slice of body horror/torture porn at that. The script is very much contained, but feels heavily influenced by something like Trent Haaga’s “Dead Girl” meets Eli Roth’s horror hit, “Hostel”. Adam Lynch’s cinematography and framing are impressive. Here’s a guy whose just recently started racking up credits left right and centre, but he’s doing it well. My favorite shots in the film are a couple of macro ones at the beginning that highlight the signs of wear and tear on the womans body. The audio levels are clear and the foley is crisp too. Paul Dawkins (who composed a great score on the Aussie film “The Tunnel”) utilizes lots of deep bass tones in Secretions and while it’s not overly memorable, it fits the intended tone nicely. The all too brief practical effects work is probably the finest aspect of the film.

THE BAD

I think the performances were all solid but I didn’t personally like the style in which Macrae chose to deliver his lines, something was amiss for mine. I thought it was odd that towards the end the woman alternates between walking and crawling. Given her plight, I would’ve thought the latter was all she’d be able to muster up. As I touched on earlier, I think the action comes and goes all too soon and I would’ve liked to have seen it play out slightly differently. Secretions may be in need of further development (so here’s hoping there’s a feature in the works at some point), I couldn’t make heads or tails of the pink fluid. Was it blood? Did it give users a high? I pictured the woman as more of a meth addict than I did a mutant, and that perhaps her body had been able to generate something more potent that people wanted to bottle. Some more details about who she was and where she’d been wouldn’t have gone astray.

Secretions is a different kind of entry to the body horror sub-genre and it makes for some intriguing viewing. The camera work is of a high standard, the audio is clean and practical effects are on display in one cringe inducing sequence. The performances are all decent, I just didn’t love Macrae’s intonation (personal preference). There’s a continuity blunder with the woman and I’d have liked to learn a bit more about her and the details of the situation. There’s definitely more here to explore but as it stands, Secretions is still an impressive short film from some homegrown talent. Check out a brief clip of the film below.

My rating for “Secretions” is 7/10

FASTER, PUSSYCAT! KILL KILL!

THE SETUP

This is a review of Russ Meyer’s, 1965 Exploitation cult classic, “Faster, Pussycat! Kill! Kill! Faster, Pussycat Kill Kill tells the story of Varla (Tura Satana), Rosie (Haji) and Billie (played by Lori Williams), a trio of wild go-go dancers who raise hell across the Mojave Desert after they kill a man and take his girlfriend Linda (Sue Bernard) hostage. Thus setting in motion a chain of events that involve the girls trying to con a crippled old man and his two sons out of their money. The film also stars Ray Barlow,  Stuart Lancaster, Dennis Busch and Paul Trinka.

THE GOOD

The late Russ Meyer, who’s now seen as somewhat of a cult figure, at least due in part to some of his body of work, was notorious for making a handful of films in the 60’s that were seen as smutty. During that era, and well into the 70’s, the slightest mention of anything resembling pornography would deem one guilty of objectification. The early part of Meyer’s career saw him working in Comedy, with unknown films like “Eve And The Handyman” and “Heavenly Bodies”. Later in the piece he returned to comedy, as well as meddling in some Drama. It wasn’t until 65′ and his double exploitation release with “Motorpsycho!” and “Faster, Pussycat! Kill! Kill!” (made on just a mere budget of $45,000 it would go on to become his most successful film), that he would mark his footprint in the world of B movies. By his own admission, Russ had a fetish for large-breasted women (I can relate haha), hence why they feature so prominently throughout his entire body of work. The man made no apologies for doing obscene things especially if they were intended to be in bad taste. I went into Faster, Pussycat Kill Kill having only seen one of Meyer’s previous films in, Motorpsycho! a couple of months prior. Other than the title, I didn’t care much for it. It certainly didn’t help that the transfer I watched was of an extremely poor quality, and although I like the Exploitation genre I’m particular about the content and standard of acting delivered in these type of affairs.

So first off, you’ve got to acknowledge that great title. Whether you like the film or not, “Faster, Pussycat! Kill! Kill!” is a great name. Don’t quote me on it, but this just might be one of the first films to feature all women in the four key roles (it was the 60’s after all). Let’s not pretend that mainstream Hollywood didn’t take issue with the equal representation that Meyer’s was attempting to bring about at the time, not to mention these particular femme-fatale’s were the antagonists of the piece, something rarely seen. The male characters in his films are almost always expendable. This distorted sense of sleaziness in film throughout the 60’s and 70’s would eventually pave the way for the likes of  Tobe Hooper, and more recently Quentin Tarantino, Gaspar Noe and Rob Zombie. Whether it be an individual scene like the infamous dinner table sequence from Hooper’s groundbreaking, “The Texas Chainsaw Massacre” or entire chunks of muscle car stunt work, as seen in Tarantino’s, “Death Proof”. All were inspired by the works of Meyer either directly or indirectly.  More recently, independent films like “Bitch Slap” and a little known Aussie film called “El Monstro Del Mar (that sees three dangerous vixens run amok in a seaside coastal town), have taken quite a similar approach to their presentations.

I thoroughly dug the black and white photography and there’s a cool narration at the start of the film, followed by a disclaimer promising violence to the viewers. The audio track was surprisingly clear given almost the entire film takes place outside, that and it’s the original recording from the 65′ print. The music department did a great job of the score, utilizing plenty of double bass and drum particularly in the early part of the film. Later, there’s some really cool saxophone. All three women, Haji, a regular in Russ’s films, Lori Williams and Tura Satana were each in wonderful shape and had no qualms about eluding to their assets. Their faces do tend to be on the harsh side though, whether that be due to poor lighting or just too much makeup, either way they look hardened (even for the time). Both the fight choreography and the car stunts are commendable, though the length of the drag scene could have been shortened without losing anything. While the shots of the girls in their cars are clearly depicted via the shaking of a gimbal of sorts, the wider shots are actually of cars racing (which is better than what you get nowadays in independent film making).

