Hold the Dark (2018)

Rage; isolation; canines

By: JWBM

"Hold the Dark" takes place in a particular area of Alaska that becomes a character in itself. It's cold, it's harsh, it's remote: it attracts a variety of different types that adapt to a degree, or transform into something else entirely. The sleepy town gets turned up side down when a researcher gets called to look into a local woman's child who was recently visited by wolves.

At the forefront of this feature, the atmosphere and pacing has a certain grip that squeezes tighter and tighter. It's intense, somber, and transfixing—wanting to see more and be involved with these particular people and this particular place. It's as dark, moody, and violent as a thriller at select times, while also being heavy on the mystery, and sporadic with knives-raised, guns-drawn action. It's full of bizarre behaviors and motivations that'll make you cock the head to the side, and then possibly lock a few doors just in case. On the one hand your brain has a hundred and one questions, but on the other you feel the sheer ferocity and emotional impact of the moment. The film has so many bizarre aspects going on as to be its own form of an alternate reality that goes back and forth between rightfully teasing your sense of disbelief to making you question its take on rational viewpoints. The story is layered in enough elusive directions that it might take two viewings and some clever discussions with your friends to unravel it all.

"Hold the Dark" comes across as a mix of mental illness, supernatural hints, animalistic behavior, and forgotten/neglected locals who've lost their way. There are times where you have something to follow; there are other times where you are led astray to have a surprise that hits you broadside. The film is methodical and carefully paced—crafting and developing a certain scene before moving on to the next sensation. The story isn't going to take the place of other features with richer character development and more dramatic moments you can sympathize with. Though it took something you've probably seen before and gave it a unique, more aesthetic spin. In other hands it could have been a complete, convoluted mess from so many angles and tone shifts.

What's interesting is with or without the mystery angle, it still works as a cold-blooded, unmerciful revenge thriller involving the woman's husband who's returned from war with a cold, unflinching demeanor and a dangerous set of skills. As often seen, the person goes through a transformation, but there's never a clear cut winner on either side. Just fragments of emotions with jagged corners that still manage to cut and sting when reflected on.

Rating: 7.5/10

Director: Jeremy Saulnier (Blue Ruin; Green Room)
Actors: Jeffrey Wright; Alexander Skarsgard
Info: IMDB link
Trailer: YouTube link

May the Devil Take You (2018)

You may lose your lunch

By: JWBM

An evil witch and a greedy man walk into a basement. No, that's not a setup for a joke. But what transpires is a pact sealed with hair and blood that turns hellish for everyone related to the man then after.

"May the Devil Take You" is an Indonesian spin on what "The Evil Dead" and "Drag Me to Hell" did for overpowering demons and impossible curses let loose on seemingly ordinary people. It's like an amusement ride of inventive scares and frights: the kind where you get a jump and nervous laugh, but then can't wait for the next one. It's over-the-top, which makes it more fun, tingling, and with a gross-out factor than it is outright chilling to the bone. Though some of the imagery that goes along with it can leave dark impressions still present after you blink. It works on a different level due to creating their own grisly mechanics and hideous landscapes to get lost in.

The story is as basic and timeless as they come, however the filmmakers turned this into a unique and moody experience that feels like the lines got blurred to a never ending nightmare that's at odds with reality or rationality. The performances at times dance between being grounded, exaggeratedly cinematic, to going off the rails; though are often recovered from the next moment by throwing something else new at you. While the film has a certain flow that keeps the senses alive, some scenes feel more pieced together rather than seamless to a consistent timeline.

"May the Devil Take You" is the kind of film where some drama and story is established, but ends up being background fodder and long forgotten for the real reason the premise was set up: to trap a bunch of unsuspecting victims in a house and one by one torture them and ultimately take their souls. Yep, it's sadistic and effective enough with a certain mood, sense of kinetic action, and built-up suspense that your eyes become frozen to the screen to not miss a thing. You end up rooting for both sides due to a fight that looks every bit as grueling, passionate, and animalistic as they come. There's no time limit, the rules are loose, though the stakes may be your life. But who's counting?

Rating: 7/10

Director: Timo Tjahjanto (Macabre; Headshot)
Actors: Chelsea Islan
Info: IMDB link
Trailer: YouTube link

The Harvesting (2018)

Stubborn minds never heed to warnings

By: JWBM

A family moves away from the city for an attempt at rekindling a deeper connection, while at the same time putting to rest deeper issues between husband and wife. The destination is a remote house in the country—specifically Amish country—where the grass is greener, air is cleaner, and things are simpler than the concrete, technological boxes we've trapped ourselves in. This puts them more in touch with nature: something that can bring about a tranquil side of us, or a more primal one that can be a beast to contain once unleashed.

The framework of "The Harvesting" (aka "Soul Harvest") is built around a psychological horror drama. The story is basic in itself, though it has a certain gravitating fluidity to it from the rhythmic camera work to the worked through and natural dialogue. I mean, simple Amish folks and remote landscapes with nothing but wind to create drama with leaves and blades of grass isn't something you'd think would stir the senses or interest. Though the film has a certain consistency to it to draw you in to see what comes next with this particular place and these set of people.

This has a unique dynamic to it with how it splices between troubles in the established Amish household, and then to the newly arrived city folks. The woods act as a looming central character to bridge them together. Instead of a knife wielding maniac, this acts as a villain that distorts thoughts and reality for someone who lets turmoil, anger, and confusion into their mind. It makes it feel more relatable than seeing someone playing hide and seek with a Michael Myers clone in your everyday horror feature. There are certainly scares, though not of the pop-out, blood-and-guts variety. More like ones that slowly get under your skin and are more uncomfortable and unsettling than they are outright all-at-once stressful.

Unlike some other horror features that use drama between the characters as filler, or to create a false sense of tension, this uses it as an integral part of its story. This is more subtle than, say, a survival horror that delivers a one-body-down, who's who, visceral experience you can almost reach out and touch. The film has a rough outline at times that weaves and bobs between tracing along the dotted line to connect through down-to-earth vibes of relationships, to then steering off the path into uncharted territory that doesn't come with hand painted signs to tell you how far you've come or where you're headed to next. It makes the brain turn over a little more than outright spilling the beans or holding your hand. While the story wasn't mind-blowing from what's been done before, and the final destination wasn't flooring, "The Harvesting" is still a well-made film from a series of worked through mechanics to keep you engaged using a premise that some might otherwise over look.

Rating: 7.5/10

Director: Ivan Kraljevic
Actors: Chris Conner, Elena Caruso, Greg Wood
Info: IMDB link
Trailer: YouTube trailer

Hereditary (2018)

A day that doesn't reset

By: JWBM

Us humans are strange creatures: what we do, or choose not to do for love; how we bond, how we disconnect; how we deal with loss, how we don't deal at all. This is a film that takes on these aspects—while not making an attempt to resolve them—but to instead explore their darkest crevices in order to remind you sad and evil concepts exist in ordinary places. 

