Tag: IFC Midnight

IFC Films Debuts A Nightmarish Trailer For COME TRUE

Opening in theaters and VOD March 12, check out the trailer from IFC Films for COME TRUE from writer/director Anthony Scott Burns.

Inspired by the work of Nicolas Roeg, William Friedkin, Stanley Kubrick, and David Cronenberg, as well as sleep studies conducted by Berkeley University, COME TRUE seeks to ask what would happen if we could see other people’s dreams? What would we see? What would we discover about ourselves? What if these shadows from our collective dreams saw us looking back at them?

High school student Sarah is at her lowest point yet when she runs away from home and finds herself with no one to rely on and struggling with recurring nightmares. She chances upon a university sleep study that offers the promise of safety and money and brings her an unexpected friend and confidant in the overseeing scientist Jeremy. But there’s something curious about proceedings and being under observation seems to make Sarah’s disturbing dreams even worse. As the darkness begins to close in, it’s soon clear that Sarah has unknowingly become the conduit to a horrifying, new discovery…

The score for COME TRUE was composed by celebrated synth-pop duo Electric Youth and electronic artist Pilotpriest and encapsulates a dark, dreamworld landscape that carries viewers across the journey of the film with pulsing urgency.

THE RENTAL (2020) – Review

It looks like whatever crystal ball (maybe more of a big fishbowl) Hollywood was consulting certainly proved it’s worth. That’s because with most of the country on near-constant “staycation” (the other countries have pretty much shut their doors in our faces) the studios have supplied an almost constant stream (I should say “streaming”) supply of films concerning characters in “faraway places” or on their way to getaways. Vicariously we’ve been to Naples (PIRANHAS), Cornwall (FOUR KIDS AND IT), and a funny TRIP TO GREECE. But this country’s not been left out with last weekend’s EASY DOES IT driving a battered Mustang from Mississippi to Texas and stalling out in sunny San Clemente, CA. What’s the destination this week. Well, let’s head north to the Portland area, or nearby, to spend a wild long weekend with two fun-loving couples ready to kick back and enjoy some “R and R” at THE RENTAL. Ah, but they learn too late that getting away from it all (of course their cell phones get “no bars”) can make them the perfect prey.

Of course, the story begins at the place they need to “get away” from, namely the city of Portland. Charlie (Dan Stevens) and Mina (Shelia Vand) are partners in an “on the rise” design firm downtown. The business has been so great that they decide to rent a place on the water (an Airbnb type online deal) for the long upcoming weekend. But it’s not just for the two of them. Charlie’s bringing his live-in love Michelle (Alison Brie), while Mina’s with Charlie’s younger brother Josh (Jeremy Allen White). The road trip gets off to a bit of a rocky start when Josh insists on bringing his pet pooch Reggie (the listing was adamant banning pets). And Mina’s miffed at the renters for accepting Josh’s bid and not hers (she thinks her Middle Eastern name may have been the reason). When they arrive, the quartet is met by the house owner’s brother Taylor (Toby Huss) who lives nearby and does the upkeep on the gorgeous two-story luxury home. He also vets the renters which prompts Mina to question his decision on her inquiry. Luckily Charlie smoothes things over, the dog is kept out of sight, and Taylor promises to return to finish some minor repairs. After he leaves they debate about topping off Dinner with some psychedelic ‘shrooms. Michelle is too wiped out from her recent work deadlines, but promises that she’ll be up for it tomorrow (so, they better leave some). The trio indulges with Josh quickly fading. Charlie and Nina (now quite loosened up) fire up the hot tub. But with their “defenses down” the two act on their attraction, taking their tryst from the tub to the main shower. With dawn’s light, Mina notices something odd about the showerhead. Could it be a tiny camera lens? One transmitting to a router? Charlie joins her in a frantic search. Could these have been planted by the surly Taylor? Is it blackmail or is it something more sinister? And can they keep their indiscretion a secret from the oblivious Michelle and Josh?


