All Light Will End (2018)

Thrillers: weekend retreat killers

By: JWBM

A woman—who suffers night terrors from childhood—debates going on a trip to her home town for her brother's graduation. She finally makes the decision and a group of her friends gear up for the road trip to head to her parents' cabin. There, the culmination of her nightmares rears its head.

The film drops pieces to the puzzle and delivers some mood with dreams and flashbacks, though it's to the point where the mystery angle becomes unbalanced and it turns into a giant string-along. I mean, we get to see the lead's day-to-day, which is often a numbing, withdrawn experience as she's haunted by something inexplicable. Either from lack of direction or an undeveloped character, her face is like a pretty backdrop that rarely changes expression. Her dad—the local Sheriff—has a strange investigation going on around the small country town with his inept, out-of-place, comic relief back up that stands around cracking sarcastic jokes.

The story is so vague and rough around the edges for a portion of its duration that by the time it decides to pull out of a lower gear to create tension and suspense, they lost you to a maze of vagaries. It's far from predictable, yet it's like the writer went back in the script and took out every related clue that would have given away the twist. But at the same time it took the wind out of its sails and made the ride somewhat obscured, directionless, and head-scratching related to some segments after the fact. It's a prime example of just how challenging writing and then, in turn, telling a well-rounded mystery can be; it requires gravitating characters and a layered story you can get behind more so than crafty manipulation or smoke and mirrors. Eventually there's a violent finale in the vain of a horror showdown, however without the intricate motivations to make this reality believable, it comes across as shake-the-head ridiculous. 

"All Light Will End" has fragments of potential that might have instead worked better as a short mystery/thriller to keep the experience flowing like a well-greased machine. As a full length feature it lacks the kind of consistent and intriguing content to keep your eyes wide and your brain searching in the right directions.

Rating: 2/10

Director: Chris Blake
Actors: Ashley Pereira, Sarah Butler, Andy Buckley
Info: IMDB link
Trailer: YouTube link

The Lobotomist (PBS documentary - 2008)

An over-looked portion of history for mental health

By: JWBM

There have been significant cures and groundbreaking treatments in the history of the medical field. Some of them stumbled on by accident, while others took years and years of research with a collective team till a breakthrough occurred. Lobotomy, on the other hand, is something that started out as one man's hopeful popularization of a procedure to alleviate country-wide mental health issues that were in a state of desperation, to coming with tragic consequences and repercussions for a share of those involved.

Back in the mid-20s, the state of affairs of mental hospitals were hopeless for extreme cases ranging from agitated depression to psychosis. It was a common practice to hold people with debilitating mental disorders behind locked doors—or even strapped down—in these massive state run quarters away from the general public. It was a means to an end due to few changes being made to help alleviate the overall situation. Dr. Walter Freeman made such a visit to one hospital during this period and it affected him enough to want to take the bull by the horns. His maternal grandfather, William Keen, was a pioneer brain surgeon in the 1800s. Being a fresh, young doctor, Freeman also felt that he was destined to do something great from then on out.

Back in the 30s and 40s, it was considered in bad taste to question another doctor in the public eye. Instead of asking for advice or going through the proper channels, Freeman bypassed the red tape of his peers by going straight to the press to sell them a form of a miracle with lobotomy. It's a complex story with reasonings coming from all sides that reveal it may have been what some needed at that particular moment. According to a "Life" magazine article from 1946, mental hospitals were "a shame and a disgrace." These hospitals were overcrowded, underfunded, and understaffed. There were cases where the staff resorted to beatings to keep people in line. Some patients resorted to suicide from not being able to cope with their mental condition and their surroundings. However, the catch of Freeman's transorbital lobotomy was that it was a one-size-fits all procedure that didn't address the nuances of every patient and their specific state. Being a respected doctor at that time and walking through the door of a poor or segregated hospital meant there were no questions asked or even release forms signed. There's also no going back from the brain damage that it caused. Truth be told: it was never a good temporary fix, nor a successful permanent one either.

This is also a story about his obsession with this procedure being successful to the point of being blind to its pitfalls. He went from having a neurosurgeon and an anesthesiologist present, to then using an on-the-fly, cost-effective method where he held the patient down and tapped an ice pick into their frontal lobe with a hammer by way of their eye socket. This wasn't a practiced, well-defined medical procedure. It was essentially a roll of the dice that relied on some luck that things would be okay in the years to come. The mid-50s saw the first antipsychotic drug marketed. Then after, the medical community—that once lauded Freeman—were turning their backs on the man who now looks like nothing but a clean up henchman in a snazzy white coat.

This documentary is as tragic as it is informative. This sheds some light with different perspectives on not only this doctor's tale of success to failure, but also the state of mental health for the earlier part of the 20th century. Those looking for the entire history won't get it in the 50 minute run time, but that doesn't stop the documentary from delivering enough interviews and footage to put you there in some pivotal moments it was happening.

Info: IMDB link
Trailer: Youtube link

Pig Hunt (2008)

Pigs are far out, man

Combining aspects of "Deliverance" with backwoods folks and a sense of adventure, along with "Razorback" and a setting with a life of its own and a legendary creature hiding in the midst, "Pig Hunt" produces a mishmash of genres that's more fun than completely serious with a hippie cult that's both prone to Zen and violence thrown in for good measure.

A man with the fitting name of John Hickman heads out to his late uncle's ranch in the sticks with his girlfriend and three other friends from the city for a hunting weekend. Their first stop is the general store that leads them to the legend of the Ripper--a supposed 3000lb pig--as well as a confrontation with a muscled, sword-wielding guy who looks like an ancient warrior walked into the wrong movie or thought he was at a convention for "Xena: Warrior Princess." The area isn't known for its steady employment, so a share of the dwellings look run down and lived in by dirty, grumpy rednecks who use the local forest for perfecting their aim at the animals.


