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Nightshot (2018)
NIGHTSHOT rules and if you dig FF but have never seen this-SEE IT TONIGHT
A night of urban exploring turns into a hellish night of terror when a young vlogger and her cameraman venture deep into the bowels of an old decrepit hospital on the outskirts of the forest. The film was apparently shot in one take, which is quite impressive given the committed and emotionally-exhaustive performance by the lead (and only onscreen performer), Nathalie Couturier. The film starts deliberately paced with a long walk into the building, but stick with it, because once it gets going things gets seriously creepy.
Compared to most American found footage films, the tone and subject matter of NIGHTSHOT is much more lurid and foreboding. It's a mix of paranormal, occult, and some dark themes I won't giveaway. Shot in black and white, which adds to the film's grittiness, and makes the darkness seem like a hellish void as the duo wander around getting absolutely terrorized by an unseen force. Toward the end, Couturier's cries and screams become quite unnerving, but director Hugo König does a fantastic job building tension and chilling atmosphere. The hospital is a labyrinth of dark corridors, long hallways, and doors that lead to strange rooms with signs that tell the duo someone, or something, evil is closing in on them.
Your enjoyment of this movie will depend on your tolerance for found footage films but I found it enjoyably lurid, tense, and creepy. Would I go so far to say Nightshot should be hailed as a classic of the genre by all who respect and love it? Yes I would.
I tre del Colorado (1965)
Ossorio's underrated western! Intriguing plot, fun fight scenes, and beautiful scenery.
Ossorio's well-crafted and exciting spaghetti-paella western is set in the colorful Canadian wilderness amidst a violent beef between Native trappers and Canadian mountain cops. Eurocult cinema veteran George Martin stars as a tough trapper on a revenge mission after the authorities murder his brother. Beautiful landscapes, great cast, lots of shootouts, fun fight scenes (including a knife fight between two gorgeous women in a cabin), thrilling horseback pursuits, and an impressively staged final battle between trappers and police with tons of extras and cool stunts. No sleaze or brutal violence, though the body count is quite high, but still highly entertaining and worthy of repeat watches. Earlier this year, MVD released this on blu in the US with an excellent looking transfer. This definitely makes me want to check out Ossorio's other western, Tomb of the Pistolero (1964).
Behind Green Lights (1946)
Excellent all-in-one-night noir with social commentary wrapped in an engaging murder mystery.
A solid, unsung noir murder mystery that unfolds over the course of one long night. After the bullet-ridden body of a detective rolls up to the steps of a police precinct in a car, the cops inside scramble to unravel the mystery of their stiff colleague. It's not long before local newsboys get a whiff of the action and buzz on down to the station frothing at the mouth for an exclusive on the story. A dead detective, a politician's daughter, and a savage media frenzy are the foundation of this quick-paced, engaging whodunnit.
Noir lovers won't be disappointed; it's got murder, betrayal, dames with questionable motives, and moody b&w photography that evokes late night atmosphere. There's no shortage of fast-talking characters, smoky rooms, shadowy night scenes, scheming reporters, and a few halfhearted attempts at humor.
Overall it's an entertaining little mystery, with lots of moving parts, that takes a critical look at the shady relationships between the law, politics, and the media. For being confined to a 64 minute run time, a few locations, and one night, it's a testament to the skill of the writers and director that the film gets its thematic points across so effectively. Writers Scott Darling and Charles Booth cleverly conceal the killer's identify until the dramatic reveal, and toss in some comedic plot points like a corpse stashed in a storage closet and a kooky old lady with a tray of baked goods who holds the key to the mystery. This lean, low budget slice of Golden Era noir clocks in at just over an hour and is efficiently directed by Otto Brower. This would be the director's final film; he died January 15, 1946, twenty days before this film's release.
Street Thief (2006)
Gritty, Well Crafted, In Your Face Crime Saga from Malik Bader
Once in awhile a truly great film flies so far under the radar it's tragic. Enter Malik Bader's STREET THIEF. I've returned to this movie over the years probably more so than most of my favorite films. Something about it just strikes the right chords in me.