There are so many themes going on with "Hereditary" that it's really a puzzle to unlock or keep track of all of them. Some of them fit smoothly in place—such as death of family members, or what happens to someone's spirit—while others are over-the-top to intentionally jar your senses—such as giving perspective through miniature sets. It's one of those tales where just about every negative aspect of family life, mental health, and even general social cues are thrown at you. If you were feeling down beforehand, it may not be a great idea to toss this on. It's a nightmare waiting to explode and selfishly take you with it.

Loss and more loss; coupled with resentment of a family hanging on the balance of mere threads. It's like watching "Ordinary People" that crossed the line into something like "It Follows" with an equally methodical and atmosphere drenched experience. It's one of those films where it would be your undoing to put your guard down. There are constant sound effects that remind the viewer of mounting, unresolved tensions in the air, or that secretive things are to come. They can range from fitting the mood, to annoyingly hypnotic and going against the scene. The experience is one unsettling set up after the next. The atmosphere is a combination of the strange, mysterious, and uncomfortable. The pacing is frequently reduced to a crawl; it oozes and seeps into cracks of your senses, lingering, unable to shake it off. It's patient, but unlike a good friend, it's punishing when you catch up.

The perspective takes turns pivoting between family members, with the father mostly keeping it together, though with the mother, Annie, frequently pulling it apart. She's on edge and mentally anguished to begin with, combined with being emotionally distraught over the recent events. Rarely is she not anxiety riddled and on the verge of a breakdown from one stress after the next. It gives a certain dramatic and psychological element to the film if its subject matter wasn't enough. Toni Collette goes all out as Annie, to where every ounce of her brain chemistry and body language is thrown into the role. It's far from playing it safe or not going there. She's already there and then some. No one would second guess what she's going through.

This wasn't a perfect experience through and through. Though for a number of reasons it was a memorable experience: unique, suspenseful, atmospheric, and full of creative ways to terrorize. There are some truly disturbing scenes that make the skin crawl, rather than your typical horror with lazy pop and scare antics. Its pacing can both help and hurt the film. At a few points in the beginning, while they gave some odd cues, and stacked on the misery, they lost me for greater reasoning or having a stable backbone than a formless shape; I was led somewhere, but my interest started to float and come off the tracks. Though once a few more pieces got introduced, it started to ground itself and come together. That might have been the director's balance between being overly careful, but at the same time ambitious for his first full length feature. It's as if he over-planned, rather than under like most other features. For better or worse, he still gets the brain to search, tempting you to dissect the layers and hidden messages.

Dim the lights, break out the candles, and make sure you have enough time to process with your support group before going to sleep—if you have one, or can that is.

Rating: 7.5/10

Director: Ari Aster
Actors: Toni Collette, Gabriel Byrne, Alex Wolff, Milly Shapiro
Info: IMDB link
Trailer: Youtube link

Bird Box (2018)

Evening the playing field on classism 

By: JWBM

When everything as we know it gets turned up on its head. Where people become infected and are compelled to take their own lives. Who becomes left must think on their feet and put aside emotions and comforts. What your next move is may determine your fate. Why this is all happening is the least important question now. We must move on.

A sudden epidemic occurs in the blink of an eye. People are dying; in droves. It's violent, it's chaotic, it's something few of us could have prepared for. As the bodies start to pile, survival mode kicks in with those left still standing. They must adapt to their new surroundings, while saying forever goodbye to most of their friends and loved ones.

This film acts like a well greased machine: having purpose, momentum, and, above all, a story to tell that's more about the human condition than it is about the specific horrors taking place. At fist, I thought the film was absent of emotional impact, with the performers following the script of a world-gone-to-hell scenario to the T. Sure, there was confusion, terror, and ferocity to get the blood flowing and to check to see if your senses are alive; I was searching for the kind of relatable feeling from someone reeling from having their existence beaten and nearly crushed beneath the soles of more powerful boots. Though, through a series of flashbacks, it gradually opens up and gives the characters room to grow and breathe. With all things considered of how the world decided to nearly end, it's even a luxury to plan your trip just down the block, never mind a spare moment to shed a tear, or open your eyes.

This isn't going to be exactly like, say, "The Road" with a predominately grim, head-in-the-sand backdrop, or even "The Walking Dead" with a focus on gore and attempting to one up itself with intensity. While this still deals with some drama and a lead character that has a sense of will power and survival to put individual feelings on the back burner and move on, it also has some more hope and less rough scenes mixed in without attempts to pull the carpet out from under you like your everyday horror film. It feels more a post-apocalyptic drama at times than it does a stab-stab-stab, shoot-shoot-shoot experience.

While this wasn't necessarily original if one broke the story down to the nitty-gritty, it's told in a unique, fluid way that manages to generate interest in what's going to happen, or where the characters are going to be taken. There are inconsistencies of how certain characters don't age or change physically, or even how this is all supposed to work at times. Is it scientific? Is it spiritual? Some do one thing, while other types do another. It wasn't as vague as "Vanishing on 7th Street" with people suddenly disappearing with next to no explanation, and a survival situation that left one empty on content. You still feel the shock and also grasp the basic outline, while employing some down-to-earth characteristics in between to ground it.

It's all about the fallout. I feel the main intention of "Bird Box" is to concentrate on change, along with survivalism and human development of the lead, Malorie, who didn't connect with society before things went down the tube. Sandra Bullock gives the character a give and take of a tough but emotionally stifled framework. There's a pounding heart somewhere in there; she just chooses to suppress it. How many of us rely on our phones, video games, and computers to fill voids? How many of us walk by people without a nod or a hello? How many of us drink ourselves stupid? How many of us would step over someone else to climb just another notch in the ladder of life? Take away all material things, comforts, and jobs. Now everywhere you look, humans have a collective interest and actual stakes. It's no longer this separate classism we pretend exists. But a unified drive to survive.

Rating: 7.5/10

Director: Susanne Bier (In a Better World, After the Wedding)
Actors: Sandra Bullock, Trevante Rhodes, John Malkovich
Info: IMDB link
Trailer: Youtube trailer

Nacho Cerdà's shorts II: Aftermath (1994)

Lust at the morgue

By: JWBM

This film is less like your typical cinematic story arc and more like an experience to rattle your senses. Instead of walking away enlightened, you'll end up limping into a corner for a pause or time out from life itself. Stripped away are the usual avenues in a movie to get behind or follow. This has a one-track direction that starts out with an uneasy feeling that eventually escalates into shakes all over and permanently imprinted imagery behind the eyelids of every blink.

