HK and Cult Film News's Fan Box

Showing posts with label Barnholtz Entertainment Inc.. Show all posts
Showing posts with label Barnholtz Entertainment Inc.. Show all posts

Sunday, June 2, 2024

SIMON SAYS -- DVD Review by Porfle

 

Originally posted on 5/19/09

 

I think it's about time America finally acknowledged the fact that Crispin Glover is a national treasure. He's one of our most unique actors, upon whom we can always rely to give the kind of performance that nobody else could approximate or even imagine attempting to. I don't know where he goes to draw his inspiration, but it must be a strange and scary place. Whether moonily telling Lea Thompson "You are my density", out-weirding Dennis Hopper in RIVER'S EDGE, out-weirding Brad Dourif in DROP DEAD SEXY, being absolutely the only good thing in a "Charlie's Angels" movie, or simply getting kicked off the David Letterman show for being too much of a freak, he's one of a kind.

Except that in SIMON SAYS, he plays twins! Or does he? Simon is the sweetly-retarded one that Mom likes best, while Stanley is the jealous and hostile one who finally goes on a killing spree while the family is enjoying a camping trip in the forest. We see him kill Mom and Dad, and it looks as though he bashes poor Simon's head in with a rock. But we're not sure, because the next time we see them, they're co-managing a dumpy garage years later in those same woods. Still, we never see them both together at the same time, so...

Onto the scene toodles a gaily-painted van with exactly the cast of stereotypes you'd expect. There's Zack the stoner, Ashley the straight-laced "good girl", Riff the oversexed jock, Kate the girlfriend, and Vicky the slut. They're supposedly on their way to the river to camp out and pan for gold, but the real reason they're here is to get stalked, terrorized, and massacred. And boy, do they ever!

The actors play their roles to perfection, and the writers place them into a textbook series of cliched situations as though going down a checklist. Except that they twist things around a little here and there, just enough to keep us off-guard. And besides being a full-blooded charnel house of a horror flick, SIMON SAYS is also one of the funniest spoofs of the genre I've ever seen.

The best part is that nobody except Crispin Glover's character knows that it's a comedy. The rest of the cast play their parts as though they really are the worst bunch of overacting idiots from the worst 80s slasher flick ever made. I got the impression that the actors couldn't wait to inhabit these stereotypical nimrods and enjoy a delightful romp through the dopey side of slasher flick territory.

Zack the stoner (Greg Cipes) doesn't just smoke a lot of weed--he puffs like a smokestack even when he's running for his life. The group has barely pitched their tent before a shirtless Riff (Artie Baxter) pitches a tent in his pants when slutty Vicky (Carrie Finklea) comes on to him and they start making out behind Kate's (Margo Harshman) back. And good-girl Ashley (Kelly Vitz) is such an insufferable, prudish square--"SMORES!" she yelps giddily at the first sight of a campfire--that you just know she's got "last girl standing" written all over her. Oh, wait...no, she doesn't.

When Simon decides it's time to have some fun with these unfortunate idiots, all hell breaks loose. He has a penchant for creating intricate launching devices out of scrap machine parts and then loading them with pickaxes. In a couple of scenes the air is literally filled with a hail of twirling, swooshing, razor-sharp pickaxes as Simon calmly fires off round after round at his fleeing victims. It's wonderfully ridiculous to the point of hilarity.

The mayhem gets up-close and personal as well, as Simon goes on a bloodthirsty rampage that includes surrounding campers who are having a paintball war. Meat cleavers, hangings, and lots of dismemberment ensue. One victim is taken apart and stuck back together to form a festive troll doll with a CD-player mouth. Another gets to partake in a game of human tether ball with moving vehicles. Finally, there's a warm family gathering with Simon and his long-dead mom and dad around a picnic table where the last person (currently) standing must make a desperate attempt to escape. That is, after being offered a "hand" sandwich.

Through it all, Crispin Glover is at his flat-out nutty best. He revels in playing Simon (or is it Stanley?) in the broadest strokes possible, emoting his lopsided head off and grinning like a loon. He's also got the worst backwoods hick accent you ever heard, which just adds to the character somehow. ("Yew fuh-GOT...tuh say...Simon SAY-uz!") The scene in which he has a terrified captive strapped into the passenger seat of his wrecker truck is reminiscent of DEATH PROOF, but neither Kurt Russell nor Quentin Tarantino can do crazy like our boy Crispin. And hey, Bruce Glover is perfect as his dad in the flashbacks--it never occurred to me before that the guy who played the demented Mr. Wint in DIAMONDS ARE FOREVER was Crispin's real-life dad, but somehow it all makes sense now.

For a movie of this type, SIMON SAYS looks great--writer-director William Dear has some gorgeous northern California locations to work with, and he shoots the whole thing with style. Once things get started, the pace never lets up. Even the sound design is noticeably better than average. I watched a screener so I can't comment on the DVD's bonus features, but they are listed as: director's commentary, storyboard comparisons, and stills gallery. The movie is widescreen with Dolby 5.1 sound.

If you don't like Crispin Glover, then you should disregard a major portion of what I just said. If you don't like slasher movies, or even moreso, slasher movie spoofs, then you should disregard really big chunks of it. But if my description of SIMON SAYS sounds even remotely intriguing to you, then Simon says "check it out." (You knew that was coming, right?)



Share/Save/Bookmark

Wednesday, December 9, 2009

North American Motion Pictures Proudly Presents "The Riverman"

Based on Real-Life Events--It Took a Serial Killer to Catch a Serial Killer


From One of the Producers of Saw II, III & IV and P2
Terror Reigns on DVD Jan. 12th
Buy Three DVDs, Receive One Free Blu-ray

"A&E's two-hour thriller The Riverman netted the cabler its best-ever original movie."
-- Variety

LOS ANGELES - Jan. 1, 2010 -- With nowhere to turn in their frantic search for Seattle's prolific "Green River Killer," authorities enlist serial killer Ted Bundy to profile their prey in The Riverman, coming to DVD Jan. 12 from North American Motion Pictures Entertainment.