Two filmmakers document the daring crimes of a master thief named Kaspar Carr as he creeps through the city planning and executing break-ins, robberies, and jewelry heists-all while staying two steps ahead of the cops and any other threat to his meticulous hustle. Think MAN BITES DOG but with a hard-edged, charismatic master thief at the enter of the action. Carr smokes like a wildfire, swears like a sailor, he's street smart, calculating and cool-and he's dangerously good at his job.
Shot on grainy 16mm, the film is intense, suspenseful with an in-your-face verism that absolutely feels like the events unfolding are real life. It's a faux doc, crime film, noir, and character study all rolled into one. Writer/director/star Malik Bader's charismatic performance as our lone wolf protagonist gives the film a rugged realism, and the open ending always stays with me awhile. I never get tired of watching this movie. It probably sounds like I'm overselling it, but whatever, I love it and I think it deserves more attention.
Fragment (1965)
Well Made Warren Short About Love, Loneliness, and Suicide
An early black and white film by writer-director and cult horror hero, Norman J Warren. A sad, lonely woman strolls around a wintry London, and stops to stare pensively over a bridge. Will she jump?
She opts not to, and it proves to be a wise decision, as she meets a handsome young man moments later. There's an immediate mutual attraction; the duo spend the day together, cruising around in his convertible, trading smiles, and sipping a pint at a pub. Cut to a quick, dare I say wholesome, love making scene. Conflict arises when the woman spots her newfound object of attraction gallivanting with another woman the following day. I won't spoil the ending, but don't expect a bloody passion killing; Warren was definitely aiming for a more emotionally driven short story with this one.
The film is also driven by its score, a variety of moody orchestral pieces by the composer who did SATAN'S SLAVE. There is no dialogue, only sounds of the city, and Warren uses his camera and performers to tell the story efficiently. It's a straightforward film that touches on themes of depression, suicide, and the power of love in its 11 minute run time. While there's no gore or horror elements, it's a well made curiosity for Warren fans.
Included as a bonus feature on Vinegar Syndrome's 2019 blu for SATAN'S SLAVE (an essential release for fans), sporting a fresh new scan.
The Demon's Rook (2013)
A Hidden Genre Gem for Fans of Gory, Stylish Eurohorror
In the vast realm of under-the-radar indie horror, artist/filmmaker/toymaker James Sizemore's The Demon's Rook is that special genre gem that would surely please the rabid niche audience it was made for-if only they knew it existed.
A bloody love letter to Italian horror's heyday, Satanic sleaze, and rubber monster mayhem, it's an unrepentant exercise in style-over-substance. Sizemore directs and stars alongside his wife, Ashleigh Jo Sizemore, and they make a wonderful creative duo. The film is colorful, atmospheric, and strikes an oneiric balance between creepiness and camp. Filmed all over the woodsy Georgian countryside, its forests, fields, and country roads compliment the indulgent use of fog machines, gel lighting, and stunning creature makeup. There isn't much of a plot; it's more like a series of events that unfold over the course of one long night and early morning. Years ago a young boy named Roscoe was abducted by Dimwos, a demon overlord who swept him away to a subterranean underworld where he taught the child how to hone the powers of occult magic. Why the demon chose this random white kid from Georgia to be his human apprentice goes unexplained, and frankly, I was cool with that. Now an adult with long dirty-blonde hair and thick beard, the man escapes this hellish underworld through a portal connecting that world to this one, and consequently unleashes a horde of demons, devils, and undead monsters who spill out from a dense cloud of fog and wreak gory-as-hell havoc on the residents of a small town. The majority of the film sees Roscoe and his friend Eva (Ashleigh Jo Sizemore) fleeing for their lives as the ghouls disembowl, rip flesh, and sexually violate their way through the townspeople. It's such a simple idea that's executed with so much visual flair and genre excess that fans of this stuff will find plenty to love. Highlights are a sleazy orgy with a giant horned devil and a circle of beautiful women; a carnage-drenched club scene where zombies crash a crowded dance party; and a mysterious vinyl record that has supernatural powers. Speaking of music, the score is pretty awesome too. The film's greatest flaw is its unhurried pacing, which will alienate many viewers, but if you're a fan of the films The Demon's Rook is celebrating, pacing issues ain't nothin' to cry about.