Some of us have jobs where we are micromanaged by a supervisor in the same room, or even other co-workers or customers with senses acute to anything out of the ordinary that may be reported. You've probably heard of every possible infraction where the person was caught red handed, or is whistling down the road ever so quietly to their next line of work. Then there are others that have a certain amount of leeway and trust when it comes to their job, whether they work alone or only check in under certain circumstances. I'd wager the temptation or probability of getting away with something comes with a higher average. But that's what separates one person with a steadfast moral framework, and someone else with less scruples provided with just the right opportunity. What's the worst act you can think of? If you guessed cheating the company, you may be jaded but still normal. If you guessed necrophilia, you might have a morbid imagination reserved for the likes of our main star in "Aftermath" who—you guessed it—works in a mortuary practically unsupervised. If you're wondering how something like this got to this point, this is the documentation of just that.

This isn't a film to see twice, at least on your own. It doesn't represent anything or make any statements—minuscule or grand—it mainly attempts to catch you off guard with a sense of shock using credible, life-like effects. One of those, "Wait till this uptight party gets a load of this!" My first experience with "Aftermath" was with a bootleg VHS tape that was dubbed over enough times to look like a real home video. The DVD version is much sharper by comparison and shows that it has a decent enough budget for what they set out to do. Unlike other times when certain films get a cleaned up makeover, you'll rarely second guess the gore effects, or how genuine the sets look like here. It's strange seeing this in widescreen with classical music and a sense of careful, artistic direction while depraved acts are taking place in the background. The idea of not having dialogue was brilliant as it forces your senses to focus on the moment by moment without a break to look away. As unorthodox as it is, it still comes with a purpose, a measured pacing, and a grand finale that'll be hard to top as far as shock value goes.

Overall, this works for what it is. It's not a horror film that's going to beat out, say, "Psycho," or even take its place, it's essentially a sub-genre of taking the medium and seeing the amount of distance over the line it made it. Similar to "Flower of Flesh and Blood," or "Men Behind the Sun," you'll probably do more talking about them, than actual time watching them.

Rating: 7/10

Director: Nacho Cerdà (The Awakening)
Info: IMDB link
Trailer: Youtube link

Abraham Lincoln: Vampire Hunter (2012)

Abraham Van Lincoln

By: JWBM

When the trailer for this film first came out, I was tightly crossing my arms and thinking this was probably nothing but a silly gimmick solely concocted by Hollywood to sell some tickets and run. Then again, Romanians probably think those odd for using loose elements of the historical figure of Vlad Tepes and transforming him into a fanged dark lord. The premise of "Vampire Hunter" is just as over-the-top and ludicrous as you'd expect, though surprisingly it has a certain level of entertainment and charm to it that manages to keep one's attention throughout. Instead of going the route of historical revisionism with a comedic approach and a vibe like "Bill & Ted" or "Clone High," this blends fantasy, action, and horror into a more serious undertaking of an alternate timeline to Lincoln's life—as serious as throwing popcorn in your mouth, while not cracking a smile from one-liners that is. You can imagine, though, Lincoln's real-life relatives are rolling in their graves.

What I like about the story is it will do something that would question your sense of disbelief, but then in the next scene act more grounded and allow room to breathe. It begins as a simple revenge tale with a formula taken straight out of the textbook of an old kung fu film. You know the one: an all-knowing master that's willing to show the ways of the secret arts in a short amount of time for the ultimate show down with the all-powerful villain who prays on the weak. You get fancy moves that defy physics, philosophical catch phrases, and now a more hardened and determined character with a silver tipped axe that acts as if he has the confidence of a gang of ten men. Lincoln still has a certain calm temperament between slayings: enough that he still doesn't lie, manages to bag the hottest lass in town, and become president of the United States of America no less with the intent to abolish slavery.

The film has a massive budget to show off an array of stylish and slick action scenes that'll make the eyes-wide and your imagination go wild. This is coming from the director of "Night Watch" and "Wanted" if that says anything for how far someone's abilities are going to be taken, or how the aesthetics of the scene will perfectly line up in a smooth fashion. Sometimes so much so that some powers and certain rules are inconsistent over the measured timing of certain parts. If not for some moments to tie in Lincoln's life, the film would be a solid action flick throughout. The horror side of it goes only as far as being mildly surprising, rather than outright terrifying due to only so many limitations from the monsters; plus an odd sense of boosted strength from humans as well. It's more like a neck and neck good versus evil tale, than a total domination creature feature.

We've seen countless vampire stories since Stoker's novel hit the shelves. Some of them tried and true Gothic tales; others more modern to look like they're happening right next door; or as an excuse for amped up sexuality, or violence. Here, we have a whole new creative animal: it's eccentric, it's unconventional, it's a history professor's worst nightmare, though one must accept that before going in. That still doesn't excuse the overall experience. It's a senseless premise that still keeps its senses when played out. It does have a certain flow that doesn't snag, a sense of worked-through plot, the actors overall have a certain refinement and take it as seriously as they can, and, most importantly, it can be down-right fun at times. Put on your horse blinders, don't look back, and enjoy the ride.

Rating: 7/10

Director: Timur Bekmambetov (Night Watch; Wanted)
Actors: (Benjamin Walker; Dominic Cooper; Mary Elizabeth Winstead; Rufus Sewell)
Info: IMDB link
Trailer: Youtube link

Omen III: The Final Conflict (1981)

Seeing is bel... an early grave

By: JWBM

"Beware of false prophets, who come to you in sheep's clothing but inwardly are ravenous wolves." - Matthew 7:15

This installment takes on a more mystical approach of how the prophecy is shaped: you have your secret holy league that each carries an ancient dagger of Meggido; astrologers are reporting strange alignments and phenomenon; faith is either questioned or strengthened by dividing and conquering by the great deceiver and his devout followers. Many have wondered over the last two millennia how the battle of battles will be fought. There are those for them, against them, or will be forced to endure the ordeal and make a decision. A recurrent theme in "The Omen" series is seeing is believing. To a good many, these are mere words on paper; here, few assume it will happen, or their time will be the One.

This is a world that's already been foretold: anything to interrupt or otherwise end that timeline has grave consequences—for the Antichrist is only getting fiercer and growing taller as the bodies pile at his feet. Instead of possessing an intimidating and obvious forked tongue and horns on his head, he's entrusted with respect and position, not to mention is gifted with charm, and always knows how to say the right thing at the right time to gain his way or influence. If you already didn't know, but suddenly find out, your fate will be sealed for you. Chances are those who stand their ground or aren't satisfied with turning a blind eye will get more instant pain and suffering than anyone. That's the duality of these films, in that they can work to scare either in an ingrained moral sense, or with foreboding action.