Based on real-life events recounted in the best-selling book, The Riverman: Ted Bundy and I Hunt for the Green River Killer (co-written by Robert Keppel, former chief criminal investigator for the attorney general of Washington state), The Riverman recounts Keppel's efforts to track down mass murderer Gary Ridgeway, aka the Green River Killer.

With 10 unsolved murders weighing on his mind, Keppel (Bruce Greenwood, Star Trek, National Treasure: Book of Secrets, Déjà Vu) recruits imprisoned serial killer Ted Bundy (Cary Elwes, The Princess Bride, SAW, Alphabet Killer and the upcoming A Christmas Carol) to help find the killer-at-large.

Sentenced to life in prison without possibility of parole in 2003, Ridgeway was convicted
of 48 murders, but confessed to 71--and authorities suspect it was actually more than 90.

The Riverman is presented in full frame with an aspect ratio of 16 x 9 (1:78) and 2.0 stereo. Special features include stills gallery and closed captioning.

To support the title in the marketplace, NAMP has announced a retail promotion: Buy three DVDs of The Riverman and receive one free Blu-ray disc of the film (Blu-ray available only through this promotional offer).

Barnholtz Entertainment, Inc. (BEI), founded in 1996, and North American Motion Pictures (NAMP), founded in 2008, produce and distribute theatrical and direct-to-video, feature-length genre films - westerns, horror, action-adventure and comedy - with top-quality production values, superior packaging and star-driven casts. Headquartered in Woodland Hills, Calif., BEI and NAMP are helmed by industry veteran Barry Barnholtz. The companies' library of nearly 200 films, produced under the Barnholtz Entertainment banner, includes such stars as Russell Crowe, Jack Nicholson, Harrison Ford, Cameron Diaz, Adam Sandler, Will Ferrell, Reese Witherspoon, Denzel Washington, Sandra Bullock, Jessica Alba, Hugh Jackman, Richard Gere and Chris Rock, to name a few. According to Rentrak, 19 of the last 20 Barnholtz films distributed on DVD (by Lionsgate Entertainment) were ranked as a top-10 non-theatrical rental title. Two titles reached #1, The Legend of Butch and Sundance (six weeks) and Ed Gein: Butcher of Plainfield.

The Riverman
North American Motion Pictures
Genre: Thriller
Rated: R
Format: DVD & Blu-Ray
Running Time: Approx. 91 Minutes (Plus Special Features)
Suggested Retail Price: DVD - $26.98
3-DVD/Blu-ray Promo Pack - $69.99
Order Date: December 8, 2009
Street Date: January 12, 2010

Buy it at Amazon.com
Share/Save/Bookmark

Wednesday, September 16, 2009

JACK BROWN GENIUS -- movie review by porfle


Do you miss the good old days when Yahoo Serious was a cinematic force to be reckoned with? Then you may enjoy JACK BROWN, GENIUS, a 1994 comedy from New Zealand, because it plays as though producer Peter Jackson, director Tony Hiles, and co-writer Fran Walsh had him in mind for the title role when they penned the script for Wingnut Films.

The farcical nature of the story emerges during the prologue, with a 10th century English monk named Elmer (Stuart Devenie) jumping off a cliff to test his newly-invented wings only to fall to his death and be wrongly banished to Purgatory for committing "suicide." Nearly 1000 years later, but only days before Elmer is to be consigned to Hell for all time, he enters the brain of a struggling inventor named Jack Brown (Timothy Balme, BRAINDEAD) and nags him into trying to succeed where he failed, thus convincing God that Elmer didn't really intend to commit suicide after all. (Wait--isn't God supposed to be omniscient? Oh, never mind.)

I've seen "Scooby-Doo" episodes that made more sense, but this movie just blithely sails along as though the story weren't completely out to lunch. Like a weird medieval variation of INNERSPACE (with a dash of HUDSON HAWK thrown in, God help us), we see Elmer bopping around inside Jack's brain and poking at his nerves and blood vessels to get attention whenever Jack starts to work on his current project (hydraulic leaping shoes) for his demanding boss (Edward Campbell). "Thou canst not silence me, Jack! Thy brainpan is my permanent place of abode!" Elmer insists.

After spending some time in a "Regional Centre for the Deeply Disturbed", Jack actually does invent a working pair of wings, only to have the power source stolen by The Boss and his evil dominatrix girlfriend, Sylvia (Lisa Chappell), to sell to an Asian businessman. Meanwhile, Jack's best friend Dennis (Marton Csokas, LORD OF THE RINGS, THE BOURNE SUPREMACY), who runs a mobile hot dog stand, is seduced into helping Sylvia while his bride-to-be Eileen (Nicola Murphy) starts to fall for Jack, whom she thinks is crazy. Okay, where did I lose you?

JACK BROWN GENIUS features some nicely garish set design and is directed like a cartoon, full of hyperkinetic action and ridiculous plot developments that just barrel along like a circus wagon with no brakes. Some potentially funny situations are set up and then just sailed through without any elaboration--this movie could've been twice as funny if the writers had just taken the time to insert some comedy into the comedy scenes. This is especially true during Jack's stay in the nuthouse, although the part where he tries to silence Elmer by subjecting himself to shock treatment is nicely done.

Then again, the movie sometimes manages to pull off some almost dazzling sequences out of the blue. Angry with Jack for messing up their leaping-shoes deal with the Asians, The Boss takes after him in a car with the intent of running him down. This leads to some incredible stunt/effects scenes involving a car and two speeding trains as Jack leaps for his life. Another chase in a garbage dump has Jack and Eileen being pursued by a livid Sylvia in a demolition-derby style smash-up with an exhilarating finale. And the climactic flying effects are well-done.