They tentatively team up with John's two old childhood friends who've since took the path of drugs, alcohol, cruelty, perversion and good ol' hunting in between to everyone else's discomfort. There's a share of posturing with each person thinking they're the best to the point of a who-can-puff-out-their-chest-the-biggest contest rather than who can actually shot the straightest. There's a building tension in the air that could burst at any moment that's both annoying with no one but John and possibly his girlfriend Brooks, who's proving she's got the stuff, to lean on with a backbone. But it still proves to be somewhat engaging as to who or what could set off the balance thinly held together by condescending remarks. Soon enough the boars are called, someone gets injured, human remains and marijuana crops are found, and then ulterior motives come into play. The characters go separate paths and it turns over to a human on human blood sport on someone else's turf. Though there's a third party lying in wait that makes the local degenerates in town look a few steps closer to normal.

The third act feels a little underrealized but still comes as a surprise and carries some mystery about how, where and why. Though it's most likely for the best because the more it's thought about the less it makes logical sense. Some of the transitions and editing have places of awkwardness but a share of events flow from one heated aspect to the next. There's some subtext attempted with John and a past in Iraq but then it's dropped to keep it more in light of exploitation. "Pig Hunt" is not a movie that causes the brain to kick in but hits enough surface sensations to keep the popcorn moving from bowl to mouth without pause unless it's a choke or a what-in-the-heck remark. The quicker pacing doesn't give time to scratch beneath the surface but a number of in-the-now events happen to keep one's attention locked and focused with surprises and a share of uncomfortableness about being so far from home and encountering unwelcoming people that seem like from another place and time. Like "Razorback," the wild boar is shown the least amount while the human characters are developed more till they meet up. Les Claypool, the frontman from the band Primus, layed down the music and played a smaller part as a "preacher" who lets his gun do all of his sermons. The soundtrack is a mixup of almost genreless music apart from itself with unconventional and discordant layers and an almost boondocks feel with an acoustic and gibberish twang.


This is more of an offbeat adventure-thriller than an outright horror, but that doesn't stop it from including point blank injuries and a share of gory wounds anywhere from knees busted in to eyes gouged out. "Pig Hunt" is no doubt an out there story that's about as unlikely to happen than being held hostage by a group of clowns robbing a donut shop with flamethrowers, but this is never short of something bizarrely humorous or to leave one ill at ease, not to mention some individual characters with their own personality to remember, while others can be forgotten but were most likely there to up the body count which us blood-thirsty viewers crave.

Rating: 7/10

Director: James Isaac (The Horror Show, Jason X, Skinwalkers)
Stars: Travis Aaron Wade, Tina Huang, Howard Johnson Jr., Rajiv Shah, Jason Foster, Nick Tagas, Bryonn Bain
Link: IMDB

From Within (2008)

Smalltown Hypocrisy, USA

"From Within" is a drama/thriller with elements of horror and the supernatural that includes religion, intolerance and stubbornness in an area called Grovetown that's full of small town views and a local legend that's on the hush hush. A teenager that looks like a goth reads from a book in an odd tongue while sitting next to his girlfriend. He pulls out a revolver as casually as if it's a picnic basket and shoots himself with the horrified girlfriend as a witness. She runs into town a bloody mess as if being chased from something and dies by her own hand as well. From then on out, each unlucky person who was the last to see the person commit the act or their body dies.

The perspective of the small town is shown through another teenage girl named Lindsay who goes to the local high school as well as attends the local church and likes the minister's son at both places named Dylan. Rumors spread about the connection to it all and blinded tempers and closed-minded fears come out. Dylan gets into a fight with a soft spoken kid named Aiden, who's not a member of the church and the brother of the first teen to commit suicide. Lindsay drives him home and there it comes out about Aiden's mother dying in a suspicious fire out back from a fear that she was a witch. Ominous threats are in the air as if a battle is about to ensue with opposing religious beliefs. The local Sheriff sweeps speculation under the rug which causes Lindsay to meddle before anything drastic breaks out. As the suicides begin to pile up, the minister's son holds some clout over the town and takes matters into his own hands with Lindsay caught in the middle between Dylan and Aiden.

"From Within" offers a series of intermittent, sudden scares mixed with the main body of a small town drama that reveals some skeletons in its closet. Some of the pop outs seem too in your face with crisp effects that have tendency to be caught in the frame for too long, leaving out anticipation or mystery as to what it is or how it came to be. On the one hand, it's not going to be as enigmatic as "The Broken" was but parts of it feel too simplified nonetheless. Some of the deaths start to seem less and less random as they so happen to coincide and are spaced out with current events. It takes away from the it-could-happen-to-you-at-anytime nervousness. Though in some areas right before the person is going to get it, it does play on the something-lurking-over-your-shoulder angle with the audience being a witness but helpless to the fact. The one by one death sentences almost seem like something out of "Final Destination" though somewhat less elaborate. Some people go quickly, while others at a later time when convenient to the narrative.

The subtext here concerns religious hypocrisy on both sides that are using it with their own interpretations or how they deem fit for personal gain. There's also intolerance and stubbornness even when faced with some facts. If there was ever going to be an exceptional example of the mentioned, Grovetown is that place. No one is all the way in the right here and that sentiment comes without resolve and a bleak conclusion that it got so out of hand. This is redneck stuff we're dealing with so guns, pick up trucks and beer play a role when it comes to accelerating action. Some of the personalities are caricatures that make the story a little black and white and somewhat easily deciphered. It makes you wonder if the filmmakers didn't think the audience would get the point, hence the obviousness and exaggeration at points. Elizabeth Rice as Lindsay sticks out with a decent portrayal and a share of emotions across the board to feel for her character's actions. Thomas Dekker as Aidan and Kelly Blatz as Dylan get a little more range than the supporting cast but still play their parts with only a few steps outside the box, so essentially you can count on their next moves, which takes away from surprises. This is a little more catered for the late teens crowd, though overall this was a decent enough experience with an actual story and message to share for the experience.