One of the strengths of this film—that the second missed—is that it moves with you. There is a certain intriguing and suspenseful, moment-by-moment aspect that you can get lost or affected by. It no doubt deals with similar subject matters and motifs, though the direction begins with the tone all over the place to generate some realism, to then gripping the reigns tighter and tighter, rather than just guiding loosely throughout and expecting the audience to follow along at the same pace. This sets mood with a sure foot. Some of the setups and situations are basic, but carry more weight as a result. There are some downright disturbing and chilling scenes, either from something as simple as Damien having a dark prayer with the Lord of the Underground, to seeing a head paint the back wall red to a group of unsuspecting people.

With any film that is heavy on aesthetics, you're going to get certain aspects swept along with everything else. The flow has to move in a general direction at times, with certain aspects highlighted and heightened to stand out. The holy group going after Damien, and certain other characters, come across as such: there to establish a purpose, but not necessarily come with memorable personality. The monks' strategy hardly puts one on the edge of their seat; one could look at it as either Damien is a greater force than any being on earth, or to illustrate the holy league's Top Dog is a force to come.

Sam Neill gives the part of Damien a certain presence and command. The role comes with the most dynamic, in how there's just the right tone, look, or phrase to smooth or dismantle the situation at a flash of the eyes. However, there are times that he also sounds a little bit stiff—being born in Ireland and growing up in New Zealand—with balancing the British and American accent with any bit of volume when the pacing of the film starts to heat up. The love angle with Damien was an interesting inclusion. It could have been a huge risk to the overall tone, or felt like it was thrown in. Though the way it's played—with a back and forth of, "Is this real?" or "Is this fake?," or a little bit of both—was brilliantly executed.

Some say there are certain subject matters that are in bad taste to bring up at the dinner table. In this case, the main themes of the film are a double-whammy with politics and religion. Though, deep at its core is a through and through horror movie with some memorable performances, thematic music, build-ups, plus a number of shocks and surprises to keep you on your toes.

Rating: 7.5/10

Director: Graham Baker
Actors: Sam Neill, Rossano Brazzi, Lisa Harrow
Info: IMDB link
Trailer: Youtube link

Dead Dudes in the House (1991)

Nothing fiercer than a possessed old lady

By: JWBM

What looks to be some lost and forgotten low-budget horror film that has all of the glaring attributes of the year—hairstyles and clothing included—and plays out to a one-by-one-they-die type of film... is, well, exactly that. If you were expecting less, you won't get it. If you were expecting more, you'll get it in different variations of the genre, rather than something profoundly off the charts. It's not new, per se, but somewhat innovative, and still comes with its own memorable personality. It plays on a formula that works, because it's fun, somewhat daring, and just plain ol' entertaining for one guilty pleasure or another. Take your pick.

The plot is fairly simple: a group of adults with nothing better to do help out one of their pals fix up a mansion in the middle of the woods. Things start out innocent enough, till one of them desecrates a head-stone: from there on out, it becomes a need-to-get-out, fight for survival. This comes with its own rules that don't apply outside of this film. Such as sound doesn't travel, the dead aren't really dead, and old women have the cunning of a vicious predator and the strength of Schwarzenegger in his prime. There's nothing more chilling than an all-too-calm hunched-back elderly lady with a talent for creative violence. Her voice goes from sweet innocence to might-as-well-dig-my-own-grave creepy by the time you see what she's capable of.

This shifts in and out of fairly amateur looking filmmaking—from the acting, story, setups—to other scenes that are somewhat impressive in how simple but effective they are. Often times with shoe-string budget features, you get a redundancy of certain aspects. One of the familiar trappings is forced drama between the group to create tension. In a rare move that does work in its own twisted way, this uses a guy who should rightfully be promoted to the kingpin of jerks. He's a professional smart-aleck that gets I-can't-believe-he-said-that-laughs from his off-the-cuff commentary, or his back-and-forth with the others who look annoying enough to deserve it.

The film wastes little time to step up the ante. In under 20 minutes, blood is already splattered on the walls. Like beaten and battered bowling pins just waiting to be knocked down, the characters get it in unique ways. However, the film does start to lose a little steam and become repetitive when it goes from a kind of haunted house/slasher to a sort of survival horror to give the audience a person to root for. This is the kind of experience that's best enjoyed with a group who can point out its pitfalls while simultaneously going along for the entertaining ride that is "Dead Dudes in the House."

Rating: 7/10

Director: James Riffel
Actors: Victor Verhaeghe
Info: IMDB link
Trailer: Youtube link

(Writer's note: the front DVD cover is cringe-worthy, showing six unrelated actors to the film and looking about as trendy and upbeat as an episode of "Saved by the bell." The much cooler looking VHS version, "The House on Tombstone Hill," grabs your attention over this eyesore. Troma needs to get up on showing the real dudes and dudettes involved. There's also conflicting dates: from IMDB's site with '89, Troma's site saying '91, and another version having '92.)

It Comes at Night (2017)

Ideals from a past world

By: JWBM

Post-apocalyptic films have typically been the result of nuclear warfare, climate change, disease, aliens, monsters, or even everyone's favorite brain eaters. These atrocities come in waves. There's the first wave that decimates the largest chunk of the population from catching everyone broadside. The second wave typically takes out the non-fighters and the wrong-place-at-the-wrong-time folks. Then there's the third wave that happens amongst those remaining who have pushed their emotions to the side and grew a sense of survival. It's in this stage—specifically where this story resides—that there comes a defining moment. Now, let me ask you, how does the end of humanity come about? Some might say it happens in a slow decline from the initial disaster, others might include it was in fact us, or some might simply add I did what I had to do and don't recognize that as a valid question. Tough to tell who you are till that moment comes.

"It Comes at Night" presents a simple premise about a man protecting his family in a world gone eerily silent. Instead of a fast-and-furious, blood-soaked feature like "28 Days Later," it comes across as something more along the lines of "The Road": where it's less about the disaster and more about the connections and day-to-day struggle. Something is making those still breathing have to wear gasmasks and arm themselves just in case. A family of five—husband, wife, teenage son, grandfather, and dog—are holed up in the thick of the woods in a barricaded cabin. They've already established a routine for safety, survival, and consistency's sake. Soon enough someone pays a visit looking for supplies. He has a family, he says, that he's trying to protect as well. At first, things look hopeful when everyone combines resources and attempts to break the monotony—though the trust between them never really settles in. 

This is a convincing horror film, though it can feel like an endurance test due to its one-moment-at-a-time pacing. Can you focus during simple, everyday things? Can you read what's on the character's face rather than what doesn't come out of their mouth? Can you keep up with its bleakness? Can you stomach it when the rug gets pulled out from under you time and again? It leaves non-stop action and jump-at-you scares for other features. Instead, it has a tendency to shoot a scene and let it soak in. Then there's the haunting music, grab-your-attention sound effects, and creative angles to capture this building mood that could pop at any moment. There are some basic, but powerful scenes in the house, such as the slow creep-up of the red door—which is the only exit to the outside—and what's frequently happening behind it.

