What Still Remains (2018)

One person's freedom is another's prison

By: JWBM

With the population dwindling from a decades past event, human interaction has taken on another life of its own. It comes down to having enough strength and defensive tactics to make your own choices, or having choices made for you by those in a position of power.

"What Still Remains" is a post-apocalyptic drama along the lines of "The Walking Dead" meets "The Handmaid's Tale" that follows a young woman named Anna living on her own in the wilderness. She befriends a kind and hopeful man named Peter who welcomes her to his community to escape her solitude.

The film deals with a mix of emotions: from loneliness, mistrust, control, fear, and hope. Despite more open spaces to roam and lack of laws and government, those still standing become more vulnerable from predatory types lurking at every corner. The story shows us one person's freedom is another person's prison.

The lead character, Anna—played by Lulu Antariksa—feels like she doesn't always strike a balance between her tough, untrusting nature, to looking at the brighter sides of things, to then losing control when the situation gets out of hand. Her role is more show than tell, but her face and body language is often a mask, and doesn't always make you feel the hardships of what she's going through. Some of that could be excused if this were a gritty, hard-boiled action film, but as progressively paced as this film is it's not as commanding as it could have been with a more dramatic involvement. The character of Peter—Colin O'Donoghue—has more of a consistent driving point and duality to his role, but starts to come apart at the seams towards the finale.

What holds the film back from being more powerful is the direction and pacing feels like a formulaic television drama that steadily gives you bit by bit to lure you on. Then due to the shorter length of a feature film, some of the nuances are grazed over and feel rushed for a conclusion. This is not a film that's going for colorful creativity, explosions, gore, or terrifying jumps, but instead the human condition. However, it could have benefited with some more scenes to create its own unique mood, or to actually get the heart racing. If it's any consolation, the story isn't confusing and it moves with you, but without some more thrilling moments, or some break out performances to back up those complex ideas and emotions, the overall experience feels middle road.

Rating: 4/10

Director: Josh Mendoza
Actors: Lulu Antariksa, Colin O'Donoghue
Info: IMDB link
Trailer: YouTube link

Haunting on Fraternity Row (2018)

Can be watched with the lights on

By: JWBM

A rowdy, life-is-one-giant-joke-and-party fraternity is throwing a luau to end all luaus. The drinks are bottomless, dancing is all night, and as a safety precaution pledges are there to keep things in order for what's going to be one heck of a cleanup. Oh, right, the horror portion of it. The story throws in some secrets uncovered at the same time. Soon enough, buzzes and sex drives are squashed when some strange ghost like stuff starts to feed on the festive energy.

This is filmed as a moment-by-moment, shaky camera mockumentary with both a raw and measured take. You get a flashy feel one moment, random shenanigans over here, and then some loose shreds of a story over there with a human element for some character to character connection, and then also a supernatural side for mystery's sake. It's up to a paranoid pothead to weave back and forth from the party to research what should have stayed locked away.

The film feels like it's trying to pull the loose vibe of, say, "Dazed and Confused" meets an amateur YouTube compilation meets a haunted house experience. You get a crazy collection of hopeful, young people with little direction and more energy than they know what to do with up against an unmatched entity. It ends up coming across as a clash of tones from jumping back and forth and having little to show for itself other than a few creative ways to have fun and some skin in the mean time.

The horror portion is pushed to the wayside in order to gear up for a finale, but feels like it was thrown in as an after thought. You get your standard pop-ups and did-you-see-that CGI scares that are so vague and lazy in build up as to be more head-scratching than anything remotely terrifying or even cinematically gripping. You could watch this with the lights out, with black candles burning, and the worst-of-the-worst tarot cards laying on the coffee table and the mood still wouldn't be set with how this constantly pulls you out of it.

"Haunting on Fraternity Row" doesn't come full circle. You get characters that either suddenly flee, or die at random with little fight. It desperately tries to be diverting with your typical, brainless college age revelers, but never ends up overcoming its superficial characters and story that doesn't require a second thought as soon as the credits roll.

Rating: 2/10

Director: Brant Sersen (Blackballed; Sanatorium)
Actors: Jacob Artist, Ashton Moio, Shanley Caswell, Molly Tarlov
Info: IMDB link
Trailer: YouTube link

Family Blood (2018)

Mothers to depend on; mothers with dependencies

By: JWBM

It's disappointing how certain aspects in life can come between a potentially hopeful and happy family. Especially where the bond starts to split at the seams from something as trivial as a few man-made pills at the bottom of a bottle.