Rating: 6/10

Director: Phedon Papamichael (Dark Side of Genius)
Stars: Elizabeth Rice, Thomas Dekker, Kelly Blatz, Adam Goldberg
Link: IMDB

Lake Mungo (2008)

A person not removed

This is a faux docu-drama with elements of mystery and the supernatural that revolves around a young woman named Alice Palmer who recently passed in her home town in Australia. She went missing in a local lake and the family doesn't want to let go right away or accept the inevitable. A decomposed woman's body is found, yet they partly drag out if it might actually be her and that her life couldn't have abruptly ended that day when there was so much more that could have been. Back at their house, there are strange noises, nightmares, sightings and even suspicious photographs to what seems to be her physical presence in the time that follows. The mother seeks out a psychic who wants to hold a seance. Secrets come out regarding the family after the fact, the psychic in question, as well as that involve Alice that no one else knew about her with immediate relatives and friends.

The slow, evolving pace is what makes this film work. It's not quick and upbeat or hip and trendy, but something that captures the scenery and her life in glimpses and flashes. There are a share of recorded mediums that it transforms from: some crisp and steady, some grainy and shaky. The latter comes with some eerie and unsettling scenes that eventually make your eyes scan the surrounding shots for hidden clues--nothing is what it seems is the impression. It has a very deliberate flow to the point of sucking in a viewer and getting involved to the point of forgetting that this is just a film. Though it's somewhat depressing watching a documentary film, even if fictional, about a young person that's life abruptly ends with only bits and pieces as to what she was up till that point. The story is concerned about her past and how it affects all that knew her now, but the mind still wanders into this dark territory nonetheless of what could have been.

The film gives off a general sense of regret and melancholia in that she keep things from them that were beyond her teenage years that caused her to silently suffer without anyone else knowing since she had very few to turn to or trust. The home video footage becomes instantly haunting that the person you're seeing no longer exists and little did she know of it at that time that it's her last images. The mother has the hardest time letting go and grasps on to any information, whether good or bad, about her daughter's life. The brother was also close and uses ways to cope with his late sister that some question whether it's rational or justified. The father and boyfriend speak with a little more pep that sometimes show glimpses of emotional restraint, as well as friends, co-workers and investigators who give their take.

"Lake Mungo" manages to keep itself interesting with a steady focus and share of revelations. Some of them feel a little manipulated, for fixating on one way for a period, then turning it around and that not being the case at all. As well as a few revelations jump forward a little quicker than others. Watching this gives off some reminders of the sad and wrenching film "Ordinary People," though there's still some positive, heartfelt and dramatic interviews that reflect human loss and then how to cope with the fact through a share of outlets that gives this a little bit of resolve despite its somber mood at times. Others who've had someone abruptly pass don't always get to share the after effects like they did, or to others that would have never known this girl in this particular place and time. Some areas are dry to give room to form an opinion, while others are leaning more towards the paranormal being possible without the other side getting a chance to breath. This isn't a film to just put on since the experience might linger and brood in one's mind or possibly turn over to being upset with the filmmakers for making it so realistic.

Rating: 8/10

Director: Joel Anderson
Link: IMDB

Dying Breed (2008)

Fact and fiction collide in the backwoods of Australia

This is mostly a formulaic retelling of the backwoods horror film subgenre, though it still comes with some added differences. "Dying Breed" is not trying to be a monumental film or strictly fit in, but include a few tweaks to an already established template. It has the usual amount of taboo breakers such as cannibalism and inbreeding but it plays out as a more gradual and less in your face film compared to others that have amped up the level of atrocities since "Deliverance" and "Texas Chainsaw Massacre" with some real life legends to make it come more to life...or death however you want to look at it because usually these films come with stacks of fresh corpses.

A prisoner named Alexander Pearce escaped back in the 1800s in Tasmania, Australia. A group of four are trekking out in the wilds to this region in present day to search out the thought to be extinct Tasmanian Tiger--a carnivorous dog/wolf/marsupial hybred with strips on its back resembling a tiger--that hasn't been officially documented in 100 years. A woman on the trip named Nina (Mirrah Foulkes) had a sister that incurred an accident years earlier and she wants to pick up her research where she left off. Her boyfriend Matt (Leigh Whannell) scored a favor from a wild and prankster friend Jack (Nathan Phillips) who also brought along his girlfriend Rebecca (Melanie Vallejo) for the experience. The level of tourism in the area is sparse and the group soon finds some trouble from the male dominated locals with damaged property and snooping eyes.


The next day they head deeper and decide to stay in a cave for the night. At one point they think they spot a Tiger and immediately things turn for the worst when one of them gets attacked and they try and search that person out but get separated. A little girl they encountered back where the locals live suddenly appears along with two other men looking for her with a revelation about Nina's deceased sister. This doesn't play on the usual terrors at first, but instead goes for some mistrust of others and uncomfortableness since they're dealing with strange people in an unfamiliar setting. It plays on an anxiety angle of surviving a set of dire circumstances instead of charging forward with a pounding chest. The issue is you're not always given substantial amounts of scares, action or a lot of collective information to go on at a time since this is aiming more towards being a subtle film. It unfolds in the moment by moment as if it's leading up to something but then that something doesn't fully culminate into making everything you just seen entirely worthwhile since it's partly obvious by the time it gets there. It does have areas that are stretching it but by including that added bit of measurement it attempts to give some authenticity to its plot. That works towards it and also somewhat holds it back. More often than not they strike a balance with some built up anticipation and a level of being trapped by both nature and man by doing all you can to get out.

All and all there are a few twists and turns to surprise or mess with the audience and some stand out scenes to remember for the experience. Though it could have used more of them to truly clench the total package instead of playing it safe on the formula in some areas. There are some jokes, seriousness and caring tones among the roles to give some divided personality. The performances held their own and filled out their respective parts with separation of character. Some parts include charisma without being distracting or over doing it, while others feel like caricatures of their type, such as Jack being the loud and macho kind each time and the boyfriend Matt being the sympathetic crutch for the duration of the film. There isn't much on growth with the characters, as they go in one way, use what they have and remain in that state. This does well with a share of showing rather than telling of its storyline, which steers it away from potential cringe worthy one liners that are usually for the audience's sake but can take one out of the experience. This is still more towards being a tasteful film with the subject matter at hand. The gory scenes aren't always over-the-top but more for necessary shock value, which can leave this somewhat tame for some ravenous gore hounds but still possess terror for the general viewer who's not accustomed to their fellow man being turned inside out.