I enjoyed some of the dialogue, such as this simple exchange:

JACK: "There's a monk in my head, Eileen."
EILEEN: "Pardon?"

Timothy Balme is appropriately cartoonlike in the title role, a perplexed wacky-inventor type who depends on his imagination to get him out of a scrape. Nicola Murphy is likable in her debut as Eileen, although her sudden infatuation with Jack, who throws up on her shoes and seems insane enough for her to have him committed to an asylum, seems a bit of a stretch. As The Boss, Edward Campbell has a gruff Vinnie Jones-like thing going. Marton Csokas, who would go on to have quite a successful career, does what he can with the role of Dennis, which is just all over the map.

Likewise, Stuart Devenie makes the best of his wacky monk character, Elmer, which consists mainly of being irritating and bouncing around inside a big rubber brain. My favorite supporting character has to be Lisa Chappell as bad girl Sylvia, for reasons which I will leave to your conjecture. She has the one graphic gore scene in the film, but, unfortunately, neither of the two bare behinds on display belong to her. (You don't wanna know who they do belong to.)

I watched a barebones screener so I can only say that the final DVD extras should include a stills gallery. The 16 x 9 anamorphic widescreen image and 2.0 Dolby Digital audio are good. The film has a nice pop music score and I especially liked the song "Not an Ordinary Life" by the Brainchilds.

JACK BROWN GENIUS gets by on a certain amount of inventiveness, some appealing actors, and lots of energy--which adds up to a decent amount of fun. It isn't one of the best comedies ever made, but it's one of the best comedies that Yahoo Serious never made.

Buy it at Amazon.com
Share/Save/Bookmark

Saturday, September 12, 2009

BEAST WITHIN -- movie review by porfle

An interesting biological horror flick that starts out slow but ends with a lively zombie attack, the 2008 German production BEAST WITHIN (aka VIRUS UNDEAD) is a worthy effort that I found quite entertaining mainly because I wasn't expecting much from it in the first place.

Robert (Philipp Danne) and his friends, party-boy Patrick (Marvin Gronen) and timid nerd Eugen (Nikolas Jürgens) drive to a small German village to settle the affairs of Robert's late grandfather, a famous biologist who died mysteriously while studying avaian flu. After clashing with Robert's old enemy Bollman (Ski), they run across his former girlfriend Marlene (Birthe Wolter), who still smarts from being dumped years before when Robert left town. Marlene and her sexy friend Vanessa (Anna Breuer) are invited to the rustic mansion of Robert's grandfather for the evening.

Meanwhile, various villagers are becoming infected by a horrible bird-related virus and turning into raging homicidal zombies. When they start showing up at the mansion, Robert and his pals are forced to scare up a few guns, axes, etc., bolt the doors and windows, and fight off the slavering undead hordes. Unfortunately, some of them start coming down with the virus as well, and things go rather badly in general.

The story is deliberately paced at first as co-directors Wolf Wolff and Omuthi take their time putting all the pieces in place and building up suspense before pulling out all the stops in the latter half. The spooky old mansion and isolated forest locations add a bleak and ominous atmosphere, with Heiko Rahnenführer's slick cinematography and the directors' creative visual sense adding greatly to the film's overall effect. A really nice musical score by Max Wuerden and Dominik Schutes is another plus.

One of the most appealing things about BEAST WITHIN for me is the fact that it feels like a throwback to the horror films of the 70s and 80s. There's a slight Dario Argento vibe in the way it's directed and photographed, especially in the early scenes, while the more gruesome and over-the-top stuff later on reminds me of the RABID-era Cronenberg. Some of the later scenes, naturally, are influenced by NIGHT OF THE LIVING DEAD and THE BIRDS. And the whole thing seems to be topped by a generous layer of finely-aged 80s cheese.

The actors are speaking English but they all seem to have been poorly dubbed anyway. Despite this, their performances are pretty good. This is especially true of Anna Breuer as soon as her character, Vanessa, mounts Patrick and takes off all her clothes. Now that's great acting! As for the zombies, they've got more personality than your usual cinematic undead. They're sort of a cross between the slow-moving Romero ghouls and the modern hyperactive strain, with some good old-fashioned applied makeup that look pretty cool. Even the CGI manages to not be overly horrible, especially in the shots of huge flocks of virus-infected black birds eerily traversing the sky.

The final attack is a lively free-for-all that features a steady supply of zombies laying siege to the mansion where our heroes are holed up. Much of what happens is tongue-in-cheek--especially when a fed-up Vanessa suddenly turns into Rambabe--but there are some startling developments as well. One death scene is particularly beautiful.

The film was shot on super 35mm and the DVD from Barnholtz Entertainment and Lionsgate is presented in 16 x 9 anamorphic widescreen with 5.1 and 2.0 Dolby Digital sound. I watched a movie-only screener but bonus features should include a stills gallery and Spanish subtitles.

One thing--why the title change? VIRUS UNDEAD has a nice ring to it if you ask me. Be that as it may, BEAST WITHIN probably isn't in any danger of attaining classic status anytime soon, but it has enough going for it to make it well worth a look. From some of the other comments I've read, I may be the only person expressing this sentiment, but hey--I know what it's like to be sitting in a movie theater all by myself.

Buy it at Amazon.com

Share/Save/Bookmark

Wednesday, September 9, 2009

MUTANTS -- movie review by porfle

Not a really awful movie, the low-budget sci-fi thriller MUTANTS (2008) is neither ridiculously funny nor jaw-droppingly stupid enough to be entertaining. It's just exceptionally mundane.

The main gist of the story is that an evil sugar manufacturer has found a way to make the stuff even more addictive than it already is--as addictive as, say, heroin--but the secret additive invented by the company's resident evil Russian scientist, Sergei (Armando Leduc in full "Boris Badanov" mode), has an unfortunate side effect. It turns people into slavering, homicidal mutants, and their condition is highly contagious. So naturally, the company's dastardly CEO orders his underlings to kidnap runaway junkies off the streets for Sergei to experiment on until they get the formula just right. Which is fine with Sergei since he loves to create mutants.