A bulk of the story is captured through the perspective of the teenage boy who still has some emotional connection left to the world of the past. He can't sleep, and, when he does, has startling, drenched-in-sweat nightmares as to what happened, or what's to come from it all. Some of his dreams were unsettling and frightening to witness, even for the brief duration his mind manifested them. Experiencing this through the senses of the characters, on the one hand, keeps the viewer in the dark as to what is happening at large, or what is happening at all at times for that matter. But, on the other hand, it also makes it a little more terrifying as a result from walking around blind to the ominous surroundings without a stick for guidance. It, for sure, gets your brain to turn after the curtains come to a close to make a specific point. Though not sure how much staying power it will have on the second go considering, at heart, it's a simple plot that's mood driven and not filled with layer after layer.  

Rating: 7/10

Director: Trey Edward Shults ("Krisha")

Actors: Joel Edgerton, Kelvin Harrison Jr., Christopher Abbott

Info: IMDB link

Trailer: Youtube link

The Exorcist III (1990)

I believe in pain, death, injustice, and inhumanity

By: JWBM

Some come into this world with the intention of making a comfortable place or establishing a name for themselves. Others come into this world with the intention of destroying those same hopes and dreams. Some civilized folk form a fragile life for themselves of family, bond, and love. This thing of the shadows shatters all sense of security and spits on anything resembling value or sensibility. We're dealing with an entity void of emotion, compassion, forgiveness, or any shred of what's conceived as "good." It's the antithesis of holy, and filled with a raging fire to make every action come with a personal brand of hate and loathing. It might take someone who's numb and cynical to it all: someone who hasn't gone weak in the stomach, or isn't shy about seeing the world for what it really is to have a chance to fight back.

A lieutenant, William Kinderman, is investigating a series of meticulous murders that make even the most notorious serial killer look like a sloppy amateur. The crime scenes radiate with an ice cold cruelty; as if there's a higher predatory intellect toying with them. This is a story that's the equivalent of staring evil in the face and having it stare back with tormented, unflinching eyes. If you've ever stayed up late pondering what lurks out there waiting for your guard to be down, you will find it here crawling on the ceiling or standing behind you with razor sharp shears. This is evil of the purist kind. Unabashedly profane and blasphemous in every sense: there is no balance to this kind of wretchedness. It's at the far end of the spectrum where your surroundings are pitch black except for glowing red eyes and a dangerous means to expunge any morals in the world. Grab your cross tightly and don't let go, because this is the stuff people question their faith over, not to mention what the most hellish of nightmares are written about.

This could be looked at as a story of black versus white. Though traditional holy tactics don't always work here, nor do all of the staples that unholy means fall back on. It gives it more dynamic than a you're-only-on-the-left-side, and you're-only-on-the-right-side kind of story. Some of us often wonder what the battle of heaven and hell would look like. Visually it's been occasionally depicted as organized chaos. A busy scene of art that is as glorious as it is eye-opening. Each sword finds its mark and each person knows their place and purpose. One aspect these depictions sometimes lack is that real aspect of fear, grit, and cold-blooded savagery that weighs on the back of someone going to war. This film is entertaining first and foremost, though it's also capable of making you look over your shoulder and clench your teeth from a side never before seen or imagined. It's also chillingly relatable: some may recognize the streets here, the familiar language and mannerisms, or even just everyday mundane aspects now looked at as a little jaded. This is your home town. Where else would the battle of battles take place? But to the familiar places we experience.

"The Exorcist III" found itself in a unique position. It's a sequel for one, that came out after a poor excuse for a second movie at that. The first film was groundbreaking in every sense. The second was a pitiful cash grab that failed in more than one way. The author, William Peter Blatty, however, decided to take back control of his creative work and write a sequel to his 1971 book. "The Exorcist III" is based on the novel "Legion" from 1983, and is the true sequel to the first. Admittedly, when I caught this film after the fact in the 2000s I wasn't sure what to expect, but was then blown away at how effective of a horror experience this was. Especially coming out a good 17 years after the first. I've read both books. The first book is on par with the film. Though, with the second book, I feel the movie ended up being more powerful for its sense of putting you in the moment instead of the constant ramblings from Kinderman that were ultimately distracting. In the film they seem to be more balanced out.

There are certain conveniences here to piece together some scenes. That might be the innocence of author-turned-director William Peter Blatty. Though there are so many scenes that lead up to something memorable, not to mention how effective the overall mood is, that I often overlook them. While the film is no doubt littered with atmosphere and symbolism, there is a certain type of dry humor sprinkled in to lighten up the dark portions. Guess it's to make it so your nightmares are a little more cheery than all-out harsh. Kinderman has a thick skin and a sense of sarcasm from being unshielded to the ugliness of the world on a daily basis. If not for his ability to compartmentalize, it makes you wonder how or why he decided to establish a family in this world.

Another aspect that deserves an award in itself is the use of sound effects and suggestions. It's so effective that I have false memories of this being more violent and visually disturbing than what was actually shown. The direction is also daring in that it's not afraid to go there. I mean, other horror films typically have a certain truce or a pause that gives balance, while this makes it so recognizably safe havens are now filled with looming shadows and memories of terror. Anywhere from a church confessional, a hospital, to even your own kitchen after a day's hard work.

The performances by both George C. Scott and Brad Dourif where simply amazing. Some horror films out there are held together or lopsided by the direction, cinematography, effects, settings, or the soundtrack. While this does the same to enhance the experience and fill in the gaps, it also finds itself in a unique position of having excellent acting by the two leads. Scott, as Lt. Kinderman, isn't spewing line after line, though he brings a certain presence and command to the role each time he's on screen. As if he could turn towards the viewer and be commanding enough for them to get up off the couch and do it. Dourif—as the Gemini killer—on the other hand, is nothing but lines, but delivers them with unique emphasis on syllables and with the tone of his voice that it seems to bypass making the little hairs stick up, and dig deeper to chill your bones.

This is a horror film that I wish I made. It's a film that some other films wish they could have been. It broke down a barrier from some '80s films that had shameless, on-purpose trends and what-was-happening moments, to usher in a wave of horror that felt genuinely horrifying. Recommended in every sense for a truly frightening, enveloping experience that is sure to stick with you afterwards.

Rating: 9.5/10

Director: William Peter Blatty
Actors: George C. Scott, Brad Dourif
Info: IMDB link
Trailer: Youtube link

Regression (2015)

Satanic cults and dream-like sequences

By: JWBM

Hoyer, Minnesota: 1990. A father walks into the local police station claiming "he did it" and that "his daughter never lies" to the chief and lead detective. He's not exactly father of the year material, but his memory is a little fuzzy to say the least. His confession is related to an accusation his daughter made recently about being raped. She's shaken up enough to stay at the local church under the wing of the town priest till her dark and disturbing allegations come to light. This makes for a complex story that goes deeper and gets stranger as the more time presses on. It presents an "inspired by real events" scenario of satanic ritual abuse in the modern day that's linked to what happened. What you're about to see and experience took a town and part of a nation by storm reminiscent to the real-life—though controversial—book "Michelle Remembers" from 1980.