THE BAD

From a technical point of view and considering the film’s budget, most of the film making aspects are well conceived. There’s some pretty lame trash talking throughout, and plenty of puns, usually coming from Varla because she’s the one calling the shots. There’s a chunk of stale dialogue once things progress to the house setting portion of the film and that tends to drag the pacing down. It’s a sluggish film overall given it only runs for 83 minutes. The men chanting “go-go” at the girls during the opening shots of the film was cringeworthy, so to the laughing by the girls. I liked some of the score but the brass section through the middle act gets quite abrasive after a while as it continues to build in the mix. There’s also a bunch of music that sounds better suited to something like “Gulliver’s Travels” than it does the Action/Exploitation caper, not sure what they were thinking. Continuity wise there’s a couple of obvious blunders, most notably after Varla is done smacking Linda’s face in with her fist and there’s no visible blood in the aftermath. I understand that censorship was stricter than ever during that time period, but that’s something that should accompany that action, and here it doesn’t. Secondly, the positioning of Linda’s boyfriend in relation to where he gets approached from doesn’t make any sense, he’d see the response coming.

None of the performances are anything to write home about, but hey, you don’t watch Faster, Pussycat Kill Kill for the acting, it is what it is. I do, however, want to touch on Sue Bernard’s acting because it was quite a ways off from the get go. Her over the top screaming is a lot to handle and the school girl delivery just comes across as poor staging. As far as I see it there are two glaring issues with Faster Pussycat Kill Kill, one is that the characters just simply aren’t likeable, and two, Meyer’s ultimately fails to deliver on his promise of mayhem and sex. Okay, if I’m straight shooting, there’s a brief sex scene between two characters but they’re fully clothed and it’s over before it begins. Sex isn’t everything, but it is a cornerstone of the exploitation genre so at the very least I expected some nudity but the absence of that further hurts the film. Satana does wash off at one point but it’s carefully framed so as to not show anything graphic (disappointingly so). On the violence front, there honestly isn’t much. There’s a couple of deaths but they’re quite tame to say the least. The attitudes of these girls will be sure to leave you scratching your head and asking why? Why any of it? They’re dancers, and probably well paid ones, yet for some reason they feel the need to treat everyone like dirt because they feel the world owes them something. It would perhaps be different if they were strong resilient women fighting back for the right reasons (exhibit A, Death Proof), but we never witness anything bad being done to these girls, there’s no arc, no resemblance of growth, and still, we’re supposed to get on board with them and their arbitrary antics.

Faster, Pussycat! Kill! Kill! is one of the first of its kind, a mixture of Exploitation/Action and Crime, all set against the backdrop of the Californian desert. I’ve been meaning to check it out for years, but it wasn’t until I recently heard rumors of a remake that I thought I best get moving. I love the title, the black and white presentation and the fact that Meyer’s defied the stereotypes. One can’t deny that he and the likes of John Waters paved the way for those working in the genre today. The audio levels are good on the DVD transfer and a sizeable amount of the score fits the intended tone of the film. The women are sporting sexy outfits and great figures and the choreography and stunt work are both pretty decent. The downside is that there’s some pretty poorly written dialogue, music that often sounds out-of-place and patchy acting from a number of the cast members. The pacing is surprisingly sluggish and there’s some lapses in continuity on occasion. The biggest issue is that the film just doesn’t deliver to the standard it  promises. The mayhem is virtually non-existent, the intended sleaze gets lost in translation and the three girls aren’t even remotely likeable, nor is the supposed protagonist, Linda. All of this equates to a pretty poor product and not something I can really recommend unless you’re a die-hard fan of old school exploitation. Here’s hoping for that remake… any day now Quentin.

My rating for “Faster, Pussycat! Kill! Kill!” is 4/10

GANGSTER LAND

THE SETUP

Firstly, I’d just like to say thank you to Status Media And Entertainment as well as Producer, James Cullen Bressack for allowing me early access to an online screener of their new Crime/Drama “Gangster Land”, Written by Ian Patrick Williams and Directed by Timothy Woodward Jr. (American Violence). Gangster Land is a story of America’s most infamous gangsters and how they rose to power. Key crime figure, Al Capone (played by Milo Gibson son of Mel) and his right hand man, former boxer Jack McGurn (played by Sean Faris from TVs Pretty Little Liars) are at the forefront of a war with the Irish in Chicago in 1922. With tensions between families on the rise, and personal tragedy striking Jack, all will come to a head in what became known as the St Valentine’s Day Massacre. The film also stars Jamie-Lynn Sigler (HBO’s “The Soprano’s”), Peter Facinelli (The Twilight Franchise), Mark Rolston (The Shawshank Redemption), Jason Patric (Sleepers) and Michael Pare (Streets Of Fire).

THE GOOD

So who else is a bit of a sucker for a good period piece of the crime variety? A sizeable chunk of my favourite films just so happen to fall in either the crime or drama genre, so I was pleased to open my email and discover Gangster Land (not to be confused with 2013’s Gangster Squad). So, Gangster Land is a mostly 1920’s set film about Capone, made on an extremely modest budget and with a few familiar faces attached to it. My earliest film memory of Capone was Robert De Niro’s depiction of him in the 1987 film, “The Untouchables”. If you go back a ways you’ll find that the infamous mobster has been portrayed on-screen ever since the mid 50’s, with Tom Hardy believed to be the most recent actor gearing up to take on the role. Anyways… to the film. I love the era, and with what’s projected on the screen Woodward really makes the most of his limited budget. The audio is good and almost all the foley matches accordingly. From Jack’s opening boxing scene and the sound of gloves on flesh, through to Thompson machine gun fire on the streets outside the families shop, I was impressed with the sound bed overall. Timothy’s regular DP, Pablo Diez does a solid job with his framing and shot choices, nothing fancy just consistent. One of my favourite shots is the establishing one of the city of Chicago, it looks great (but surely had to be a miniature).