One of the people kidnapped is the son of a broken-down security guard named Griff (Louis Herthum) who is still suffering from the death of his wife. His daughter Erin (Sharon Landry) works for the sugar company and begins getting strange emails that clue her in to her boss' evil doings. When she discovers that her brother is being held, she enlists the aid of Griff and a company strong-arm named Sykes (Tony Senzamici), who's sweet on her. Together they break into Mutant Central and get themselves into a whole heap of trouble.

Much of MUTANTS consists of people sitting in rooms and saying a lot of uninteresting dialogue. This is punctuated by a few meager action scenes in which a runaway junkie gets chased down or a mutant pops out and is subdued. Mainly the title creatures are seen only in their cells until the final minutes, when the good guys are shooting their way out of the facility and mutants spring out of the shadows every few seconds and are cut down. The makeup on most of them consists of some boils and not much else.

Direction, cinematography, and other elements are bland. The lead actors, however, are fairly good. Herthum (Griff) and Senzamici (Sykes) are probably the best of the lot--Herthum even had a small role in THE CURIOUS CASE OF BENJAMIN BUTTON--and they resemble each other enough to have played father and son in CARNIVOROUS the same year. Sharon Landry is fairly appealing as Erin. The rest of the cast is unremarkable.

The producers do score some points right off the bat by managing to wrangle Michael Ironside (SCANNERS, STARSHIP TROOPERS) and Steven Bauer (SCARFACE, TRAFFIC) to come in and do some scenes so that their names can be featured prominently in the credits. Bauer, sporting a weirdly nerdish makeup job, almost literally phones his performance in since he's seen mostly via a computer screen as he checks in with Michael Ironside's "Colonel Gauge" character. Ironside plays some kind of special ops guy who's onto the big sugar conspiracy, and in the film's finale he actually gets out of his car and participates in a fight scene with one of the bad guys. If you're a fan of Ironside or Bauer and the sight of their names in the credits gets you all excited, you might want to lower your expectations a bit.

I watched a screener so I can't comment on the final release version from North American Motion Pictures. The picture is 16 x 9 full-screen with stereo audio. Special features should include behind-the-scenes, stills gallery, and closed captioning.

I can't recommend MUTANTS, but I wouldn't urge you to flee from it in mortal terror, either. It just doesn't make much of an impression one way or the other.

Buy it at Amazon.com
Share/Save/Bookmark

Thursday, July 30, 2009

GHOST CAT -- DVD review by porfle

This 2003 Canadian made-for-TV film was originally known as "Mrs. Ashboro's Cat" and has appeared as an Animal Planet original movie. Now, North American Motion Pictures is giving it a Sept. 22 DVD release as the somewhat more intriguingly-titled GHOST CAT, with special emphasis in the ads on Oscar-nominated Ellen Page (HARD CANDY, JUNO, X3) in an early starring role.

At first I thought this was going to be a zany combination of THAT DARN CAT and CASPER, but it's actually a pretty serious movie. Michael Ontkean ("Twin Peaks", "The Rookies") plays Wes Merritt, a recently-widowed writer moving to his deceased wife's New England hometown with his young daughter Natalie (Page). While house-hunting they meet a nice elderly woman named Mrs. Ashboro (Shirley Knight) whose weaselly banker nephew Boyd (Tom Barnett) is trying to get her to sell her house so he can replace the money he's been embezzeling before the bank examiners find out.

Mrs. Ashboro withdraws her savings from the bank with the intention of helping her friend Brenda (Lori Hallier, MY BLOODY VALENTINE, MONTE WALSH) who's being pressured to sell her animal shelter to a crooked land developer named Riker (Nigel Bennett). But soon after stashing the money in her house, Mrs. Ashboro dies suddenly and her loyal cat Margaret expires soon after out of grief. Wes and Natalie move into Mrs. Ashboro's now-vacated house and soon become involved in Brenda's struggle to keep her animal shelter as the increasingly ruthless Boyd and Riker join forces against her. Meanwhile, the good guys discover they have an unexpected ally--the ghost of Mrs. Ashboro's cat, Margaret.

Low-key and thoughtful, GHOST CAT has a subtle charm and warmth that sets it apart from the Disney Channel-type film you might expect. The characters, for the most part, behave in a realistic manner. This is especially true of Wes and Natalie, who still display a wistful melancholy after having lost wife and mother respectively, and Brenda, whose lifelong dream of operating her animal shelter is being wrested away from her. Tom Barnett's "Boyd" comes closest to stepping over the line as the stereotypical villain, but even he has an air of clumsy desperation not unlike that of William H. Macy's "Jerry Lundergaard" in FARGO, which keeps him believable.

I liked Lori Hallier as the "hardware widow" in 2003's MONTE WALSH and her down-to-earth performance here is very good. Ontkean does a nice job as the understanding single dad (who you just know is going to get romantic with Brenda sooner or later), and Ellen Page manages to portray a teenage girl without being flighty or precious or insufferable, which is no small feat. Of course, Shirley Knight is wonderful as Mrs. Ashboro and it's a shame her character disappears so soon. The rest of the cast is up to par, particularly Shawn Roberts as Natalie's budding love interest Kurt, whose troubled past makes him a suspect in some of the vandalism that takes place at the animal shelter.

I can't recall any scenes that are supposed to be out and out funny--in fact, the funniest thing about GHOST CAT is that it could've gotten along as a fairly serious drama without having a ghost cat in it at all. Not that I'd want that, since I'm a cat lover and Margaret is a very sweet and likable character. But she isn't really necessary to the plot at all and exists mainly to either lighten things up or to give the filmmakers an excuse to include some mildly spooky stuff like a seance, or a scene where Natalie is awakened in the middle of the night to find the piano playing itself.