I have to admit, describing this movie in a general sense is going to come across as cartoonish. It's a story that's a tough sell in that it needs to be expanded on, rather than briefly summarized. However, talking around spoilers is another feat in itself. If you step back and take an overview, it's essentially what hysteria looks like. It's what separates the rational from the irrational. It's where facts start to fade and gaps are filled with loose interpretations and in-the-moment perceptions. The story has concrete aspects to it, no doubt, but it also has some abstract ideas as well that are better left played out like you were there yourself. That's the power of the direction here from Alejandro Amenábar ("The Others," "Open Your Eyes"). It could have easily fumbled out of the gate, or had your eyes rolling before the timer went off for the popcorn in the microwave. Though it managed to put you in the moment by moment to see what they see, and feel what they feel. Something like this doesn't happen in an instant, but in a series of instances.

This is mainly a crime-mystery with remnants of drama and shreds of horror. It presents itself as a who-dunnit with a snappy pacing: like you slowly pressed a hot poker to step up the heat. The revelations and situations come one after the other, and increasingly more paranoid and helter-skelter as it steps up the level of tension. There's aspects of crime, religion, and psychology that are mixed into a chaotic and ambiguous reality. It uses these unique flash backs and dream sequences that come across as downright chilling and creepy. The funny part is they feel more effective than outright horror movies that are actually trying to be scary. The amount of emotional uproar at times from the cast here concerning the confusing and conflicting circumstances lends credence to it all. From Ethan Hawke's transformation as the lead detective; to the grief-stricken and tormented dad; and even the son and his inexplicable denial and anger.

"Regression" is a tale that causes the mind to spiral out of control from the seemingly impossible and illogical. 'Could this all be happening right under our noses?' Our brain tries to rationalize through bits and pieces of evidence and stimuli: whether that be from the sensationalist media reports on TV; to how someone interpreted a trauma in an interview; to just a simple stare from a stranger in public, or a phone call with no one on the other end of the line. It keeps you on your toes and guessing as a viewer. There's no shortage. However, for a portion of the film, it gets to be a little bewildering and ungrounded at points in how ambiguous the tone is, along with the amount of subjects and circumstances thrown at you. It took me two different viewings to get my review straight. It presents a double-edged sword. You get plenty of grab-you-by-the-collar-of-your-shirt atmosphere and great performances out of the actors as a result, but you're somewhat grasping at the air at times till it decides to suddenly switch gears and wrap up its loose ends in a more stream-lined approach.

If you're looking for something to not only distract your mind but to make the heart race with some memorable, out-there moments, then this might be up your alley.

Rating: 7.5/10

Director: Alejandro Amenábar ("Thesis," "The Sea Inside," "Agora")
Actors: Ethan Hawke, Emma Watson, David Thewlis, David Dencik
Info: IMDB link
Trailer: Youtube link

Additional info: The book in this story, "In Satan's Name," feels like an inspiration from the real life book "Michelle Remembers" that details a young woman's account of satanic ritual abuse.

Fallen (1998)

Some things aren't meant to be noticed

By: JWBM

Many of us have seen or heard of some bad things in our time—often dabbling with revolving questions as to the whys or hows. As terrible and backwards as these actions may seem, there is always some kind of motive or basis. However, fewer have encountered pure evil, or outright morally reprehensible actions that defy general reason or logic. The head scratchers: till your head starts to bleed from its nightmarish implications. These actions are predatory and purposeful, and executed by a higher than average intellect than your typical goon. As if a lion grew a conscious outside of basic instincts and started to look at anything beneath him as an object to toy with. When these dark and questionable things occur, we wonder how any human-being could have been behind them. Is that individual actually flesh and blood like you or I? You'd think this was primarily a question for a priest, but many detectives lay witness to scenes that the average person's eyes would come unglued from.

Detective John Hobbes is feeling on top of the world. He's done caught and bagged the infamous serial killer Edgar Reese, and is now about to watch his execution with a smug grin. Except soon afterwards more murders start to crop up that look suspiciously close to Reese's handiwork. At this point, nothing makes logical sense when the connections or evidence doesn't line up. The detective soon finds out that he may be in over his head when it deals with a power far beyond what he's capable of stopping as just a mortal man with a badge and gun.

The film employs a voice over narrative to give some further thoughts from Hobbes. At times it gives perspective, but at other times they should have scaled back and did a little more show than tell. Denzel Washington—as John Hobbes—gives the role some command and a natural flow in how he delivers his lines in real-speak. He's not just going for what's on the page, but brings to the table little subtleties to make the character feel like a real guy with an on-screen presence each time the camera is fixed on him. He portrays him as a man who was on top of the world—ready to take on any challenge—until he's slowly pulled down by its weight. Though not willingly. Elias Koteas gives a short, but memorable role as Edgar Reese: the emotionally disturbed man about to be executed, but has the enthusiasm of someone who just won a weekend trip to Disneyland for serial killers.

"Fallen" is a thriller bordering on horror that mixes a little bit of "The Exorcist III," "The Prophecy," and "Seven" with its own flair. It does a great job at balancing down-to-earth subject matters with others that may be normally looked at as far-fetched or out there. Those into "The X-Files"-like themes, might make a smooth transition into this story likewise from the '90s. "Fallen" takes them in stride and examines them one moment at a time. By keeping it basic, it flows with some finesse even after 20 years of hitting the big screen. The movie does add some dynamic to its pacing by sprinkling in bits of mystery, drama, and suspense. Though there are times where the film plods along; versus keeping your mind searching, or capable of examining deeper ideas beyond the ones shown. Then again, the story doesn't have the intention of being a race to the finish or biting off more than it can chew. Take that for what it's worth.

This makes for a simple tale, but a well-deserving experience due to the natural interactions between the characters, the real life looking settings, the memorable tones of the soundtrack, and the cinematography that gives another perspective besides what would normally be right in front of your eyes.

Rating: 7/10

Director: Gregory Hoblit ("NYPD Blue," "Primal Fear")
Actors: Denzel Washington, John Goodman, Donald Sutherland, James Gandolfini, Elias Koteas
Info: IMDB link
Trailer: Youtube link

Naked Blood (1996)

Blurring the lines of pain and pleasure

By : JWBM

"Naked Blood" in a way feels like a what-if scenario played out. It begins with its premise of a young, hopeful—though amateur—scientist that engineers a drug to make what was painful before, now feel a little too amazing. Just a pinch too much. Or a stab. You get the point. Then comes the setup of him giving it to a group of young ladies who think they're taking just an innocent contraceptive as part of a control group headed by his mother—who is also a scientist, but of the professional kind. This is low budget horror from Japan no less. There's carnage, weirdness, and some hidden symbolism thrown in for good measure. As you can imagine, this is not going to end well for anyone involved. That goes for the viewer, too. Some things you just can't unsee.