"Family Blood" is a drama/horror that mixes pharmaceutical addiction with another more supernatural kind. It deals with the chaotic, distrusting environment of two teenage kids living with an addict for a mother. Except, this is every kid's nightmare times two when something more sinister enters the family portrait.

The mother goes through this pull and tug dynamic of chemical dependency and living a normal life as an enveloping wing that swoops in to provide for and protect her kids. As the tables turn to the supernatural portion of the film, it begins to lose that inner struggle that made the story start out strong. It then turns into a kind of Stockholm syndrome angle with the villain's shadow taking over every crevice of their household till survival is the only option. It makes it feel like it had a great, wide-open premise but then wrote itself into an ordinary box.

The villain is supposed to come across as a powerful, commanding entity that makes stern, matter-of-fact statements, but he ends up feeling stiff, forced, and emotionless. It could have made him a key element to a true mental and physical struggle between the mother and her kids, but it instead gave him this more primal, black and white facade that made decisions and outlooks more clear cut.

With little more to show for itself, the subtle, careful tone and direction starts to drag its feet with a trailing driving point. It makes it feel like the story and characters lost their tragic struggle and turned more into a lost cause. It's a shame as this could have been much more powerful of a film and experience to dissect the layers.

Rating: 5/10

Director: Sonny Mallhi (Anguish)
Actors: Vinessa Shaw, Colin Ford, James Ransone
Info: IMDB link
Trailer: YouTube link

When Angels Sleep (2018)

Crossing the line

By: JWBM

This Spanish made thriller is essentially about a perfect storm of events leading up to someone getting hurt from one bad choice after another. It doesn't outright lay its cards on the table, but it instead requires you to individually process the situation by leaving room for interpretation to some debatable aspects: from an over-worked society, trying to be everywhere at once for your family, to not accepting responsibility. No one in this film is capable of listening, asking for help, or following the rules. It's like watching a preventable, horrific train wreck from a little thing called stubbornness we often succumb to.

What's different over your typical story is it blurs the lines between good and bad. There is no hero or better person, though there may be a villain in some form of the definition. There may be someone to root for, or nothing they may do may be relatable in the slightest and get on your nerves. It depends on your patience, morals, or stand points to analyze and pick apart the layers. Sure, the police and the courts would have something to say about it, but it's at a gray point where things turn into a tangled mess. It reminds me in some ways of the beginning of "Breaking Bad," though with different people in different circumstances. Specifically where the character initially crosses the line, and then after is locked into creating his own framework that's at a complete 180 from the societal norm for the sake of his family.

The majority of the film takes place in rural areas at night, so attempting to watch this with any shred of light in the room and you may end up squinting. Its mode of action starts to shuffle itself back and forth with driving this way, running that way, or fighting over here. The performances—I'd recommend the Spanish language version over the dubbed—from the two leads gives this a certain divide, where oh-crap-I-messed-up desperation meets I-took-some-scary-drugs panic. Some of the latter was amped up to the extreme to further the narrative. While possibly true to the state of confusion and distortion of reality, it still can come across as about as fun as attempting to argue logic with your aggressive, drunk friend.

While not a perfect execution of its more action oriented scenes or its more complex themes, the film—while also not a pleasant or appeasing experience in the normal sense—is still worth a go if you're looking for a challenging debate between your friends.

Rating: 6/10

Director: Gonzalo Bendala (Asesinos inocentes)
Actors: Julian Villagran, Ester Exposito, Marian Alvarez
Info: IMDB link
Trailer: YouTube link

Ánimas (2018)

Family, friends, and loved ones

By: JWBM

This Spanish made film is a deep-rooted, psychological look at a connected group of relationships, but unlike any other you may have seen before. In a creative twist, it deals with moving on from negative aspects of family, moving away from old friends holding you back, and moving closer to new ones that may bring on a shimmering hope of light to all of the enshrouding darkness. One can only dream.

This maintains an overall downbeat vibe with a mix of symbolism and hidden meaning: such as material objects and sense of time playing tricks. The film is strange and allusive; with interactions and dialogue that are as slippery as tap shoes on ice. Though it's also well-crafted in that it moves with a sense of grace and allure. It's part drama, mystery, and thriller, with the intention to alternate tones in order to peel back the bruised layers and get to a more ripe resolution. It's more show than tell, delivering a share of slow burn atmosphere that causes your thoughts to mainly linger around a particular evolving apartment complex that takes on a life of its own. One can hide or seek help.