Costume designers don’t usually get much love in the form of written reviews, but I like to think of myself as a bit of a trendsetter so I’m highlighting Erica Schwartz’s design work. With credits on multiple feature films like Martyrs (2015), All Cheerleaders Die and Officer Downe, as well as TV shows like, Agents Of Shield and Awkward, Erica clearly knows her stuff. The suits and ties look good, the hats authentic and Sigler’s multiple hair styles for the role of Lulu are stunningly done. The music was composed by Samuel Smythe whose done extensive work in short film. The score grew on me and though there were parts of the film where I felt it lacking, I dug the deep violin and the jazz when it was present. The best piece of music is a mix of french horn, cello and bass but unfortunately there wasn’t quite enough of it for mine. So many people I recognized were popping up all over the place in Gangster Land. Facinelli as “Bugs” Moran, Capone’s rival and it was great seeing him do something a little different. Al Sapienza (another of the Soprano’s alumni) appears as Johnny Torrio, Al’s boss. Even Sean Kanan, who you’ll all remember as the cocky, Mike Barnes (from the Karate Kid franchise) makes an appearance as a corrupt detective. The strongest emotional performances come from Faris and Sigler (playing a married couple), though the surprise packet for me was Milo Gibson. Not only is he incredibly well cast as Capone, he deals best with the specific accent and timing. The amount of on-screen action is serviceable taking into account the budge,t and the practical blood effects look really good.

THE BAD

The choreography for the opening boxing fight looked natural enough, probably due to Faris having had previous fighting experience (we all remember Never Back Down), but upon the second and third fights I noticed neither fighter had their gloves up. Granted I haven’t done boxing, but I know a few people who have and the consensus is that the first and most important rule is keeping those gloves up. Gangster Land is a rather darkly lit film, which can sometimes work in a particular style, but in this case none of the lighting techniques or shot choices are a contrast to anything in the frame. I’ve already touched on the score, the jazz is good but there’s no central theme which is usually required to match it with the best crime films. During the closing stages there’s a time shift from 1922 to 1936. I understand the need for it story wise, but those years elapsed need to be obvious, they need to have aged the characters, something that’s almost impossible to do without the latest technology or the best makeup artists. There’s some fairly average dialogue here and there which does manifest itself in one or two uneventful scenes. U.S born, Mark Rolston tackles an Irish accent by playing Dion O’Banion, no doubt one of the most difficult accents to master. For the most part he’s alright, but there’s that tendency to fall in an out on certain words. Even Faris has to portray his character with a fleck of Italian, albeit American born Italian and just as Rolston does, he wades here and there. I was confused by the name McGurn as well, which sounds far more Irish than it does Italian (though I do recall him using a fake name to stay clear of being condemned). I found it hard to believe that Jack wouldn’t have checked in on his mother at least once or twice given everything that was going on at that time. She’s more or less written out of the film without warning, so to Jack’s little brother.

Gangster Land is unfortunately a bit guilty of being same same. It’s yet another crime film that treads familiar waters but just doesn’t do it as well as some. Think “Gangster Squad” meets the underrated “Live By Night”, only an independent addition to the genre. I love the setting and I think Woodward gets a fair bit right here. The audio is clean, the camera work solid and the music, period appropriate. I think the two best aspects are the costume design and the smart casting of these faces you’ll surely recognize. The acting is mostly reliable and the gun play is a good bit of fun too. I didn’t love the lighting design and some of the attention to detail clearly lacks, most notably with the makeup and the fluctuating accents. Some of the dialogue left a bit to be desired and a couple of scenes could’ve been cut without the film losing anything. As it stands, if you enjoy lesser known films like “Kill The Irishman” and “10th And Wolf” or you love the genre I think you’ll probably enjoy this one. Gangster Land is available on VOD from December 1st. You can check out the trailer below.

My rating for “Gangster Land” is 5.5/10

BANGO

THE SETUP

Firstly, I’d just like to say thank you to Writer, Comika Hartford for allowing me access to an online screener of her 13 minute Horror/Drama short “Bango”, Directed by Eric Shapiro. Bango centers around suburban housewife, Sam (played by Hartford herself) who brings home another woman (Rhoda Jordan) to join her and husband, Aaron (played by Richard Caines) in a threesome. The uncertainty of the pending situation becomes overwhelming for all three and things take an interesting turn during the night.

THE GOOD

Bango is Hartford’s first screenplay, and tonally speaking one can see that it elicits the kind of conflict ever-present in the works of De Palma and Polanski (especially with films like Passion and Death And The Maiden). It’s an engaging thriller right from the outset, commencing with wonderful narration from Hartford’s, Sam about her thought process regarding the events for the evening. I enjoy films that aim to give you insight into a character early in the piece (obviously this is a short film but still). Emmy award-winning DP, Ian McGlocklin sets the high production value in motion. There’s a series of nice establishing shots in the beginning, followed by an effective slowed frame rate sequence as the trio raise their wine glasses to toast the night away. Everything is nicely framed and the use of several two shots help build the setting well. The mood lighting is perfect too. A series of shots during a conversation between Sam and Chris (Jordan) are depicted with nice yellow lighting that hits the drapes in the foreground in a splendid way. The audio level is neat and clear, and the music (though stock compositions from Frederic Chopin) complements the sense of what the night supposed to be about. All three performances are really good but it’s Hartford that burns the brightest, playing a more complex character than perhaps first thought. Comika plays uneasy and nervousness so freely and the interactions between all three (but mostly occurring between Hartford and Jordan) are much more natural than you’re used to seeing in independent film.