The cast’s main quartet does their level best to bring the often flighty, undisciplined characters down to Earth. Stevens, best known to movie audiences as the Prince in the recent live-action (mostly)BEAUTY AND THE BEAST, is a compelling protagonist, the de facto leader of “the band’, reveling in the “commander” role. We soon see the cracks in his confident facade as he gives into lust. It also puts him in sweaty panic mode as he feverishly tries to make things “normal”, a near-impossible goal. Vand exudes an air of cool detachment in her early scenes as Mina, but she’s quickly put on the defensive by the renter’s perceived prejudices. Her friends, especially partner Charlie, are stunned when she decides to “pick a fight” just after the keys are handed off. Later she’s just as frantic as she discovers the “little spy” in their midst. Brie as the unawares Michelle appears to be the more reasonable “go with the flow” vacationer, who just happens to get high at the absolute worst time (prompted by her new knowledge of Charlie’s checkered romantic history). That intel is clumsily provided by brother Josh, who is given a “wild card” vibe by White. The slower sibling always feels as though he’s “in over his head” financially, intellectually, and emotionally. We’re told of his violent past which brings greater urgency to the cover-up. When his beloved Reggie vanishes his concern proves to release his inner demons. And they all, well maybe not Michelle, have qualms about Taylor, played with simmering menace by Huss. He wears the mask of an “easy-going reg’lar Joe”, but we can almost see steam rising from its edges as he tries to repress his seething jealousy of the privileged young couples. All his friendly gestures seem to have a dark, almost pitch black, undercurrent.

This marks the feature directing debut of actor Dave Franco (yes, James’ lil’ bro), who also collaborated on the script with Joe Swanberg and Mike Demski. He does his best to try and smooth over “the stitches” of meshing two types of stories (I kept thinking of the first FROM DUSK TILL DAWN going from criminals on the run with hostages caper to blood-soaked supernatural thriller). The first half or so is an intimate profile of two couples loosening up (with some it’s way too much) out in the middle of the woods, facing some hard emotional “truths”. Franco has a confident style in framing these scenes of lively conversation and frivolity (bring out the ‘shrooms). Then the paranoia kicks in, as the film becomes a new variation of the “stalking menace” movies of the past complete with the “POV” going after each character (they naturally split up). With Swanberg’s involvement, perhaps this is meant as a “mumblecore” take on the “horny teens” in peril flicks of the early ’80s. It’s then that the story becomes less engaging as the characters suddenly all sprout targets on their backs. Plus it becomes increasingly difficult to follow as the woods (of course) are filled with soupy mist and fog. A “found footage” epilogue may plant the seeds for a sequel, but it just adds to the confusion of the final act. That abrupt change in tone feels like a cinematic whiplash, frustrating drama, and suspense fans. Like the featured house, the film may look promising on the website, but THE RENTAL has lots of structural flaws. That’s why I’ll scroll down to its comment section and give it…

2 Out of 4

THE RENTAL opens at theatres and drive-ins everywhere and screens exclusively in the St. Louis area at the Hi-Pointe Theatre and the Galleria 6

THE WRETCHED – Review

C’mon film fans. let’s shake off the stuck-at-home isolation blues with this week’s new release. Yup, it’s not an “indie” full of despair and drama. So, it’s a rollicking comedy? Well..uh uh. A toe-tappin’ musical, perhaps?, Nah…it’s a horror flick. Well. at least you can feel good that all the weirdness isn’t directed at you as you stare out the window (hmm, the hero spends lots of screentime doing just that). And this is indeed an independent film, another in the subgenre of “art-house” horror led by THE WITCH, THE BABADOOK, and the very recent THE OTHER LAMB, though, in spirit, it may be closest to the retro thrills of IT FOLLOWS. This one owes a lot to that 70s homage, though it has more of the 1980’s thriller vibe of the Netflix hit “Stranger Things”. So with all the real-world scares outside can THE WRETCHED deliver the shivers?

Speaking of that past decade, the story begins with a flashback to a gruesome graphic incident in 1985 (it looks like an “afterschool special” no network would run). Jumpcut to today as teenager Ben (John-Paul Howard) gazes out the window of the bus taking him to a sleepy lakeside town somewhere in the US. After his folks split, this is where dad Liam (Jamison Jones) landed, running the local marina. And since Ben is spending the Summer with him, he’s got a job there. He’s not too keen about taking grief from the local rich kids, nor is he thrilled about Dad’s new girlfriend Sara (Azie Tesfal). But at least he’s made a friend, his cute and snarky co-worker Mallory (Piper Curda). And then there’s the weird next-door neighbors, Summer renters: affable beer-guzzling Ty (Kevin Bigley), doting mother Abbie (Zarah Mahler), grade-schooler Dillon (Blane Crockarell) and baby Sam. Everything changes when Abbie brings home a deer carcass in their truck (it was an accident…sure…). But they get much more than fresh venison. Then Ben observes some strange stuff. Ty’s in a stupor while Abbie’s wardrobe goes from “biker chick chic” (jean shorts, heavy metal T’s, and plaid) to flowing sundresses (with prominent crimson coloring). Ben discovers that Dillon is sleeping in one of the kids’ rental boats. And that baby’s awful quiet now. It all adds up to a sinister plot, but how can Ben get anybody, Mallory and especially his pop Liam to believe him? And what can he do before “whatever’s out there” gets to him?