In addition to that, Margaret's other functions are to wake people up when the barn's on fire or to lead them to the hidden stash of money, or to attack the bad guys when they're escaping in their car. And with all of that stuff going on, the last third of the movie manages to build a fair amount of suspense.

Direction by "Road to Avonlea" vet Don McBrearty is good; cinematography has that "Canadian made-for-TV" look. The DVD is 16 x 9 widescreen with 2.0 stereo audio. I watched a screener with no bonus features, but the official disc should include a stills gallery and closed captioning.

GHOST CAT is a fine choice for family viewing since the story is interesting, suspenseful, and heartfelt enough for adults, and since it has a ghost cat in it for the kids. Although they're liable to be disappointed that the movie isn't as kooky or as spooky as they might expect a movie called GHOST CAT to be.

Buy it at Amazon.com
Share/Save/Bookmark

Tuesday, July 28, 2009

NIGHT STALKER -- DVD review by porfle


A specialist in serial killer films as of late, prolific director Ulli Lommel adds to his screen bios of Son of Sam, the D.C. Sniper, the B.T.K. Killer, the Zodiac Killer, and others with 2007's NIGHTSTALKER, which is being given a new DVD release on Sept. 8 by North American Motion Pictures (under the slightly different title NIGHT STALKER). This weak and ponderous effort makes the recent serial killer films of director Michael Feifer look like "Masterpiece Theater" by comparison.

After a brief flashback of Richard Ramirez as a child witnessing his crazy war-veteran uncle shooting his crabby aunt in the head, the film is virtually plotless. Just about the only other thing that doesn't involve Ramirez skulking around the streets of Los Angeles looking for his next victim is the part where he follows an attractive young woman to a party and is introduced to drugs and Satan worshipping. Her supposed influence on him is manifested by several flashbacks during the murder scenes, consisting of quick closeups of her eyes as she chants "Hail Satan!"

Ramirez hates women, we're told early on, and is intent on putting them in their place. Thus, several of his victims in the movie are bitchy women in the process of bawling out some mousey guy, which seems to set off his "stalker sense" and lead him straight to the scene where he starts blasting away. This is repeated several times ad nauseum during the movie--scenes of couples arguing intercut with shots of Ramirez shuffling down the sidewalk sucking on his ever-present Charms Blow Pop until he arrives on the scene. Bad acting ensues, squibs go off, and star Adolph Cortez is directed to play around with the fake blood that's all over the place while director Lommel fiddles with artsy camera angles and editing.

I've always considered Richard Ramirez to be one of the scariest and most menacing of the famous serial killers, but Cortez plays him like a weaselly high-school dropout looking to score some weed for the big Phish concert. He does a voiceover with a lot of talk about evil and "darkness" and all that stuff, and keeps telling us "God is dead", etc., but there's no real connection between these ominous words and the smirking Richard Grieco wannabe who skulks around endlessly sucking on Blow Pops. Cortez goes through so many bags of Blow Pops during the course of this movie that his stomach lining must have developed an impenetrable candy shell.

Unfortunately, this is just about the only unique trait the character has, so Cortez works those damn things like he was doing a softcore porn tease. Besides that, all the script gives him to do is one walking-around sequence after another topped by yet another splattery bang-bang. After awhile the film becomes mainly a showcase for some decent head-shot squib effects.

NIGHT STALKER has that shot-on-video look and a wildly-inappropriate synth score that often works against the desired effect. The DVD image is 16 x 9 anamorphic widescreen with 2.0 stereo sound. I watched a screener with no extras, but the DVD release is supposed to include a stills gallery and closed captioning.

The film rambles along until the boredom finally ends with Ramirez' capture, which is depicted in a cursory but somewhat accurate manner. Then we're shown the following actual quote: "You don't understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil." These words are more chilling than anything depicted in NIGHT STALKER. Painting a convincing portrait of Richard Ramirez and giving us an inkling of what it must have been like to live in Los Angeles during his reign of terror or to experience one of his attacks are beyond this film.

Buy it at Amazon.com
Share/Save/Bookmark

Monday, July 27, 2009

DRIFTER: HENRY LEE LUCAS -- DVD review by porfle


Director Michael Feifer seems intent on chronicling the lives of every vile, lowlife bastard who comes to mind when you think of the term "serial killer." Now, in addition to "B.T.K.", "Boston Strangler: The Untold Story", "Bundy: A Legacy of Evil", "Chicago Massacre: Richard Speck", and "Ed Gein: The Butcher of Plainfield", comes DRIFTER: HENRY LEE LUCAS (2009), a well-made and fairly engaging account of one of the most notorious killers who ever stalked the countryside.

Most of us know at least the basics of Lucas' story--abused physically and mentally by a sadistic mother, he grew up to be a prolific serial killer who traveled with his equally-demented buddy Ottis Toole and Toole's 12-year-old niece Becky, with whom Henry had a romantic affair. After his capture, he confessed to hundreds of murders but later recanted, making it unclear just how many he was actually guilty of.

The screenplay by Feifer and Wood Dickinson generally sticks pretty closely to the facts. The story of Henry's nightmarish childhood proves most affecting, with Ezra Averill as an 8-year-old Henry and Caia Coley giving a frightening performance as his prostitute mother Viola. In addition to making him watch as she has sex with strange men, the monstrous Viola beats Henry brutally, once putting him into a coma with a wooden board, and also abuses her legless husband. When a teenaged Henry (Nicolas Canel) finally kills Viola in what he claims was self-defense, it's pretty much a fist-in-the-air moment.