THE BAD

It’s a nit picky thing but Sam’s laugh annoyed me, it was so flaky and odd. I know most inexperienced people might be nervous preparing for a situation like that, but I don’t think you’d laugh in that manner or be so painfully awkward (none the less its great acting from Hartford). I understand the reason behind the hand-held camera approach during the bedroom scene between Sam and Chris was to depict a hazy psyche, but it was a little hap hazard for my liking. I would’ve preferred to have seen some focus lapses, fade ins and fade outs or anything else instead, just because everything was so well shot up until then. I was also hoping for a more definitive ending, though I suppose that keeps events open for Hartford to explore in greater depth.

It was only a week or so ago that I all but completed my best short’s list of 2017, in hindsight, Bango should have been on it (might have to make amendments). Comika’s script is of the highest quality, it’s ultimately about control and taking your life back, so to speak. Shapiro’s directing flows strong, McGlocklin proves his weight in gold with ambient lighting and a lot of nice shot types, and the piano score fits appropriately. All three actors are extremely instinctive, but it’s Hartford with her impactful narration and natural flow that fittingly makes Bango as good as it is. While there were a couple of minor things that could have been altered, I think Bango is the best work I’ve seen from a combined Writer/Actor and I highly recommend everyone give this one a look when it becomes available.

My rating for “Bango” is 8.5/10

MURDER MADE EASY

THE SETUP

Firstly, I’d just like to say thank you to Lock and Key Films and Director, Dave Palamaro for allowing me early access to an online screener of the Mystery/Thriller film “Murder Made Easy”, Written by Tim Davis. Murder Made Easy is an Agatha Christie meets Hitchcockian style, murder mystery about two friends, Michael and Joan (played by Christopher Soren Kelly and Jessica Graham) who have chosen the anniversary of Joan’s late husband, Neil to invite dinner guests over. One by one different agendas begin to surface, and with this many people murder is sure to ensue. The film also stars Edmund Lupinski, Emilia Richeson, Daniel Ahearn, Sheila Cutchlow and Paul Rose Jr.

THE GOOD

Murder Made Easy is Palamaro’s directorial debut. He was kind enough to reach out via the website and request that I check the film out, stamping it as Hitchcock’s, “Rope” meets Christie’s, “Murder On The Orient Express” (which I recently saw the remake of). So naturally, having enjoyed both of those films I was intrigued. The murder mystery sub-genre made famous of course by Alfred Hitchcock, is not so common these days, probably because one is almost always measured against the master of suspense. Murder Made Easy runs just a speedy 75 minutes, but for a one location setting and a small cast, its ample long enough. I’ve seen an abundance of these types of films now, so it’s hard not to notice similarities in individual scenes, tones and the direction. I felt there was a little film noir like freshness about Tim Davis’s screenplay. Davis and Palamaro aren’t shy about openly referencing the struggles independent film makers go through, as well as the trivial nature of things like wealth and popularity. There’s shades of 2002’s “Taboo” (an underrated hidden gem despite two poor performances) about Murder Made Easy, and even a hint of the independent film “Treachery” with Michael Biehn and Sarah Butler. To delve too much into Murder Made Easy would be doing a disservice to the filmmakers and my readers. Needless to say, the film heads in an interesting and unforeseen direction and you’ll want to check it out.

The title credits to Murder Made Easy are in wide print writing in blue font, also presented in Hitchcock esq fashion. Sherri Kauk’s cinematography is quite basic, though nicely exhibited. Opting for plenty of handheld shots and limited movement rather than the conventional cinematic approach. All of the framing is solid and I particularly like the sequence of shots during the time-lapse sequence where Michael and Joan eat their first course of the night. The audio track is great and everything is sufficiently lit too. Sean Spillane’s score is another aspect of Murder Made Easy I thoroughly enjoyed. Spillane previously composed solid themes for “Jug Face” and “The Woman”, both of which were films deeply seated in the Horror genre, so it was interesting to hear his work in this particular style of film. There’s an absorbing bass and xylophone theme that got me hooked in the beginning, later, Spillane introduces smooth jazz (something suited to a nice anniversary dinner) and a suspenseful three note cello and violin motif. A lot of Davis’s script is surprisingly witty and funny, each of the actors having a good sense of timing and delivering consistent performances. Backhanded comments and compliments are where the wit of the piece lie, it’s the special of the day if you will. Without divulging too much, across the course of the night four of the twosome’s mutual friends arrive for dinner (each seemingly connected to Joan’s late husband). College professor and part-time actor, Marcus (played by Lupinski), Vegan and self-proclaimed medium, Cricket (Richeson), Broke Indie film maker, Damien (Ahearn) and self-absorbed best-selling author, Angela (Sheila Cutchlow). Each have their own unique story to tell and do so in varying manners, some more entertaining than others.