At first, Howard appears to be doing a riff on the clean-cut all-American teen trapped in a supernatural web, but Ben seems to have his own inner demons. He sports an arm cast through most of the story, making us curious until midway in the film when he reveals that a botched drug theft (the opioid crisis rears its ugly head) caused it. His parents’ split has done some damage, as he lashes out, verbally berating his “laid back” papa, giving a Ben a “chip on his shoulder”. Even before he’s aware of the creepshow next door, he both hates the rich taunting “townies” and wishes he were part of their orbit. Curda’s quite charming as his best bud, “sounding board” and caper cohort (a mix of Daphne and Velma). Mallory’s a likable take on the “girl next door” (or work-pal) who helps ground Ben during some of his manic rants. Jones makes Liam a sympathetic single dad, especially when he gifts Ben with a bicycle (it’s got a basket already) and learns that his ex has already promised him her old car. Luckily he gets his confidence back in order to deal with his boy’s erratic behavior. The cast’s other stand-out is the main villain. Mahler’s Abbie seems to be the ultimate “cool mom”, who can rock a cradle while suiting up for a motorcycle jaunt. Then it’s as though she’s taken a variation of Jeykll’s formula. Without raising her voice, Abbie’s running ‘the show”, gliding from room to room, and house to house, purring threats to Ben through a flimsy screen door as she floats away in her billowy long red dresses (or is it a shroud). Ole’ Ty doesn’t stand a chance against her new sultry sinister self.

With their first film since the 2011 zombie flick DEADHEADS, the brothers Pierce (Drew T. and Brett) have crafted an engaging homage to the VHS classics, which probably were stacked around the family VCR. That’s not to say that their script is a Frankenstein cut and stitch job since the plot does go in several surprising directions (a late in the third act “curveball” is quite a risky jolt of energy). And their direction has just the right balance of atmosphere (can’t go wrong with the woods and all those dark dank basements) and frantic action set pieces (with that arm cast Ben is a challenged protagonist). Yes, it’s a bit bloody, but there’s also buckets of oozing dark sludge that fill the screen. Speaking of balance, the Pierces do use some nifty CG effects while giving us some variations of the type of practical make-ups inspired by the 82′ THING and the original HOWLING (Baker, Bottin, and Savini would be pleased). And there’s a bit of Hitchcock-style paranoia as Ben fails to convince any adults of his observations (a tip to another 80s classic, the original FRIGHT NIGHT and a nod to REAR WINDOW). The only time the story really stumbles is with a clumsy pool prank on Ben which takes us away from Abbie’s antics. And though both actors are terrific, there’s little romantic chemistry between the Ben and Mallory characters, as they work better as a Hardy boy teamed with Nancy Drew. But that’s a minor quibble because THE WRETCHED really delivers those “old school” thrills and chills. And, as always, don’t go in the basement!!!

3 out of 4

THE WRETCHED opens May 1 at drive-ins everywhere. It is also streaming through digital and cable platforms including VOD, iTunes, VUDU, Amazon Prime, GooglePlay, and YouTube

THE OTHER LAMB – Review

Tired of being all cooped up in your home? Well, that’s a ridiculous thing to ask. Most of the national parks are closed off, so how about a cinematic foray into nature, eh? Ah, but Hollywood has taught us that the forest is just full of unspeakable menace. Yes, it’s a familiar backdrop for lots of horror tales, especially those lower-budgeted “chop jobs” (they don’t have to build elaborate haunted castles and mansions). And yes, this new release can be considered a thriller, but it’s more atmosphere than gore. That’s because this flick’s monster is not a ravenous mutant-bear nor a masked maniac slashing frisky teens with a big blade. No, his weapon is his mind as he manipulates and exploits others. And at the center of the story is one of his “followers” who realizes that she is THE OTHER LAMB.