Rating: 6/10

Director: Jody Dwyer
Stars: Leigh Whannell, Mirrah, Foulkes, Nathan Phillips, Melanie Vallejo
Link: IMDB

Autopsy (2008)

A hospital where the doors don't revolve

A group of 20-somethings--two gals, three guys--are reveling on Bourbon Street in New Orleans. They decide to drive back in their present state and not surprisingly crash into a tree "somewhere in Louisiana." Before the audience can say it, "Does anyone have a working phone?" "It doesn't matter. There's no signal." The budget shows with more pictures of their partying and only the after effects of the crash, rather than the actual impact. Somehow a man in a hospital gown is found underneath of their car. Out of nowhere an ambulance arrives moments later to take him away with a story that he escaped after surgery. They go along for possible aide themselves at the local facility called Mercy Hospital. There it plays on reassurances that it will all be okay, but soon turns from suspicious to then a means of survival because, that's right, this ain't gonna be a normal hospital folks.

The staff consists of four members--a nurse, two orderlies and a doctor--and they treat the newly arrived with stern attitude to distract them. It goes to show how far authority figures are trusted and can carry a command when a uniform is put on. No one's allowed to roam about or see a patient at the same time they're being examined, which leads to them becoming worried that something isn't right. One by one they're taken in and disappear to different rooms that reveal experiments and odd procedures. One of the woman named Emily, with a coincidental medical background and a questioning mind, sets about to find some answers to where her friends are and stumbles onto something that's inherent to mad science.

This is a horror story with people using medicine for evil and manipulative purposes, except they don't even try to make this a real possibility to put some paranoia into you when traveling about, or even a truly unique situation for that matter. New Orleans--might as well have been herd farmers and a shack in Mongolia. The innocent characters are thrust into "some" place, with "some" random people who all share the "same" morbid disposition. It also includes the same ol' characters that represent a body count or have to survive from some horrible and unexplainable situation they've found themselves in, except with some kind of cheap twist that momentarily changes the convention around but makes even less sense as the rest of the story. The experience just unfolds so middle of the road without even a steady subtext that it causes itself to drag its feet along rather than be on top of itself.

"Autopsy" is quite an easy film to the point--I'd imagine to a share of people--of not holding up past the first viewing. Not to mention this attempts to take itself more seriously instead of sustaining the tongue-in-cheek humor for the far-fetched and ridiculous storyline they're working with. There are a few jokes here and there but it's not to the point of making anyone roll on their side anytime soon or in the way of performing miraculous CPR to revive the picture (sorry, had to). How the story itself unfolds feels a little too hokey and over-the-top in a forced way. The out-of-reach location and overly sadistic villains that enjoy what they do a little too much makes it feel less likely to happen to you than getting struck by lightning. If this is fun, it's in the context of solely making fun of it. What they don't show you brings down the credibility of the story, such as the hospital having full use of utilities. Not to mention some of the motivations seem exaggerated to the point of not adding up, such as being on a hallucinogenic drug, unconsciously performing self-mutilation and then in the next scene being able to speak lucidly and with reason.


Its moments of scares feel somewhat forced with lightning and rain and random people popping in and out of rooms with a loud sound effect to jar senses. There are some rewarding moments where the bad guys get it in just as cruel ways as they dealt out originally. It's not exactly challenging stuff with a black and white template that makes answers--such as necessary violence to protect yourself and friends--easier to solve and digest. Some of the gore effects are a little on the cheaper side at points with some exposed guts coming out of stiff looking surrounding skin. Though there are some effectively grisly moments that range from amputation to a face caved in from blunt force. At one point towards the end there is an inventively maniacal contraption that consists of stringed together body parts.


The lead actress, Jessica Lowndes, is somewhat versatile in that she can be both tough, emotionally sympathetic and astute in character. She definitely takes it all out at points and goes beyond what was called for than treating this as a mere stepping stone, which makes it such a shame that her glowing talent was wasted on the overall turnout. Robert LaSardo takes his lines with a little more measurement, though the other bad guys, even the recognizable Robert Patrick as the head doctor, lack any kind of range to work with. Even "The Dentist" had a kind of philosophy, this just has card-board cut outs of evil medical professionals that do look the part but are only out to get people for some diabolical plan that's not even fully fleshed out. It closes with some questions of morality in which someone innocent who should have died is now living, but at the expense of others. Though quickly reverses its stance to give a little ambiguous shock value that seemed thrown in as an after thought.

Rating: 3/10

Director: Adam Gierasch (writer "Toolbox Murders," "Mortuary," "Mother of Tears")
Stars: Jessica Lowndes, Robert Patrick, Robert LaSardo
Link: IMDB

The Broken (2008)

Scared of your own reflection?

An English radiologist named Gina gives her father a surprise birthday celebration and during the festivities a mirror suddenly breaks. She gets a strange feeling at work as if someone was in her office. Then on the way home, she spots a woman that looks identical to herself driving her same car. She follows the look alike and enters her apartment only to see a photo with her image and her fathers. Puzzled, she leaves but gets into a car wreck on the way out. Gina wakes up in the hospital with a fuzzy memory regarding the crash and a sneaking suspicion that her boyfriend, Stefan, is not really her boyfriend. The doctors call it Capgras Syndrome, which can result from a brain injury. With the help of a therapist, she unlocks bits and pieces surrounding the accident. From a dripping ceiling, to more mirrors being broken and others acting strangely to her, Gina sees danger at every turn where more people are out to get her due to a delusion made worse by the crash or something else.

"The Broken" is mainly a mystery/suspense film that for a share of it does the genre justice with little nuances and slight shifts that make those films so gripping. Revelations come about as it gradually paces itself and the audience is let on to more and more of its secrets. Unfortunately the growth of the plant slows down and it eventually squeezes less and less of the nectar out of its storyline. After a certain point it goes from a kind of Hitchcock-esque pacing to a sort of extended Twilight Zone-like episode that pulls out a magnifying glass and inspects a tainted situation underneath everyone else's nose. Its drawback is that it's too light on some of the rules and mechanics and then motivations for its antagonists, which makes it more easy than encapsulating the full potential that it could have been. It had every right to be a thoroughly challenging classic but didn't take it that extra few steps. I liked the engaging experience it laid out but the more it's thought about, the more it comes with contradictions.