THE BAD

A handful of things could’ve been tightened up to make Murder Made Easy an even better film than it is. There’s a seemingly inconsequential intermission that runs for a couple of minutes two-thirds of the way through the film. Other than perhaps hinting at a sign of things to come (if you can make it out), it wasn’t required considering how the film actually wraps. A couple of character interactions run slightly longer than needed as well, most notably with Cricket (mostly because she’s the type of character you can only deal with in small doses). In my attempt to avoid spoiler territory, I’ll just say that I found the final action sequence lacked clear continuity in relation to the angle it was shot from and the culmination of said action. I touched on it earlier but my personal preference for presentation is via a more cinematic approach, regardless of the genre and setting. I’d loved to have seen Kauk employ a few dolly shots, maybe even some macros to highlight a few of the items in question throughout the course of the film (just a thought). While each of the performances were fine, the characters of Marcus and Cricket were neither here nor there for mine. Lupinski’s well to do dialogue delivery is clearly supposed to be an extension of Marcus’s theatrical nature, that’s fine, I just personally wasn’t a fan of it. With Cricket, it didn’t help that Emilia’s tone and performance style reminded me a lot of fellow actress, Leslie Mann (who in my opinion is one of the least funny women in Hollywood). The saving grace here is that Richeson actually has comedic timing, and shows it in spades. The “No, I’m a Sagittarius line” was a lot funnier than it probably had the right to be. The séance scene was where things went too far though and the performance got a little silly and somewhat annoying. The storyteller in me understands the need to depict her as being off in her own little world, but you don’t want to test your audience. In the end it’s simply down to personal preference I suppose.

David Palamaro couldn’t have chosen a better first screenplay to direct and Tim Davis (also with his first attempt) virtually couldn’t have written a better one. After watching Murder Made Easy come full circle, I feel like it should be drawing comparisons to films like Sidney Lumet’s “Deathtrap” and in a big way the aforementioned, “Taboo”, more so than “Clue” or the works of Hitchcock. One can’t deny the similarities to those past genre films, but what I do like is the infusion of some interesting themes. Even in its farfetched nature, Davis highlights struggles that we can all relate to when it comes to interacting with people who are very different to us. How human characteristics factor into the equation. Murder Made Easy has a quick run time, plenty of twists and turns and indie film fans will love Davis’s self-deprecating humor when it comes to the actual film making process. Cleverly highlighting such material through the character of Damien. There’s plenty of humor, the performances are consistent and most of the technical aspects are really well conceived. I think Palamaro could have omitted the intermission and cut a couple of overly long dealings down without the film actually losing anything. There were one or two minor continuity issues as well. Unfortunately, both the Marcus and Cricket characters got on my nerves (despite the good performances) and some of the ending reminded me a lot of a particular murder mystery I’ve seen before. Overall though, Murder Made Easy completely took me by surprise and I think genre fans are really going to enjoy this one. Keep an eye out for the official release, you can check out the official trailer below!

My rating for “Murder Made Easy” is 7.5/10

https://vimeo.com/233743660

I BAKED HIM A CAKE

THE SETUP

Firstly, I’d just like to say thank you to Turning The Girl Productions and Writer, Samantha Kolesnik for allowing me early access to an online screener of her 5 minute Horror short, “I Baked Him A Cake”, Directed by Vanessa Ionta Wright. I Baked Him A Cake sees young Lenora (played by Lillian Gray) wanting to help bake her father a cake for his birthday. Mom (going by the stage name, Fleece) appears a little high-strung, Lenora sensing her strange behavior as the day wears on and the man of the house is late.

THE GOOD

DP, Henrik Meyer has quickly started chalking up film credits since 2011, and he certainly seems to knows his way around the camera. Meyer is a big part of the reason this micro short comes off so well polished. Employing a lot of simple but effective shot choices and consistently good framing. My favourite shots come in the form of a montage depicting Lenora making her father the cake. The audio track is one of the best and clearest I’ve heard in an independent film this year (I know from my own short the struggles with audio). Ross Childress (ex lead guitarist of Alt Rock band, Collective Soul) scored I Baked Him A Cake (his first score in fact) and it sounded quite good. There’s an unnerving sense to the bass and static sounds in the film’s opening and some unusual keyboard toward the finish. Kolesnik’s basic premise is rather subtle and I think that’s what makes it work. The bathroom set design looks fantastic and it’s one of those shorts where less is certainly more. There’s something completely unsettling about the fact that you don’t see anything in terms of physical action, just an indication of something gone awry.

THE BAD

Talented child actors are somewhat of an anomaly, and let’s be honest, you can’t expect too much from them when they’re new to the industry. Gray is mostly natural as Lenora, but with only a couple of film credits, she’s green and exudes some of that rawness that comes with inexperience. I think Samantha could’ve incorporated a correlative reaction to Lenora discovering the state of that bathroom, and what one might surmise from witnessing that. I understand that we don’t see anything per say, and who knows what she’s witnessed in that house prior, but children often react in the purest of fashions and Gray never got to illustrate that fear or sense of uneasiness. While I enjoyed the score, I do think the edit of said score, left a lot to be desired. Themes cut off suddenly and sporadically begin on a couple of occasions throughout the five minutes, almost as if they tried to cram a few too many pieces into the short run time.

I Baked Him A Cake is an interesting title for what is a unique Horror micro short. This is just Kolesnik’s second short film and she’s already showing plenty of potential with her writing. The camera work is great, the audio crystal clear and the score made up of a series of different tones. I thought the premise and its execution were well conceived and Fleece’s performance was great, Gray serviceable as well. My only minor criticisms were that I couldn’t help but feel young Lillian’s rawness in her screen presence and a few of her lines of dialogue. I think the film would’ve benefited from a more appropriate reaction from Lenora regarding the situation, and the music edit needed some work too. I Baked Him A Cake is wonderfully made and a great addition to the world of micro shorts, I suggest everyone give it a go when it becomes available. For now, you can check out the trailer below, Enjoy!

My rating for “I Baked Him A Cake” is 8/10

MARIAN

THE SETUP

Firstly, I’d just like to say thank you to BrickWall Studios and Co-Writer/Director, Brian Patrick Lim for allowing me access to an online screener of his third short film, “Marian”. Marian is a 15 minute, Horror/Drama short from the Philippines, centering on a household haunting. Young, Marian (played by Johanah Basanta) discovers there’s more to the contact she’s been having with a family member than meets the eye. The film also stars Astarte Abraham and Paw Aya Bugarin.