We see the adult Henry (Antonio Sabato Jr., "The Bold & The Beautiful") commit the first of his serial murders and his fateful meeting with fellow drifter Ottis Toole, played artlessly but with a lot of energy by "Deuce Bigalow: European Gigolo"'s Kostas Sommer. (The fact that grungy, homely Lucas and Toole are portrayed by a couple of relatively hunky actors is a little disconcerting.) Kelly Curran is good in her debut role as Becky, whose eventual murder by Henry is shown near the beginning of the film and revisited later.

The very familiar John Diehl of such films as "Jurassic Park III" and "Pearl Harbor" plays Sheriff Larabie, a fictionalized version of the actual sheriff who was accused of using Lucas as a "confession machine" in order to clear up hundreds of unsolved murders. Farino, the skeptical D.A. is portrayed by John Burke, whom I know mainly as the co-host of "Personal FX: The Collectibles Show." While there really isn't much of an ending to Lucas' story, the final scenes with him being interviewed by Farino do tie things up rather well and bring the film to a satisfactory conclusion.

Despite several opportunites to do so, director Feifer refrains from filling the screen with excessive blood and gore. One of the more lurid death scenes has Henry forcing his way into a woman's kitchen, knifing her in the back, and then strangling her from behind as she crawls away. Another sequence features the strangulation of a hitchhiker and Henry's subsequent necrophilic violation of her body. A movie theater patron gets his throat cut for daring to "shush" Henry and Ottis, and there are several knifings.

For the most part, however, the violence is quick and Feifer doesn't linger over it, preferring to concentrate on the story. The only drawback to this is that the sheer horror of Lucas' crimes is rarely adequately conveyed by this matter-of-fact approach. Direction and photography are consistently good, displaying a fair amount of style and imagination that helps keep things interesting even though there's not really that much of a plot.

The film is presented in 16 x 9 anamorphic widescreen with 5.1 surround and 2.0 stereo audio. My screener contained no bonus features, but the DVD should include a commentary with Feifer and Sabato, stills gallery, and Spanish subtitles.

DRIFTER: HENRY LEE LUCAS does a pretty good job of showing us, in effect, "How to Make a Monster." The scenes of Lucas' childhood are harrowing and sad, yet Antonio Sabato Jr. manages to convey the idea that there's just something inherently evil about Henry (albeit an infinitely banal evil) regardless of his upbringing. While "Henry: Portrait of a Serial Killer" and the lesser-known gem "Confessions of a Serial Killer" remain the last word on the subject as far as I'm concerned, Michael Feifer's version of the story is both visually interesting and perhaps somewhat closer to the real facts than its predecessors.

Buy it at Amazon.com
Share/Save/Bookmark

Monday, June 15, 2009

GHOST MONTH -- DVD review by porfle

Don't forget to mark your calendars, kids, because GHOST MONTH is about to roll around and you're in big trouble if you don't follow the rules. Rule number 1 is: don't whistle. Rule number 2: if a ghost whispers your name, don't turn around, because if you do then that makes the ghost pull one of those Asian-horror-movie jump scares that may seriously freak you out. And rule number 3 is: uh, something about not stepping in the pile of ash left from the burnt offerings to the ghosts. Like just about everything else, it tends to anger them.

I, myself, would add a fourth rule, which is: if you go to work as a housekeeper for a mysterious Chinese woman and her creepy aunt and you find out that their house contains an open gateway to Hell that has malevolent ghosts pouring out if it, you might want to consider finding another job.

The idiot who not only can't take a ghostly hint but manages to break all the rules in nothing flat is Alyssa, played by likable actress Marina Resa. Alyssa gets more interesting as the movie goes along, but at first the most exciting things she does are smiling real nice and neatly tucking her hair behind her ears. I have to admire Alyssa's calm demeanor--in one scene she'll have an intensely frightening ghostly experience, and in the next scene she's whistling cheerfully through her housework again. The ghosts often scare her into passing out, and Mrs. Wu and her aunt find her lying on the floor. This becomes such a frequent occurrence that Miss Wu finding Alyssa passed out cold on the floor almost becomes a household routine.

The main reason Alyssa keeps on working at Ghost Central is that she's being stalked by a scary former boyfriend, Jacob (Jerod Edington), so working for Miss Wu (Shirley To) in her beautiful Southwest-style mansion in the middle of the Nevada desert is a perfect hiding place. Until he tracks her down, that is, giving Alyssa even more to worry about than jack-in-the-box ghosts flying at her at an alarming rate. Miss Wu's enigmatic neighbor Blake (Rick Irvin), who knows more than he's telling about the disappearance of her previous housekeeper, is another concern.

What makes GHOST MONTH different from the standard cheapo scare flick, besides being well-directed and having some superb cinematography and locations, is that writer-director Danny Draven is trying his best to give us some of the same jolts that we get from Asian horror cinema. And for much of the film, he does this quite well. The movie has some really scary ghosts in it, appearing suddenly along with the usual loud musical stings and making us jump. Even when we expect it, such as the times Alyssa opens a door and we just know something will be behind it when she closes it again, these ghosts can still give us a real fright. I like the fact that this is achieved mainly through clever directing rather than tricky editing.

The biggest drawback to the film, in my opinion, is a tiresomely persistent musical score. Occasional silence can be an effective tool in this sort of film, and having non-stop music telling us what to feel at every turn is distracting. As for DVD extras, I watched a screener that didn't have any but I can list them--behind-the-scenes footage, a cast commentary track with Marina Resa, Shirley To, and Rick Irvin, an "Origins of Ghost Month" featurette, an interview with director Draven, bloopers, still gallery, and closed captioning. The film is presented in 16 x 9 anamorphic widescreen with 2.0 stereo sound. The closing credits look particularly cool.

Having Miss Wu and her aunt constantly praying and making burnt offerings to ward off the ghosts gives Draven a chance to introduce some familiar Asian elements, such as people being wrapped up in yards of long, black ghost hair. Revenge is a motivating factor for these restless spirits, and some of the characters get what's coming to them in interesting ways (one of which is a treat for Poe fans). Unfortunately, the story starts to run out of steam, as well as logic, towards the end and there's perhaps one climax too many. But for the most part I found GHOST MONTH to be a worthy effort that held my attention and managed to generate a respectable amount of bloodcurdling shocks. And it's nice to see someone create an original Asian-style ghost story instead of just knocking off another remake of one.