It does begin deep in the woods as we observe a group of women (including a toddler) going about their daily chores: washing linens and clothing, sawing wood planks, repairing the roof of a shack (decorated with a face resembling Christ), preparing food, and tending to a herd of lambs. The women are divided by the color of their clothes (dresses that cover their bodies from the neck to the ankles with sleeves ending at the wrists), but all of them wear their hair in tight buns and braids (no loose strands down the neck). As they talk we learn that deep cobalt blue color denotes a daughter, while a red-tinged magenta is worn by wives. And what of the fathers and sons. No, there is just one, a man who the women call “Shepherd” (Michiel Huisman), the aforementioned mural face. He presides over this cult with his “herd” taking care of his every need, sending them into a fevered frenzy with his sermons and lectures. The daughters (the youngest seem to be his actual offspring) can graduate into wives. That’s the only goal for teenager Selah (Raffey Cassidy) who will push any of her “sisters” aside to gain favor with the Shepherd. But she’s tormented by nightmares full of strange visions (floating figures and lots of blood). Speaking of which, Selah tries to hide the onset of her period (they are considered “unclean” by the “sin of Eve”). But that’s of little importance when the Shepherd announces that they must vacate their home (the previous night Selah saw him talking with a policeman near his parked patrol car far away from their quarters). This begins a long arduous trek, one that will test their faith in all, and who, they believe. But could those dream images be a warning to Selah?

As the tale’s main focus Selah, Cassidy portrays a heroine with a most complex and compelling character arc. In the beginning, she’s very unlikable, with no real concerns for anyone else in the family save its leader. It’s the title role in ALL ABOUT EVE if it were about a shadowy cult rather than Broadway (hmmm, maybe not that much of a leap), as she will tread over anyone in the way of her goal. Then she has an awakening as she must deliver “leftovers” to those formerly in her master’s good grace. This new found empathy opens her eyes and Cassidy adjusts her body language, striding with more confidence and purpose. This occurs even as she subtlety questions “him”. Huisman, in that role, tempers his fervent energy and laser-point charisma, twisting the “wild maniac” crazed cult-leader cliche of many films. His quiet demeanor seems to draw in the flock. Then he’ll flash a smile that burns right through them. It adds more power to his intimate nights with those “chosen” as his tender caresses suddenly turn sadistic as his beefy hand clamps down on a pale throat and his fingers reach into their mouths, making his lambs gag and choke. He’s no loving messiah, but rather a cruel deviant predator. Denise Gough is superb as one of the former favored wives, Sarah, who is part of Selah’s “wake up call”, especially as she shows her disgust with the Shepherd by yelling out his “real” true name. In fact, all the wives and daughters are quite convincing as they literally sing his praises after his “blessing’ has swept them up in a wave of screeching hysteria.

Director Malgortza Szumowska, working from a script by feature film newcomer C.S.McMullen, wraps the story with an atmosphere of sinister, cold dread. That’s especially true in the exchanges between the family members and Shepherd, whose responses are unpredictable. A gentle brush against a pale cheek can switch to a brutal slap. The dream sequences are also a roller coast ride, as the tranquil floating angelic figures cut to crimson-splattered visions of women and beasts. And just what is going on with the twine and string going from tree to tree. Are the women entangled in Shepherd’s web of deception? This is all heightened by the soft, moody cinematography from Michal Englert. Unfortunately, the sluggish pacing may frustrate many viewers as will the somewhat abrupt and ambiguous end scenes. But for those wanting to get a good slow scare and a general sense of off-kilter unease all wrapped up in backwoods cult mania, then THE OTHER LAMB may be just the vicarious cure for “cabin fever”.

2.5 Out of 4

THE OTHER LAMB is available as a Video on Demand on most cable, satellite systems, and streaming apps and platforms.

THE HARVEST (2013) – The Review

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At one time or another, we’ve all felt we’ve had the worst parents in the world. We have our reasons, but watch THE HARVEST (2013) and you’ll quickly reevaluate your thinking. The question arises… what is a child’s life worth and how far will you go to save that life when certain death rears its unfriendly head?

THE HARVEST tells the story of a seriously ill boy named Andrew, bed-ridden and bored out of his mind. He’s not allowed to leave the house, play baseball, have friends or go to school, and is barely allowed to leave his room. Andrew, played by Charlie Tahan, is weak and can barely stand on his own, but he still has desires just like any boy his age. These desire have been successfully subdued by his over-protective, borderline psychotic mother Katherine, played by Samantha Morton. Then a misunderstood, rebellious girl his age named Maryann moves into her grandparents’ house nearby and changes everything.

Maryann, played by Natasha Calis, doesn’t waste any time exploring and looking for some way to entertain herself in this secluded area, tucked away in the woods. This is how she happens upon Andrew’s house where the two quickly develop an awkward but empathetic friendship of kindred spirits. For the first time, Andrew actually appears to be experiencing some level of happiness, that is of course, until Katherine discovers the existence of Maryann, which had prior been kept a secret.