"Ánimas" maintains a great balance between being artful, emotional, and stirring all at once. While this has some thrilling moments to rile the senses, this is far from action oriented in order to become intimate with the characters and settings; it flows more dream-like, bordering on nightmarish at times than anything else. The main star, Alex—played by Clare Durant—delivers a dynamic performance: from self-loathing, to caring of others, and then looking for a sense of need and purpose related to her family and best friend Abraham. Ultimately, the obscured though measured messages in the film tend to stay with you. Such as showing us the careful balance of being alone and in our own head growing up; pessimism is a rain cloud that will eventually blow away, but, even with help, it's up to us to take charge and make that change. One can do more than just dream.

Rating: 8.5/10

Director: Laura Alvea, Jose F. Ortuno
Actors: Clare Durant, Ivan Pellicer
Info: IMDB link
Trailer: YouTube link

Romina (2018)

Last place in a creative race

By: JWBM

"Romina"—a low budget Mexican made horror feature—is a nonsensical mix of a camp slasher with a rape-revenge plot with no commentary to speak of, nothing to read between the lines, and on top of that weak thrills and suspense that only gets weaker as the wall clock seems to slowly come to a crawl.

It involves the kind of homicidal psychopath that only exists in movies, except where others would use that gross exaggeration to create a powerful, commanding villain full of raw energy and memorable characteristics, the film's driving point and plot are so far gone as to have been mixed in a blender, swallowed, half digested, and then thrown up. It feels like a short paragraph of premise was outlined on a napkin on the way out the door, and before you know it production was underway with little funding and a group of close friends to make it happen. I can only imagine it was a blast to shoot for those involved, but for everyone else it feels like a stretched out exercise in wasted energy.

The story is deceiving because initially the flow and direction seems simple enough—a group of energetic young men and women on a road trip to their potential doom—but then how one aspect leads up to another is like a hand-me-down jigsaw puzzle missing all the important pieces. You get to watch spineless characters excitedly talking over each other, bickering, and then splitting up and running around with little background, no direction, or game plan in mind. Yep, they're sure to be executed in a bloody fashion, but the film fails to make you care. I've been more moved by a half-heard quick sensationalist clip on the local news. Sure, the main point is to emulate the old grindhouse classics, and to also see some sex and carnage—adding another notch to the realms of horror and widening the eyes a little further—but even then the suspense and build-ups lack creativity and vision to feel like nothing more than a numbing wound.

Rating: 1/10

Director: Diego Cohen (Perdidos; Honeymoon)
Actors: Francisca Lozano
Info: IMDB link
Trailer: YouTube link

Mara (2018)

Wide eyed and helplessly frozen

By: JWBM

Sleep: the true reset feature us humans have to maintain our health and carry on to the next day without seeing pesky hallucinations or losing our minds to a maze of utter confusion. A chain of events leads to a husband being killed in his own bed. The wife—a little raving mad at the moment—appears to be the primary suspect. A criminal psychologist is called in to investigate the wife's mental state and motivations, but ends up getting more than she signed up for on her first murder case.

What's interesting over your typical one-body-down-another-to-go horror film is the story here gives a human connection between the characters. The desperate circumstances, and then the growing number of deaths, begin to affect the psychologist—Kate, played by Olga Kurylenko. To make matters worse, she's becoming afflicted by an unexplainable, helpless frozen state as she looks on to a horrific creature that gets closer and closer. The concept in itself is both creepy and curious. The film lays it all out in the open as a carefully crafted formula—elevated stages that get increasingly more dangerous and all. That makes it predictable to what happens next, though for anyone who has had sleep paralysis happen to them, it still comes with a sense of dread and loss of control once played out.

The manipulation of volume here will get you to jump no doubt. Though it's the point of being frustrating at times in how low the normal sound effects are or how the characters talk, then BAM there goes your ear drums and a knock from the neighbors. The direction has a tendency to go from dragging its knuckles to white-knuckle intense in a split second. In some respects it gives this a certain energy after a slower scene from the raw emotions and helter-skelter action, though in others it makes it over-the-top in a not-so-believable way that jars you out of it. For instance, a character at a group for sleep paralysis sufferers starts spouting off like a cartoonish superstitious peasant that's all fear and no sense. I get that it's a tough nut to crack for a performer, though it doesn't always translate well on screen. On the other hand, Craig Conway—as Dougie—strikes a certain balance between a sense to survive and a fearful, sleep-deprived mind that goes in and out of rationality. He gives the character a certain on screen presense and a driving point to accelerate the events.

Rating: 5.5/10

Director: Clive Tonge
Actors: Olga Kurylenko, Craig Conway, Javier Botet
Info: IMDB link
Trailer: YouTube link