Buy it at Amazon.com
Share/Save/Bookmark

Friday, June 12, 2009

BUNDY: A LEGACY OF EVIL -- DVD review by porfle

Back in 1990, Corin Nemec starred in a "Ferris Bueller"-inspired TV series called "Parker Lewis Can't Lose." Later, he went against type to play the repellent Harold Lauder in the ABC miniseries "The Stand", based on Stephen King's book. Now, with BUNDY: A LEGACY OF EVIL (2008), Nemec seems intent on exorcising all traces of his nice-guy image by portraying one of the most cold-blooded serial killers of all time, Ted Bundy.

It's hard to say how successful he is at this because at times I couldn't tell if I was supposed to think his Ted Bundy was scary or funny. This is especially true of the scene in which Ted, after murdering a young woman in some isolated location, gets down on all fours and starts howling like a coyote. Sometimes he seems to be still playing perennial loser Harold Lauder, striking out romantically while trying to pass himself off as a normal, dynamic guy. Nemec's theatrical portrayal is occasionally interesting, but rarely convincing.

Some effort is made by writer-director Michael Feifer to show some of the possible reasons for Bundy's warped personality. He had a troubled childhood during which he thought his grandparents were his parents and his mother was his sister (his father's identity being the subject of some dubious speculation). He grew up reading violent horror comics. And he was devastated when his college sweetheart dumped him after she realized that the socially-stunted young man would never grow up. Immediately after this, however, we're shown a montage of brutal abduction-murders with the now totally bonkers Ted having suddenly morphed into a savage, bloodthirsty animal. None of it really comes together to show the evolution of Bundy from troubled youth to psycho.

I read Wikipedia's page on Ted Bundy and found that much of the film's story is fairly accurate, although we still don't get an idea of the sheer number of victims he managed to do away with. The murder sequences themselves are disturbing mainly because the actresses are so convincing--their screams and pleas for mercy are heartrending. Nemec does his best to convey the unhinged monstrousness required, yet his emoting seems overly calculated. He's at his best in the quieter scenes, such as the ones between Bundy and the warden (Kane Hodder) who's about to lead him to the electric chair in the film's bookending segments, or the gripping courtroom sequence in which Bundy serves as his own defense lawyer and makes a mockery of the proceedings.

Michael Feifer, who directed Hodder that same year in B.T.K. and has made a number of other fact-based serial killer films, gives this one the look of an above-average made-for-TV movie. Interestingly, he shoots the early 70s stuff in a way that makes it seem to actually have come from that era, right down to the film stock and cheesy soundtrack songs. This segment of the movie looks as though it could've come right out of a Joe Sarno flick. Artistically, that's the most noteworthy thing about BUNDY: A LEGACY OF EVIL--otherwise, it's capably done but relatively unremarkable.

Other details of Bundy's story are sketched in, including an impromptu jailbreak, a brush with political activism, a stint manning a suicide hotline (where the real Bundy would meet future true-crime author Ann Rule), and a reunion with his college flame Stephanie (the very cute Jen Nikolaisen) which, though fictionalized, results in one of the film's most effective moments. Bundy's infamous rampage through a girls' dormitory is documented in predictably bloody fashion. The final act, of course, consists of Bundy's execution in the electric chair. Feifer, I suspect, was trying for some of the impact of the last minutes of IN COLD BLOOD here. The results are much less effective, yet the sequence does come off pretty well.

How much of Bundy's behavior was simply a deliberate choice to do evil as opposed to the actions of someone incapable of controlling his warped impulses? In the film, a Ted Bundy still hoping for a reprieve puts much of the blame on pornography and other outside influences. Hodder's warden doesn't buy it: "You're not mental. You're not deranged. You're the most normal, intelligent man I've ever had on death row." I think Corin Nemec's performance would have been more effective if he'd played Bundy more like that instead of always trying to make it obvious to us that the guy's a total loon, because we already know that.

Buy it at Amazon.com
Share/Save/Bookmark

Saturday, April 11, 2009

B.T.K. -- DVD review by porfle

The same tall, imposing figure, dressed in coveralls, relentlessly stalking his next hapless victim--Kane Hodder remains as intimidating a screen presence now as he did as Jason Voorhees in the FRIDAY THE 13TH films. But there's no hockey mask here, only the face of a normal, everyday guy. Yet there's something about it that isn't quite right, something a little off...just enough to give you the creeps. Because this isn't the face of a mindless killing machine. It's the guy next door.

Which is one of the reasons B.T.K. (2008) is so effective. Hodder plays Dennis L. Rader, a devoted husband and father of two grown daughters, a man active in his church, a man with a fairly responsible position--he's what's called a "compliance officer", which means he gets to wear an official-looking uniform and drive around his sleepy Kansas town in a white van, looking for infractions of various city ordinances. Rader takes this job seriously, perhaps a bit too seriously, to the point of being anally obsessive and at times downright hostile toward people who let their poodles run loose or don't keep their lawns trimmed (he actually measures the grass). Not only does this feed his voracious ego and help bolster his feelings of inadequacy, but it also gives him an opportunity to scope out potential victims--the women who will be his next targets for home invasion and brutal murder.

B.T.K. isn't your usual colorfully-inane slasher flick for teenagers to hoot and throw popcorn at. It's closer to the somber, uncomfortably realistic feel of HENRY: PORTRAIT OF A SERIAL KILLER, although Dennis isn't quite the remote, solitary cold fish that Henry was. He revels in his family life and his community and church activities, as long as he has brutal murder as a release valve for his pent-up rage and an outlet for his sexual frustrations. Hodder is great at portraying the two sides of Dennis--he's all smiles and banal cordiality until the little psycho-dial in his head inches into the red and he starts turning into a monster. And with his hulking physique, bull neck, and big, powerful hands, he's someone you wouldn't want coming after you.