If one can look past that, the film's major strength is getting full use of its surroundings with an atmosphere to lock a viewer into the direct moment. It's not everyday that films can make one forget their surroundings and responsibilities. It's to the point where every other person and object becomes suspicious and paramount as a result. A neat idea is employed with abrupt flashes to remember the past and some surreal imagery to translate Gina's troubled state. This uses basic but still powerful mechanics due to built-up anticipation and careful crafting beforehand, such as deja vu, sleeping next to someone you immensely distrust, being vulnerable in the shower, and also someone you recognize that doesn't act like their old self, making you instead question your own self and mind. Needless to say, this has a share of creepy and unsettling moments, rather than going for the throat with its shock value. It's titillating at points but not always forceful like other horror films.

There's a share of stringed instruments that no sane person could listen to and not tense up. "The Broken" seems to be made to play on nerve endings by not letting the viewer relax for long till another pulsating situation arises. It has that down pat though it could have used a few more areas in its story that hint more at what's going on, especially for motivational reasons, otherwise the viewer is left too much in the dark as to what, how and why after the credits roll. It seems to be a film less for the theorists and more for those that appreciate the ride and surface sensations in the moment. I have to admit, for the most part, it did keep me from thinking outside of the box that it presents when I was actually watching it since there was always something either intriguing or rousing going on. This still works with a shred of ambiguity, but the scales are still tipped a little more away from the viewer. It mainly plays on a general sense of paranoia for those that are broadly suspect, as well as has some calculated areas for the logical minded, even if it doesn't go full steam ahead for the skeptic's sake.

Some parts carry a message of sorts, such as securing and appreciating your life as someone or "something" else might take over when you have your guard down. It's more of an undeveloped "what if?" question that will make some people fascinated just because of the idea itself as well as gravitate towards its heavy use of mood while at it. However, with some others I'd imagine it might leave a person more puzzled or frustrated without fully fleshing out a bigger picture from the questions it posed itself. It's not to the point of ambiguity like "Silent Hill" but should be kept in mind before stepping into its alleyway with dark and looming shadows that you might never figure out what's always a step behind or what they're doing there...

Rating: 7/10

Director: Sean Ellis (Cashback)
Stars: Lena Headey, Richard Jenkins, Melvil Poupaud
Link: IMDB

Punisher: War Zone (2008)

Crime pays...with a fist to the face

This is still a frustrating experience to when I first seen this in a nearly vacant theater in the month of December while everyone else was watching warm holiday features. "The Punisher" from '04 took a simple approach and had its sights on pre-CGI films and flashy editing techniques, which I thought worked for what it was. I'm also a fan of gory action films like "The Machine Girl" and "Tokyo Gore Police" that came out earlier in 2008. Whatever it is that's put in front of me I'll judge it accordingly since I'm a fan of films in general. I'm all for what this movie is about, but I still can't excuse the final result. "Punisher: War Zone" took far too many liberties with what it wanted to ambitiously do and it doesn't always feel grounded as a result. Flashy, loud, crude--if it pertains to being excessive, you can count on it to deliver in that mindset, which had potential to be a thoroughly entertaining experience for not holding back and letting loose, but it doesn't always clean up the party wagon that it left behind.

Frank Castle, aka "The Punisher," takes out known criminals that continue to beat the rap sheet of the justice system. He brutally kills the head of the Cesare crime syndicate along with the raspy voiced man's family and most of his henchmen during a dinner party, which leaves Billy Russoti and later his brother Loony Bin Jim to move up the crime ladder with their former boss out of the way. Castle shows up at Billy the Beaut's hideout to finish the job but gets cut short--which makes the thug rise out of the rubble as not a phoenix but a worn catcher's mitt--when the FBI is already there doing a sting operation and he accidentally shoots an undercover agent. It throws a bolt in the machinery of his unorthodox system when the government is actually doing their job and Castle wants to call it quits. Big Brother sends a man over to look into The Punisher's practices when a share of the police look the other way.

Agent Budiansky gets partnered up in the basement on the Punisher Task Force. The actor portraying Budiansky feels so out of place with look and performance, it's as if his character motivation was to just stand there excessively tall and read lines without prep or accommodation to tailor the part to himself. It reminded me of "They Live," due to a particular big-dude-vs-big-dude fight scene, but the rest of the performance fell to the wayside. The head guy--and formerly "only" guy--in charge of the Punisher Task Force named Soap was made out to be strange and eccentric as he works by himself on something no one else takes seriously, but doesn't match with an almost positive, nice-guy, somewhat street un-wise quirkiness to the cold and gritty atmosphere. The Punisher wants to get out of the city but sticks around one last time as the FBI agent who got killed by Castle, Donatelli, has a wife and daughter that he has to protect from the two sadistic Russoti brothers. Budiansky gets in the way but realizes The Punisher is on to something after all, as the Russoti brothers keep on finding different ways to rule the city with their terror.

The dialogue here isn't too far off from what Marvel Comics typically had in their captions, apart from the profanities. Though movies are still another medium and should be translated as such to accommodate the new format because a lot of those lines look much better on paper surrounded by more picture than words for the imagination to fill in the blanks. The art direction and atmosphere comes alive as you finally get to see a three dimensional scope of the city that The Punisher does his, well, punishing. Out of all of the characters, Ray Stevenson fits the part with a crude but comely look and readable expressions on his face. Also Julie Benz does an adequate job even with what little she's given. Instead of being a wise-crackin' antihero who always knows his next move, Frank Castle is a loner who's guns speak more words than his mouth and comes with emotional turmoil that drives him on from an incident years earlier. That portion is still kept fairly simple as this is more concerned with style, physicalities and action than the narrative that trails behind. Towards the end he gets a few more lines in to which should have been left silent as they're downright cringe worthy. The one odd thing that doesn't transition too well is him running around in the open in the streets with full gear on just seemed less cinematic than when he's going from rooftop to rooftop or if he had an actual vehicle.