Clearly an ode to Fulci and other Eurohorror heroes, there's an American 80s horror flick that bares mentioning in terms of comparison. I was revisiting DEMON WIND (1987) recently and couldn't help but wonder if Sizemore was inspired by it. Quite a few stylistic similarities like the Bava-esque lighting, eerie dreamlike atmosphere, and the excessive onslaught of demons and zombies.
If any of this stuff sounds appealing to you, I can't recommend this movie enough. So track it down and spread the word cuz it deserves more attention. As of early 2019, it's only available on DVD, and includes Sizemore's 2014 short GOAT WITCH, a lurid, sleazy, and visually appealing occult ritual that makes a perfect companion piece to the main feature. It also includes a making of featurette that details the painstaking process of creating the monster makeup/practical FX, all lovingly created by Sizemore, his wife, and a small team of friends.
Long Pigs (2007)
An Under the Radar Gem Screaming To Be Discovered
A truly great indie horror flick that flew way under the radar. Think Man Bites Dog + Behind the Mask + Street Thief, but with a charismatic cannibal as your murderous main character, and some gloriously morbid practical FX. Track this one down, it deserves a bigger fanbase.
It's the rare indie genre film that transcends its low budget with a balance of character work, witty humor, gore, and being engaging start to finish. Without spoiling much, an amateur film crew follows around a serial killer and connoisseur of human delights, Anthony McAlistar, documenting his murderous day-to-day routine, and eventually find themselves lending a hand in the ritual.
One thing that makes the film so enjoyable is the main character, played by Anthony Alviano. His performance as serial killer / human flesh connoisseur Anthony McAlistar elevates a micro-budget faux doc to an entertaining indie gem worthy of repeat viewings. He's calm, charismatic, menacing, and kinda likable (for a guy who kills and eats people).
Another asset worth mentioning are the practical FX. In one scene, after dispatching a prostitute with a club, we watch McAlistar completely dismember the body like an animal in a slaughterhouse. It's brutal, unforgettable, and won't disappoint gorehounds.
In a more "lighthearted" moment, the film crew documents McAlistar as he gleefully prepares a pot of human stew in his kitchen. As he slurps a spoonful for a taste-test, he waxes poetic about the decadence of eating human meat. It's a clever nod to Hannibal Lector, giving the archetypal cannibal a hilarious "foodie" touch. Brilliant stuff.
Long Pigs is screaming to be rediscovered. Easily one of my favorite indie horror / found footage / faux doc flicks, I hope to see it garner a sizable cult following someday. Whether or not that'll happen, I'm happy to have a copy in my collection.
Destroyer (2018)
Grim, Challenging Neo-Noir with a Haunting Performance From Kidman
Drove an hour to the nearest theater see this and it was totally worth it. A grim neo-noir slow burner with a haunting and fierce performance from Nicole Kidman, who plays a devastated LAPD detective with nothing left to lose beyond her rage-filled vendetta. This film is sorta marketed as a revenge actioner a la Death Wish, but don't go into this expecting a high octane revenge flick-there's a lot more going on with its arduous non-linear narrative and layered main character. This is a dark, challenging film that takes its time as its broken deadeyed anti-heroine stumbles through LA's seedy criminal underworld on the scent for an elusive killer, but there's several satisfying bursts of bloody violence, scuzz, and excellent performances from Tatiana Maslany, Jade Pettyjohn, and Toby Kebbell. Kidman is definitely this film's strongest aspect, but it's totally worth your time if you dig grim neo-noirs, revenge films, and misanthropic detective tales. If I absolutely had to compare it to two other films, think Death Wish meets Department Q but with a gender role reversal and an original narrative twist. You won't love it, you probably won't hate it, but I bet you'll be gripped from start to finish. And if not, so be it, I dug it.