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THE HARVEST is set almost entirely inside or in the immediate vicinity of Andrew’s home. What Andrew’s house may lack in physical size, it more than compensates with the size and severity of its secrets. With Andrew basically confined to his bed in his room, the house is essentially a prison. Katherine, a medical doctor by profession, is obsessed with curing her son’s ailment at any and all costs, which serves as her prison. Andrew’s father Richard, played by Michael Shannon, is also a prisoner, but his confinement is his hopelessly lost marriage to his mentally unstable wife Katherine.

Written by first-timer Stephen Lancellotti, THE HARVEST is a passionate film steeped in fear, guilt and lies kept by every major player in the film. The emotional scale of the film tilts heavily toward the darker, unsavory elements of humanity. Despite this, Lancellotti’s strong, well-written characters hold the otherwise excessively depraved nature of the story together, keeping Andrew’s world from crumbling around him until the very end. This is most clearly illustrated in Michael Shannon’s surprisingly subdued performance as Richard, a man so beaten-down by his wife’s insistence on being a controlling emotional mess, that he can often barely speak or move in her presence.

Richard is not a coward, but he is weak. Having left his career to stay home and take care of Andrew while Katherine works, he has but a single purpose that drains his very essence, and yet Katherine will not even allow him to fully embrace this role. Other weaknesses of Richard’s emerge in the film, but they all tie back into his desire to do right by his son, however he must. Sadly, that often means protecting and supporting Andrew against his mother’s abrasive, even violent behavior spawned from a truly demented sense of ensuring her’s son’s well-being.

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Samantha Morton delivers a performance so absolutely frightening that the concept alone of their being a real life Katherine out in the world somewhere alone sends chills down my spine. On the most primal, stripped down level, her heart is in the right place, but the manner and methods by which she pursues saving her son’s life are so utterly deplorable that virtually every moment she is on screen is cringe-worthy. Consider Kathy Bates’ performance as Annie Wilkes in MISERY (1990) and then notch that sucker up to 11 on the bone-tingling terror scale.

Andrew’s helplessness is made convincing by Charlie Tahan’s performance, not just in the physically demanding nature of the role requiring him to appear weak and broken, but in his emotional state and virtually non-existent level of energy. In pulling this off, Tahan only increases the next-level insanity that emerges from Morton’s performance. Meanwhile, Natasha Calis is perhaps the most normal and well-rounded character in the film, despite her own demons, which are relatively minor in comparison to Andrew’s. Finally, for good measure, McNaughton throws a familiar seasoned favorite in the mix with Peter Fonda playing Maryann’s grandfather. While his role is rather small, he does provide a crucial line of dialogue in the film that, for Maryann, serves as the equivalent of Uncle Ben telling Peter Parker “with great power comes great responsibility.”

John McNaughton is a filmmaker of notable cult status, but many of you reading this are scratching your heads, I am sure. Having made his mark early in his career, McNaughton is best known to true horror movie aficionados for HENRY: PORTRAIT OF A SERIAL KILLER (1986), his debut film that also introduced Michael Rooker to movie audiences, who is now something of a household name amongst The Walking Dead fans.

Well-known for the gritty, faux-documentary style of his feature film debut about what makes a killer, McNaughton takes a sizable step away from that visual style. The film still has a hint of that voyeuristic element, but its subtle and will go mostly unnoticed. I realize how strange this will sound, but THE HARVEST actually conveys more of a prime time Hallmark family movie night vibe to its visual style, with its contemporary, shot-on-digital video looking, real life drama sort of stuff, that actually adds to the creepiness of what takes place.

McNaughton is no stranger to delving into projects that develop as much controversy as they do cult following, such as MAD DOG AND GLORY (1993) and WILD THINGS (1998). I feel this will not be an exception to that rule and I am certainly grateful for McNaughton sticking to his guns. I will end with this… if you are not even a little bit afraid of Samantha Morton after seeing this film, please do me a favor and never introduce me to your mother.

THE HARVEST opened in New York on April 10 and is available on VOD now.

The film opens in Los Angeles this Friday, April 24th at the Arena Cinema in Hollywood.

Overall Rating: 4 out of 5 stars

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WYRMWOOD: ROAD OF THE DEAD – The Review

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We’ve been through many cycles of cinematic history now, reached many milestones and have given birth to many cliche’s as well, but as time draws forth, where does film take hold to ensure a continued future of innovation? Certainly, technology does, and will always have its part in the creative endeavor of filmmaking, but when it comes to story, are we beginning to see the long, slow death of originality? On some levels, I fear this may be a temporary reality, but much like life and energy itself, never truly dies and will always find a way.