Other than Punisher, it seemed like the performances and line delivery were farther down on the list of priorities to nail down and it makes you wonder if anyone took it seriously on set or were just told to go for broke and stepped over when more fun got in the way of measurement. Either way, it makes the experience distracting. Performances shouldn't always be an issue with these off-kilter genre films as they're usually more about the action and here grit and violence than pulling off something dramatically poetic. But this just felt all over the place and it didn't cohesively come together in the overall experience. I mean "Dick Tracy" had the crime angle with its share of cliches and exaggerated characters but still came together as out of place as any one of them would have been apart from the film--it essentially made you forget that the outside world exists.

This film has some of the worst accents from this many characters I've heard as a whole since watching "The Sicilian." There are so many misplaced ones going on it makes you wonder if they did it on purpose, but then to "what" purpose? You get cartoonish New York mob men that sound like they grew up in all different neighborhoods, an Irish sounding Rasta and even a hokey "The Godfather" impersonation. The humor feels in such contrast to the dark and dirty settings; it's as if they built all these deplorable sets only to fool about when filming on them. The mechanics can go from flashy and stylish to an attempt at trying to be realistically savage and gritty without always connecting the transmission in between; which makes you think they just borrowed mechanics from other films instead of working up from scratch on their own. The gun fights are all over the place with consistency: sometimes dead accurate, other times you think the guys are blind when the target is right in front, even with two guns in hand or high powered weapons.

Ray Stevenson's portrayal, the violence and the art direction are about the only things to see here that worked towards smooth transitions without having to call foul. This is bloody and I don't say that lightly. There are stabbings through every other soft and hard placing on the body that you can imagine and gun shot wounds that show all of the gory bits--unfortunately in CGI at times. Some might be put off by it since there isn't always a solid reason in the moment or build up to it, then again, it translated how much rage is boiling inside our comic book friend and then sends a bloody message that what they're doing isn't to be tolerated. A slap on the wrist gets turned over to an expensive lawyer. That's probably why, for instance, Lex Luther and The Joker keep showing back up as pesky villains because other superheroes get caught up by their own moralistic rules, whereas The Punisher is a self-admitted walking contradiction who visits the church no less. This has dark, cold and dirty sets to show that greed and corruption is everywhere you turn. There is a share of panning to get a lay of the tenebrous and dank land that needs more than a couple of street sweepers, paint jobs and repaving to clean up. There are cool lighting effects that project neons of the city that give a strange contrast. Though what's so frustrating, is it's a shame that the rest frequently missed the mark.

Rating: 4.5/10

Director: Lexi Alexander (Fool Proof, Green Street Hooligans)
Stars: Ray Stevenson, Dominic West, Doug Hutchison, Colin Salmon, Wayne Knight, Julie Benz, Mark Camacho, Keram Malicki-Sanchez
Link: IMDB

Tokyo Gore Police (2008)

The net worth of a blood bank spilled

I can probably name all of the movies that I've put on over the years that have turned someone else's stomach or were just too much to handle. One of the more recent ones would be the action/horror/science fiction/satire "Tokyo Gore Police." Recommended to me by another like minded horror enthusiast and then watched with another friend and a buddy and his girlfriend. Needless to say the buddy and his girlfriend are used to the little cubicles of life and their senses couldn't handle the overload of mayhem and carnage. They left after ignored complaints to turn it off and returned some time later to tell me that they don't trust my taste in movies. My DVD shelf shares spots with this and the likes of "City of God" and "Dances with Wolves," but I also like to open my eyes wide to what else is out there to stretch and contort this absurd thing called life in new ways thought unimaginable.

If you're looking for something with moderation, a firm foothold in reality or an engrossing story you won't find it here. This film isn't for everybody as it's incredibly over-the-top, over-the-top--notice the repetition--to even the somewhat depraved genre film with a few things in the extreme. It's unlike anything I've ever seen in a live person film apart from what filmmakers can get away with more in Japanese animes. If you've caught films with ultra violence and perversion from the '80s such as "Urotsukidoji," "Violence Jack" or "Wicked City," than "TGP" feels like a bridge between, except this time with real people. I didn't think many movies could compete with Peter Jackson's "Dead Alive/Braindead" for bloodshed. Even Jackson I'm sure didn't think so when he left those days behind, but then here we are with one of the bloodiest films of the last decade.

Some other films such as "Shogun Assassin" had amputation scenes with a single hose implanted underneath, only to spray spurts of blood to mimic a heartbeat or just explode out in a continuous stream like you've got your thumb on a garden hose. Now, this movie somehow takes that even further to where every time flesh is cut open several hoses spray out blood, no matter where main arteries lay, and then faster and in larger quantities than the human body probably contains. One way of turning that illogical outlook into a new perspective, is that blood is fearful of being trapped in its own body and wants to live on the outside quicker than it can come out to see the world in wonderful streams and bursts. Flesh is so soft and cuttable here, it's as if it was made to be ripped open than stay intact. As if we were meant to be turned inside out rather than inside in. This finds some of the most inventive ways that us humans can be ripped apart and then even built back together again by people called "engineers." It's almost poetic in a morbid way as it can make you think of the vast possibilities of how to dismantle and reconstruct the human body.

This is a somewhat futuristic version of Tokyo where the police are privatized. It's not going to look like, say, "Blade Runner" as they still drive around cars and use other modern devices. Though some of the architecture doesn't look as well-kept and maintained as the cleanly, present day Tokyo. Outlaws called engineers modify their bodies so that when they get injured their wounds reshape into weapons. The only way to kill one is to severe a tiny key shaped tumor in the body. A samurai sword carrying woman named Ruka is an engineer hunter that's called in when the Tokyo Police Corporation have one they can't handle. Ruka isn't sure where she places herself in this odd world. She cuts her arms and rides around in the city with very few words--numb to the violence she commits as soon as her pager goes off alerting her of another engineer. Her mother was a cutter, and her father died as a police officer during a demonstration, though the Chief raised her like a daughter. A serial killer engineer is dismembering women, and then draining their body of blood similar to "Exorcist III" by leaving little jars at the scene and a scar on the skin with the engineer tumor stamp. The killer turns an officer likewise into an engineer and the Chief amps up the authority of the the Police Corporation--who are already donning outfits like samurai warriors instead of peace keepers--to the point of taking out anyone that looks remotely suspicious. Ruka soon has a conversation with the mysterious serial killer who gives some revelations about his actions that tie into her father.