THE GOOD

Lim assembled a sizeable crew for his latest undertaking and the result is an atmospheric and darkly psychological creation. Brian shot and edited Marian and the quality of the cinematography is high-class. Each sequence is nicely framed and some of the gentle panning looks great. My favourite shot comes as a fearful Marian hides under the bed, looking out awaiting what might be on the other side of the door. I don’t know how Brian went about scouting this location but I’m sure glad he was able to obtain it. The old dilapidated exteriors of the Victorian style manor look seriously stylish and the creaking of the floorboards works a treat for the film’s audio bed. It may be indirectly but there’s a feel of folklore regarding restless spirits and protected children in Marian. I rather liked the lighting and set design and Toni Munoz’s piano ballad that plays throughout the opening of the film too. Not since Nicholas McCarthy’s “The Pact”, have I seen such heavy themes addressed within the parameters of a Horror film. Marian is well acted and has its fair share of disturbing visuals (even with the short run time). A special mention to the makeup department for a wonderful job on the effects.

THE BAD

Despite running just under 15 minutes, Marian does stagger a little in its pacing. There are one or two sequences that could have been cut down marginally just to tighten things up. The scene that comes to mind involves some rather nasty abuse that you’ll likely want to see over before it’s even started. I understand the context of said scene, it’s meant to be confronting, but audiences still aren’t going to like it. There’s a couple of sections with obvious ADR (additional dialogue recording), which was a surprise to me considering the set was seemingly a singular controlled location. While the practical effects are commendable, the CG enhancements on the blood look a little amateurish.

Marian is the first film of Brian Patrick Lim’s that I’ve seen, and overall I was pleased with the result. I commend him on directing, shooting and editing the film, it all looks great. I love the location, the set design and the themes on display are quite different for the genre. The acting is good, so to the practical effects work during the final act. I think a couple of scenes could’ve been shortened and Brian could’ve opted for more of the practical rather than CG during the films final scene. Minor issues aside, Marian is a great short film and a memorable one at that. It’s currently available for viewing at Crypt TV. You can find the link below, Enjoy!

My rating for “Marian” is 8/10

HOLIDAY FEAR

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Nicholas Santos for allowing me early access to an online screener of his 4 minute, Horror/Comedy short “Holiday Fear”. Holiday Fear is a Christmas themed short that picks up with young adult couple, Emily and Bruce (played by Rebeca Robles and Eric Whitten) just after an attempt has been made on their lives by a madman in a Santa costume. Now it’s up to Bruce to impress the girl and finish off the killer. The film also stars Ben Elder.

THE GOOD

Holiday Fear opens with Emily and Bruce standing atop the broken balcony of their snow-covered domicile, a bloody Santa lay seemingly lifeless below them. From there, the couple must decide the fate of this holiday intruder. Santos’s screenplay isn’t so obviously funny, but the subtle humor is evident through the dynamic between Emily and Bruce and how the conventional “horror movie” clichés are somewhat reversed. Both Robles and Whitten know the intended tone and their performances reflect that. The audio is crisp and clean and the cinematography is simple but effective. Kyle Kelley’s use of the wide shot and gentle zooming both help make for a great looking short. The score is made up of some nice synth orientated music with plenty of bass in the mix.

Holiday Fear is one of those blink and you’ll miss it type of deals, and trust me you don’t want to miss it. Nicholas has worked in short films for nearly a decade and it shows in the quality of this latest holiday themed entry. The concept takes the road less traveled in regard to the point where it picks up at, the cinematography is great and the score fits. Both actors are very watchable and there wasn’t anything I could fault in the speedy 4 minutes (if I’m nitpicking, I’d have loved to have seen some gore). Down the track perhaps we will see the events that led to Emily and Bruce’s final act conundrum. Holiday Fear will surely go down as one of the best shorts of 2017! It’s now available for viewing online at the link below. Enjoy!

My rating for “Holiday Fear”s is 9/10

CREEPER

THE SETUP

Firstly, I’d just like to say thank you to Writer/Director, Drew Macdonald for allowing me early access to an online screener of Wanderer Films, 12 minute Horror/Thriller short “Creeper”. Creeper is an Australian made short film about a young woman (played by the beautiful Melanie Zanetti) who is unknowingly followed home by her “Uber” driver (Harry Piaggio) after a night on the town. The cat and mouse game that ensues explores the lengths people will go to for some form of human contact.

THE GOOD

Creeper has been garnering a lot of attention on the festival circuit in 2017, and being a home-grown production, I thought I best try to seek out those behind it. It turns out that between the cast and crew, less than a dozen people were involved in the film. I found the tone of Macdonald’s film reminiscent of one of Travis Zariwny’s more recent films, “Intruder”. Truth be told, Joe Tiernan’s production design and Jesse Lane’s cinematography on Creeper also give it a hint of the Giallo (70’s Italian Horror) feel. Drew’s script (which happens to be devoid of almost all dialogue barring the opening minute) sets an unnerving chain of events in motion, and the scariest part is that this premise isn’t too much of a stretch. In the world of modern technology and an ever evolving city lifestyle, the disconnect among us is present and that’s a little bit of what Macdonald touches on in Creeper. All the technical facets are unbelievably well constructed. The audio and foley are crisp and the lighting extremely moody, particularly the shots in Demi’s lounge room. The opening aerial shot establishes the city lights and helps to set the city scene, it’s a great addition for an independent film. Lane exerts gentle zooming and a couple of really effective looking focus pulls throughout the short. The approach to the camera placement and shot choices is almost always intentionally voyeuristic, giving off that slow and meticulous stalking vibe. Zanetti doesn’t feature a whole lot, but she looks stunning and is more than up to the task of playing the innocent victim. Shortly into Creeper it becomes evident it’s Piaggio’s show. I mean no disrespect at all, but this guy (and in turn character) is as creepy as they come, think Rutger Hauer in Blade Runner. The intensity of the performance is conveyed mostly through his piercing eyes and that constantly restrained smirk. There’s a bit of a montage of shots showcasing his creepy actions, it plays to music as well which makes him all the more worrying. Although there’s no real on-screen violence there’s a scene involving a razor and it’s sure to make you cringe, it’s a great scene and a superb performance!