It will come as no surprise that many a studio film is churned out in formulaic fear of stirring the pot, rousing the dormant interest of adventurous viewers, but we still have our independence. Indie filmmakers, the experimenters, the explorers, the balls-to-the-wall, no excuses, just make it happen and make it yours pioneers. These are the artists who take risks and will always find a way to make something fresh, original and entertaining.

WYRMWOOD: ROAD OF THE DEAD is one of these films. I admit, I may sound like a grandstanding fool, but keep in mind this, like so many of the best indie films today, is not trying to please everyone. There truly isn’t a one size fits all equation for filmmaking. This is where Hollywood so often fails. This is where Australia has repeatedly shown its glory, a revelation we first uncovered back in the 70s and a resurgence that has recently become realized by more and more viewers. We may be experiencing the beginning of a renaissance down under, and if you’re a fan of genre film, you’re in for a real treat.

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Like so many modern indie filmmakers, crowdfunding has been a crucial and liberating financial friend, allowing artists to reach out to their fans and peers directly, and in turn those fans and peers can have a direct and immediate impact on getting the films they want to see get made. WYRMWOOD was funded, in part, through crowdfunding. Co-writer and director Kiah Roache-Turner has delivered an entertaining, fresh, sick and twisted genre film for the fans and it does not suck.

Co-written by brothers Kiah and Tristan Roache-Turner, WYRMWOOD is not just another zombie apocalypse film… well, actually it is, but its much more. We enter into the story as the epidemic has already set in, spreading throughout the Australian Outback, but our journey follows an average mechanic names Barry (Jay Gallagher) who witnesses his wife and daughter turn into zombies. With nothing left to lose, Barry suits up and knuckles down, setting out to locate and rescue his sister Brooke (Bianca Bradey) amidst a chaotic world of flesh-eating zombies and even less-savory human beings.

WYRMWOOD can be viewed as MAD MAX meets DAWN OF THE DEAD, as some marketing suggests — the MAD MAX portion is clearly evident — but the film offers some additional nuances for the seasoned genre buff. Stylistically, the film does display a touch of the Raimi brothers, but more appropriately the visual style and graphic violence of a younger, more raw Peter Jackson, who reigns from the neighboring New Zealand. Such films as BAD TASTE (1987) and DEAD LIVE (1992) come to mind, both of which are far more graphic and violent than this, but whose influence is unmistakable. These are both films that helped pave the way for an entire genre, which is only now firmly taking hold on a wide scale.

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WYRMWOOD is a dark film, both in its content and in its humor, but it also melds genres. Horror stands strong as its base, but the film is as much science fiction as it is blood and guts. Without giving anything away, I was pleased to see a film that suggests a twist on the origin of the zombie apocalypse that is new but also based on some level in fringe science. If you’d like a hint, refer to National Geographic’s TV series How to Survive the End of the World, Season 1: Episode 1: Zombie Earth (2013). This twist on the storytelling allows the film to enter new territory, explore new concepts and suggest alternate talking points in the massively popular zombie genre. On a side note, personally, WYRMWOOD is more akin to AMC’s TV Series The Walking Dead than it is to Romero’s classic DAWN OF THE DEAD (1978), but I can see both as influential.

For the true genre fans, the film offers more than it does for the average viewer. Call them bloody Easter eggs if you like, but the characters and scenarios set up in WYRMWOOD are bizarre and eccentric. David Lynch meets Stuart Gordon, with a psychotic mad scientist who loves disco music and Barry’s sister, Brooke, holds a powerful secret one may trace back to being influenced by Stephen King, or Stan Lee, depending on how you choose to interpret her ability.

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WYRMWOOD: ROAD OF THE DEAD is a film that holds true to its subtitle in a literal sense. Its a road movie, about a couple of guys trying to survive a long drive through dangerous lands. The film is as familiar as it is enticing as a unique translation of the zombie apocalypse story. There is plenty of action, quality special effects and stunt work, a balanced combination of drama and comedy, believable characters who are relate-able and likable — or easy to hate, when appropriate — and most importantly, features a strong, unpretentious heroine that is more palatable than what has been offered — respectfully — from Milla Jovovich and Kate Beckinsale.

WYRMWOOD opens in select theaters on Friday, February 13th, 2015.