The story takes awhile before it kicks into a narrative flow, as in the meantime it gets caught up in its own creative devices, as well as concentrates on making the futuristic world as atmospheric as they can. There are a lot of strange use of colors with neon lights of the city, along with some purposefully misaligned and miscued camera angles to show ruination and imperfection. Some of the gore and creature effects aren't perfect with some makeshift contraptions, but that's also part of what I think gives this film such a surreal vibe. Not every second is filled with a gore scene but when it gets down it takes a bath with it in an area the size of a lake. It gets so wild that blood doesn't just spray at the camera but drench the lens to the point of having a slimy red tint oozing down. Everything is in such excess from its comic book style action to its sadistic sense of humor, such as certain appendages turning into cruel weapons. There are even some hilarious infomercials/commercials that play on Japanese society in between that are just straight hilarious, such as a brand of wrist cutters promoted by cutesy Japanese girls like they're selling Hello Kitty memorabilia instead.

Sometimes this feels like a collage of highly inventive ideas to take you to a different world and time than being structured with a story that jumps out at you. This is more an exercise in stimulating untapped sensations with the absurd, as the underlying plot about police privatization isn't anything new or made to be message worthy, and just seems an excuse to show perversions of violence and sex taken to the extreme. It's the future and Japanese have gotten so advanced beyond their slimmer cell phones that no one here manages to have sex normally. Other movies include sex and violence that fit in context to the story. "TGP," on the other hand, has brutality and perversion first and then a story or certain scenarios at times that seem only there to perpetuate the mentioned. The message is only going to be taken as far as: "Hey, they should have made the police even more vile!" Though they have enough of their own mechanics and devices to keep a viewer busy and get you locked into their world as exaggerated as that may be. Almost nothing's based in reality here and the mechanics don't make sense outside of the movie, but the filmmakers manage to do it so well that you forget about your surroundings, which is just as good enough to let go to the highly diverting and gruesomely amusing experience.

Rating: 8/10

Director: Yoshihiro Nishimura (special makeup effects on The Machine Girl)
Starring: Eihi Shiina, Yukihide Benny, Itsuji Itao, Ikuko Sawada
Link: IMDB

The Machine Girl (2008)

Severed limbs have their uses

This is a nod to ultra violent mangas and even '70s grindhouse pictures with a high school girl named Ami Hyuga who gets her arm severed and replaces it with various weapons to combat bullies. Her mother and father killed themselves over murder allegations and now she only has her younger brother left to look after. Those Japanese and their honor.

Tragedy strikes Ami again as her brother Yu and his friend Takeshi get killed over making the son of a yakuza boss named Sho Kimura lose face in front of his crew. It was only ruled a suicide but she finds a death wish list in Yu's bedroom that points to his killers. Everybody has their own families and friends to worry about and don't want to help her. She heads out on her own and finds one of the lower guys, only to have the thought-to-be-nice parents attempt to kill her. She tries to avoid violence but ends up defending herself and gets a taste for blood and satisfying revenge. Might as well continue the carnage. This leads her to the outrageously sadistic Hatori Hanzo clan residence where the spoiled yakuza son Sho lives. His family is power hungry and looks for any little reason to make their tyrannous mark on others, including just prior forcing the new chef to eat his own fingers from a measly accident. She gets close but then captured and tortured, before getting her left arm severed almost to the elbow with massive amounts of blood spray to show for it. She escapes and ends up at her brother's dead friend's parent's auto repair shop. They held a grudge beforehand directed at Ami, but end up stitching her up, give her armory and form a partnership to get back at those directly responsible for Yu and Takeshi's deaths.

"The Machine Girl" boils down to what people would do for their loved ones, whether they are just regular folks or entirely sadistic to begin with. Ami's rampage is to be a bully's worst nightmare. In the process, this tags on some gore, massive amounts of blood spray, action sequences with various inventive weapons and then who could forget ninjas, yakuza thugs and brainwashed parents turned homicidal maniacs. This hearkens back to the days of "Lady Snowblood" as it tarnishes the stereotypical view of the Japanese lady. If you've seen some of the period piece Japanese films where women tip toe, look down when they walk, speak overly feminine and dress in bright colors. This turns that around and includes some harsh female personalities that come with deeper, rougher voices, and who aren't afraid of getting covered in blood and sometimes outdo their male counterparts with violence.

The martial arts needs a little work on the choreography side, as it comes with more than one obvious punch and kick that misses the mark and doesn't always make the physical contact as cringe worthy or brutal as it projects in that regard. Though sword gashes, machine gun bullet wounds and a chainsaw that rips body parts in half is another story--the film has that part down with stained walls and floors to show for it. With all these Hollywood movies that drown out dialogue with too loud of music, the soundtrack does the opposite here as the volume is often too low, causing it to not always capitalize on impacting the scene its layered over top. The picture quality gives it a certain tone, as it seems purposely washed out with certain dulled colors that give off more grays than anything remotely bright. "The Machine Girl" has comically exaggerated motivations and emotions to the point of jumping back and forth with insane mood swings, whether it be a happy-go-lucky scene with hoops leading to running for someone's life, father and son bonding that leads to dripping blood into mouths, to nice looking parents going all murderous by swinging golf club and dipping battered hands in a tempura fryer. This is a wild movie that needs a little work with its overly ambitious ways, but it's still a pretty entertaining experience just because you can count on it to take everything it does over-the-top and not just meet halfway like many other pictures tend to do.