I haven’t reviewed a lot of Australian short films but Creeper is certainly the best one I’ve seen thus far, I couldn’t pick a flaw and that’s extremely rare. With all the instances and allegations of violence and harassment against women floating around in the media right now, Drew’s film couldn’t be a more relevant cautionary tale. The cinematography is fantastic, the audio clear and the lighting atmospheric. Zanetti’s character is immediately sympathetic and Piaggio’s is anything but. This mystery driver is stone faced and as cold as ice, and for 12 minutes you’re never quite sure what he’s really after. It’s a dialogue free performance and I’m calling it the best of the year, so to Creeper itself. Do yourself a favor, as soon as this one hits the world-wide web check it out! You can watch the trailer below.

My rating for “Creeper” is 9.5//10

A TIME OF VULTURES

THE SETUP

Firstly, I’d just like to say thank you to Producer, Eric Sonnenburg for sending me the link to the 8 minute, Action/Western short “A Time Of Vultures”, Co-Written by William James and Adolfo J. Kolmerer (who also directs). A Time Of Vultures sees a mysterious drifter (played by Eskindir Tesfay) enter a saloon to settle an old score. The film also stars Erkan Acar, David Masterson, Bernhard Bulling, Ronny Wagner and Stephen M. Gilbert.

THE GOOD

A Time Of Vultures was made back in 2012 and is bought to you by a number of the team involved with “Snowflake” *see review* https://adamthemoviegod.com/snowflake-review/. There are a handful of really professionally made and entertaining western shorts floating around on YouTube, and after having enjoyed Snowflake so much, I wanted to check out more of Kolmerer’s body of work. The film opens with a few really nice shots, followed by a focus pull to reveal a Mexican (Acar) amidst an animated poker game. As a whole, the cinematography is really impressive, possibly even better than in Snowflake. Consistently good framing and plenty of intriguing shot choices drive the higher than expected production value. Adolfo goes all out with a couple of motion whip pans and an abundance of shots with slowed frame rates, which are used to great effect. Some of the lighting is gorgeous, particularly the back-lit sequence where the drifter engages with the Mexican from across the bar. The audio is clear and the foley nicely matching. I heard some momentary flute in the score that was reminiscent of any number of the scores in Sergio Leone’s films. The action choreography was solid and the way the drifter used his whip was thoroughly entertaining.

THE BAD

I was a little disappointed that the score didn’t figure quite at the front and centre like it usually does in the Western genre, but I can also acknowledge that the short format has its limits. The only aspect that took me out of the film was the fact that the two main character’s enter into hand to hand combat during the climax. Was that response ever used in the wild west? Usually it’s more of a showdown at sunset type of deal. What occurred in A Time Of Vultures was more akin to that of a martial arts film.

For the most part A Time Of Vultures was exactly what I expected it to be, a polished and entertaining little Western short. The cinematography and shot choices are expertly crafted, the audio and foley sharp and the lighting sublime. Some of the score is quintessentially geared to the genre but there’s not quite enough of it, that and I would’ve preferred to have seen the action carried out a little differently. Those issues aside, this is another impressive short from a German filmmaker on the rise. You can watch the film below and see for yourself, Enjoy!

My rating for “A Time Of Vultures” is 8.5/10

3

THE SETUP

Firstly, I just want to say thank you to White Lotus Productions and the team at Chicart Public Relations for sending me an online screener of Lou Simon’s latest feature film titled, “3”. Lou has been all over the indie horror scene ever since the release of her film “HazMat” back in 2013 *see review* https://adamthemoviegod.com/hazmat-review/. She’s since directed two more feature lengths, “Agoraphobia” with Cassie Scerbo and Tony Todd and more recently, “All Girls Weekend” which was made up of an all female cast. While I wasn’t a fan of the latter, I thoroughly enjoyed HazMat and have been keen to see this latest project of hers. 3 is a confined and revenge fueled, suspense/thriller that centers on a man and a woman (played by Todd Bruno and Aniela McGuinness) who kidnap her rapist (Mike Stanley) with the hopes of eliciting a confession from him. The film also stars Katie Carpenter (Maid To Order) and Jim Adams.

THE GOOD

A forewarning, this review will likely be a bit shorter than usual, as 3 can be described as one of those films that’s difficult to canvass without ruining the desired element of surprise, something I don’t want to do, especially considering this is a thriller. Make no mistake though, it’s not a reflection of the quality of Simon’s latest venture. From a technical standpoint most of Lou’s work has been well presented and 3 is no exception. The audio track appears to be all natural and consistently clear, which comes as a surprise because the basement in which three-quarters of the film is set in, must have created some headaches for the crew (reverberation wise). The cinematography isn’t overly dynamic but it’s smart. A lot of simple shot choices and setups make for speed and efficiency, two of the most important things on a self-funded independent film. Michael Damon (whose scored all of Simon’s previous films) composed a nice synth piece for the opening of the film, and the remainder of the score is made up of keys and bass but it persuasively builds the required tension.