Overall Rating: 3.5 out of 5 stars

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ALMOST HUMAN – The Blu Review

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Writer and director Joe Begos’ ALMOST HUMAN (2013) may draw influence from the oft-remade “Body Snatcher” genre of science-fiction, but where he strives to stand apart is by bringing the classic standard to the modern grindhouse horror audience. This is a gory, violent rendition of the concept of alien creatures taking over human bodies and controlling them from within like robots. While this approach has its niche market, I always contend that viewers should try and look past the gore and violence but still embrace it as they experience the film as a whole, then make judgments based on more than simply the visceral sights and sounds that may prove distasteful on their own.

ALMOST HUMAN, not to be mistaken for the short-lives futuristic sci-fi television series that aired the same year, presents itself with a surprisingly low key, unassuming disposition of simplicity. The film avoids the more darkly comedic, or slyly self-deprecating trends that have fared well for films like HOBO WITH A SHOTGUN, instead investing in a more dialogue-conscious, character-driver story that allows the audience to connect more closely to the human element of the horrific events that unfold on screen.

That’s awfully deep talk, so let me move beyond that now and discuss the more visceral traits. ALMOST HUMAN, perhaps shockingly, is not as gratuitously violent and gory as may have been suggested. Granted, I am coming from years of exposure to the type, but the true horror here comes from the cast and script. While the special effects are noteworthy, not over-the-top but realistic, their used sparingly, relative to the genre. Its the anticipation and drama that keeps the viewer on edge in this film.

ALMOST HUMAN stars Josh Ethier as Mark Fisher, a man returned home after having disappeared two years prior in a mysterious flash of blue light. Graham Skipper plays his friend Seth Hampton, one of a small clutch of witnesses who have tried to move on with their lives while fully aware of the unforgettable events that occurred. With Mark’s return, however, something has changed. He has changed and he has a mission.

The story takes place in Derry, Maine, the same fictional town that often serves as the setting for Stephen King’s tales of horror. Told with an indie-spirited perspective, ALMOST HUMAN could be called a minimalist backwoods alien abduction story, graphically interpreted for mature audiences, but its also an exhilarating, edge-of-your-seat film on a small scale. Ethier nails his performance as the cold, empty emotionless husk of a human body driven by its other-worldly host. Consider Schwarzenegger as the Terminator without the accent and a decent skill for acting, then dress him up like Paul Bunyan and you’ve got Mark Fisher.

ALMOST HUMAN is not your 50s sci-fi. It’s gritty, steeped in realism and yes, its violent. Why do I keep coming back to that? Because its important, but the horror isn’t entirely visual. The sound in the film plays a crucial role, both literally and psychologically. Lights and sounds become synonymous to terror and fear, whereas darkness takes an unconventional break from being the harbinger of doom. Viewing the film on blu-ray only greatly enhances this element of the film’s design. The sound becomes its own character symbiotic to the grotesque worm-like alien creature that have implanted themselves within their human hosts.

As for the special effects, the aliens themselves are handles much like Spielberg’s handling of “Bruce” the great white shark in JAWS. The less you see of the inhuman antagonist the better, generating a greater sense of fear and discomfort than can be realized by over use of special effects. Once again, this is where Begos’ use of sound plays an integral role. the aliens are far more present in the film as interpreted through the high-pitched, ear drum piercing shrieks they make. Like fingernails on chalkboards multiplied by a thousand. Add to this the short 80-minute running time and you have a compact sensory science-fiction slasher flick.

As for any lack of a happy ending in the story, this can be remedied by pleasant surprises within this blu-ray’s special features. Containing not one, but two feature-length commentaries: one with writer/director Joe Begos and Josh Ethier and another with this duo plus actor Graham Skipper and producer Cory Lockman. As if this weren’t enough for the average enthusiast, the blu-ray also includes a feature-length making of documentary, a behind-the-scenes featurette on the set with Graham Skipper, and the short film TOXIN, in addition to the standard inclusion of trailers, TV spots and photo galleries. Overall, the ALMOST HUMAN blu-ray is the total package that blends sci-fi and horror with an accessibly engaging but minimally cerebral story and lots of goodies. Oh, yeah… and, it has a chainsaw.

Overall Rating: 3 out of 5 Stars

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IFC Midnight Snags U.S. rights To REPLICAS; Theatrical/VOD Release Planned For 2013

IFC Midnight is acquiring all US rights to REPLICAS, the acclaimed thriller from director Jeremy Power Regimbal, which had its world premiere at the Tribeca Film Festival in April. Starring Selma Blair (HELLBOY), Joshua Close (THE PACIFIC), James D’Arcy (W.E.), and Rachel Miner (BULLY), the film was produced by Regimbal and Justin Tyler Close, and was executive produced by Tina Pehme, Kim C. Roberts and Susan Jackson. Celluloid Nightmares has all foreign rights.