Is there such a thing as being in a state of pure elation? Pain and pleasure balance us, though steer it too much towards one or the other and a divide is broken. Too much pain and we lose our spirits; too much pleasure and we turn to simpletons who can't resist. The pacing sets up a slow escalation to create an obsessive atmosphere of eroticism, violence, and death. The film is littered with closest fetishes, not to mention odd interactions and reactions from character to character. That could also partly be the overall acting, which occasionally just gets by in a "We're just reading what's on the page and letting the story transport us from scene-to-scene" kind of way.

What the film does well is how it transitions to break down its boundaries. Bits of the story aren't always explained in depth. This just grazes the surface, which—in itself—keeps things abstract and as a surreal experience. There's also the other side of it that doesn't blink. The prosthetic effects and camera angles are full of close-up, gruesome shots and situations, where the viewpoint locks in tight and doesn't pull away till the last drop is spilled and someone is crying for more. With the home-video-like quality, it covers up some blemishes and makes them a little more realistic looking. It's creative and memorable with its gore and visuals. You'll never look at tempura, nipples, or even cactus the same again.

This begins as a tale of one young man's naive quest. As the journey is laid out, it looks like just an excuse to lure the viewer in to another exploitative dark alleyway full of dangerous characters and blood splattered walls. Though there ends up being some hidden messages written on the walls to the overall story arc that might be missed on the first viewing. I have my own theories, which can make it more of an entangling experience either way. It's not as out there as, say, "Tetsuo" as it starts out normal enough. Though by its finale, you still might keep the light on longer than normal pondering about what you just saw and how you're going to reason with it.

Rating: 7/10

Director: Hisayasu Sato
Actors: Sadao Abe, Misa Aika
Info: IMDB
Link: Youtube

Death Sentence (2007)

Nothing more ferocious than a father with rage

By: JWBM

What we build up in this world is a fragile balance. We set up safe-guards, and make it our constant goal to maintain what we have built up for ourselves. As flesh and blood we are vulnerable. When we let our guard down, we're capable of being free and happy, but at the same time we leave ourselves open to danger and potential physical or emotional harm. When we're overly cautious, mistrusting or paranoid, we stand a better chance at being protected, but at the same time we are just existing till the next moment.

Being a loose adaptation to the second book of "Death Wish"—yep, the one made into a film with Charles Bronson all those years ago—the story and pacing doesn't waste much time breaking into it. I guess, the filmmakers—James Wan of "Saw" infamy—realized you've had years and years of sequels and similar spin-offs in the meantime to not trick you into thinking this is a new concept. What happens to this man's son is senseless and tragic no doubt, though the story doesn't dwell for long after said incident. Its main intention from the get-go is to break into some energetic action sequences where one seems to top the next. Kevin Bacon—playing the enraged father—doesn't get a chance to express a full range of drama, but gets down and dirty for a share of dynamic, high-octane scenes. What makes them unique is their sense of putting you in the moment. For instance, after years of getting spoiled with Hong Kong action flicks where the camera doesn't blink, the choreography is more important than the dialogue, and the actors don't shy away from a few bruised knees and broken arms, I get tired of seeing pieced together shots of other films with a gazillion takes. I'm looking squarely at you "Bourne Identity." Especially when the budget is through the roof.

"Death Sentence" is more a simple tale of revenge than going for the more complex, the-law-can't-help me route. It's essentially the emotional progression of grief turned to anger turned to blind rage. It's relatable in that it's what happens when we sit around and can't listen to anymore of our own thoughts and must seek out some kind of external answers through action. What happens after is purely cinematic, of course. Though what the character finds from this progression opens up a door to another shadowy world full of further grave possibilities that he may not have bargained for. Can the average man prepare himself for that compared to gang members that are practically born into it? Or police that are mentally and physically trained for it? He is a tad bit angry, which might help.

The story of "Death Sentence" is somewhat formulaic and straightforward. If you had more time to think during this white-knuckle, hair-blowing-everywhere ride, you might be bothered that the filmmakers just used the set up to get the gears greased with blood, while not actually outright saying anything profound on the subject after this many years. But don't let that stop you from checking this out though. It works in other ways. It delivers the goods either fast enough or stylish enough to set aside the thinking cap for another film that moves at a snail's pace. It's one of those tales where you need to suspend your disbelief from time to time. I mean, guy goes from behind-the-desk warrior to knife-in-teeth commando in no time. Police are practically no where to be found when needed and are always conveniently showing up after the fact. These are also your stereotypical bad guys, except that they look cool on screen with their knack for neat outfits and sweet rides. John Goodman plays a kingpin of sorts, who's health looks like it's on its last leg. He's an unlikable guy whose sole motivation is moola, and lots of it.

Could this kinda thing happen in its entirety? Probably not anytime soon. But it's at least entertaining till the last guy falls and someone has to clean up the mess.

Rating: 7/10

Director: James Wan (Saw, Dead Silence)
Actors: Kevin Bacon, Kelly Preston, John Goodman
Info: IMDB
Trailer: Youtube

The Ninth Gate (1999)

Everyone's trying to get their hands on Satan's autograph

By: JWBM

Adapted from Spain's Arturo Perez-Reverte's historically abound novel "The Club Dumas," the film version is a chapter-by-chapter evolving experience in itself. It gives a taste of how far occult literature extends back for the past couple hundred years, and turns what was once heresy into a modern world of wealthy, shadowy characters shamelessly sipping on expensive bottles of human vice. A place where Latin is alive and woodcuts smell of freshly inked templates; dusty areas start to shimmer, strangers in the back shift to the forefront; quiet libraries ring alarm bells, and exquisite vacation spots for foreigners now cause them to requestion their next travel plans.

A collector of rare books commits suicide only a day after he sells his most prized piece. A wheeler and dealer, Dean Corso, gets hired by another book collector exclusively of the dark arts named Boris Balkan, who has since acquired "The Nine Gates of the Kingdom of Shadows," and wants him to varify its authenticity to the only other two known in the world. The man who authored them back in 1666 was burned at the stake for his blasphemous spoutings. Now in 1999, strange and tragic things start to happen surrounding those who come into its leather-bound, pentagram decorated path. The lingering question: Is it the cause and effect of the books or the unscrupulous people themselves? Or both?