Rating: 6.5/10

Director: Noboru Iguchi
Stars: Minase Yashiro, Nobuhiro Nishihara, Kentaro Shimazu, Ryosuke Kawamura,
Link: IMDB

Stag Night (2008)

Modern day cavemen in NYC

This opens up with a bloodied woman running away from "something" in the terminal of a subway station only to be slaughtered with no one to hear her desperate cries for help. Now, four guys in the wee morning are celebrating a bachelor party at a strip joint when they get kicked out and head for another club by using the subway to get there. They catch two ladies on the train from earlier--one drunk and ditsy, the other confident and collected--and try to continue the party up until one of the woman gets fed up and uses pepper spray on the unruly brother of the polar opposite nice-guy bachelor. They all step off to clear their eyes, when suddenly the nonchalant operator takes off and leaves them stranded.

The terminal exits are locked, there's no cell phone reception and even if another train comes through it won't stop. Four of them head up the tracks on foot while a man and woman stay behind to get a little frisky--yes, the filmmakers went there, partial nudity to boot. Soon enough they realize they're in danger when three modern day cavemen looking vagabonds brutally kill a cop after he catches them raiding a vending machine. The villains end up being one-note savages who's stench alone could make one keel over, who are so dirty they look like they have permanent tans, who's obnoxious growls could make any wild beast run with tail between legs and who's skin is so greasy it could be bottled up to make everlasting Jheri curl solution. From what was initially just a time-killing mistake turns into a killer game of hide and seek till they can come up with a plan to get out safely, including manning and womanning up to fight back as these tunnel dwellers are far from lethargic pushovers looking for a handout but skilled warriors that like to taunt their opponents for the challenge. Now, it's explained that their situation and the groom to be have a coincidental connection in that bachelors some ages ago would be sent out for the night to hunt a stag to prove they could survive the test and provide for their families.

"Stag Night" doesn't even try to be great. The acting is adequate if not award winning. It's more unintentionally funny in some areas than scary despite some foreshadowing and other sections that attempt to stack tension. It uses excessively frantic camera shots to translate the action and fight scenes, but instead cause more hangovers than palpitating hearts. Sometimes the music seems independent from the film with attempted build ups to translate an atmosphere that seems nonexistent. This is a purist horror film that relies heavily on conventions down to the finish line--though one that tries and keeps up and falls short of even breaking through the ribbon. But let's face it this is a one-off movie for rowdy group gatherings that everybody can half pay attention to or wildly talk over, as other classics have been outlined better, came with more interesting characters, had villains that were more mysterious and menacing, or just included more inventive death scenes even though this does produce some decent blood shed and gore. On one hand you can count on it but on the other there's not going to be a ton of things to write home about afterwards. One thing in its credit is the story is pretty straightforward, which isn't always a bad thing as it had its share of plotholes but didn't get entirely confusing or overly ambitious. It sticks to its tried-and-true guns, even if those guns are somewhat dull and worn thin.

Rating: 3/10

Director: Peter A. Dowling (writer "Flightplan")
Stars: Kip Pardue, Vinessa Shaw, Breckin Meyer
Link: IMDB


10 things to learn from "Stag Night":

10. New York looks awfully like Bulgaria.
9. Cell phones have to be explained in every modern horror movie.
8. Brothers don't always look or sound alike.
7. Neanderthals never went extinct.
6. Strippers read.
5. Mannequins watch TV too.
4. Women fall for the nice guy, not the jerk--right.
3. Kids aren't so cute.
2. Never let your guard down before the finish line.

And the most obvious one of all:
1. Never step off a train before your destination.

Downloading Nancy (2008) - 3 of 3: Internet Death Fetish Trilogy

At wits end

When the printing press was invented it spread media quicker and farther than ever before. Fast forward to the information age where written documents as well as ways of communicating went digital from the invention of the computer and then a way to connect them to others: The Internet. Writing letters turned into e-mails and inked articles went way of text on a blog. This story uses the modern way of communicating and connecting to others but as an outlet for darker reasons rather than opportunity or forward outlooks. And what makes this tale so haunting is that is was inspired by real events with some cinematic liberties altered from a 1996 case about a woman named Sharon Lopatka who went by the name of Nancy over the computer.

"Downloading Nancy" is about a down-on-this-world woman, played by Maria Bello, who searches for someone on the Internet that would take her life as she's tried herself with scars to show for it. Not to mention going to therapy sessions to resolve her long list of deep-rooted issues without any substantial luck. She's married and unable to have kids due to being abused and suffering physical pain as a little girl. Her husband Albert, played by Rufus Sewell, doesn't understand her need for infliction during intercourse, and after 15 years of marriage is fed up with her immature and selfish ways of dealing with problems. He has golf and other hobbies to keep himself distracted, not to mention they sleep next to each other, yet are worlds apart. Nancy finds her guy, or so he says, and takes off with only a nondescript note left over to her husband. The newly met man from online seems the perfect match to give her the rough stimulation she feels she needs. Nancy has her highs and lows, from emotional to withdrawn, giving a torn decision to the man who's now infatuated with her.

Slow, serious, subtle, "Downloading Nancy" builds up by showing rather than telling how this woman got to the desperate, manic, end-all state she's at. There are loose, hand-held camera shots that put you there. Sometimes hiding behind something to give the point of view of witnessing and experiencing it first hand. The settings are dulled with drab colors and neutral furniture to give an oppressive tone without overdoing it and trying to be creepy. Maria Bello does an excellent job of playing a pessimistic woman with more than one troubling issue to contend with. Her impulsive ways make her unpredictable and unlikable, though there is a feeling of pity as she can't even help herself.

This doesn't have the typical amount of hope or resolve that you see in Hollywood pictures, but it's filled with real feelings of emotion that radiate from the screen. The film doesn't have any good guys or bad guys, and it isn't a horror tale as it won't happen to you due to both individuals being willing participants. It just unfolds this strange tale of how the Internet brought these two together, who would have otherwise never met as they're several states over. Though Nancy had stacking problems that were becoming too much to handle, and this was her way of finding an answer to solve it all by including this man to take charge of her life without question. The amount of blind trust she put into him might say more about herself than him. (If you missed 'em see my profile and click chronological for first review "Grimm Love" or the second "Cannibal.")

Rating: 9/10

Stars: Maria Bello, Rufus Sewell, Jason Patric, Michael Nyqvist
Links: IMDB Real life story