Following a tragic incident, the Hughes family escapes their busy, upscale suburban life in order to spend some quality time at their isolated country home. An evening with friendly neighbors is suddenly interrupted when one man’s obsession with perfection escalates into a violent struggle, forcing all to go beyond anything they ever thought they were capable of in order to survive.

Jackson, of North American sales agent Turtles Crossing LLC, negotiated the sale with Jeff Deutchman, Director, Acquisitions & Productions, Sundance Selects/IFC Films.

REPLICAS is Jeremy Power Regimbal’s first feature after helming numerous commercials and music videos through his company The Lab Media Group. The script, co-written by cast member Joshua Close, was based on a story from Regimbal and producer Justin Tyler Close, the creators of The Lab Magazine.

A theatrical and VOD release is planned for 2013.

IFC Midnight is a sister label to IFC Films and Sundance Selects, and is owned and operated by AMC Networks Inc.

IFC Midnight Picks Up Dick Maas’ SAINT at Tribeca

New York, NY (April 21, 2011) – IFC Midnight announced today that the company has acquired U.S. distribution rights from sales and production outfit XYZ Films for director Dick Maas’ evil Santa film SAINT. The deal includes a theatrical component and was made prior to the movie’s North American premiere in the Cinemania section at the 2011 Tribeca Film Festival. Maas wrote the screenplay for the picture and produced with Tom de Mol. Starring Huub Stapel, Egbert-Jan Weeber, Caro Lenssen, Bert Luppes and Escha Tanihatu, the Dutch film premiered tonight at 9:00pm at the AMC Loews Village 7.

An original and delightfully gruesome slasher film, SAINT re-imagines jolly old Saint Nick as a murderous bishop fulfilling a grisly prophecy under the December full moon. Packed with creative yuletide horror, SAINT is a fun chiller that follows local teen Frank (Weeber) as he sets out on a bloody, high-energy battle to save Amsterdam from the wrathful “Sinterklaas” and his minions.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “Dick Maas has created a high-octane, extraordinarily chilling film that is truly unlike anything we’ve seen before. It’s sure to make a huge splash with audiences at the Tribeca Film Festival.”

The deal for SAINT was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Nate Bolotin of XYZ Films on behalf of the filmmakers.

Additional Tribeca Film Festival screenings:

  • Saturday, April 23, 11:59 p.m. – Clearview Chelsea Cinemas
  • Sunday, April 24, 12:00 p.m. – AMC Loews Village 7
  • Wednesday, April 27, 11:30 p.m. – AMC Loews Village 7

At Tribeca, XYZ Films is also representing North America rights on the narrative competition film THE LAST RITES OF JOE MAY starring Dennis Farina and written and directed by Joseph Maggio; BEYOND THE BLACK RAINBOW, the feature film debut of writer and director Panos Cosmatos and featuring a hypnotic analog synthesizer score by Jeremy Schmidt of Sinoia Caves and Black Mountain; RABIES from Israeli filmmakers Aharon Keshales and Navot Papushado; and U.S. rights on the feature documentary THE SWELL SEASON.

IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by Rainbow Media.

About IFC MIDNIGHT
Established in 2010 and based in New York City, IFC Midnight is a leading U.S. distributor of genre entertainment including horror, science-fiction, thrillers, erotic art house, action and more.  Its unique distribution model makes independent genre films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes have included Tom Six’s controversial horror film The Human Centipede (First Sequence) and Johnnie To’s Hong Kong revenge thriller Vengeance. Upcoming IFC Midnight releases include Miguel Angel Vivas’ powerful and shocking home invasion flick Kidnapped and Tom Six’s highly anticipated frightfest The Human Centipede 2 (Full Sequence). IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by Rainbow Media.

About XYZ FILMS
XYZ is an LA-based production and sales company founded by Nate Bolotin, Nick Spicer, and Aram Tertzakian. In addition to handling North American sales at top-tier film festivals, XYZ is also partnered with French international sales outfit, Celluloid Dreams, for international sales. The partnership, launched in May of 2010 as “Celluloid Nightmares,” brings together the pedigree of Celluloid Dreams with the genre savvy of XYZ.  XYZ has been a leader in the independent film space since it acquired an ownership stake in leading international film site Twitch (www.twitchfilm.com) and partnered with Twitch founder, Todd Brown, to expand XYZ’s sales initiative.