When you think of films contained entirely within one or two locations or sets (some of which are my favourite films), they’re actually few and far between, mostly because they pose quite a challenge. How do you keep people interested or engaged? My experience tells me if you’re film isn’t built on aesthetic appeal it usually rests on good dialogue and talented actors. 3’s running time is only 80 minutes, but there’s a fair amount going on in this controlled little scenario. Simon sets up an early reveal in the opening act, something that’s often a key to drawing audiences in. Each of the three leads deliver really consistent performances, by far the best I’ve seen in any of Lou’s films thus far. McGuinness highlights her characters trepidation of the situation the two-some have decided to act on. As for Bruno, he’s forced to raise his game emotionally speaking because of the weight being carried on his characters shoulders. Then there’s Mike Stanley, who has to combine believable dialogue delivery with the physical performance of his character, clearly the most challenging of the three roles and he does it very well. 3 is also surprisingly violent for a film that forms through dialogue and not action. There’s a great scene involving a foot and the corresponding effects are more than serviceable. Lou’s script is likely to catch a few people off guard when it heads in quite an unexpected direction, that said, there are some clues along the way, but nothing that sets things in stone.

THE BAD

I noticed one or two minor issues with the sound, most notably the bass. It seemed quite loud in the mix, though that may have just been due to my set of particular computer speakers. The lighting was a little dark during the first character interaction in the kitchen too. Continuity wise the film is pretty spot on. There aren’t any real obvious lapses (at least none that I could find), although at one point Stanley’s character says to Bruno’s that he heard him talking to a woman. Those of you’ve who’ve seen the film will understand why that doesn’t necessarily compute. I continue to gone back and forth on my opinion of the climax and its eventual conclusion, I’m still not sure how I feel about it. Perhaps a flashback or two may have given more of an inclination as to something going awry later.

3 is anything but a straight up suspense/thriller or revenge flick, it’s cleverly written and manages to weave its intended web of deception. The audio, camera work and score are all well executed and the pacing ensures that the film doesn’t lose too much steam. Lou sets the scene early with immediate introductions, followed by an important reveal. There’s a few nice clues scattered throughout about the potential deeper source, that and our central trio of actors turn in really solid performances. The violence is rather brief but the intensity is evident and the practical effects look good. There’s a couple of slight technical inconsistencies and one continuity blip, I’m also still undecided on whether I like the big finish or not. If I’m honest, it’s hard to deny the comparison to a film like David Slade’s expertly crafted, “Hard Candy” or even the lesser known indie film, “The Tortured” but I’m not overly concerned, because I can respect that 3 tries on something a little different in its final act. My two cents. I think Simon’s, HazMat has more of a fun rewatchability factor, but 3 is certainly her best and most professional film. Fans of contained thrillers (like the aforementioned) best check this out when it becomes available. Check out the trailer below!

My rating for “3” is 7.5/10

BORN AGAIN

THE SETUP

Born Again is a new 7 minute, Horror/Comedy short Co-Written by Randall Greenland and Jason Tostevin (who also directs). Born Again places you right in the thick of a clumsy trio’s devil summoning ceremony. A vessel (played by the lovely Ellie Church) lay on the table, legs spread, ready to give herself over when the fourth party arrives shortly thereafter. Seemingly the most dense of them all, Greg (also played by Randall Greenland) realizes the ritual is going pear-shaped and it might just be too late to do anything about it! The film also stars Brian Spangler, Tiffany Arnold and Jaysen P. Buterin.

THE GOOD

Right off the bat I noticed Tostevin gauged a perfect sense of tone for his and Greenland’s cult themed premise, doing so through great lighting and Mike McNeese’s simple but diverse shot choices. The audio track is surprisingly clear given the film takes place inside a shed. There’s two things one can learn from watching Born Again. One, comedic timing is everything, and secondly, silence is golden. Both are examples of simple rules so often attainable but rarely applied, especially when mixed with the horror genre. You can tell just by watching this, that both Randall and Jason are no doubt funny guys in real life because it bleeds into the script. All of the cast more than do their bit and they clearly understand what is likely to generate natural chemistry. From the moment Greg shows up, it’s all about the humor in his interjections during the sacred ceremony. He can’t make heads or tails of the cloak, his mask looks like Kung-Fu Panda and he’s genuinely out of his depth in the best possible way. At one point there’s a lengthy as hell pause between all the characters, and that is in fact the best and funniest moment (in a number of funny moments) but it takes the right personalities to get it done. The finale is just a wonderful culmination of something that was one way or the other, doomed from the beginning. Credit to the practical fx team for the quality of blood and gore too.

THE BAD

My only minor complaint in this speedy 7 minutes was the look of the expanding belly of Ellie’s character. It appears as if Jason and Co opted for the practical route in order to avoid hokey CG (I apologize if I’m wrong), and while I can respect that, unfortunately the hands on approach doesn’t end up looking a whole lot better, albeit, the imagery is brief.

I recently reviewed a similarly entertaining cult themed short called “Born Of Sin” *see review* https://adamthemoviegod.com/born-of-sin-review/ but I’ve been waiting for something a little more light-hearted like this for a long time. The technical aspects are fantastic, the premise is actually funny, and more importantly, the cast have great comedic sensibilities. Short films like this one are all too rare and aside from a misstep in regard to that tricky practical effect (it is at the best of times), Born Again is as good as they come. 2017 has been a great year for short film but this one might just be the best of the year. I can’t wait to get my hands on some more of Jason and Randall’s work and if you like other quirky shorts like Jason Kupfer’s “Invaders” *see review* https://adamthemoviegod.com/invaders-review/ and Chris McInroy’s “Bad Guy #2” *see review* https://adamthemoviegod.com/bad-guy-2-review/ I suggest you click on the link below and get watching!

My rating for “Born Again” is 9/10