A Thousand Junkies (2017)
Gritty, Hilarious, Darkly Honest Drug Movie
This is the most honest and important drug movie since Trainspotting or Drugstore Cowboy, only grittier and more confined to a day-in-the-life-of three addicts. A road movie for junkies, and a hilariously dark niche comedy. Personally, I dug every minute of it, and I hope more people check it out.
Three junkies drive around LA in a beat up Volvo, on a mission to score heroin before the pained desperation of dope sickness takes over.
Written, directed, acted by recovering addicts (director and star Tommy Swerdlow is a veteran Hollywood screenwriter who met the other guys in rehab) this gives the characters and situations an unfiltered authenticity. Sure, there's exaggeration for entertainment's sake, but the brilliant thing about this movie is how it uses humor to portray the 9-5 job of being a junkie without glamorizing or trivializing the life. It's the drug movie America doesn't know it needs right now.
The film was shot guerrilla style on the streets of LA; busy avenues, rugged alleyways, and indoor swap meets, where real-life extras stand in the background of the shot, intrigued by the camera. This kind of filming gives the scenes a real-world grit and is a testament to the its indie spirit.
The cast is brilliant. Many scenes are confined to the beat up Volvo, but the chemistry between the three leads makes whatever's happening (or not happening) fun to watch. The trio (Tommy, Moshe, and Blake) are obsessed with getting money to score drugs, and that crucial necessity is the glue that holds them together. The subject matter may be darker than Mexican tar but the witty banter and irrational antics keep things moving at a swift pace. There's more than a few clever moments of character development as well, where each character slips beyond the surface to unveil their deeper dimension.
The score's comprised of acoustic Mexican folk tunes and instrumental jams that compliment the urban landscape well.
At a time when our nation is in the grips of an opioid epidemic, when 100+ people die of overdoses each day, it's still taboo to be a drug user. It's still taboo to talk about addiction in an honest way. We can't sweep this reality under the flag no more, and whether you believe in the power of cinema or not, it takes guts and heart to make a movie like this. Kudos to The Orchard for putting this movie out, and to the filmmakers for making it.
La casa de las muertas vivientes (1972)
Surprisingly Entertaining Spanish Italian Obscurity
Hardcore giallo fans will dig this slow burner more than anyone else. Present are genre staples such as a black-gloved killer, insanely gorgeous women, and a twisty murder mystery at its core; however, it's light on blood, dialogue-heavy, and set mostly in a mansion. Don't let that scare you away, though. The cast is solid, characters are interesting, the mystery engaging, and the mansion adds a menacing gothic atmosphere to it all.
One year after the death of his first wife, Oliver Bartrom returns to his family property to start a life with his new wife Ruth. Problem is, they aren't alone. Along with the maid and shady groundskeeper, Oliver's hostile sister and horny jealous stepmother live there too, and both are embittered over the sketchy circumstances of the first wife's death. Needless to say, Ruth isn't exactly feeling the Bartrom family love; the stepmother is obsessed with Oliver, forever trying to seduce him - and his reclusive sister hates everyone for reasons I won't spoil for you. Almost immediately, bizarre things start happening to Ruth, and a menace in black gloves stalks the grounds trying to take everyone out. In fear for her life and love, Ruth tries to uncover the sinister truth behind what really happened to Oliver's first wife.
In early 2017, American eurocult label Dorado Films released Night of the Scorpion on blu-ray via 2K scan of a 35mm print. Due to their small operation and relative obscurity of their titles, Dorado doesn't drop dollars on digital cleaning or color correction, presenting films "as is" with specs, scratches and glorious grain. I kinda like this decision as it adds a gritty filmic charm to the viewing experience.
Collectors and connoisseurs of giallo cinema should track down this one down.