"The Ninth Gate," from director Roman Polanski--"Rosemary's Baby"--presents a tried and true style of move-making that relies on basic but worked through mechanics to deliver the goods. From the gradual build up that gets more and more involved, to the slowly creeping camera angles, antique furnished sets, and who could forget good ol' distinctive orchestras to solidify the tone around it. The experience feels like stepping out of your door and into a more traditional European lifestyle over, say, a Hollywood affair with modern and trendy aspects of the year it came out. Compare this to a string of the millennia-approaching, end-of-times films back then, and you can see a noticeable difference of which ones aged.

There are some twists and turns to give this momentum and make it a memorable experience. However, a share of it has a purposeful simplicity to give room for believability when something outstanding does happen. In order to break into the idea of black magic cults and Lucifer supposedly being a low-key author, there is also a dry and somewhat playful tongue-in-cheek sense of humor sprinkled about. Depp's role, as Corso, is less eccentric than past films and stays closer to an everyday type of shady businessman. With the help of a tentative partner, Corso ends up from one accented person and scenic country to the next. You can imagine the book has passed hands for hundreds of years, yet it's a perfect way to enact survival-of-the-most-evilest in the current day world by enlisting the most greedy, back-stabbing people amongst us that are capable of taking it solely for their own gain. From lusty gold diggers to sign-the-dotted-line-or-die capitalists, the tale makes everyone who gets in its path a victim of their own lust and desires.

"The Ninth Gate" will make one glance at formerly uneventful places in a darker light: a secretive-like atmosphere that is cloaked in enough shadows that the general person is oblivious as to what lurks around them. It also has a certain amount of mystery that gives room to unlock Easter eggs and hidden theories on additional viewings from not outright handing everything over to the viewer. The story and concept itself is intriguing  enough to anticipate what comes next, though underneath, the momentum is guided by an unphysical, somewhat unlikeable book swindler; you get reactions and mundane habits similar to an everyday person who could be your neighbor Bob if not for a sly characteristic and a penchant for a shoulder bag. It's logical why it's set up that way on paper, though watching the experience play out isn't always thoroughly compelling. It's still a well-done and an esteemed film for its cumulative qualities, though hoping for more layers--such as all the musings and step-by-step thoughts in the book version--from the lead on further viewings comes to a stand still at points.

In one respect, the next secluded mansion, not to mention the next time you pass by an antique book store, there will be a little reminder as to what it conceals rather than the usual yawning words and stiff aristocrats. Something that should be left alone or pursued? Well, I guess that choice is up to you and how far you are willing to push your luck to be just a little bit closer to the world below. If not by you, there's always another that will stop at nothing.

Rating: 7.5/10

Director: Roman Polanski (Chinatown, The Tenant, Death and the Maiden)
Stars: Johnny Depp, Frank Langella, Emmanuelle Seigner)
Info: IMDB

Trailer: Youtube link

Combat Shock (1984)

A slow chip away at humanity

By: JWBM

Some years ago I took a chance on this film when searching out Troma movies to add to the collection that would hopefully be rewatchable like "The Toxic Avenger," "Dead Dudes in the House" and "Class of Nuke 'Em High." All I had to go on was the cover box—which looked like an excessively violent action/war film. As it played out, I realized it stood apart from the typical Troma fare. Yes, the film-making process was just as rough-around-the-edges and still fits in with their line of button-pressing films, though this attempted to take on a somber, psychological approach rather than relying just on dark humor and outlandish characters and situations to guide the way. When something extreme happens, its effectiveness is amplified over just pure shock value going for "Ohs!" and beers-in-the-belly entertainment. This is rather a film that could kill a pleasant Saturday evening—and quite possibly the next days to follow.

If you're one of the lucky ones to have seen the brighter side of life, this film—or rather this shoulders-slumped, head-down experience—is going to seem like a Sunday stroll through Hell. Have you ever walked by something so pitiful and so far gone that it can't help but leave an impact? Something that makes you wonder how it got to be that way in the first place? "Combat Shock" is going to be a point blank, down-and-dirty tour of all the demons that still haunt a soldier of the Vietnam War now back home in the slums of New York. Some folks have an adjustment period, though with Frankie's situation there's nothing in particular to adjust: just a nearly barren, hopeless existence held on by mere threads.

"I can no longer tell where one torture ends and the next begins."

As it plays out, this is on the verge of being horror without outright placing both feet in the muck. It mainly focuses on the drama to get inside your head, collect under your nails and grow on your skin; then manages to crawl on the back of your eyelids and replay nightmarish dream sequences to show where Frankie has been and where he's going to based on his present, deteriorating situation. To give a little tension and release, there is some light humor in a few places. Since the movie is also minimalistic at times and moves at a slower pacing, some catchy keyboard music—also composed by main star Rick Giovinazzo, who's now an orchestrator for well-known Hollywood films—pumps over top like a recurring '80s theme song not far removed from others in the decade. Ambient or inharmonious sounds would have been possibly more naturally flowing, though since the film doesn't have something heart-racing happening every second I can imagine it was on purpose to have a contrasting element to the flow.

Another component of the story that feels just as much a character as our unlucky soldier, are the locations in Staten Island where he's attempting to return to normal life. The apartment where his wife and infant son live at is in such disrepair that I can imagine the roaches have moved on from it; its faucets drip like a deafening pulse to scare anything and anyone away. The bickering arguments they have over their hopeless situation are compounded by the smeared walls lingering in every shot. The surrounding neighborhood looks as if it came back from a war itself with the amount of collapsing and abandoned structures shown. Its scum has grime. If Mr. Clean stumbled through, you can imagine he'd grow his hair out and take on an alter ego of a post-apocalyptic anti-hero to tidy things up.

This is not a polished movie, though where it shines so to speak is it's not afraid to travel to territories others shy away from. It's frankly undershot, underbudgeted, and overacted; this isn't going to be "The Deer Hunter," "Taxi Driver" or even "Jacob's Ladder" that came after concerning a traumatized Vietnam War veteran. Though from what it lacks it makes up for in plenty of atmosphere and raw emotion concerning desperation and someone wasting away from a bad luck of the draw. It's raw storytelling that leaves real scars over just superficial wounds. Walking by a person on the downtown streets slumped in a corner might make you wonder to a degree, though watching a person wasting away fraction by fraction where you can't look away is another.

Maybe with a little more money they could have shown more of his past before the war, or hired method actors to round out the characters more, though if you can get past its hiccups one can still get the idea with what tools they had at the time. Some of its flaws have a certain charm, such as the prosthetics of Frankie's strangely shaped son, to its guerrilla type of cinematography in real locations, and other effects layered together to create ambiance and personality. The film isn't necessarily a piece to show every economic hardship of vets, or to display every side of what this city has gone through up till 1984. Though it puts you in the shoes of this particular situation with enough to go on to feel like you're watching and experiencing a potentially hopeful home movie turned tragic documentary.

Rating: 7.5/10

Director: Buddy Giovinazzo
Starring: Rick Giovinazzo
Site: IMDB
Trailer: Youtube link