Writer-director Michael Feifer doesn't go in for the flashy, elaborate kills that require the services of guys like Tom Savini or the inventiveness of Rube Goldberg. The real thing is scary enough when presented in a realistic way, as he does here. The performances in B.T.K. are generally good (Hodder himself is excellent) and natural enough that we feel for these everyday people whom Dennis strangles, stomps to death, smothers with plastic bags, or simply shoots in the head. The fear we all feel of having a vicious killer stalking us in our own homes is vividly portrayed. Feifer uses a hand-held camera to good effect and deftly stages the terror sequences so that they're both unnerving and emotionally disturbing. Direction and editing are above average throughout. Not every scene works, of course, and some of the later ones with Rader's family discovering the truth about him as police investigators move in are less than successful.

As the film goes on, we're taken deeper and deeper into Dennis' whacked-out mind while also getting disquieting glimpses from the victims' POV as well. One rather shocking scene shows him tracking down and getting revenge on a hooker who ran out on him earlier in the film--he decorates the wall with her husband's brains and begins to strangle her, which we see through her eyes as her vision dims, then returns, over and over again as Dennis sadistically brings her to the point of death several times before the kill. Then, he suddenly sees his own daughter in her place and freaks out. His mental state becomes even more unstable later on until ultimately we're just as unsure as he is of what's real and what isn't. Which leads to one of the film's most disturbing moments--a final twist that ends the story on a disorienting, dispiriting note.

Picture and sound quality are good--the DVD image is 16 x 9 widescreen with 5.1 surround audio. My screener contained no extras but the final release should boast a commentary track featuring director Feifer and Kane Hodder, a stills gallery, trailers, and Spanish subtitles.

B.T.K. (the title stands for "bind, torture, kill" after the infamous B.T.K. Killer, who inspired this fictional account) isn't a "fun" movie by any means. But it is often harrowing, disturbing, and effective. Mainly because the killer isn't a faceless automaton in a mask, or a grossly disfigured monster, but just some guy you might pass by on the street. Or glimpse out of the corner of your eye while sitting at home alone at night, right before he whips the plastic bag over your head.
Share/Save/Bookmark

Friday, April 10, 2009

GHOSTS OF GOLDFIELD -- DVD review by porfle

I didn't like the film version of THE SHINING, so any horror movie about ghosts in a big old hotel is going to have to outdo Kubrick in order to win me over. (Okay, that may be a slight exaggeration.) And like the little engine that could, GHOSTS OF GOLDFIELD (2009) huffs and puffs its little heart out trying to do just that. But despite the best efforts of all involved, it never really builds up much steam.

Julie (Marnette Patterson of "Charmed") is a psych major who's doing a thesis on ghosts, so she rounds up some college friends to help her shoot a film inside the haunted Goldfield Hotel, situated in a ghost town in the middle of the Nevada desert. The main reason the place is haunted is because long ago, the rich bastard who built it tortured his mistress Elizabeth (Ashly Rae) to death in one of the rooms after finding out she was cheating on him with the hotel's bartender. He also tossed the couple's illegitimate baby down a mine shaft (what a sweet guy!), so now Elizabeth's ghost roams the corridors wailing "Where's my baby?" (And no, dingos are not involved.)

There's some other stuff mentioned about the hotel being a portal between the worlds of the living and the dead, but nothing much ever comes of this. And the fact that Elizabeth (who resembles Juliette Lewis after a bad weekend) seems to be the only ghost in the whole place for much of the movie really cuts down on the haunt factor. First-time director Ed Winfield displays little skill at building suspense or putting together effective scare sequences, while the cast seem unable to convincingly convey extreme emotions when necessary. Even their casual banter often seems awkwardly improvised, though much of the blame for this is probably due to the writers not giving them much to work with.

Besides Julie, there's her straitlaced boyfriend Dean (Scott Whyte), nice-guy cameraman Chad (TWILIGHT's Kellan Lutz), obligatory jackass Mike (Richie Chance), who stays drunk most of the time and likes to jump out and scare people, and Keri (Mandy Amano), the whiner who's constantly griping about being hungry or tired when she isn't swiping stuff from the hotel to sell on eBay. You know your cast isn't too impressive when the best performance comes from "Rowdy" Roddy Piper, who plays Elizabeth's secret lover Jackson Smith (in flashback) with something resembling two strips of beef jerky glued to his jowls to represent old-timey sideburns.


As expected, members of the group begin to wander off by themselves down dark, spooky corridors as soon as they enter the hotel. Director Winfield relies heavily on shots of mysterious figures flitting past the camera, clutching hands, and other familiar stuff to keep us on edge. The ghostly image of Elizabeth wandering around with her blazing red eyes, flowing white gown, and crazed expression are somewhat effective at times. Late in the story we begin to get a few gory kill scenes, but nothing very elaborate. Also as expected, nobody is able to get a signal on their cell phones! It's inevitable nowadays that horror movies must deal with this issue, and lately it seems more and more as though scriptwriters are simply saying "Screw it--the cell phones don't work."

The DVD is in 16x9 widescreen with 2.0 stereo sound. Direction and photography are average at best, and at times not very good. I viewed a screener with the movie only, but the release version promises a director's commentary, stills gallery, and trailers.

During the story, Julie begins to have visions of herself in the hotel during a past life, and her possible connection with Elizabeth's tragic demise leads to a downbeat and somewhat surprising finale that sends the movie off on a high note. GHOSTS OF GOLDFIELD is an okay time-waster if you're not in a very demanding mood; otherwise, chances are you'll find it more tame and tedious than scary.


Share/Save/Bookmark